Johannes Weyrauch

Johannes Weyrauch (born February 20, 1897 in Leipzig , † May 1, 1977 in Gundorf near Leipzig) was a German composer and cantor .

Life

childhood

Johannes Weyrauch was born in Leipzig on February 20, 1897. His mother, Maria Große, who had received thorough musical training and worked in several cantor houses, introduced Johannes Weyrauch to sacred music at an early age. His father, Friedrich Louis Weyrauch, was a businessman by trade and was able to finance his son's visit to the König-Albert-Gymnasium . Through his stepbrother (from his father's first marriage) Johannes Weyrauch came into contact with Richard Wagner's music , which decisively shaped his further musical life:

“My brother sent me into the ring when I was 14 years old - with the result that I was crazy about Wagner. A pedagogical, irreparable mistake, because since then I haven't had a proper relationship with most of the operas. "

At the same time he started school at grammar school, Weyrauch became a student of Helene Caspar, a music teacher and writer who was well-known around the turn of the 19th and 20th centuries, and who introduced him to the literature of the Viennese Classical period and that of Johann Sebastian Bach . In addition to these lessons, the Gewandhaus member Ernst Nissen gave him violin lessons. After a 10-year collaboration with Helene Caspar, she had to realize that she couldn't teach her talented student anything, which is why she placed him as a private student with Curt Beilschmidt , who was teaching theory and piano at the Leipzig Conservatory . When Weyrauch graduated from high school in 1916, it was not possible for him to begin studying music immediately, as he was drafted that same summer and, after training as a machine gunner, was ordered to work on the Western Front . After the end of the war, the now 21-year-old returned to Leipzig and realized his plan to study music at the Leipzig Conservatory.

Study time

Weyrauch chose the piano as his main subject, pointing out that he would later switch to the organ. Robert Teichmüller gave him the lessons ; The theory teacher was Otto Wittenbacher . Weyrauch attended composition lessons with Stephan Krehl , from whose school famous musicians such as Rudolf Mauersberger emerged. However, Weyrauch changed composition teacher in the course of his studies and found in Sigfrid Karg-Elert a competent musician who appealed to him very much. Karg-Elert's musical language was initially based on late romantic sounds, but he also mixed these with the impressionist efforts of Claude Debussy and the sound world of an Alexander Scriabin . In addition to the practical and theoretical music studies, Weyrauch also attended musicological lectures and exercises with Hugo Riemann , Hermann Abert and Arnold Schering . In addition to Karg-Elert's theory of polarity , Rieman's functional theory exerted a great influence on Weyrauch's first works. Weyrauch finished his studies at the Leipzig Conservatory in 1922 and followed a call to Erlangen, where Wilhelm Becking had set up a musicology seminar. Becking persuaded Weyrauch to write a dissertation on the subject: "The symphonic structure in Anton Bruckner", but he did not finish this work. Weyrauch commented on this fact with the following words:

"I did not feel called to be a scientist, but more a musical practitioner, my compositional urge was stronger than the scientific work."

Business start-up

After abandoning the dissertation, Weyrauch returned to Leipzig and now had to think about how to make a living, since composing alone did not provide enough money to live on. Based on a recommendation from his former piano teacher Robert Teichmüller, Weyrauch was able to accept a position as a lecturer at the Litolff music publisher in Braunschweig in 1923 . There he did not devote his full attention to the job, as he composed during working hours, which led to a falling out with the chief editor. As a result, Weyrauch quit the position and went back to Leipzig. In order to secure his livelihood, he gave private piano lessons. A year later, Weyrauch married Maria Henriette Luise Winter, who was almost 11 years her senior. In the same year, Weyrauch received insights into the ideas of the " Rotenburger Breathing School " through the mediation of his wife . He made personal contact with the founders, the singing teacher Clara Schlaffhorst and the piano teacher Hedwig Andersen , and received new impulses for his own vocal work. Weyrauch was also inspired by the youth movement and the singing movement that emerged from it . Weyrauch was particularly impressed by the strong influence of the singing movement on Protestant church music, which led to a new discovery by Heinrich Schütz and the folk song . Weyrauch had personal contact with the two leading figures in the singing movement - Walther Hensel , the founder of the Finkensteiner Bund and Fritz Jöde , the initiator of the Musikantengilde . Inspired by the breathing school and the youth music movement, Weyrauch decided to become a music teacher at the Leipzig Adult Education Center. Together with Hans Mlynarczyk , he founded the “Arbeitsgemeinschaft für Musik” at the adult education center. Tasks and goals that were anchored in the spirit of the youth movement were outlined as follows:

“Each listener will independently educate themselves musically. Nothing is brought to him from the outside, something by talking about music, but everyone makes music himself, everyone feels and feels in the end the basic forces and basic facts of all music on their own body. "

With this proclamation, both founding members rebelled against the popular concert business, since for their terms a passive audience only represented “music-consuming pseudo-communities”. The work at the adult education center meant that Weyrauch established a choir that soon after it was founded gained national fame. His sphere of activity was expanded from 1929 with the help of Karg-Elert through a teaching position for music theory at the State Conservatory in Leipzig, which he was only able to attend for a short time, as he had to be dismissed due to the tight coffers.

Life under National Socialism

After losing this post, Weyrauch also lost his main job, as the National Socialists closed all adult education centers shortly after they came to power in January 1933. Weyrauch's Singing Circle could only continue to exist if it placed itself under church supervision. Already at the end of the 20s he had started to concentrate his practical work with the Singkreis as well as his compositional work on the area of ​​church music. So the decision to become a cantor matured in him. In 1934 Weyrauch began external organ studies at the Church Music Institute of the Leipzig University of Music with Friedrich Högner . Weyrauch took private organ lessons from Günther Ramin (student of Thomas organist Karl Straube ) since the mid-1920s . Högner and Ramin, for example, also trained Hugo Distler in Leipzig until he dropped out. In the summer of 1935 he passed the church music C exam and took over the part-time cantor position at the Heilandskirche in Leipzig-Plagwitz .

Shortly before the war, Weyrauch passed the B-exam for church musicians, but he had to leave the office of cantor on rest after the outbreak of war, since he was called up as a state rifleman in 1940 and assigned to guard prisoners. After just a few weeks he was able to resume the office of cantor - now at the Luther Church in Leipzig - because he was released into the reserve. Towards the end of the war, Weyrauch had to resume his military service and was brought to Poland on the Eastern Front after training in radio technology. He no longer had to intervene in the war as the German troops were already in retreat. After a six-month captivity in Schwedt an der Oder , Weyrauch was able to return to Leipzig, where he took up his post as cantor again and, at the request of Thomas Cantor Günther Ramin, became a voice trainer for the younger Thomanern . However, Weyrauch soon gave up the position due to an excessive workload.

Turning to church music

Heilandskirche in Leipzig-Plagwitz

In October 1946, Weyrauch was appointed as a lecturer in composition and music theory at the rebuilt Leipzig University of Music, which was renamed the Mendelssohn Academy. Among his students were Volker Bräutigam , Diethard Hellmann , Lorenz Stolzenbach and Siegfried Thiele . Dwindling membership in the churches due to the anti-church sentiments of the time prompted Weyrauch to compose simpler works that took account of the smaller church choirs. In some cases he wrote only two or three-part movements or even single-part vocal works with organ accompaniment. In 1951 Weyrauch took up the post of cantor again at the Heilandskirche in Leipzig-Plagwitz and held this position until he voluntarily resigned in 1961. He made his office as cantor at the Heilandskirche available to enable his student Volker Bräutigam to start his professional life immediately. If it was easy to renounce this office, the emeritus status in the following year was far more difficult. Weyrauch was to continue teaching composition and theory at the Leipzig University of Music for another five years. After his exemption as a professor, he resigned from the GDR composition association , as he had received no respect or support. 1962 was also the year in which Weyrauch became a member of the Christian community without leaving the Evangelical Church . In Weyrauch's view, the “act of consecration of the Christian community was the only service in the 20th century” that he could accept.

"Travel age" and last years of life

Grave in the Gundorf cemetery

Entering retirement age opened up completely new travel options for GDR citizens. Contacts were made with West German publishers and friends all over Germany were visited. In 1967 Weyrauch finally stopped teaching at the music college. Also in that year Weyrauch wrote his “Musical Testament”, which contains 15 aphoristic thoughts and represents the essence of his compositional work.

The care of his wife, who was almost blind and in need of care, no longer allowed Weyrauch to devote himself to composing. Years of care now led to exhaustion and vegetative complaints. At the beginning of 1970 he was admitted to a Leipzig hospital, but recovered. His wife Luise died on October 15, 1970, which is why he composed very little. In 1972 the company moved to an old people's home. After his 80th birthday in 1977, his physical and mental strength began to decline rapidly. Johannes Weyrauch died on May 1st, 1977 and was buried in the Gundorf cemetery (near Leipzig).

The square at the parish hall in Böhlitz-Ehrenberg , in the Gundorf district of this parish, he lived for several decades, was renamed Johannes-Weyrauch-Platz in his honor.

Artistic attitude and musical influences

The author of Johannes Weyrauch's biography ( Wolfgang Orf ) describes the basic musical attitude as follows:

“Weyrauch's biography makes it easy to see that there is an artistic-intellectual relationship between his basic Christian attitude and his work that has never been given up. This relation is particularly expressed through the reflection on certain value categories: clarity, avoidance of everything superfluous and use of economical and simple musical means. His tonal language seems conventional, it is not rich in surprising phrases. He does not work towards moods, gives no impressions and renounces sonorous opulence in favor of a clear, transparent sound image. Extensive experiments are just as alien to his music, if a few works from his early creative period are disregarded, as is one-sided musical driving forces. In that Weyrauch's music is simple, which avoids excessive loudness, the effect, the lushness of sound and indulgence, it possesses a high degree of clarity, comprehensibility and expressiveness. The simplicity and deliberate simplicity of the musical style, especially in the late work, is by no means a lack of craftsmanship, but the result of a long personal and thus also artistic maturity. "

Weyrauch himself speaks of four stages of development that characterize his work. Artistically there are no hard breaks or extreme reorientations, which is why the style periods overflow into one another and have developed naturally. The style periodicity is structured as follows:

1. Period from 1920 to 1925: Expressive style

2. Period from 1926 to 1946: Simplified, moderate style

3rd period from 1947 to 1958: Pauperteit style

4. Period from 1959 to 1977: style of mirrored intellectual ideas

The expressive style of the early phase was shaped by his Leipzig teachers, who felt obliged to the music of the 19th century and who had a central role model in Max Reger . Not only Reger, but also Aleksandr Scriabin , Weyrauch served as an ideal in this period, especially in the field of (extended) harmony and counterpoint. The singing movement acted as a counterpoint to the music of the 19th century , as it dismissed it as light music or empty, virtuoso performance music and its salvation in the music of the "Old Masters" - for example Heinrich Schütz , but also Johann Sebastian Bach - and their genres and Sought forms. Their aim was to develop and practice music together as well as to overcome the separation between the (anonymous) audience and the performing musicians. The horizontal, harmonious sentence thinking of the 19th century was replaced due to the return to (pre) Baroque composition techniques in favor of linear voice guidance, a process that can also be demonstrated in Weyrauch's early compositions. The harmonically complex sound structures, as he was taught in the "Leipzig School", are taken back by the contact with the singing movement in his second creative period and replaced by clear chords with tonal roots. In the third creative period, the simplifying tendencies intensified, which resulted in a further reduction in the complexity of the melodic structure, which is why Weyrauch himself coined the word “Paupertätsstils” for his music of this time. Archaic elements such as motifs influenced by Gregorian chant or free-flowing melodies that are not subordinate to a rigid clock scheme characterize the compositions. In addition to the stylistic reorientation, the anti-Christian attitude promoted in the GDR also led to a decline in membership in the churches, which is why Weyrauch wrote simple sentences for small ensembles for practical reasons. He described his last creative period as the “style of mirrored intellectual ideas”, in which he dispensed with decorative elements in the individual parts in favor of clear diction in the overall structure of the works. The tonal language, which becomes more harsh and brittle, deliberately renounces “musical beauty” and places the meditative element in the foreground. This last style period represents a culmination of all compositional styles.

As was already clear when Johannes Weyrauch classified the stylistic epochs, various compositional currents flow into his oeuvre. But the surroundings of the city of Leipzig with its big names such as Johann Sebastian Bach , Felix Mendelssohn Bartholdy , Robert Schumann and Max Reger also had a binding influence. A central course was set after the first compositions, as the decision was made against the avant-garde. The four piano pieces (WeyWV 8), which take up the musical language of Scriabin, could have been Weyrauch's cornerstone in overcoming tonality. But instead of following this widespread trend, there was a conscious departure from this method of composition in favor of a traditional musical language that is quiet, meditative and free of any intrusiveness and externalities. Three worldviews - anthroposophy , the Christian community and the Berneuchen movement - also determined Weyrauch's nature and work. The spiritual worldview of anthroposophy founded by Rudolf Steiner , which Weyrauch was interested in as a silent observer, seeks an individual, yet systematic approach to phenomena of the supersensible world. Inspired by this doctrine, but still understood as an independent religious community, the Christian community appears, which was founded by theologians under the direction of Friedrich Rittelmeyer and with the help of Rudolf Steiner. The Berneuchener Kreis, established around 1920, was an evangelical movement whose aim was to reform the church and seek a resacralization of everyday life.

In his almost sixty years of creative work, Johannes Weyrauch left behind an extensive oeuvre with 100 operas, with a focus on the musica sacra . In addition to music for wind and string instruments, compositions for organ predominate in instrumental music. Numerous meditations, chorale preludes and partitas to hymns testify to Weyrauch's basic religious attitude. In the field of vocal music, too, there is a clear predominance of sacred music; What is striking here is the preference for choral music, while solo works are hard to find. Above all, motets, introits and cantatas on sacred or biblical texts characterize the picture, whereas large forms such as oratorios, masses or passions are almost completely absent. All organ works have been recorded on a total of three CDs by the cantor Michael Vetter . In contrast, there is only one CD with selected vocal works, which was recorded by the Leipzig vocal ensemble under the direction of Thomas Cantor Georg Christoph Biller in collaboration with the Central German Chamber Orchestra. Shortly before his death, Biller, who was still able to experience Weyrauch personally, was given the task of maintaining and performing his works. Many works have been published by different publishers - including the music publishing house Joachim Kaschta , the Carus publishing house and the publishing house Breitkopf & Härtel .

Systematic catalog raisonné

Instrumental music

Music for chamber orchestra

• As you like it WeyWV 17 A little music program in six flashlights 2V, Vc, Klav, typewriter and sewing machine, vacuum cleaner
• Hymn for 13 violas WeyWV 19a Solo-Va, three 4stg Va-choirs
• Music for the fairy tale "The Emperor and the Nightingale" WeyWV 28b Fl, 2V, Va, Vc, Kb, Klav, Solo-St, Choir SATB
• Divertimento for string orchestra WeyWV 71 (= string quartet II with attached Kb) 2V, Va, Vc, Kb
• Double concerto for flute, oboe and string orchestra WeyWV 85 Fl, Ob, 2V, Va, Vc, Kb
• Sonatina for string orchestra WeyWV 88 2V, Va, Vc, Kb

Chamber music

Wind instruments

• Praeambulum and Fughetta WeyWV 23 4 sheets Fl
• Kanzona in B flat major WeyWV 36 Fl, V, Klav
• Four trombone choirs WeyWV 68a 3–4 pos

Intrada and chorale about "Jesus, my joy" 4 pos

Intrada and chorale on "On my dear God" 3 pos

Intrada and chorale on " Out of deep need I scream to you " 4 pos

Intrada and chorale on " Command you your ways " 4 pos

• Seven Etudes for Flute WeyWV 70d Fl
• Cantus I and II WeyWV 75 Vc (o Fl o Va), keyboard
• A small serenade WeyWV 86a Fl, Va
• Triptych WeyWV 92b Fl, V, Vc
• A little play music (flute quartet) WeyWV 95 Fl, V, Va, Vc
• Music for the act of consecration WeyWV 98 Fl
• Cantilene WeyWV 99 fl, clav

String instruments

Duos

• Sonata in B WeyWV 16 V, Klav
• Passion sonata about: "Dearest of Jesus, what have you done wrong ? " WeyWV 21 Va (o Vc), Tastinstr
• Cheerful Sonatina in B flat WeyWV 24b V, piano (o harpsichord)
• Partita about: "All my thoughts that I have" WeyWV 43 V, Klav
• Drei Trauungsmusiken WeyWV 65 string instrument, org

"God alone in the heights" V, Org (o Harm o Klav)

"Lord Jesus Christ, turn to us" V, Org

"Our Father in the Kingdom of Heaven" Vc, Org

• Cantus I and II WeyWV 75 Vc (o Fl o Va), keyboard
• A small serenade WeyWV 86a Fl, Va

Trios

• A Little Porcelain Suite (A Funny Serenade) WeyWV 7 2V, Va
• Trio sonata WeyWV 24a V, Va, Vc
• Kanzona in B flat major WeyWV 36 Fl, V, Klav
• 2 small pieces of music to Goethe's fairy tale of the green snake and the beautiful lily WeyWV 46a 3V
• Triptych WeyWV 92b Fl, V, Vc

Quartets

• String quartet No.1 in one movement in D minor WeyWV 6a 2V, Va, Vc
• String quartet in one movement in B minor [No.2] WeyWV 11a 2V, Va, Vc
• The wedding greeting on October 8, 1924 WeyWV 11b 2V, Va, Vc
• String Quartet (No.3) Fragment WeyWV 12c 2V, Va, Vc
• String quartet I in H WeyWV 67 2V, Va, Vc
• String Quartet II "Coffee Quartet" WeyWV 71 2V, Va, Vc
• String Quartet III WeyWV 73 2V, Va, Vc
• String Quartet IV WeyWV 83 2V, Va, Vc
• A little play music (flute quartet) WeyWV 95 Fl, V, Va, Vc

Piano music

Piano solo

• Introduction, Passacaglia and Fugue for 2 pianos WeyWV 1 2Klav
• 6 piano pieces (cyclical) WeyWV 4 Klav
• Piano Sonata in B WeyWV 5 Klav
• 4 piano pieces (cyclical) WeyWV 8 Klav
• Partita in G major WeyWV 13 Klav
• Partita in D for harpsichord or piano WeyWV 31a harpsichord (o piano )
• Small piano music WeyWV 42 Klav
• Sonata in F for piano WeyWV 69 Klav
• Five small piano pieces WeyWV 92a Klav
• Music for keyboard instrument WeyWV 97 keyboard (o Str)

Piano with other instruments

• Sonata in B WeyWV 16 V, Klav
• Passion sonata about: "Dearest of Jesus, what have you done wrong ? " WeyWV 21 Va (o Vc), Tastinstr
• Cheerful Sonatina in B flat WeyWV 24b V, piano (o harpsichord)
• Kanzona in B flat major WeyWV 36 Fl, V, Klav
• Partita about: "All my thoughts that I have" WeyWV 43 V, Klav
• Cantus I and II WeyWV 75 Vc (o Fl o Va), keyboard
• Cantilene WeyWV 99 fl, clav

Organ music

• Prelude, Aria e Fuga for organ WeyWV 27a Org
• Seven partitas for the church year WeyWV 27b Org

Advent: O Savior, tear open the heavens

Christmas: Sing freshly and cheerfully

Passion: Jesus, I want to consider your passion now

Easter: Today the Son of God triumphs

Pentecost: Now we ask the holy spirit

Michaelis: An insurmountable strong hero

End times: I know a lovely angel game

• Six chorale preludes WeyWV 32b Org

The bright sun is shining here now

Happy are all of them

I love you dearly, oh Lord

Come to me, says the Son of God

O man, weep greatly for your sin

Valet, i want to give you

• Fugue in C minor WeyWV 33b Org
• Missa per Organum (organ mass) WeyWV 40 Org
• Sonatina on the chorale "Now come, the Gentile Savior" WeyWV 47 Org
• Two organ chorals WeyWV 52a Org

Morning shine of eternity

We thank you, Lord, for bread and clothing

• Nine chorale preludes WeyWV 53 Org

From the deepest need I call to you

You great man of sorrows

Through Adam's fall

May God be gracious to us

Jesus my joy

We are in the middle of life

Now rejoice

Now praise my soul

How beautiful we shine

• Organ sonata in e WeyWV 59 Org
• Taufmusik WeyWV 68b Org (positive)
• Missa parvula Small Mass WeyWV 74 (Org) Positive
• Graciously grant us peace WeyWV 78 Positive (Org)
• Small Partita in D (Four Bagatelles) WeyWV 80 Positiv
• Walk through the Christian year 12 meditations on the entrance and conclusion of services of the Christian church WeyWV 90 positive (Org); contains:

Music for Whitsun and Michaelmas times WeyWV 76

Music for Trinity Time WeyWV 77

Music at Easter WeyWV 87

Vocal music

Religious music

measure up

• Mass in C WeyWV 37 4–5stg acc. Choir
• Missa pauperum WeyWV 49 Choir SAM, (Str ad lib,) Org, (congregation)

passion

• Small Passion based on the Gospel of Johannes WeyWV 64 Choir SAM, Chorsoli, (Str ad lib,) Org

Motets

• »Love never stops « Motet based on the words of the Holy Scriptures WeyWV 10a Choir SATB
• »Command you your ways« WeyWV 34 Choir SATB, Bar-Solo (o MezzoS)
• "Lord Christ, the unified Son of God" Christ's conversation with Nicodemus (Gospel motet) WeyWV 44 1–5stg acc. Choir
• Small motet [Gospel saying ] »Will someone follow me« WeyWV 48b, 2 2stg choir, Org
• The great Lord's Supper "Blessed is he who eats bread" (Gospel motet) WeyWV 60 5stg gem. Choir
• The walk to Emmaus "He who previously dressed himself in a mundane figure" (Gospel motet) WeyWV 72 1–6stg choir, 2 individual pieces, org
• The Transfiguration of Christ "Our Lord Jesus Christ" (Gospel motet) WeyWV 84 1–6stg choir

Introits

• "Praise the Lord all Gentiles" Introit for the 3rd Sunday p. Epiphanias WeyWV 63b Choir SATB
• "Rejoice with your hands all peoples" Introit for the 3rd Sunday p. Epiphanias WeyWV 70c, 1 choir SAM
• "The people, walk in the dark" Introit for the Advent season WeyWV 70c, 2 choir SATB
• »Lord, bow your ears« Introit for the 15th – 18th Sunday after Trinity and for the day of confirmation WeyWV 70c, 3 choir SATB
• "God the Eternal King" Introit for the Trinity Festival - WeyWV 70c, 4 choir SATB
• "See, the Lord will come with fire" Introit for the 24th to the last Sunday p. Trinitatis WeyWV 70c, 5 choir SATB
• "The Lord was obedient to death" Introit for the Sundays Judica to Good Friday WeyWV 70c, 6 choir SAM

Cantatas

• An Easter cantata: "On the first day of the week" WeyWV 14a Choir SATB, 2 Clar, Str, Org, (Trp, Pos ad lib)
• Resurrection Music WeyWV 33a solos, choir SATB, 2 Fl, Str, Org
• To the Christmas festival: "It's poor in Bethlehem" WeyWV 54a A-Solo (o 1stg women's choir, SAM choir, org)
• "Let us go with Jesus" WeyWV 58.1 1stg choir, individual, org (o Fl, Str)
• "Christ, you supporter of your Kreuzgemeinde" WeyWV 58.2 1stg choir, individual, org (o Str)
• A cantata from the kingdom of God "Christ spoke: My kingdom is not of this world" WeyWV 91 1–5stg gem. Choir, Str, Org
• A cantata about love »When I spoke with human and angel tongues« WeyWV 93a 1–5stg gem. Choir, Str, Org

Smaller spiritual compositions

Mixed choir a cappella

• Time is like eternity WeyWV 20a Choir SATB
• Christ went up to heaven, what does he send us down? WeyWV 25a Choir SAM
• Old Franconian Christmas carol: »Dear Nachtigal, wake up« WeyWV 25b Chor SATB (Str)
• When my hour is available WeyWV 26c, 3 choir SAM (Org)
• It is a reaper WeyWV 26c, 4 choir SATB
• St. Johannis song: "We want to sing a song of praise" WeyWV 28a Choir SAM
• Insurmountably strong hero WeyWV 28c, 1 choir SATB
• Three Christmas carols WeyWV 30 choir SAM
• All eyes are waiting for you Small motet for the harvest festival WeyWV 32c, 1 2stg choir
• O King, Jesus Christe Small Cantata WeyWV 31b, 3
• Let's praise WeyWV 31b, 4 1stg choir (o mixed choir a cappella)
• Praise God, you pious Christians WeyWV 46c, 2 choir SATB
• Blessed are the dead WeyWV 48b, 3 2stg choir (o 2 singles)
• Well praise, my soul, the WeyWV 50b 5stg choir
• Praise be to you, Jesu Christ WeyWV 55,1 2stg choir
• Mr. Christ, the unified God’s son WeyWV 55.2 Choir SAM
• Praise the Lord God, you heathen all WeyWV 55,3 2stg Chor
• From heaven came the angel crowd WeyWV 55,5 2stg choir
• Christlied WeyWV 56a, 1 choir SATB
• The Savior is born WeyWV 56a, 2 choir SAM
• Dear nightingale, wake up! WeyWV 56a, 3 choir SAM
• Two choirs WeyWV 62

The word comes from the father in choir SAM

Christ was in death gangs 2stg according to Choir

• Majestetic being I would like to praise you WeyWV 63a 5stg acc. Choir
• Die Herrlichkeit der Erden WeyWV 79 Choir SATB (Org) o Einzelst and Org
• Only the prayers can still succeed WeyWV 89a Choir SATB (Org o Pos)

Mixed choir with instruments

• Time is like eternity WeyWV 20a, 2 choir SATB, Ansinger, Org
• Ade her dear ones WeyWV 26c, 2 2stg choir, Org
• When my hour is available WeyWV 26c, 3 choir SAM (Org)
• »Wake up, wake up« Small choral cantata (Reformation Festival) WeyWV 28c, 2 2stg choir, org (community singing)
• Three »New Songs« WeyWV 28d Choir SATB, Org

Germany is not dying. "Nothing can rob us of love and faith"

New Year's Song: That you have time in your hands

Who can forget faithfulness

• Oh lieder Herre Jesu Christ WeyWV 48b, 1 2stg choir (o 2 singles), Org
• Small motet (Gospel saying ): Will someone follow me WeyWV 48b, 2 2stg choir, Org

Unison choirs a cappella

• The glory of the earth WeyWV 26c, 1 1stg choir
• And everything you do WeyWV 31b, 2 1-3stg choir

Unison choirs with instruments

• Now thank everyone and bring Ehr WeyWV 18b 1stg Chor, Org
• Kyrie, God the Father in Eternity WeyWV 29 middle St, Tastinst (o Str) / 1stg Choir, Org (o Str)
• Let's praise WeyWV 31b, 4 1stg choir, Org (o gem choir)
• Let sir, the divorced WeyWV 32c, 2 1stg choir, Org / 2stg children's (o women's) choir
• Wedding music WeyWV 45 1stg women's (o children's) choir, Fl, V, Org / 1stg choir, Org
• O holy spirit WeyWV 50a 1stg choir (o solo), Org
• Jesus Christ, our Savior WeyWV 54b, 1stg Choir, Org
• Let us go with Jesus WeyWV 58.1 1stg choir, single, org (o Fl, Str)
• Christe, you support your Kreuzgemeinde WeyWV 58.2 1stg choir, individual, org (o Str)

Choir of equal voices

• Maria went through a thorn forest WeyWV 14b 3stg women's (o children's) choir (3V)
• Time is like eternity WeyWV 20a, 3 2stg children's (o women's) choir, 2V, Ansinger, Org
• Time is like eternity WeyWV 20a, 3 2stg children's (o women's) choir, 2Blfl, Ansinger, Org
• Das walte Gott WeyWV 31b, 1 2stg children's choir (o 2 singles), Org
• Let sir, the divorced WeyWV 32c, 2 1stg choir and Org o 2stg children's (o women's) choir
• Seven chorale movements WeyWV 46b 2-3 equal pieces
• Happy now we're all starting 46c, 1 2-3 equal st
• Now rejoice, dear Christians, gmein WeyWV 55,4 2stg women's choir
• Four choirs WeyWV 61 1stg Children's (o women's) choir, Org

Good for those who walk there

I sing to you with my heart and mouth

Praise God, the Lord of glory

I know a lovely angel game

Single chants

• Christmas lullaby: »Sleep little Jesulein« WeyWV 14c single, V
• »There is a house in the Kingdom of Heaven« WeyWV 19b middle St, Tast-Instr (o Str)
• Today the Savior is born to you Cantata based on the words of Matthias Claudius WeyWV 26b 2 Middle St, Org
• "Kyrie, God the Father in Eternity" WeyWV 29 middle st, touch instr (o str) / 1stg choir, org (o str)
• The 150th Psalm: “Alleluia. Praise the Lord « WeyWV 38 Singst, Org
• Magnificat WeyWV 41 Singst, SATB choir, Org
• »Oh dear Lord Jesus Christ« WeyWV 48b, 1 2stg choir (o 2 singles), Org
• "Blessed are the dead" WeyWV 48b, 3 2stg choir (o 2 singles)
• Two spiritual songs WeyWV 57 singles, Fl, V, Va

"Since Jesus went into the garden"

"In silent Night"

• »Blessed are the dead« WeyWV 79 Choir SATB (Org) / Einzelst, Org

Secular music

Choir

• Parable: "And our way is like the tree's stride " WeyWV 9 4–8stg acc. Choir
• A leisure cantata: "Let's praise this day" WeyWV 22 Chor SAM, Str, Org
• Ode to music: »From all genital pleasures« Saxon cantata based on JH Schein WeyWV 51 male choir
• Two choir songs WeyWV 94 Choir SAM

"All my thoughts that I have"

"I know a flower blue"

• Endzeit Spruchgesang based on the words of Romano Guardini WeyWV 96 1–3stg choir (o single, 3stg choir), Org (o piano)

Single chants

• 5 songs for alto (baritone) WeyWV 2 A (o bar), piano
• 7 songs for tenor (soprano) and piano WeyWV 3 T (o S), piano
• I hear a little bell ring WeyWV 6b SAM (choir), Klav
• Sonnenspiel: "The sun plays lullabies " WeyWV 10b SAT, Klav
• Close my eyes both WeyWV 10c middle St, Klav
• Vier Lieder WeyWV 12a Singst, Klav
• Drei Lieder WeyWV 12b Singst, Klav
• Drei Lieder WeyWV 15 Singst, Klav
• May praise: "The noble May has come" WeyWV 18a mid St, Klav
• To sing every day: "I thank God and I am happy" WeyWV 20b Singst, Tastinstr
• Four songs based on words by Matthias Claudius WeyWV 26a mid St, Klav
• Three songs WeyWV 32a Middle St, Klav
• Morgenstern cycle: »Erdengang« Six chants after Chr. Morgenstern WeyWV 35 middle St, Klav
• Two Christmas carols WeyWV 39 singles, clav
• Grace of departure: "Many are on the move" WeyWV 48a mid St, Klav
• Four Christmas carols WeyWV 56b Singst, Klav
• Abendwolke: "So quiet rests in the harbor" WeyWV 70a mid St, Klav
• Drei Lieder WeyWV 81 Mittel St, Klav
• Morgensternlieder WeyWV 82 Singst, Klav
• An old love song Minnekantata: »Du bist min« WeyWV 89b middle St, Fl, Klav
• Body, soul and spirit: "The wind gently caresses the body" WeyWV 93b mid St, Klav

Canons

• Drei Kanons WeyWV 66 4Einzelst
• We have not received WeyWV 70b 4 single items
• We always sing with enthusiasm WeyWV 86b 3 singles
• Habens Leben we drove WeyWV 100 4 single

Literature (selection)

• Georg Christoph Biller: Johannes Weyrauch - Ceremonial speech on the naming of Johannes-Weyrauch-Platz in Böhlitz-Ehrenberg . Ms. 2001
• Diethard Hellmann: Music of the Word , in: Music and Church, 68, 1997
• Alfred Heuss: Discussion about the essence of new music [four piano pieces. Zyklisch], in: Zeitschrift für Musik. 9. 1923, no. 17
• Wolfgang Orf: Johannes Weyrauch. A composer portrait . Leipzig: Krämer 2005
  • The St. John Passion by Johannes Weyrauch , in: Music and Church, 42nd 1972
  • Commitments . Edited by Wolfgang Orf. Leipzig: Krämer 1997
  • Singing is the preaching of the word. The composer Johannes Weyrauch and his activities as a teacher at the Volkshochschule Leipzi g, in: Leipziger Blätter, 31. 1997
  • Attempt on the sources of Johannes Weyrauch's late work . (Two unprinted cantatas), in: Festschrift for the 75th birthday of Johannes Weyrauch. Leipzig 1972. Hschr. u. Mschr.
  • Directory of Johannes Weyrauch's works . Leipzig: Krämer 1997
• Ulrike Prahl: De altviool in de kerkmusiek. Bespreking van twee koraalbewerkingen voor altviool and organ van Felicitas Kukuck and Johannes Weyrauch . Negotiating in the process of keeping van de Grad van Mester in music. Vol. 1 and 2, Leuven: Hogeschol voor Wetenschap en Kunst 1997
• Johannes Weyrauch: Thoughts on contemporary church music , in: Die Union (Dresden edition). July 7, 1954
  • Outline of my compositional work . Ms. 1963
  • Musical testament . Leipzig: Krämer 1997

Discography

Individual works on collective CDs

• Maria durch ein 'Dornwald went for three-part women's / children's choir WeyWV 14b

Thomanerchor Leipzig, Hans-Joachim Rotzsch

in: Christmas with the Thomanerchor (double CD), Deutsche Schallplatten Berlin (distribution: Ariola Hamburg), order number: DSB 2 008-2

• I'm standing at your crib here for solo soprano and organ WeyWV deest

Filip Dames (boy soloist), Stefan Kaden (organ)

in: The Göttingen Boys Choir sings its Christmas music ; Order number: GK CD 1 (distributed by the Göttinger Knabenchor)

• Insurmountably strong hero Partita for organ WeyWV 27b, 6

Hartmut Haupt

in: Orgeln in Thüringen - Jena II Parzifahl Verlag, Dornach, order number: CD 800 114-2

• Herr Christ, the unified Son of God "Christ's Conversation with Nicodemus" Gospel motet for mixed choir WeyWV 44

Dresden Kreuzchor, Gotthart Stier

in: Romantic Choral Music Berlin Classics (Deutsche Schallplatten GmbH Berlin), order number: BC 1032-2

Complete CDs

• Johannes Weyrauch - Sacred vocal music

Adelheid Vogel (soprano), Volker Arndt (tenor), Matthias Weichert (bass), Kristiane Köbler (organ)

Central German Chamber Orchestra, Leipzig Vocal Ensemble, Georg Christoph Biller

Surround sound (supplied by Helikon), order number: RK 9504

• Johannes Weyrauch - 7 partitas for the church year

Michael Vetter (Traunstein) at the Jahn organ in the Michaeliskirche in Pirna

Ambiente, order number: ACD 9703

• Johannes Weyrauch - The free organ works

Michael Vetter at the Rohlf organ of the Resurrection Church in Traunstein

Ambiente, order number: ACD 9903

• Johannes Weyrauch: Organ Works Vol. 3

Michael Vetter at the Rohlf organ of the Resurrection Church in Traunstein

Ambiente, order number: ACD-2010

Web links

• Page about Johannes Weyrauch