Maria, Queen of May

from Wikipedia, the free encyclopedia
Maria Maienkönigin in the setting by Kaspar Aiblinger (prayer and hymn book for the Archdiocese of Cologne, 1949)
Melody by Anselm Schubiger, additional stanza by Peter Gerloff
The song in the version by Joseph Hermann Mohr

Maria, Queen of May is the title of a hymn that is sung in the Roman Catholic Church , especially in the context of May devotions . The text comes from the Catholic writer Guido Görres and was written in 1843/44. As a rule, it has been shortened and partly rewritten in various settings in numerous Catholic hymn books .

Origin and direction

Guido Görres, the son of the Catholic publicist Joseph Görres , wrote his Marienlieder in May 1842 to celebrate the May devotion , which appeared in print in 1843. From the “second edition, increased by thirty songs” of 1844, the collection contained one song for each day of May. Maria, Queen of May, was intended by Görres for May 3rd. He dedicated this edition to the late Romantic poet Clemens Brentano , who died on July 28, 1842 and was friendly with Görres.

The text of the song is shaped by the spirit of Romanticism , but can also be seen in the follow-up to medieval garden poetry ( Hortus conclusus ), which is fed by the allegory of the Old Testament Song of Songs ( Hld 2.1–2  EU and 4.12 EU ). Since the late 18th century, these images and texts have been strengthened in the Catholic devotion to the Virgin Mary with respect and it developed forms of devotion like the May devotion that has picked up the heyday in the spring. The so-called “Marian Century” had its first high point between 1850 and 1950 with the proclamation of the Marian dogma of the Immaculate Conception of Mary by Pope Pius IX. on December 8, 1854 in the bull Ineffabilis Deus ('The Ineffable God'). The hymnologists Hermann Kurzke and Christiane Schäfer characterize the song as being shaped by the Counter-Enlightenment and as a "paper allegory without mythical contour"; an actual content is missing.

The song was set to music several times, recorded in hymn books and devotional books for public and private devotions in May and was sung with pleasure. Already at the end of the 19th century it was found in the diocesan hymns of Cologne , Bamberg and Speyer , around the middle of the 20th century it was part of the repertoire of songs from Mary in numerous dioceses. In more recent times some stanzas have been rewritten and rewritten after the taste of the times had gone beyond romanticism after two world wars; the first two stanzas were usually taken over by Görres. Pope Pius XII and then the Second Vatican Council warned against overly emotional “narrow-mindedness” and pointed out that true devotion “does not consist in either sterile and temporary feeling or any gullibility”, but rather emerges from true faith. Marian piety must always be related to Jesus Christ .

The titulation of Mary as Queen of May is a coining of Görres and cannot be derived from theological or religious history. In addition, there is a regional risk of confusion with the secular custom of the May Queen and May King. In 1954, Pope Pius XII. With the encyclical Ad caeli reginam, the Queen of Ideas festival on May 31 for the Church as a whole, whereby the Marian title of May Queen was withdrawn in favor of the title of Queen of Heaven , which has been common since the Middle Ages in the song Regina caeli and an invocation in the Lauretan litany . In the diocesan annex of the Archdiocese of Cologne to the Catholic unified hymn book Gotteslob (1975), the first line of the song therefore read: “Maria Himmelskönigin, May wants to greet you.” More recent changes include the aspect of nature as God's creation - according to a verse by Peter Gerloff - or take up the aspect of the people of God emphasized by the Second Vatican Council , such as the version printed in the regional section of the ecclesiastical province of Hamburg to praise God ; there a reference to the Trinity of God the Father , Jesus Christ and the Holy Spirit is made, especially since Pentecost often falls in May.

text

Text
by Guido Görres

Maria, May Queen!
May wants to greet you,
O bless its beginning,
And us at your feet.

Maria! We command you,
What grows green and blossoms on earth,
O let it become a heavenly ornament
In God's garden.

Guard us with diligent diligence,
O Queen of Women!
The heart
blossoms lily white on green corn sows.

Above all there are the three flowers,
which let no storm defoliate:
hope green and carefree,
love and faith.

O let the flowers
sprout around and around In all hearts,
And make them a sanctuary, In
which May opened up.

The souls cold and lacking in faith, who
wrestle with despair,
make the mute warm with love,
so that they sing joyfully.

So that they swing
themselves like the nightingale in songs,
And
sing May songs with the joy of the brightest sound .

Text version
by Joseph Hermann Mohr

Maria, May Queen,
May wants to greet you,
O bless him with a lovely spirit,
And us at your feet.

Mary, we command you,
what is green and blooming on earth,
O let it be a heavenly ornament
In God's garden.

Guard us with faithful diligence,
O queen of women,
The
flowers of the heart, lily-white On green corn sows!

Let these flowers
sprout around and around In all hearts,
And make them a sanctuary, In
which May opened up!

The souls cold and poor in faith, who
wrestle with despair,
O make them bright and warm with love,
so that they sing joyfully.

That they soar
up in song
with
lark and nightingale , And sing May songs for you with the joy of the highest sound !

Praise to God,
regional part Berlin etc.

Maria, Queen
of May, May wants to greet you;
o bless him with motherhood
and us at your feet.

Mary, we command you that
which is green and blooming on earth;
o let it become a heavenly ornament
in God's garden. Build a bridge, a cathedral for

the souls who are surrounded
by darkness in the stream of time
, so
that they can reach the light.

And let
us swing
with
lark and nightingale on David's tower and sing May songs to you with the joy of the highest sound .

Praise to God,
regional part Hamburg

Maria, May Queen,
May wants to greet you.
O bless him with kindness
and us at your feet!

Mary, we recommend to you that
which is green and blooming on earth,
let us
honor the work of the Creator in this splendor and ornament .

Also, pure Mary,
you greatest of women,
the people of God, your children,
in faith and trust

in Jesus Christ, your Son,
the Savior and Liberator.
Praise through him forever
the power and faithfulness of the Father.

O, Queen of Heaven, open
our hearts and voices in song,
to thank God in the Holy Spirit
that we always sing his praises,

the Church of Christ was sent
in storms and flames of fire
to guide her with his hand
through all times! Amen.

Melodies

Melody by JK Aiblinger
Melody by A. Schubiger
Melody by JH Mohr

Melodies by Kaspar Aiblinger (1845), the Benedictine Anselm Schubiger (1845) and the Jesuit Joseph Hermann Mohr (1876) were included in the hymn books . Aiblinger set 26 of the Görresschen texts to music immediately after their publication. Aiblinger's and Mohr's ways of singing are eight lines and always combine two Görres' stanzas into one. All three melodies are included in diocesan parts to praise God . Of Max Reger , a four-part choral writing with own melody comes to verses 1-3.

Text output

literature

Individual evidence

  1. ^ Hermann Kurzke, Christiane Schäfer: Mythos Maria. Famous Marienlieder and their history. Munich 2014, p. 75.
  2. ^ Hermann Kurzke, Christiane Schäfer: Mythos Maria. Famous Marienlieder and their history. Munich 2014, p. 88.
  3. ^ Hermann Kurzke, Christiane Schäfer: Mythos Maria. Famous Marienlieder and their history. Munich 2014, p. 72.
  4. ^ Pius XII .: Encyclical Ad caeli reginam , October 11, 1954 Ad caeli reginam . Holy See. Retrieved May 4, 2020 .. Dogmatic Constitution Lumen Gentium No. 67 online
  5. ^ Text version 1844
  6. ^ Text version 1874
  7. ↑ Gotteslob 2013, regional section Berlin, Dresden-Meißen, Erfurt, Görlitz and Magdeburg, No. 853
  8. ↑ Gotteslob 2013, Regional Part Church Province Hamburg, No. 896
  9. ↑ Marienlieder composed by Guido Görres. Set to music for one or more voices with piano or organ accompaniment by Kaspar Aiblinger K. bayer. Hofkapellmeister. 4th issue. Munich 1845, pp. 26-28 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3D~MDZ%3D%0A11134963~SZ%3D~double-sided%3D~LT%3D~PUR%3D ).
  10. ↑ Anselm Schubiger: Marienrosen. A collection of 30 unaccompanied polyphonic songs dedicated to the veneration of the Blessed Virgin Mary. Benziger Brothers, Einsiedeln 1845; 6th edition 1853, p. 26 ( digitized versionhttp: //vorlage_digitalisat.test/1%3D~GB%3D~IA%3D~MDZ%3D%0A11161734~SZ%3D~doppelseiten%3D~LT%3D~PUR%3D ).
  11. ^ Hermann Kurzke, Christiane Schäfer: Mythos Maria. Famous Marienlieder and their history. Munich 2014, p. 71.
  12. ↑ Max Reger, op.61d no.4.