Our dear womens dream

This article deals with the sacred folk song. For the motet by Max Reger on the same text, see Our dear women's dream (Reger) .

Our dear women's dream is a spiritual folk song that was written before 1602. It is about Our Lady (a title of Mary , the mother of Jesus ) and the birth of her son, and is therefore mostly sung as an Advent song.

Lore

The song was first printed in Nikolaus Beuttner's Catholisches Gesangbuch (Graz 1602). Since this songbook from the context of the Counter Reformation is a collection of predominantly pre-reformatted German-language songs, it is likely that this Marienlied is also of older origin. It is possibly a pilgrimage song from the late Middle Ages. Melodic similarities with the Christmas song Let us welcome, Herre Christ and the (14th century). Landsknechts - parody of Our Lady WOMENS from the cold Bronnen (1536). The melody at the beginning also agrees with the Advent song Es flew a Täublein white , which is also passed down in Beuttner's hymnbook.

content

The image of the tree, which heralds the world savior, can be found in Herodotus as early as antiquity and in Justinus' story of the ancient world , which was widespread in the Middle Ages. This and the plagal Doric melody suggest that it was composed in the first half of the 14th century.

Melody and lyrics

And our dear women /
who dreamed a dream /
as if under her heart /
a tree would have grown /
Kyrie eleison.

And as the tree gave a shadow /
probably over all land /
Lord Jesus Christ / the Savior /
so he is called /
Kyrie eleison.

Lord Jesus Christ the Savior /
is our salvation and consolation /
with his bitter torture / he
has redeemed us all /
Kyrie eleison.

And our dear lady / she
had a baby /
We want to sing
about it / and we want to be happy /
Kyrie eleison.

Also our dear lady /
she moved to Bethlehem /
she gave birth to her dear child Jesus /
to the consolation of the Christian community /
Kyrie eleison.

And since she gave birth /
she looked at her dear child /
she kneels on a marble stone /
and immediately worships it /
Kyrie eleison.

Also our dear lady /
she already brought her child /
we should like to hear that /
what God gave her as a reward /
Kyrie eleison.

And Our Lady /
does not desire otherwise /
then only poor Christianity /
it would be over /
Kyrie eleison.

So said the Lord God /
well to his mother /
and which sinner you desire / the
same be yours /
Kyrie eleison.

In honor of our women /
we go to her
bed house / repent of our sins /
so we go out single /
Kyrie eleison.

And whoever repent of his sin /
and wants to come away / he
often goes to our wives /
and asks God for Genad /
Kyrie eleison.

If he then comes to churches /
in our women's house / if he
breaks his sin / has repentance /
he goes out single /
Kyrie eleison.

And Our Lady / she
has vil of the Churches /
many a sinner goes into it /
whom she wants to pardon /
Kyrie eleison.

I want to pray for them too /
for women and for men /
blessed will be all
pilgrims / who call them right /
Kyrie eleison.

And Our Lady /
does not want to leave us /
she has the poor pilgram vil /
on her way and streets /
Kyrie eleison.

In honor of our women /
we sing hymns of praise /
from now on bit in eternity /
be God in heaven Danck /
Kyrie eleison.

reception

When it was included in the Zupfgeigenhansl, the song became popular with the youth movement because of its heavy mood .

In Southeastern Europe, especially in Romania , the song achieved a great response. Popular text prints were even distributed there as amulets.

Max Reger set the text to music in 1914 as a motet Our dear women dream op. 138 No. 4 for four to six-part mixed choir. Reger did not take up the original melody, but composed his setting from scratch.

Other choral movements created a. a. Heinz Martin Lonquich (1975) and Wolfgang Fürlinger (1981).

literature

• Nicolaus Beuttner: Catholisches Gesang-Buch. Graz 1602, pp. 180-182, no. 30 ( digitized version of the 1718 edition ).
• Ludwig Erk , Franz Magnus Böhme (Hrsg.): Deutscher Liederhort . 3rd volume. Breitkopf and Härtel, Leipzig 1894 (reprint: Olms, Hildesheim 1963), p. 749 f. ( Digitized version ).
• Martina Haag: And our dear women. In: Ansgar Franz, Dominik Fugger, Martina Haag (eds.): Hymn in the church year: fifty new and old songs for Christian festivals (= Mainz hymnological studies, volume 8). Francke, Tübingen 2002, ISBN 3-7720-2918-3 , pp. 547-561 ( limited preview in the Google book search).
• Heinz Rölleke (Ed.): The folk song book . Kiepenheuer & Witsch, Cologne 1993, ISBN 3-462-02294-6 , pp. 105 .
• Ingeborg Weber-Kellermann : The book of Christmas carols. Schott, Mainz 1982, ISBN 3-7957-2061-3 , pp. 208 f.

Web links

• And our dear women in the song project of Carus-Verlag and SWR2
• And our dear women , lieder-archiv.de

Individual evidence

1. ^ Ernst Klusen : German songs. Texts and melodies. Insel, Frankfurt am Main 1980, ISBN 3-458-04855-2 , p. 799 a. Note p. 856.
2. ↑ Ludwig Erk , Franz Magnus Böhme (Ed.): Deutscher Liederhort . 3rd volume. Breitkopf and Härtel, Leipzig 1894, p. 632 f. ( Digitized version ).
3. ^ Egert Pöhlmann: Ancient imagery in the hymn. In: Symposium of the State Music Council 2011. State Music Council Baden-Württemberg, Karlsruhe 2011, pp. 36–41 ( Online ; PDF; 11 MB).
4. ↑ Hans Breuer (ed.): Der Zupfgeigenhansl. 90th edition. Hofmeister, Leipzig 1920, p. 91 ( digitized version ).
5. ^ Ingeborg Weber-Kellermann : The book of Christmas carols. Schott, Mainz 1982, ISBN 3-7957-2061-3 , pp. 208 f.
6. ^ Leopold Kretzenbacher: Southeast traditions on the apocryphal "Dream of Mary". In: Meeting reports of the Bavarian Academy of Sciences. Philosophical-Historical Class, Munich 1975, ISSN  0342-5991 , pp. 3–170.
7. ↑ http://gemeinden.erzbistum-koeln.de/stifts-chor-bonn/service/verbindisten/Lonquich.html
8. ↑ https://opacplus.bsb-muenchen.de/metaopac/search?View=default&db=100&id=BV004386289