A prominent hymnologist was Johann Martin Schamel (1668-1742), also known as Schamelius. He was a minister in Naumburg as well as Zeitz, the place where Anna Magdalena, Bach’s second wife, grew up.
He studied with orthodox Lutheran theologians in Leipzig, but also spent time in Halle to hear Pietists such as August Herman Francke (1663-1727) and Johann Anastasius Freylinghausen (1670-1739) preach. As a result, he was well acquainted with the different theological movements within the Lutheran faith.
Editor of the Naumburg Hymnal
In 1712, Schamel published the “Naumburgisches Gesang-Buch, bestehend Aus denen Alten Lutherischen Kern- und Kirchen- wie auch den bekantesten Neuen Liedern.” (Naumburg Hymnal, consisting of the old Lutheran core- and church hymns as well as the best-known new hymns). In the preface, he states that the hymnal functions as a “lay Bible” for the people because hymns contain everything one needs to lead a Christian life. Moreover, according to him, hymns are a key component of the church service.
Like his fellow hymnologists, Schamel pays attention to solace and care for ordinary believers. He also addresses the problems that arise when trying to continue to appreciate the old hymns. He states:
- when one is in distress, one will recall a hymn more quickly than a Bible verse;
- for the layman, a hymn is an easy-to-remember summary of the doctrine of faith;
- problems arise when old words are no longer understood, or because of printing errors in the text due to the many reprints;
- if parodies of a hymn are circulating, people will remember those incorrect words, which then automatically come to mind every time the hymn is sung.
Furthermore, in his message to the reader, he points out the danger of new songs:
“Und also werdet ihr demnach / mein Leser / was solchergestalt lediglich um der Erbauung willen ist vorgenommen worden / in der Liebe zum besten deuten. Es will Leider! zu unsern Zeiten Mode werden / daß die alten Kern=Lieder in manchen Kirchen vertuschet / von den neuen aber überaus viele eingeführet werden. Der liebe GOTT verhüte es / daß nicht etwa mit solchen neuern Liedern zugleich neue und gefährliche Meynungen in die Hertzen mit einschleichen!”
[Translation: “And so, my reader, you will interpret what is done in this way only for the sake of education, out of love for the best. Unfortunately, in our time it is becoming fashionable in some churches to sweep the old main hymns under the rug and introduce many new ones. God forbid that along with such new songs, new and dangerous ideas should invade people’s hearts!”]
Hymnals with Annotations
In the years that followed, Schamel published a three-volume series for colleagues with explanations about problematic aspects in the old hymns under the title Vindiciae cantionem s. ecclesiae evangelicae (Salvation of the Evangelical Church Song). A two-volume revised edition of his “Evangelischer Lieder=Commentarius” (Evangelical Hymn Commentary), an annotated hymnal, followed in 1724/1725.
In the first volume, concerning the old hymns, he also included copies of all hymns from the first edition of Luther’s Erfurter Enchiridion (1524), as well as Etliche Christliche Gesenge und psalmen (1525) and Geystliche gesenge (1525), all these with annotations. In the preface, he underlines the significance of these old hymnals by quoting Caspar Löscher (1636-1718) from his preface in the Wittenbergische Gesang=Buch (1713):
“Gesang=Bücher sind ein Anhang von Symbolischen Büchern, welche der gantzen Lutherischen und Evangelischen Kirche Lehr und Bekänntniß darthun, und also billig rein und unverfälscht erhalten werden müssen”.
[Translation: “Hymnals are an appendage of symbolic books, which represent the doctrine and affirmation of the entire Lutheran and Protestant Church, and must therefore be preserved in a pure and unadulterated form.”]
Schamel and Bach
Schamel’s “Evangelischer Lieder=Commentarius” proves to be an excellent guide when comparing the text of the original hymn with the texts of the arias and recitatives in Bach’s chorale cantatas. Schamel’s commentary on the hymns, the emphasis he places therein, and sometimes even exact words he uses in his annotations are echoed in the cantata texts. What’s more, there are also striking similarities between Schamel’s interpretations and how Bach incorporated the meaning of the text into his music. We will publish more about this in the near future, of course!
