Langbahn Team – Weltmeisterschaft

Kinderhymne

"Kinderhymne" (Children's Hymn) is a poem by Bertolt Brecht, written in 1950 and set to music by Hanns Eisler in the same year.

History

The hymn was Brecht's response to the "Deutschlandlied", which he believed to be corrupted by the Third Reich and whose third stanza became the national anthem of West Germany in 1950. There are several allusions to the "Deutschlandlied": "From the Meuse to the Memel, / From the Adige to the Belt" vs. Brecht's "From the ocean to the Alps, / From the Oder to the Rhine", or "Germany, Germany above all" vs. "we desire to be not above, and not below other peoples". East Germany already had an anthem by the time Brecht wrote the poem and West Germany was in the process of re-adapting the third stanza of the Deutschlandlied as the national anthem by then – Brecht's writing of the text was a reaction in part to West German Chancellor Konrad Adenauer having the song played at official functions in 1950.

The verse form and the rhyme scheme are similar to both the "Deutschlandlied" and "Auferstanden aus Ruinen", the national anthem of East Germany. Accordingly, the three lyrics can be combined with the melodies.

In order to create a new all-German national anthem during the German reunification, several public campaigns supported the use of the "Kinderhymne". However, those suggestions were overruled; the hymn remained the same. While the Basic Law of Germany establishes a coat of arms and flag, the constitution is silent on the national anthem. The anthem was decided upon and reconfirmed not by the usual legislative process but by an exchange of open letters between chancellor and president (Konrad Adenauer and Theodor Heuss in the early years of West Germany, and Helmut Kohl writing to Richard von Weizsäcker following reunification). It is therefore unclear which act – if any – could make the children's hymn Germany's national anthem.

Text and music


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\layout { indent = 0 \context { \Score \remove "Bar_number_engraver" } }
global = { \key es \major \time 4/4 }

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  r1 | r2 r4 \set Score.tempoHideNote = ##t \tempo 4 = 102 g8 es | bes4 es g4. es8 | as4 f2
  as8 g | f4 f bes4. c8 | g2~ g8
  es4 es8 | c'4. as8 es4 c' | bes2 g |
  f4. g8 as bes c d | es2~ es8
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  c4 bes8 | c4 as es c' | bes2
  g4. es8 | bes4 es g es | as2 g |
  f4. g8 as bes c d | es2~ es8
  <d bes>4 <c as>8 | <es, c>4 <c' as> <es, c> <c' as> | <bes es,>2 r8
  g4 es8 | bes4 es2 g8 es | as4 f2
  as8 g | f4 f bes4. c8 | g2~ g8
  es4 es8 | c'4. as8 es4 c' | bes2 g |
  f4. g8 as bes c d | es2~ es8
  es4 es8 | es4 es d4. c8 | d4 d~ d8
  c4 bes8 | c4 as es c' | bes2
  g4. es8 | bes4 es g es | as2 g |
  f4. g8 as bes c d | es2~ es8
  <d bes>4 <c as>8 | <es, c>4 <c' as> <es, c> <c' as> | <bes es,>2~ <bes es,>8 r8 r4 \bar "|."
}

verse = \lyricmode { \tiny
  An -- mut spa -- ret nicht noch Mü -- he,
  Lei -- den -- schaft nicht noch Ver -- stand,
  dass ein gu -- tes Deutsch -- land blü -- he
  wie ein an -- dres gu -- tes Land.

  Dass die Völ -- ker nicht er -- blei -- chen
  wie vor ei -- ner Räu -- be -- rin,
  son -- dern ih -- re Hän -- de rei -- chen
  uns wie an -- dern Völ -- kern hin,
  uns wie an -- dern Völ -- kern hin.

  Und nicht ü -- ber und nicht un -- ter
  an -- dern Völ -- kern woll'n wir sein
  von der See bis zu den Al -- pen,
  von der O -- der bis zum Rhein.

  Und weil wir dies Land ver -- bes -- sern,
  lie -- ben und be -- schir -- men wir's.
  Und das Liebs -- te mag's uns schei -- nen
  so wie an -- dern Völ -- kern ihr's,
  so wie an -- dern Völ -- kern ihr's.
}

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  <bes' bes,>2 g4 es | bes16 c bes8~ bes2. | es,1 | d2 bes |
  f'1 |es4 bes'8.-> c16-> g8-> r r4 | c1 | <bes bes,>2 <g es> |
  <f es c>2 <f d> | r8 es'4 d8 c g es c | g1 | r8 g''4 d8 bes g d bes | <es c as>1 |
  \oneVoice r8 bes''4 g8 es bes g es | \voiceOne bes es g,2 bes8 es | <as d,>2 <g d> |
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  bes c <as f c> <f c as> | r8 es'4 d8 c g es c | <es c g>1 |
  r8 g'4 d8 bes g d bes | <es c as>1 | r8 bes''4 g8 es bes g es |
  bes es g,2 bes8 es | <as d,>2 <g d> | <f d>1 | \voiceOne r8 es'4 d8 c bes4 es8 |
  <es, c as>2 <es' as, es> | <es bes es,>1 \bar "|."
}

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  s1 | s1 | <bes, g>4 <bes g>2 <bes g>4 | <bes as> <bes as> as2 |
  <bes as>4 <bes as> <bes as> s4 | <bes g>1 | <es c> | r4 es d c |
  s2 bes4 as | <es' c g>1 | s1 | <g f d> | s1 | s1 | s2. g,4 |
  s2 d'8 es f g | c,4 bes as g | <es' c g>1 | s1 | \once \override NoteColumn.force-hshift = #1.9 as4 g2. |
  s2. r4 | s2. r4| s2. r4 | <bes, g>4 <bes g>2. | <es c as>4 <es c as>2. | <es bes>4 <es bes>2. |
  <es c>2 s2 | <es c g>1 | s1 | <g f d> | s1 | s1 | s2. g,4 |
  s2 d'8 es f g | c,4 bes as g | <es' c g>1 | s1 | \once \override NoteColumn.force-hshift = #1.9 as4 g2. \bar "|."
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  bes2 g4 es | bes16 c bes8~ bes2. | es4 es2 es4 | f4 f2 f4 |
  bes,4 bes2 <bes' as f bes,>4 | es,,4 <bes'' g es>2 <bes g es>4 | es,2~ es8 f g as | \oneVoice <es g,>2 <g c,> |
  <f as,> bes, | <c c,>4 <g' es c> <g es c>2~ | <g es c>2. <c, c,>4 | <bes bes,> <bes bes,> <bes bes,>2 |
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  \oneVoice <as' c, as>2 <c as> | <es, bes es,>1 | <es es,>4-. <es es,>-. <es es,>-. r |
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   \voiceThree es2~ es8 f g as | g bes es2 <bes g es>4 | r4 es,2 es4 | r8 f bes c s2 | <bes, bes,>1 |
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  s1 | s1 | es,, | es | es | s1 |as8 r as r as r r4 | s1 |
  s1 | s1 | s1 | s1 | <as as,>1 | es'4 <g es>2 <bes g es>4 | es,,1 | <bes' f> |
  s1 | s1 | s1 | s1 | s1*4 | s1*5 | s1 | <as as,>1 | es'4 <g es>2 s4 |
  es,1 | <bes' f>1 | s1 | s1 | s1 | <bes es,>1 \bar "|."
}

sopranoVoicePart = \new Staff \with { midiInstrument = "clarinet" }
  { \sopranoVoice }
\addlyrics { \verse }

pianoPart = \new PianoStaff <<
  \new Staff = "right" \with { midiInstrument = "acoustic grand" \consists "Merge_rests_engraver" }
    << \rightOne \\ \rightTwo >>
  \new Staff = "left" \with { midiInstrument = "acoustic grand" }
    { \clef bass << \leftOne \\ \leftTwo >> }
>>

\score {
  <<
    \sopranoVoicePart
%   \pianoPart % Piano part not shown here, only in MIDI
  >>
  \layout { }
}
\score { << \sopranoVoicePart \\ \pianoPart >>
  \midi { }
}

Source[1]

Note that the English translation is poetic, not literal.

Anmut sparet nicht noch Mühe,
Leidenschaft nicht noch Verstand,
dass ein gutes Deutschland blühe
wie ein andres gutes Land.

Dass die Völker nicht erbleichen
wie vor einer Räuberin,
sondern ihre Hände reichen
uns wie andern Völkern hin.

Und nicht über und nicht unter
andern Völkern woll'n wir sein
von der See bis zu den Alpen,
von der Oder bis zum Rhein.

Und weil wir dies Land verbessern,
lieben und beschirmen wir's.
Und das Liebste mag's uns scheinen
so wie andern Völkern ihr's.

Grace spare not and spare no labour,
passion nor intelligence,
that a decent German nation
flourish as do other lands.

That the people give up flinching
at the crimes which we evoke,
and hold out their hands in friendship
as they do to other folk.

Neither over nor yet under
other peoples will we be
from the Oder to the Rhineland,
from the Alps to the North Sea.

And because we'll make it better,
let us guard and love our home.
Love it as our dearest country
as the others love their own.[2]

See also

References

  1. ^ Kinderlieder: "2. Anmut sparet nicht noch Mühe (Kinderlied)" (Hanns Eisler): Scores at the International Music Score Library Project
  2. ^ Brockmann, Stephen (2006) [1999]. Literature and German Reunification (reprint ed.). Cambridge University Press. p. 14. ISBN 9780521027847 – via Internet Archive.