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The Three Kings
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The Three Kings
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The Three Kings
The Adoration of the Magi by Matthias Stom
Native nameDie Könige
Year1856
GenreChristmas/Lied
FormSolo voice and piano
Arrangement for SATB choir
LanguageGerman
MelodyPeter Cornelius
Song from Weihnachtslieder, Op. 8

"The Three Kings",[1] or "Three Kings From Persian Lands Afar", is a Christmas carol by the German composer Peter Cornelius. He set "Die Könige" for a vocal soloist, accompanied by Philip Nicolai's hymn "Wie schön leuchtet der Morgenstern" ("How Brightly Shines the Morning Star"), which he erroneously thought was an Epiphany hymn. In fact, it is an Advent hymn in which the morning star is an allegory for the arrival of Jesus, not the Star of Bethlehem. In Cornelius' original second setting, the accompaniment was played on a piano but the English organist Ivor Atkins later arranged the accompaniment for choir, with the choir singing the words of the original hymn. The German words have been translated into English by H.N. Bate.[2] The carol describes the visit of the Biblical Magi to the Infant Jesus during the Nativity and is also used as an Epiphany anthem.[3]

History

[edit]
"Die Könige", from: Weihnachtslieder Opus 8,3
Composer Peter Cornelius

Cornelius wrote his first version of the German hymn "Die Könige" in 1856 as part of Weihnachtslieder, Op. 8, for a solo voice and piano. This first setting of the text, which does not cite Nicolai's hymn, was published posthumously in 1905 and remained relatively unknown. In 1859 he composed a completely new version again for soloist and piano, using the 16th-century chorale "Wie schön leuchtet der Morgenstern" ("How Brightly Shines the Morning Star") by Philipp Nicolai in the piano accompaniment after a suggestion from Franz Liszt.[4] This version was again revised in 1870 before publication.

Publication

[edit]

The hymn was originally translated into English in 1916 by W. G. Rothery, as "Three Kings had journey'd from lands afar", and published in Carols Old and Carols New.[5][6]

A more commonly used English translation, including references to the Magi being from Persian lands, was made in 1928 by H.N. Bate[7] for the "Oxford Book of Carols".[8] The original piano accompaniment by Cornelius was transcribed various times for choir, notably in the 1957 arrangement for solo voice and choir by Ivor Atkins, organist at Worcester Cathedral. This version was included in the first volume of the popular 1961 collection compiled by David Willcocks and Reginald Jacques, Carols for Choirs.[3][9][10][11]

Another arrangement for choir a cappella for five to eight voices was written by Clytus Gottwald in 2011.[4] "The Three Kings" was included in a Nick Hern Books adapted publication of Charles Dickens' A Christmas Carol.[12] In 2016, the carol was included by the head of chapel music at Winchester College, Malcolm Archer,[13] in the 2016 publication of the Carols Ancient and Modern" hymnal.[14]

See also

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References

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Revisions and contributorsEdit on WikipediaRead on Wikipedia

The Three Kings

View on Grokipedia
from Grokipedia
"The Three Kings" (German: Die Könige), also known as "Three Kings from Persian Lands Afar", is a Christmas carol composed by the German musician Peter Cornelius (1824–1874) in 1856 as part of his song cycle Weihnachtslieder, Op. 8. The work, scored originally for voice and (or harmonium), narrates the biblical to the infant Jesus, guided by the . A distinctive feature is the inclusion of the "Wie schön leuchtet der Morgenstern" ("How Brightly Shines the Morning Star") in the bass line, symbolizing the guiding star and adding contrapuntal depth. The text, derived from medieval sources, elaborates on the and is structured as a solo with choral elements in later arrangements. Revised in 1859, it became Cornelius's most famous composition and is frequently performed as an Epiphany in choral settings. An English translation by H. N. Bate (1928), arranged for soloist and choir by Ivor Atkins (1957), helped popularize it in English-speaking countries, where it appears in services like the .

Background

Composer and Influences

Peter Cornelius (1824–1874) was a German composer, writer, poet, and translator closely aligned with the , a progressive movement in mid-19th-century music led by figures such as and . Born in to actor parents Carl Joseph Gerhard and Friederike, Cornelius received early exposure to theater and , including works by Goethe and Schiller, which shaped his artistic sensibilities. He initially pursued acting in and , becoming a court actor by 1843, before turning to music studies in from 1844 to 1849 under Siegfried Dehn, where he focused on and . A pivotal career milestone came in 1852 when Cornelius moved to Weimar and joined Liszt's circle, immersing himself in the —also termed the "Music of the Future"—which advocated for innovative harmonic and programmatic approaches in composition. There, Liszt mentored him, introducing advanced techniques and connecting him to composers like and Wagner. Cornelius contributed as a music critic to the Neue Zeitschrift für Musik, the influential periodical founded by and later edited by Liszt's associates, where he championed progressive ideals. His friendship with Wagner deepened during this period; Cornelius provided librettos for Wagner's projects and supported his operas, reflecting shared commitments to dramatic integration of music and text. Cornelius's compositional style prioritized vocal genres, emphasizing expressive Lieder with meticulous text declamation, chromatic harmonies, and homophonic textures that evoked emotional depth. He composed numerous song cycles, including the Weihnachtslieder (Christmas Songs), Op. 8, in 1856 while in , a set dedicated to his sister Elisabeth Schily and featuring original poems on holiday themes. The third song, "Die Könige" (The Kings), drew direct influence from Liszt during a 1856 conversation in , where Liszt encouraged him in composing sacred music, leading to the creation of "Die Könige," and suggested incorporating the "Wie schön leuchtet der Morgenstern" as a countermelody in the bass voice to enrich its polyphonic structure and symbolic resonance. This collaboration highlighted Liszt's role in guiding Cornelius toward sacred and seasonal vocal works, blending Romantic innovation with traditional elements.

Biblical and Literary Context

The biblical account of the Three Kings, or , appears in the Gospel of Matthew (2:1–12), which describes wise men from the East arriving in following a star to honor the newborn king of the . After consulting with King Herod, they travel to , where they find the child with Mary and , and present him with gifts of , , and before departing by another route to avoid returning to Herod. In early Christian tradition, the were initially referred to as "wise men" (Greek: magoi), likely astrologers or from Persia or Arabia, reflecting influences from Zoroastrian practices in the East. By the , interpretations had evolved to portray them explicitly as kings, drawing on prophecies such as :10–11, which foretells kings from distant lands bringing to a messianic figure; their number was inferred as three based solely on the three gifts mentioned in Matthew, though the text does not specify it. The motif of the Magi's adoration is central to the feast of Epiphany, celebrated on in the Western Christian liturgical , commemorating Christ's manifestation to the Gentiles through ' visit and originally encompassing his and the at . This feast, established by the , underscores themes of universal revelation and has influenced traditions by emphasizing ' journey and homage as symbols of faith and offering. Literary depictions of the Three Kings motif appear prominently in medieval nativity plays, such as those in the English mystery cycles and French nativity mysteries, where the kings are dramatized as regal figures arriving with gifts, often highlighting their diverse origins to represent the world's peoples. A notable 19th-century hymn parallel is " of Orient Are," composed by John Henry Hopkins Jr. in 1857 and first published in his 1863 collection Carols, Hymns, and Songs, which poetically recounts the Magi's quest based on Matthew's narrative.

Composition

Development and Revisions

The carol "Die Könige" (The Three Kings) originated in 1856, when Peter Cornelius composed it as the third song in his Weihnachtslieder, Op. 8, a cycle of lieder for voice and . The inception followed a suggestion from , Cornelius's mentor in , who encouraged him to write sacred vocal works and specifically proposed incorporating the "Wie schön leuchtet der Morgenstern" by Philipp Nicolai into the bass line as a symbolic underlay to the narrative of the Magi's journey. Cornelius, who penned the text himself from a child's perspective, integrated poetic imagery of the star-led kings with this musical foundation, creating an initial version that blended intimate form with contrapuntal depth. Cornelius revised the piece in 1859, making adjustments to refine its structure, followed by a substantial revision in for voice and , further refining its structure and the integration of the melody in the for greater dramatic resonance. These changes addressed challenges in balancing the vocal line with the underlying texture in the , ensuring the work's versatility for intimate recitals. The version became the most widely performed, emphasizing Cornelius's evolving approach to fusing literary and musical ideas in a compact form. The piece was later adapted into choral arrangements. After Cornelius's death in 1874, contemporaries including editor Max Hasse oversaw the posthumous publication of alternate settings, such as an early 1856 variant of "Die Könige," preserving and disseminating the work's multiple iterations for broader use.

Musical Form and Melody

"The Three Kings" is composed as a strophic for solo voice and , featuring three stanzas sung to the same , with a total duration of approximately 2 minutes 14 seconds. This form was later adapted for choir in various arrangements, allowing for broader performance contexts. The vocal melody, original to Cornelius, incorporates rhythmic variations and modal inflections to convey the sense of a journey, set against a accompaniment derived from Philipp Nicolai's 1599 "Wie schön leuchtet der Morgenstern." In the second version, the melody appears in the part in , creating a deliberate, processional character that underscores the Magi's travels. The revisions to this version refined the integration of these elements for greater expressive depth. Harmonically, the work exemplifies Cornelius's Romantic style through rich, chromatic progressions and sustained pedal points that build tension and release, evoking the solemn . The piece is notated in with an Andante tempo, and the piano accompaniment features flowing patterns that mimic the chorale's original rhythm while supporting the vocal line.

Lyrics and Themes

Original German Text

The original German lyrics of "Die Könige," composed and written by Peter Cornelius in 1856 as part of his Weihnachtslieder, Op. 8, consist of three stanzas that narrate the journey of the three kings () from the East, their adoration of the Christ child, and an invitation for humanity to join their through . Cornelius, serving in his dual role as both composer and librettist, drew directly from the biblical account in :1–12 to ensure authenticity in depicting the Magi's quest and offerings. The full text is as follows: Strophe 1
Drei Könige wandern aus Morgenland,
Ein Sternlein führt sie zum Jordanstrand.
In Juda fragen und forschen die drei,
Wo der neugeborene König sei?
Sie wollen , Myrrhen und
Dem Kinde spenden zum Opfersold. Strophe 2
Und hell erglänzet des Sternes Schein:
Zum Stalle gehen die Kön'ge ein;
Das Knäblein schauen sie wonniglich,
Anbetend neigen die Kön'ge sich;
Sie bringen , Myrrhen und
Zum Opfer dar dem Knäblein hold. Strophe 3
O Menschenkind! Halte treulich Schritt!
Die Kön'ge wandern, o wandre mit!
Der Stern der Liebe, der Gnade Stern
Erhelle dein Ziel, so du suchst den Herrn,
Und fehlen Weihrauch, Myrrhen und Gold,
Schenke dein Herz dem Knäblein hold!
Schenk ihm dein Herz Poetically, the lyrics employ —verses with four stressed syllables in an unstressed-stressed pattern—to evoke a rhythmic sense of and , mirroring the kings' steady advance. The rhyme scheme follows a paired structure (AABBCC) across each of the three six-line , creating a symmetrical, hymn-like flow that reinforces the carol's devotional character, with the recurring motif of "Weihrauch, Myrrhen und Gold" serving as a to symbolize the gifts' sacrificial significance. Thematically, the German text emphasizes the kings ("Könige") originating from "Morgenland" (the eastern lands, evoking Persian origins in traditional ), infusing the narrative with mystical undertones of divine guidance and through vivid of the guiding star ("Sternlein," "Stern der Liebe, der Gnade Stern") piercing the desert-like journey to the Jordan's edge and Bethlehem's . This Romantic poetic sensibility, influenced by Cornelius's era of heightened emotional and spiritual expression, transforms the story into a personal call for inner devotion, where material gifts yield to the heart's offering amid themes of love and grace.

English Translations and Adaptations

The first notable English translation of Peter Cornelius's German carol "Die Könige" was rendered by W. G. Rothery in 1916 as "Three Kings from Persian Lands Afar," appearing in the collection Carols Old and Carols New. Rothery's version takes a relatively literal approach to the original text, closely following the narrative of the Magi's journey from the East, their star-guided quest, and the presentation of , , and to the infant , while incorporating elements from Philipp Nicolai's "Wie schön leuchtet der Morgenstern." In contrast, H. N. Bate's 1928 adaptation, included in The Oxford Book of Carols, prioritizes rhythmic compatibility with English hymn meters, making adjustments to syllable counts and phrasing for smoother choral performance and broader . Bate's rendering modernizes some archaic expressions from the German source, such as softening poetic inversions to align with natural English flow, while retaining the core themes of and ; for example, the opening lines shift to emphasize ' approach in a more direct, singable cadence. These translations have seen textual adaptations beyond direct hymnals, including minor tweaks for choral singing—such as simplified refrains to enhance group participation—and incorporation into literary works like audio adaptations of Charles Dickens's , where the carol provides thematic interludes evoking the Magi's visit during the Nativity scenes. Translators faced challenges in preserving the original's exotic imagery, including references to Persian origins and celestial guidance, alongside the imperative for singability; Bate's "very free translation" exemplifies this by adapting the structure to English prosody without losing the evocative sense of royal homage. The three-verse format mirroring the three kings, as in the original German, is generally maintained to support solo-verse arrangements in performances.

Publication and Arrangements

Initial Publications

"Die Könige," the third song in Peter Cornelius's Weihnachtslieder, Op. 8, was composed in 1856 but first appeared in print as part of the complete cycle in 1870, issued by E. W. Fritzsch for solo voice and piano. The cycle, dedicated to Cornelius's sister Elisabeth Schily, featured his own texts and emphasized intimate, devotional settings suitable for home or small ensemble performance. Initial publications prioritized this solo format, reflecting the composer's focus on lyrical expression over large-scale choral works during his lifetime. The song cycle premiered on 29 January 1871 in Leipzig, as reviewed in the Neue Zeitschrift für Musik. Following Cornelius's death in 1874, alternate early versions of "Die Könige" from 1856 were published posthumously around 1905 in the Max Hasse edition, which facilitated inclusion in German songbooks between 1905 and 1910. These editions, under Breitkopf & Härtel, began to expand availability through anthologies, marking a key step in its dissemination. The publishing house's established role in promoting Romantic-era lieder helped sustain interest, yet distribution faced hurdles due to Cornelius's association with the , a progressive movement led by Liszt and Wagner that polarized audiences and limited mainstream adoption. The English debut came in 1916 with W. G. Rothery's translation, "Three Kings from Persian Lands Afar," published in Carols Old and Carols New, introducing the work to Anglo-American audiences in a solo voice arrangement. This version retained the original's modal structure and star-motif accompaniment, adapted for broader liturgical use, while early choral expansions emerged shortly after to meet growing demand in church settings.

Notable Arrangements and Editions

One significant adaptation of "The Three Kings" is the arrangement (published 1957) by English organist Ivor Atkins, crafted for solo, mixed (SATB), and organ. This version reinterprets Cornelius's original accompaniment by assigning the supporting harmonies to the , creating a layered texture that enhances the of the ’s journey while incorporating organ for sustained pedal points and color. The arrangement was published posthumously in the anthology Carols for Choirs 1 in 1961 by , where it became a staple for Epiphany services and choral programs. In 2011, German choral director produced an transcription for 5–8 voices, transforming the solo song into a polyphonic choral work that weaves independent lines from the melody, bass (drawn from Philipp Nicolai's "Wie schön leuchtet der Morgenstern"), and original . This edition emphasizes intricate voice-leading and depth, allowing for flexible sizes without instrumental support, and was issued by Carus-Verlag as part of their series on choral arrangements of lieder. The carol appears in numerous later editions and hymnals with tailored adaptations for diverse settings, including unison congregational singing and full choir configurations, often with simplified harmonies or optional organ accompaniments to suit varying ensemble capabilities. Notable among these is its inclusion in Carols Ancient and Modern (2016), edited by Malcolm Archer and published by Hymns Ancient and Modern Ltd., which features the piece in a four-part voicing suitable for church choirs.

Reception and Legacy

Early Performances

The alternate version of "Die Könige," the original German setting of the carol now known as "The Three Kings," was composed in 1856 but published posthumously in 1905 as part of an edition of Cornelius's works by Max Hasse, enabling its initial public renditions. In the early , the carol gained traction in German churches, where it was sung during Epiphany services to evoke the Magi's journey, aligning with its thematic focus on the star-guided quest. Cornelius's association with the , including friendships with and , contributed to his Romantic legacy, though his works were somewhat overshadowed by these contemporaries, limiting broader dissemination at the time. The carol's introduction to English-speaking audiences began with W. G. Rothery's 1916 translation, "Three Kings had journey'd from lands afar," published in Carols Old and Carols New, contributing to its adoption in British recitals. Further accessibility came in 1928 with its inclusion in the Oxford Book of Carols, using H. N. Bate's adaptation, promoting performances in Anglican services and choirs.

Modern Usage and Cultural Impact

In contemporary , "The Three Kings" remains a staple in choral repertoires, particularly during Epiphany services. Its inclusion in influential collections like Carols for Choirs (, 1961), arranged for choir and organ by Ivor Atkins, has ensured its regular performance in cathedrals across the , including annual renditions at where Atkins served as organist from 1897 to 1950. The Atkins arrangement, emphasizing the solo baritone's narrative over the "Wie schön leuchtet der Morgenstern," highlights the carol's dramatic structure and has contributed to its enduring appeal in liturgical settings. The carol's presence in media has amplified its reach, with frequent appearances in holiday broadcasts such as the BBC's from , where the Choir of King's College has recorded it multiple times since the mid-20th century. Notable recordings include those by the choir under Sir and Stephen Cleobury, often featured in annual radio and television specials that draw millions of listeners worldwide. As of 2024, the choir continues to perform and record the carol in their services. While less common in soundtracks, it has appeared in adaptations evoking the Nativity, underscoring its thematic resonance with tales of journey and . Culturally, "The Three Kings" symbolizes ecumenical unity, as the Magi's represents the inclusion of diverse peoples in the Christian narrative, making it suitable for multicultural worship in diverse congregations. A revival in the 2010s came through Clytus Gottwald's choral arrangement (2011), which modernized the texture for contemporary ensembles and renewed interest in performances across . The carol's global spread accelerated after its English translation by H.N. Bate in 1928 for , establishing popularity in English-speaking countries through school and church programs. In , it has seen a resurgence in Epiphany celebrations (Heilige Drei Könige), with ensembles like the Voktett Hannover incorporating it into recent albums and festivals, reflecting renewed appreciation for Cornelius's Romantic-era composition amid post-war cultural revivals.

References

  1. https://imslp.org/wiki/Weihnachtslieder,_Op.8_(Cornelius,_Peter)
  2. https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67206
  3. https://www.bbc.co.uk/programmes/articles/3GmDSdM1shdkLJ6w49syh8V/carols-from-kings-programme-information
  4. https://repertoire-explorer.musikmph.de/product/cornelius-peter-5/
  5. https://www.schott-music.com/en/person/peter-cornelius
  6. https://www.naxos.com/Bio/Person/Peter_Cornelius/23357
  7. https://www.biblegateway.com/passage/?search=Matthew%202%3A1-12&version=NIV
  8. https://time.com/5923009/three-kings-wisemen-history-magi-bible/
  9. https://www.biblicalarchaeology.org/daily/biblical-topics/new-testament/witnessing-the-divine/
  10. https://missions.ewtn.com/seasonsandfeastdays/epiphany/
  11. https://www.medieval.eu/the-three-magi-or-setting-the-social-scene/
  12. https://www.umcdiscipleship.org/resources/history-of-hymns-we-three-kings
  13. https://imslp.org/wiki/Weihnachtslieder%2C_Op.8_%28Cornelius%2C_Peter%29
  14. https://www.gurtlushchoir.com/repertoire/three-kings/
  15. https://www.carus-verlag.com/en/music-scores-and-recordings/peter-cornelius-clytus-gottwald-arr-die-koenige-314960.html
  16. https://getsongbpm.com/song/weihnachtslieder-oppoint-8-iiipoint-die-koenige/vooQmn
  17. https://repository.moz.ac.at/download/pdf/7825570.pdf
  18. https://lyricstranslate.com/en/die-konige-kings.html-0
  19. https://archive.org/details/carolsoldcarolsn00hutc
  20. https://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/three_kings_from_persian_lands_a.htm
  21. https://archive.org/details/oxfordbookofcaro0000unse
  22. https://www.amazon.com/Essential-Dickens-Christmas-Carol-Festive/dp/1665021462
  23. https://www.hyperion-records.co.uk/c.asp?c=C146
  24. https://www.cambridge.org/core/books/liszt-in-context/new-german-school/04967775B1CCF3C8F7B8B1FA1BF136EE
  25. https://hymnary.org/text/three_kings_had_journeyed_from_lands
  26. https://www.lieder.net/lieder/get_text.html?TextId=73882
  27. https://global.oup.com/academic/product/carols-for-choirs-1-9780193532229
  28. https://www.carus-verlag.com/en/music-scores-and-recordings/peter-cornelius-clytus-gottwald-arr-the-kings-vocal-transcription-by-clytus-gottwald-314960.html
  29. https://www.amazon.com/Carols-Ancient-Modern-Full-Music/dp/1848258712
  30. https://www.classical-music.com/features/composers/composers-behind-your-favourite-carols
  31. https://www.hymnsandcarolsofchristmas.com/Hymns_and_Carols/kings.htm
  32. https://www.hyperion-records.co.uk/c.asp?c=C2011
  33. https://www.prestomusic.com/classical/products/9380563--tidings-of-joy-christmas-with-the-voktett-hannover
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