Die Allmacht, D 852, D 875A

Omnipotence

(Poet's title: Die Allmacht)

Set by Schubert:

  • D 852

    [August 1825]

  • D 875A
    for chorus (SATB)

    [January 1826]

Text by:

Johann Ladislaus Pyrker von Felső-Eör 

Text written December 1820.  First published 1821.

Die Allmacht

Groß ist Jehova, der Herr! denn Himmel und Erde verkünden
Seine Macht. – Du hörst sie im brausenden Sturm, in des Waldstroms
Laut aufrauschendem Ruf; du hörst sie in des grünenden Waldes Gesäusel,
Siehst sie in wogender Saaten Gold, in lieblicher Blumen
Glühendem Schmelz, im Glanz des sternebesäeten Himmels.
Furchtbar tönt sie im Donnergeroll und flammt in des Blitzes
Schnell hinzuckendem Flug, doch kündet das pochende Herz dir
Fühlbarer noch Jehovas Macht, des ewigen Gottes,
Blickst du flehend empor und hoffst auf Huld und Erbarmen.

Omnipotence

Great is Jehovah the Lord! for heaven and earth proclaim
His power! You can hear it in the roaring storm, in the forest stream’s
Loud stirring call, in the rustling of the woods as they turn green;
You can see it in the waving gold of the corn, in the lovely flowers’
Glowing lustre, in the look of the sky sown with stars!
It sounds out fearfully in the rumbling of thunder, and flames in lightning’s
Rapidly descending flight; but your pounding heart announces
Jehovah’s power with more feeling, the power of eternal God,
You look up to him in prayer, and hope for grace and mercy!



Pyrker’s Elisa consists of two long ‘songs’ (Gesänge): Death and Immortality. The lines set by Schubert are taken from ‘Death’ (Tod). The poem concerns the 9th century BCE prophet Elisha, who was Elijah’s disciple (1 Kings 19) and successor (2 Kings 2). The narrative begins as a paraphrase and expansion of the episode reported in 2 Kings 3 when King Jehoram of Israel and Jehoshaphat, King of Judah, joined with Edom to attack Moab but found themselves without water for the army or their pack animals. They therefore appealed to the prophet Elisha for help:

'As the LORD of Hosts lives, whom I serve,' said Elisha, 'I would not spare a look or a glance for you, if it were not for my regard for Jehoshaphat king of Judah. But now, fetch me a minstrel.' They fetched a minstrel, and while he was playing, the power of the LORD came upon Elisha and he said, 'This is the word of the LORD: "Pools will form all over this ravine." The LORD has decreed that you shall see neither wind nor rain, yet this ravine shall be filled with water for you and your army and your pack-animals to drink. But this is a mere trifle in the sight of the LORD; what he will also do, is to put Moab at your mercy. You will raze to the ground every fortified town and every noble city; you will cut down all their fine trees; you will stop up all the springs of water; and you will spoil every good piece of land by littering it with stones.' In the morning at the hour of the regular sacrifice they saw water flowing in from the direction of Edom, and the land was flooded. 

(2 Kings 3: 14 - 20, New English Bible)

Pyrker’s much expanded narrative runs as follows (NB Schubert did not set the lines in italics):

‘Stünde nicht Josaphat hier, der, treu dem Schöpfer des Weltalls,
Keine Götzen verehrt, fürwahr, nicht würd’ ich dir Antwort
Geben, o Fürst! Nun hört: ich komme, gesandt von Jehova!
Schafft den Harfner herbei, daß er eine die Töne der Saiten
Meinem heil’gen Gesang’. Ich künde Jehova’s Gericht’ euch.“
Sagt’ es, und ließ sich am Zelteingang’ auf den wolligen Teppich
Nieder, harrend daselbst des hochgefeierten Harfners,
Der, ein Greis, in den Jahren unendlichen Jammers erblindet,
Schwermuth nährt’ in der wunden Brust, und im Haufen des Volkes
So, wie im traulichen Kreis’ der Freund’, ein Schweigender, weilte:
Denn ihm raffte der Tod die Gattinn und blühende Kinder
Frühe hinweg; er stand, verlassen im einsamen Leben!
Jetzo trat er in’s Zelt. Die Schulter des leitenden Knaben
Hielt er fest mit der Linken, und trug die Harfe mit Sorgfalt
Unter dem Arm, gesenkt in die Höhle der zitternden Rechten.
Sitzend dort auf der Bank, durchfuhr er mit prüfenden Fingern,
All’ die goldenen Saiten zugleich, und in Milde verkläret
Ward sein Gesicht, da er leis’ aufhorchte dem schwebenden Wohllaut.
Dann ertöneten hell und gedämpft, vereinet und einzeln,
Von der Linken und Rechten durchwühlt, die Saiten — es pochte
Allen das Herz in der Brust, bis jetzt, wie lieblicher Westwind
Folgt dem brausenden Nord, und melodisch säuselt am Abend,
Immer sanfter entwirrt aus vielverschlungenen Tönen,
Sich auflös’te dem Ohr die Weise des hehren Gesanges.

Erst aufhorchte dem Harfenklang der heilige Seher,

Ruhigen Blicks; doch jetzt entflammt’ er sich: glühender Purpur
Färbte sein blasses Gesicht; er hob in schwebender Haltung
Von dem Boden sich auf, und begann in hoher Begeist’rung:
„Groß ist Jehova, der Herr: denn Himmel und Erde verkünden
Seine Macht! Du hörst sie im brausenden Sturm’, in des Waldstroms Lautaufrauschendem Ruf’, in des grünenden Waldes Gesäusel;
Sieh’st sie in wogender Saaten Gold’, in lieblicher Blumen
Glühendem Schmelz’, im Glanz des stern’erhelleten Himmels.
Furchtbar tönt sie im Donnergeroll, und flammt in des Blitzes
Schnellhinzuckendem Flug; doch kündet das pochende Herz dir,
Fühlbarer noch, Jehova’s Macht, des ewigen Gottes,
Blickst du, flehend, empor, und hoff’st von ihm Huld und Erbarmen!“

„Höret Jehova’s Wort, verbündete Völkerbeherrscher!
Grabt nun Gruben im Thal’, und Gruben auf Gruben im Blachfeld:
Denn nicht höret ihr rauschen den Wind; nicht seht ihr den Himmel,
Schwarzumflort vom Gewölk, das dauernden Regen im Schooß trägt:
Dennoch sollt ihr das Thal, und sollet das Lager erfüllet
Seh’n von gewaltiger Fluth, dem Menschen und Thiere zur Labung.
Moab fällt euch besiegt; doch weh’, ihr grausamen Sieger!
Ist’s nicht genug zu verwüsten die Städt’, und zerstören die Vesten?
Soll von eurem geschwungenen Beil noch jeglicher Fruchtbaum
Stürzen gefällt, in den Staub, und sollen die kühligen Brunnen
Voll mit Sande gefüllt, den Wanderer nimmer erquicken?
Wollt ihr, erboßt, auch noch die reichernährenden Felder
Ueberdecken mit Sand und Gestein, und in Wüsten verwandeln?
Also wüthet ihr bald, getrieben von schrecklicher Rachgier.“
Tief verstummte Jehova’s Prophet; die tönenden Saiten
Schwiegen: er kehrte zurück — dorthin, wo am Rande des Himmels,
Schimmernd in Wolkenhöh’n, ihm winkte der bläuliche Karmel.

Fern’, an des Ostens Thor erhob sich der dämmernde Morgen,
Glühendroth: Verkündiger so des unendlichen Regens,
Oder des erdumbrausenden Wind’s. Doch hatte die Nacht durch
Weder gestürmt der Wind, noch schütteten schwangere Wolken
Dort auf die Erd’ ersehnete Fluth, und sieh’, in des Morgens
Heiliger Opferstunde begrub aufquellendes Wasser,
Klar und kühl, wie Elisa zuvor verhieß von Jehova,
Rings das Gefild’, und labte das schmachtende Volk in dem Lager!

‘If Jehoshaphat were not standing here, someone who is faithful to the creator of the universe,
Who venerates no idols, I would not give you an answer,
Oh prince! Now listen: I have come, sent by Jehovah!
Bring the harp player here, so that he can play the notes on the strings
To accompany my sacred song. I shall proclaim Jehovah’s judgement for you.’
Thus he spoke and lay down on the woollen carpet at the entrance of the tent
Waiting for the celebrated harp player,
Who, grey-headed and blinded by years of unending misery,
Nourishing melancholy in his wounded breast, and who, in crowds of people
As well as in the intimate circle of his friends, remained someone who is silent
Since death had snatched his wife and growing children
Away from him too soon; he remained abandoned with a lonely life!
He then stepped into the tent. He held the shoulders of the boy leading him
Tightly with his left hand, and carried his harp carefully
Under his arm, as his right hand trembled and sank.
Sitting there on the bench his probing fingers went across testing
All the golden strings together, and, transfigured by gentleness,
His face shone, for he could hear the soft sounds of the floating harmony.
And then they sounded loud and soft, united and separately,
He burrowed into the strings with his left and right hands – there was a pounding
Of everyone’s heart in their breasts, like the beloved west wind
Following a raging northerly, and melodiously rustling in the evening.
Ever more gently it emerged out of the complexity of the notes and
The ear was able to detect the tune of the noble song.

The holy prophet first listened carefully to the sound of the harp
With a calm gaze, but then he became enflamed: glowing crimson
Coloured his pale face; with a swaying motion he rose
From the ground and with great excitement began:

‘Great is Jehovah the Lord! for heaven and earth proclaim
His power! You can hear it in the roaring storm, in the forest stream’s
Loud stirring call, in the rustling of the woods as they turn green;
You can see it in the waving gold of the corn, in the lovely flowers’
Glowing lustre, in the look of the sky sown with stars!
It sounds out fearfully in the rumbling of thunder, and flames in lightning’s
Rapidly descending flight; but your pounding heart announces
Jehovah’s power with more feeling, the power of eternal God,
You look up to him in prayer, and hope for grace and mercy!’

‘Hear the words of Jehovah, allied leaders of the people!
Now dig ditches in the valley, and ditch after ditch in the Arabah valley:
For you will not hear the wind roaring; you will not see the sky
Turn black with clouds bearing persistent rain in their bellies:
Nevertheless you will see the valley and the whole region filled
With a powerful flood, offering refreshment to humans and animals.
Moab will fall to you after it has been besieged, but woe to you cruel victors!
Is it not enough to make waste the cities and destroy the citadels?
Do you also have to swing your axe and fell each fruit tree,
Making them fall into the dust, and do you have to destroy the cooling springs
By filling them with sand so that they will never again revive a traveller?
In your anger do you want to destroy the richly nourishing fields
By covering them with sand and stones, turning them into a desert?
In this way you become enraged quickly, driven by a terrible greed for vengeance.’
Jehovah’s prophet became totally silent; the resounding strings
Stopped: he turned back – behind him at the edge of the sky,
Shimmering in the cloudy heights, the bluish Mount Carmel beckoned to him.

In the distance at the Eastern Gate the dawning day arose,
Glowing red: in this way heralding unending rain
Or earth shattering wind. Yet during the whole of the night
Neither had the wind blown nor had pregnant clouds shed
The longed for floods down onto the earth, but look, in the morning
At the time of the sacred sacrifice water started to spring up,
Clear and cool, as Elisha had promised in the name of Jehovah,
It surrounded the encampment and refreshed the parched people on the land!

What this long extract from Elisa shows us is that the lines set by Schubert represent part of Pyrker’s addition to and modification of the basic Biblical story. Although the narrative in 2 Kings makes it clear that Elisha was speaking to the accompaniment of a ‘minstrel’ it is Pyrker who turns his words into something like the trance-like utterances of a shaman. The harpist and the prophet have joined together to invoke the power of god before turning to the matter at hand. The kings are treating Elisha as if he is an oracle, but before the prophet can give instructions and make promises in the name of his god he feels the need to proclaim Jehovah’s terrifying majesty.

All re-tellings of Bible stories change the emphasis in order to connect the narrative to the current generation of listeners and readers. In Pyrker’s case, this means that God’s power in nature involves references to rushing mountain streams and green forests even though Elisha would never have seen such things. The wadi and the desert have given way to the Alpine landscape where Pyrker was writing the text. The all powerful God in Pyrker’s version shows none of the partisanship or vindictiveness that appears to characterise the original; instead of Elisha instructing the followers of the LORD[1] to devastate the land of their vanquished enemies and make it economically barren he now reproves the kings for wanting to do such a thing. This Jehovah is beyond such pettiness. Where the thrust of the Bible story was that God was to be seen at work most clearly in the actions he performs on behalf of his people (shown here in the miracle of the water in the dry wadi), according to Pyrker’s re-telling God’s power appears most fully in the feelings of awe and reverence that he inspires in our own trembling hearts.


[1] Many translations of the Hebrew Bible into English use the term ‘the LORD’ to represent the holy and unutterable name of God, represented by four consonants (YHWH). In later Hebrew traditions where vowels were added to the text (using ‘pointing’), the vowels of the word ‘Adonai’ (Lord) were inserted into the tetragrammaton to remind people to read this aloud as ‘Adonai’. The result on the page looked something like Yahovah, from which later readers and translators derived the name Jehovah.


Original Spelling and note on the text

Die Allmacht

Groß ist Jehova, der Herr! denn Himmel und Erde verkünden
Seine Macht! - Du hörst sie im brausenden Sturm, in des Waldstroms
Lautaufrauschendem Ruf, in des grünenden Waldes Gesäusel;
Siehst sie in wogender Saaten Gold, in lieblicher Blumen
Glühendem Schmelz, im Glanz des sternebesäeten Himmels!
Furchtbar tönt sie im Donnergeroll, und flammt in des Blitzes
Schnellhinzuckendem Flug; doch kündet das pochende Herz dir
Fühlbarer noch Jehova's Macht, des ewigen Gottes,
Blickst du flehend empor, und hoffst auf Huld und Erbarmen1!

1  Pyrker's first printed version reads 'hoffst der Erbarmungen Fülle'; 'hoffst auf Huld und Erbarmen' appeared in later versions (e.g. an 1841 printing), which Schubert could not have known. It has to be concluded that Pyrker provided Schubert with his revised version when they met in Gastein in summer 1825.

Confirmed by Peter Rastl with Perlen der heiligen Vorzeit. Gesammelt durch Johann Ladislav Pyrker. Helias der Thesbit. Elisa. Die Makkabäer. Ofen, 1821. Gedruckt, auf Kosten des Ofner wohlthätigen Frauen-Vereines, in der kön. ung. Universitäts-Buchdruckerey, nach Watts’scher Art, pages 60-61; and with Perlen der heiligen Vorzeit. Von Johann Ladislav Pyrker. Zweyte, vollständige Ausgabe. Wien. Gedruckt und im Verlage bey Anton Strauß, und im Büreau des wohlthätigen Frauenvereins in Ofen. 1826, page 143,

Note: These verses are an excerpt of the much longer poem Elisa; they appear in Erster Gesang. Tod, verses 91-99 (first edition, 1821).

To see an early edition of the text, go to page 143  [155 von 276] here: http://digital.onb.ac.at/OnbViewer/viewer.faces?doc=ABO_%2BZ185480903