THE "GROSSE ZAPFENSTREICH"
by Colonel Wilhelm Stephen
The 'Grosse Zapfenstreich' occupies a special place in the vast field of German military music; this piece of ceremonial evening music with its sequence of drum and fife tunes, cavalry trumpet calls, and the prayer - this "Grosse Zapfenstreich" features both of the traditional elements of German military music that have remained alive up to the present day: drums and fifes, e.g. the "spiel" (play) of the lansquenets and trumpets and kettledrums of the cavalry (once a guild with imperial privileges).
Where does the term Zapfenstreich originate?
The lansquenets spent their evenings in pubs or canteens. However, at a specified hour, peace and quiet had to be restored to the camp. For this purpose, the provost, accompanied by a fifer and drummer, patrolled the pubs, etc., and tapped the bungs of the barrels with his stick. This official act prohibited the canteen proprietor from serving any more drink. The lansquenets had to leave the canteen immediately and report to their tents or quarters. Even there, they were not permitted to continue drinking or playing dice. Anybody who disobeyed this musical order, which was called by the lansquenets "Zapfenschlag" (the English "taps"), was liable to severe punishment.
A document dated 1672 states:
No soldier should be in a pub or in the street after "Zapfenschlag", and the landlord of the inn should serve him no beer after "Zapfenschlag". Should he be found in the street or in a pub, he will be arrested and punished severely".
In his book "Der vollkommene deutsche Soldat" (The Perfect German Soldier) (Leipzig 1726), Major Hans von Fleming from Saxony describes the same custom, at that time already called "Zapfenstreich". Fleming gives a description of how "Zapfenstreich" was performed:
"...when an army is camping in the field and dusk falls, all the drummers and trumpeters from the regiments assemble; as soon as the password has been given; or a gun had been fired with the artillery; or the Retreat has been sounded at Headquarters; all the other soldiers follow in appropriate order, the drummers from the infantry march around the entire regiment, and each nation sounds its own retreat in the usual way. The regimental drum major with his baton leads his drummers, who follow him in formation. This is also done at Reveille and when the guard is mounted. Once taps has been sounded, canteen proprietors are no longer allowed to keep their guests, who must all repair to their quarters and tents. The sergeants and corporals then call the roll in barracks in order to find out whether anybody is missing."
Frederick William 1 of Prussia, the Soldiers' King, also issued regulations governing "Zapfenstreich".
The "Grosse Zapfenstreich"
As far as German troops are concerned, the "Zapfenstreich" first assumed ceremonial significance in Prussia during the Wars of Liberation. The custom of the Prussian army to follow tattoo with a short evensong dates back to 1813. According to historical records, after meeting with this custom at the camp of his Russian allies at Grossgorschen in May 1813, King Frederick William III commanded that a prayer be introduced after tattoo for the Prussian troops. This decree was issued on 10th August 1813 and was worded as follows:
To Lieutenant General Count Tauentzien Frederick William
Since all the armies of the powers now allied with us, especially the Russians, Austrians, and Swedes, say a prayer in the morning after Reveille and in the evening after taps, and since it is my desire that my troops be second to none with regard to divine worship and that even more latitude be given for religious feeling amongst the troops and every means be used to promote such feeling, I herewith command that forthwith the guards shall stand under arms when Reveille or taps is sounded. They shall then present arms, slope arms, stand to attention, remove their shakos with their left hand, and hold it with both hands in front of their face, saying a silent prayer, about the length of the Lord's Prayer. The rank and file shall remove their shakos together with their commanding officers, NCOs, etc., and then replace them. In bivouac, the trumpeters or musicians assembled in front of the flags, etc., shall play a short evensong immediately after taps, after which the squadrons or companies assembled without arms, in jackets or coats, shall also uncover for prayer. After prayer the guards shall, upon a trumpet call or drum roll, order arms, and the companies, etc., shall disperse. I order you to make this order known to the troops under your command and to enforce its strict observance.
Neudorf, the 10th of August 1813
By combining tattoo/retreat music for the foot and mounted troops with the prayer, the 'Grosse Zapfenstreich" was created in its present form.
On the principle: 'Introduction with drums and fifes-Zapfenstreich-prayer', Wilhelm Wieprecht, the (*)Director of All Bands of the Corps of Guards set up the sequence for the "Grosse Zapfenstreich:
Introduction with drums and fifes
Zapfenstreich (Tattoo)
Retreat (i.e. the three fanfare posts of the mounted troops retreat)
Drums and fifes call "Attention for Prayer"
Prayer (usually: "Ich bete an die Macht der Liebe" by Bartniansky)
Drum roll after Prayer
Fanfare following the Prayer
This "Grosse Zapfenstreich" was played for the first time in Berlin on 12th May 1838, with Wieprecht conducting and 1000 musicians and 200 drummers and fifers taking part. However, until 1918, it was the general custom, when performing the "Grosse Zapfenstreich', that only foot troops' music and the prayer were played in infantry garrisons, whereas in cavalry garrisons only pieces for mounted troops and the prayer were played. It should be noted that, in the "Grosse Zapfenstreich" for the cavalry, the trumpet sounded the "post for prayer" prior to the prayer. In garrisons where both foot and mounted troops were stationed, the "Grosse Zapfenstreich" was performed in the form created by Wieprecht.
The "Grosse Zapfenstreich" later was revised by Prof. Gustav Rossberg and by Prof. Oskar Hackenberger, who were army directors of music. Whereas in former times it was the general custom to play an anthem prior to the prayer on special occasions, such as the Emperor's birthday, the National Anthem upon the conclusion of the "Grosse Zapfenstreich" was not introduced officially until after 1922. In Bavaria, the Bavarian Military Prayer by Johann Casper Aiblinger (1779-1867) is usually played as the prayer. In addition, different (infantry) tattoo marches were performed in both Bavaria and Saxony.
The Prayer
The hymn "Ich bete an die Macht der Liebe", is usually sung as the prayer. It is frequently said that Frederick William III, after hearing this hymn in a Russian camp in 1813, ordered that it should be included for the Prussian troops in the "Zapfenstreich". This, however, is definitely not true. The German mystic Gerhard Tersteegen (1697-1769) wrote the words of the hymn "Ich bete an die Macht der Liebe", whereas Dimitri Bortnyanski (1751- 1825), a pupil of Galupi, composed the music. His 160 liturgical songs (later issued by Tchaikovsky) were introduced by Frederick William III. The hymn tune itself, the Russian "Slaven" was composed in 1822, which means that this hymn was adopted in Prussia after that year. Prior to 1918 and following 1933, frequent attempts were made to introduce a different hymn as the prayer in the "Grosse Zapfenstreich"; however, "Ich bete an die Macht der Liebe" has always been reverted to.
Performance of the "Grosse Zapfenstreich"
The "Grosse Zapfenstreich" is performed by a corps of fifes and drums and a military hand escorted by two platoons under arms and torch-bearers. The "Grosse Zapfenstreich" ceremonial party is commanded by an officer not below the rank of major. He gives the commands prescribed for the "Grosse Zapfenstreich". The director of music or when performed at a higher level, the senior director of music of the bands participating, is responsible for the musical side. To the strains of any army march (usually the March of the York Corps by Beethoven), the "Grosse Zapfenstreich" party proceeds to the site prescribed. After halting, the order "left turn" is given and the ranks dress briefly. Upon a further order, the torch-bearers, the bandmaster, the drum major, the crescent-bearer, and eventually the kettle-drummers, take up their positions. The "Grosse Zapfenstreich" ceremonial party is then reported "present and correct" to the senior officer or person to be honored. A few more commands follow and the serenade, in the form of a few suitable pieces of music begins. When the serenade comes to an end the regimental officer gives the command to commence the "Grosse Zapfenstreich" in accordance with the program above. Prior to the prayer, the escorting troops are ordered to remove their helmets, they replace them after prayer. After the National Anthem has been played, the officer commanding gives notice of the departure of the "Grosse Zapfenstreich" ceremonial party to the senior officer or the person to be honored. When the torch-bearers, the bandmaster, etc., have resumed their marching positions, the order "right turn" is given/ and the "Grosse Zapfenstreich" party marches off to a drum roll of 8 paces and 8 beats and then plays the Zapfenstreich" march, i.e. the infantry tattoo march.
Notes:
1. During the prayer, when the escorting troops have been ordered to remove their helmets for prayer, all the guests invited to attend the "Grosse Zapfenstreich" stand to attention. The gentlemen also remove their head-dress. After the prayer, when the command "don helmets" is given, the guests are requested to resume their seats.
2. When the National Anthem is played, all guests should follow their own national custom.
3. Notice of the departure of the "Grosse Zapfenstreich" ceremonial party is given to the senior officer or to the person to be honored in the same way as when reporting the party present and correct.