Swedish Musical Heritage - Gunnar Wennerberg

Gunnar Wennerberg (1817-1901)

Gunnar Wennerberg, born on 2 October 1817 in Lidköping and died on 24 August 1901 on the Läckö royal estate in the county of Skaraborg, was a civil servant, politician, poet and composer. Following studies in Uppsala and a lectureship in Skara during 1849−61, he was Minister of Education from 1870–78 and again during 1888−91. He was the governor in Växjö during 1875−88 and a conservative member of parliament from 1875. Today he is best known for Gluntarne, duets for male voices in the style of student farces inspired by his years at Uppsala University, as well as for patriotic songs for male choir and religious works.

Biography

Xylography by J. Wolf, Leipzig, 1878. (Kungliga biblioteket)

Life

Early years in Skara and Uppsala

Gunnar Wennerberg was born in Lidköping in 1817. His father was a vicar, later becoming a rural dean, and like his wife, Sara Klingstedt, was gifted with an interest in music. He spent his school years in Skara, where he graduated from its grammar school in 1837. Thereafter he was enrolled as a student at Uppsala University, where he studied classical languages, natural science, philosophy and the arts. His studies, however, took a long time and his examination was mediocre. He received his master’s degree in 1845.

During his student years, he most of all developed his rich social and musical talents and became a central figure in the city’s student and cultural life, in which not least the music was cultivated at a, for Sweden, high level.

Gunnar Wennerberg received a lectureship in 1849 in Skara and thus left the Uppsala environment. As early as 1850, at the age of 33, he was elected as a member of the Kungliga Musikaliska akademien (the Royal Swedish Academy of Music). In 1866 he also became a member of the Svenska Akademien (the Swedish Academy, founded by King Gustav III).

Minister, Member of Parliament and governor

After ten years of service within secondary education, Wennerberg was summoned to Stockholm and began his career as a civil servant and politician. He was predominantly conservative, but progressive, forward thinking and creative when it came to educational and cultural issues, becoming even more so after he took the Minister of Education post in 1870. He called for the restructuring of the secondary educational curricula, was a zealous supporter of secondary school for girls, wanted to open universities to women, and investigated the organisation of the National Museum and the termination of the theatre censorship.

After disagreements within the government, however, Wennerberg left his ministerial post in 1875. He then became governor for the county of Kronoberg. There, he was revered as a renowned cultural figure. He maintained that position in Växjö until 1888. After a further period as Minister of Education he took his leave in 1891.

Significance

Gunnar Wennerberg’s activity is characterised by a creative and effective versatility. However, posthumous descriptions of his work also contain more condescending tones, such as one finds in Lars Lönnroth’s Den svenska litteraturen: ‘a grand example of how the writing of poetry in earlier times could lead to a high civil service post, especially if it was accompanied by social skills and a good enough measure of academic education. [He] stood at the centre of the high-spirited student social life and acquired a large number of friends, which turned out to be very useful later in life’.

Gunnar Wennerberg’s most lasting musical contributions are associated with Uppsala’s student life during the 1840s. In 1843 he became a member of the frolicsome student circle, the Juvenals, where his talent as a poet and his self-taught and, within the given framework, well-functioning skill at composing came into its own. It was there he first presented an armful of serenades and a collection of vocal trios for tenor, baritone and bass − De Tre.

Works

Gluntarne – genre images of student romanticism

When the tenor defected to Stockholm, composer and poet Wennerberg concentrated on what would become Gluntarne. Wennerberg was a good singer and, for a short period, he led the student choir Allmänna Sången. At the gatherings of the Juvenals, the early Gluntsången (Glunt song) was cultivated, with Otto Beronius and Wennerberg himself as singers and Eugène von Stedingk as the pianist. ‘Sketches from everyday life’ (the wording from Fredrika Bremer was borrowed by Wennerberg for one of the texts) was alternated with genre images and frolics in a richly varied series of duets for baritone and bass with piano accompaniment.

The songs were popular from the start and were spread via transcriptions, and later in the form of printed booklets. The more elegant character, Magistern (the school master), and his companion, Glunten (the boy) − a simple soul with a low inclination for study − come off as an odd couple, who could however, with some polishing, fit into the salon society of the bourgeoisie and academic culture of Uppsala. Gluntarne describes the blossoming of a friendship, and later, its fading when Glunten eventually completes his studies and is forced to leave the city and its social life.

One can observe a theatrical, even comical staging and a dramatic progression throughout the duets. One well-known song is ‘En månskensnatt på Slottsbacken’, however, the close-to-nature, ‘Här är gudagott att vara’, is the most widespread − the melody itself possibly belongs to the national sing-along repertoire, but is originally a lyrical intermezzo borrowed from one of the more burlesque pieces, ‘Examenssexa på Eklundshof’. One can distinguish between two types of ‘gluntar’ (student songs): those that are more like popular songs that are built upon strophic texts, and those that are through-composed dramatic scenes. The great priestess of salons, Malla Silfverstolpe, hit the nail on the head when she called Gluntarne ‘refined Bellmania’ (referring to Carl Michael Bellman’s songs from the 18^th century).

A later work such as Auerbachs Keller for solo voice, male choir and piano set to a text from Goethe’s Faust has, like Gluntarne, a dramatic verve. Wennerberg had plans to continue writing music using Goethe as a base – he could even have planned on creating a whole Faust opera.

Many of the Gluntarne songs were written after his Uppsala years and the composer was unsure whether he should follow through with the publication of such a frivolous creation. However, he never regretted his decision. Gluntarne has remained viable for more than century and a half, and has also won appreciation in other Nordic countries.

Patriotic and religious works

Wennerberg’s patriotic and Scandinavian choral works had a more limited scope, often set to his own texts, trumpeting the homeland’s greatness and the duty to, if needed, spill ones own blood for it: ‘Fansång’ (‘Stå stark, du ljusets riddarvakt’) and ‘Hör oss Svea’ are good examples of this. Moreover, Wennerberg could also strike up a Scandinavian battle cry, such as in ‘Marsch’ (‘Hur länge skall i Norden den döda frid bestå?’. The nationalistic and Nordic choral works built a long and admired foundation in the social service of musical practice within male choirs. They have now played out their role. It is noteworthy that ‘Hur länge skall i Norden’ is now used as a drinking song with a paraphrased text.

In other circles, the musical settings of Davids Psalmer were the objects of admiration. These were published in a series from 1861 to 1887 and include 55 solo or choral songs with piano accompaniment, which additionally appeared in various arrangements and found a certain international market. The best known include ‘Min själ längtar och trängtar efter Herrens gårdar’ and ‘Görer portarne höga’. Even today it is likely that a part of these Christian songs have their loyal audience in the appropriate contexts. Wennerberg’s religiosity had been influenced by the new evangelistic awakening that took wing during the 1840s and which his wife was engaged with.

Wennerberg never had the chance to acquire a professional music education however, he studied music theory on his own and in time he achieved a greater technical confidence. His role models, or favourites, were Bach and Handel, Mozart and Auber. He preferred Mendelssohn before Schumann and Wagner was foreign to him. Theoretical mastery was needed for the sacred project, unique for Sweden, that he produced in his older years. These now (for the time being?) obsolete compositions include Stabat mater and the three oratorios, Jesu födelse, Jesu dom och Jesu död (the latter however, remained uncompleted).

Legacy

Of all of Wennerberg’s compositional output, Gluntarne remains the most appreciated, although it is hardly found outside of jovial academic circles. With Carl Michael Bellman’s Fredmans epistlar as a model, Wennerberg has incarnated an ‘untroubled romanticism […] a conception of life with a self-ironist’s good-natured and observant gaze [that he] presents in a humorous light with brilliant spirit and genuine wit, with a true-to-life realism and at the same time with an idealistic outlook on life’ (Karl Warburg in Nordisk Familjebok, 2^nd edition). Since 2005, the ‘Glunt’ culture is preserved by the Glunt-Akademin with its roots in Uppsala.

When Gunnar Wennerberg visited Uppsala during his last year of life, he became the object of the greatest of honours − his stately figure had become a symbol of the whole of the romantic era that was reflected in the ‘Glunt’ tradition and in the Geatish (Gothic) and nationalistic frenzy of choral singing.

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Publications by the composer

Bibliography

Summary list of works

4 larger sacred compositions (Stabat mater, Jesu födelse, Jesu dom, Jesu död, unfinished), 36 songs for voice with piano, 30 duets (Gluntarne), 38 freestanding duets, 24 trios for male voices (De Tre, and others), 19 songs for male choir (Fansång, Hör oss Svea, Marsch), 9 songs for mixed choir, 55 musical settings of David's psalms (various settings).

Collected works

Songs for one voice and piano
Songs for one voice with piano accompaniment, book 1, Stockholm: Abr. Hirschs förlag, 1850. 1. Till tonerna (‘Sväfven höga toner’), 2. ‘Sof, oroliga hjerta, sof’ (Johan Ludvig Runeberg), 3. Liden harepiges klage (‘Faderlös og moderlös’, Bernhard Severin Ingemann), 4. En hvardagshistoria (‘Nog minns jag mig en och annan vän’), 5. Zigeuner-Lied (‘Im Nebelgeriesel, im tiefen Schnee’, Johann Wolfgang von Goethe), 6. Jätten (‘Jag bor i bergets salar’, Esaias Tegnér), 7. Fiskaren på Kinnekulle (‘Solen alltren öfver kulles topp’).
Songs for one voice with piano accompaniment, book 2, Stockholm: Abr. Hirschs förlag, 1850. 8. Kaiser Barbarossa (‘Der alte Barbarossa, der Kaiser Friederich’, Friedrich Rückert), 9. Den fader- och moderliga visan (‘Hvems barn jag är’), 10. Afsked (‘Så skiljas vi åt och träffas igen’), 11. Tösa på Svältera (‘Ja vånnar’ a vore så långt härifrå’), 12. Blücher (‘Der König Wilhelm Friederich sprach’, Friedrich Rückert).
Songs for one voice with piano accompaniment, book 3, Stockholm: Abr. Hirschs förlag, 1853. 13. Säg att jag kommer (‘Susande vind som far af emot norden’, Bernhard Severin Ingemann), 14. Djævelsklokken (‘Nu lystig, I Svende’, Bernhard Severin Ingemann), 15. Min vår (‘Tusen sinom tusen sippor’), 16. Andenken (‘Ich denke dein’), 17. Svensk soldatsång (‘För frihet, fädernesland och kung’).
Songs for one voice with piano accompaniment, book 4, Stockholm: Abr. Hirschs förlag, 1854. 18. Sirius (‘Sirius! återsken af ljuset’), 19. Skalden (‘Hvem står där med ögat lyft till Gud’, Johan Anders Wadman), 20. Gretchen am Spinnrade (‘Meine Ruh’ ist hin’, Johann Wolfgang von Goethe), 21. Farväl (‘Snart fält och lunder, berg och dalar’, Esaias Tegnér), 22. Stackars liten! (‘Stackars liten visst’).
Songs for one voice with piano accompaniment, book 5, Stockholm: Abr. Hirschs förlag, 1870. 23. Vallflickan (‘Kovalle mina kor, kovall’), 24. Carl den Femtes sang i liigkisten (‘Ding, dang, klokkeklang’, Bernhard Severin Ingemann), 25. Strömkarlen (‘Nu är dagen bergad’), 26. Schlummerlied (‘Ich war ein böses Kind’, Friedrich Rückert), 27. Till sömnens genius (‘Himlabarn som makten äger’).
Songs for one voice with piano accompaniment, book 6, Stockholm: Abr. Hirschs förlag, 1876. 28. Ved Kong Carls baare (‘Det kimer, kimer saa tungt om land’, Andreas Munch), 29. Ve mig (‘Gråten, gråten i regnskurar alla’), 30. Palinodia (‘Sjuder än ditt heta blod’), 31. Italienaren med gipsbilder (‘Ute i verldens hvimmel’), 32. Önskan (‘Ack bleve nu strålande salen’, Thekla Knös), 33. Sen uppå fåglarne! Sen uppå liljorna! (‘Du fattiga sparf på den gungande kvist’), 34. Trasten i höstqvällen (‘Var tyst du trast som klagar’). Stockholm: Abr. Hirschs förlag, 1890. [For one voice with piano, composed for mixed voices], 35. Afsked (‘Så skiljas vi åt och träffas igen’). Stockholm: Abr. Hirschs förlag, 1888 [high setting] and 1896 [low setting].
36. ‘Den gång jag ennu var en Pusling’ (Erik Bøgh), in: Erik Bøghs Hundrede Viser (no. 1), København: Boghandler Th. Gandrup, 1862. 37. Wade Hampton. Washington, D. C.: John F. Ellis & Co., 1879.

Duets
Gluntarne. A collection of duets for baritone and bass with piano accompaniment. Dedicated to Otto Beronius and Eugène von Stedingk. Stockholm: Abr. Hirschs förlag 1849–51.
Vocal duets with piano accompaniment, Stockholm: Abr. Hirschs förlag, no. 1–7: 1853, no. 8–12: 1876, no. 13: 1884. 1. Gondolieren (‘Se, Signora’) [soprano and baritone], 2. Marketenterskorna (‘Som fågeln är jag glad och fri’) [two altos], 3. ‘Du är min’ [soprano and baritone], 4. ‘Du bist mein Mond’ (Friedrich Rückert) [soprano and bass], 5. Flickorna (‘Ack undra ej om glad jag är’) [two sopranos], 6. Sotarne (‘Nu är jag här oppe igen’) [two baritones], 7. Was lispeln die Winde? (‘In goldnen Abendschein’, Friedrich Rückert) [soprano and alto], 8. Båtfärd (‘Kom, o kom’, Thekla Knös) [alto and bass], 9. ‘Tidt er jeg glad’ (Bernhard Severin Ingemann) [alto and bass), 10. ‘Der Liebe Leben’ (Friedrich Rückert) [soprano and tenor], 11. Julsång (‘Lofsjungom Herrans nåd och makt’, Johan Olof Wallin) [soprano and tenor], 12. Cordax damnatarum (‘Maesto plangore Sonat campana’) [soprano and alto], 13. Scen ur ‘Cid’ (‘I den djupa midnattsstund’, after Herder af O****).
Vocal duets with piano accompmaniment. Stockholm: 1891.

Unpublished duet
Hafsjungfrun.

Trios for male choir
De tre. A collections fo trios for tenor, baritone and bass, Stockholm: Abr. Hirschs förlag, 1851. 1. Släpp in oss! (‘Nå flickor, släpp in oss’), 2. Pirum (‘Om jag innan morgon randas’), 3. Daniel (‘Vet ni här kan bli rätt roligt’), 4. Vive hodie! (‘Vive hodie! sera, nimis sera’), 5. Såd’na kan de vara (‘God qväll, mamsell, är ingen här ännu’), 6. Ett äfventyr (‘Känner ni den vägen’), 7. Buketten (‘Bröder, grymt jag är bestulen’), 8. Här skall valsas (‘Frågas om ej permission skulle kunna tagas’), 9. Gräl och väl (Nå så anamma!’), 10. Den är inte bättre den (‘Vi ha kommit för att fira’).
Nine three-part serenades [two tenors and bass], Stockholm: Abr. Hirschs förlag, 1852. 1. ‘Ack, säg mig, hvar är du’, 2. ‘Vakna opp’, 3. ‘Darrande ton’, 4. ‘Tindrande stjerna’, 5. ‘Minns du den gången’, 6. ‘Far då väl’, 7. ‘O, se ej så’, 8. ‘Klagande sång’, 9. ‘God natt, god natt min lefnads klara stjerna’.
Five three-part serenades [two tenors and bass]. Stockholm: Abr. Hirschs förlag, 1875. 1. ‘Dig jag sjunger’, 2. ‘Fordom i nattliga stunder’, 3. ‘O, hur qvällens stjernor skrida’, 4. ‘God natt, god natt! må goda englar fara’, 5. Slutgodnatt (‘God natt, god natt, god natt’) [three tenors and three basses].

Songs for male choir
Freestanding choral pieces
1. Svensk frihetssång (‘Frihet bor i Norden’), 2. Kung Oscars valspråk (‘Bjöd så i Thule’), 3. Fansång (‘Stå stark du ljusets riddarvakt’, Johan Nybom), 4. Nordisk studentsång (‘Framåt, framåt på ljusets bana’), 5. Marsch (‘Om alla strängar’, Johan Nybom), 6. Hymn (‘O, Gud, som styrer folkens öden’), in: Odinslund och Lundagård: samling af flerstämmiga sånger för mansröster. Stockholm: Abr. Hirschs förlag, 1849.
7. Marsch (‘Hur länge skall i Norden’), 8. Trum-Marsch (‘Tram, tram, trumman går’, Johan Nybom), in: Odinslund och Lundagård; samling af flerstämmiga sånger för mansröster, Stockholm: Abr. Hirschs förlag, 1850.
9. ‘Fladdrande fana, lös dina vingar’ (Thekla Knös), in: Odinslund och Lundagård; samling af flerstämmiga sånger för mansröster. Stockholm: Abr. Hirschs förlag, 1857.
10. ‘Hör oss Svea! moder åt oss alla’, in: Odinslund och Lundagård; samling af flerstämmiga sånger för mansröster, Stockholm: Abr. Hirschs förlag, 1858.
11. Skarpskyttemarsch (‘I gevär hvar man’), in: Odinslund och Lundagård; samling af flerstämmiga sånger för mansröster. Stockholm: Abr. Hirschs förlag, 1862.
12. Marsch (‘Säg oss ditt namn, du fruktansvärde’), in: 100 svenska sånger för mansröster, J. A. Josephson & F. Arlberg (eds), 1873.
13. Kung Karls drapa (‘Kall på båren i kungaborgen’), Uppsala: Edquist & Berglund, 1872.
14. Min ros (‘En gång en ros jag såg’), in: Bibliothek för Qvartettsångare, book no. 7, Stockholm: Abr. Hirschs förlag, 1879.
15. Bön (‘Fredens välsignelser’), in: Studentsångaren II, 1887.
Four-part songs for male voices without accompaniment by Gunnar Wennerberg, Stockholm: Abr. Hirschs förlag, 1880. 16. Lumbers hög (‘På Wångaslätten vida’), 17. Helsning till Kronprins Carl (‘Du som i arf fick de stora Carlars namn’), 18. Gud bevare Sverige (‘När i välmakts goda dar’), 19. In Lenom (‘Så contigit in Lenom’) [Monk verse from the medieval times].
Auerbachs Keller. Scenen aus Goethe’s Faust. I. Auberbachs Keller in Leipzig für Solostimmen und Chor. O[rphei] D[rängar] freundschaftlich gewidmet vom Verfasser. Stockholm: Abr. Hirschs förlag, 1878.

Songs for mixed choir
Four-part songs for soprano, alto, tenor and bass without accompaniment, Stockholm: Abr. Hirschs förlag, 1875. 1. Trasten i höstqvällen (‘Var tyst du trast, som klagar), 2. Vigselhymn (‘På den väg de skola vandra’) [composed in 1873 to O. Beronius’ wedding], 3. Sommarsöndag (‘Ljusa skyar segla’), 4. En junidag (‘Ack, hvilken härlig dag’), 5. Molnens sång (‘Vida vandra vi hän i rymden’), 6. Aftonklockan (‘Kända toner genom luften dallra’), 7. Vår båt (‘Vår båt i kvällen glider’).
8. ‘Vi prisa dig’, 9. ‘O, Guds lamm’, in Musiken till Svenska mässan, bilaga till Svenska kyrkans handbok. Stockholm, 1897.
10. Wade Hampton [‘Our babies lisp Wade Hampton’s name’]. Song and Chorus. Words by Eliza Peronneau Matthews. Music by Gunnar Wennerberg. Washington, D. C.: John F. Ellis & Co., 1879. [In version for 1 voice with piano accompaniment, and the same set for soprano, alto, tenor and bass a cappella].

Unpublished piece for mixed choir:
Hvar finns det landet.

Larger spiritual works
Pieces from David’s Psalms
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 1, Stockholm: Abr. Hirschs förlag, 1861. 1. Säll är den, som icke vandrar uti de ogudaktigas råd, 2. Hör mig, när jag ropar, 3. Herre, vår Herre, huru härligt är ditt namn, 4. Hjelp, Herre! De helige äro förminskade, 5. Herre, huru länge vill du så platt förgäta mig.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 2, Stockholm: Abr. Hirschs förlag, 1862. 6. Hjerteliga kär hafver jag dig, 7. Himlarne förtälja Guds ära, 8. Min Gud, min Gud, hvi hafver du öfvergifvit mig, 9. Herran är min Herde.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 3, Stockholm: Abr. Hirschs förlag, 1863. 10. Görer portarne höga, 11. Herre, visa mig dina vägar, 12. Lofvad vare Herran, 13 Herre, på dig förtröstar jag.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 4, Stockholm: Abr. Hirschs förlag, 1863. 14. Saligt är det folk, 15. Jag hafver varit ung, 16. Herre, lär mig dock att det måste få en ända med mig, 17. Såsom hjorten ropar efter friskt vatten, 18. Sänd ditt ljus och dina sanning.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 5, Stockholm: Abr. Hirschs förlag, 1865. 19. Gud vare mig nådelig efter dina godhet, 20. Mitt hjerta, mitt hjerta ängslas, 21. Mitt hjerta är redo.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 6, Stockholm: Abr. Hirschs förlag, 1866. 22. Gud lägger oss ena börda på, 23. Så länge solen varar, 24. När jag bedröfvad är, 25. Min själ längtar och trängtar, 26. Herre, böj ner dina öron och hör mig.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 7, Stockholm: Abr. Hirschs förlag, 1866. 27. Herre, du är vår tillflykt, 28. Det är en kostelig ting, 29. Sjunger Herranom en ny visa.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 8, Stockholm: Abr. Hirschs förlag, 1866. 30. Fröjdens Herranom nu all verlden, 31. Lofva Herran, min själ, 32. Då Israel ut ur Egypten drog.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 9, Stockholm: Abr. Hirschs förlag, 1869. 33. Icke oss, o, Herre, utan ditt namn gif äran, 34. Jag lyfter mina ögon upp till bergen, 35. När Herren Zions fångar lösandes varder, 36. Vi de elfvar i Babel.
Pieces from David’s Psalms set for solo voice and choir with piano accompaniment, book 10, Stockholm: Abr. Hirschs förlag, 1869. 37. Herre, du utransakar mig, 38. Herre, hör min bön och förnim den, 39. Förlåter eder icke uppå furstar, 40. Lofver Gud i hans helgedom.
From David’s Psalms for soli and choir with piano, new sesries, book 1, Stockholm: Abr. Hirschs förlag, 1884. 41. Lofver Herran, alle hedningar, 42. Herre, var mig nådelig, 43. Gud vare oss nådelig och välsigne oss.
From David’s Psalms for soli and choir with piano, new sesries, book 2, Stockholm: Abr. Hirschs förlag, 1884. 44. De galne säga i sitt hjerta, 45. Om Herren ej bygger huset, 46. Herren höre dig i nöden, 47. Ve mig, ve mig.
From David’s Psalms for soli and choir with piano, new sesries, book 3, Stockholm: Abr. Hirschs förlag, 1884. 48. Halleluja! Lofvadt vare Herrans namn, 49. Pris vare Herren, Israels Gud.
From David’s Psalms for soli and choir with piano, new sesries, book 4, Stockholm: Abr. Hirschs förlag, 1886. 50. Hyller sonen att han ej förtörnas, 51. Upp, o Gud, uträtta din sak, 52. Herren sade till min herra.
From David’s Psalms for soli and choir with piano, new sesries, book 5, Stockholm: Abr. Hirschs förlag, 1886. 53. Ack, Herre, straffa mig icke uti din vrede, 54. När jag hafver dig, 55. Lofver Herrans namn, I Herrans tjenare.
From David’s Psalms, Songs for solo voice and choir with piano accompaniment, by Gunnar Wennerberg, Stockholm: Abr. Hirschs förlag, 1877–90. [Second edition of the above mentioned 55 songs.]
David’s Psalms composed to music by Gunnar Wennerberg. Arrangement for one voice with accompaniment of piano or organ. Book 1 Stockholm: Abr. Hirschs förlag, 1893. [Includes the following songs in this order: 1, 3, 5, 10, 12, 14, 16, 21, 23, 28, 36, 37, 39.]
David’s Psalms composed to music by Gunnar Wennerberg. Arrangement for one voice with accompaniment of piano or organ. Book 2 Stockholm: Abr. Hirschs förlag, 1901. [Includes the following songs in this order: 2, 53, 42, 13, 15, 17, 19, 25, 31, 33].
15 selected psalms in numerical note writing. Stockholm: Gernandts Boktryckeri-Aktiebolag, 1882. [Comprises the songs: 2, 3, 10, 12, 13, 14, 25, 27, 28, 29, 31, 33, 34, 35, 40.]
David’s Psalms composed to music by Gunnar Wennerberg. Arrangement for male choir without accompaniment. Score. Stockholm: Abr. Hirschs förlag. [Includes the songs 12, 14, 28, 30 and 40 arrangerd for male choir.]
Psalms of David. Solos with Chorus and Piano Accompagniment. Chicago: Engberg & Holmberg, 1882.

Other larger spiritual works
Stabat Mater for soli, choir and orchestra. Piano vocal score. Stockholm: Musikaliska Konstföreningens förlag, 1894. (Jacopone da Todi) 1. ‘Stabat Mater’ [Kör], 2. ‘O quam tristis’ [Altsolo], 3. ‘Quis es homo’ [Trio för soprano, alto and bass], 4. ‘Pro peccatis’ [Soprano solo with choir], 5. ‘Eja Mater’ [Duet for alto and bass], 6. ‘Sancta Mater’ [Solo quartet with choir], 7. ‘Fac me vere’ [Solokvartett], 8. ‘Inflammatus’ [Solo quartet with choir], 9. ‘Fac me cruce’ [Baritone solo], 10. ‘Quando corpus’ [Choir].
Jesu födelse. Oratorium efter den Heliga Skrifts ord. Die Geburt Jesu. Oratorium nach Worten der Heiligen Schrift. Stockholm: Musikaliska Konstföreningens förlag, 1863. [Piano vocal score with parallel text in Swedish and German.]
Jesu dom. Oratorio for soli, choir and orchestra. Piano vocal score with text, Stockholm. Gunnar Wennerbergs-Sällskapet. Stockholm: Abr. Hirschs förlag, 1927.

Unpublished oratorio
Jesu död.

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