Mark Gresham | 30 JUL 2025
Imagine a starlit evening in 1776 Bethlehem, Pennsylvania, where Moravian settlers gather in a wooden hall, their violins and voices weaving chorales rooted in European tradition. These immigrants, members of the Unitas Fratrum—or Moravian Church—brought with them a rich musical heritage that would help shape classical music in early America. In this third installment of EarRelevant’s “Year of American Music” series, marking the 250th anniversary of the Declaration of Independence, we explore the Moravian legacy in Bethlehem and Winston-Salem. Through sacred hymns, chamber works, and communal performances, the Moravians helped introduce European classical forms to the New World.
The Moravians, Protestant exiles from Bohemia and Moravia, settled Bethlehem in 1741 and Bethabara (later part of Winston-Salem) in 1753, fleeing persecution to build communities centered on faith and music.
Unlike the raw psalmody of New England (explored in our first article) or William Billings’ patriotic anthems (last week), Moravian music was refined, rooted in the Baroque and early Classical traditions of composers like Bach and Haydn. Music was integral to their worship, education, and daily life, performed by talented amateurs in choirs and orchestras.
In Bethlehem, the Collegium Musicum, founded in 1744 by Johann Christopher Pyrlaeus, played string quartets and sacred works, astonishing visitors.
“Bethlehem’s music was like hearing Vienna in the wilderness,” a 1760s traveler noted.
In Winston-Salem, similar ensembles thrived, with trombone choirs announcing events from church steeples. These communities preserved over 10,000 manuscripts, now housed at the Moravian Music Foundation in Winston-Salem and Bethlehem, a testament to their musical depth.
Key Moravian composers shaped this legacy.
Johann Friedrich Peter (1746–1813), a pastor and music director, composed over 80 sacred vocal works and six string quintets, possibly America’s earliest chamber music. A composer of German origin, he was the first to bring Joseph Haydn’s music to the United States. His “Der Herr ist mein Theil” (1789), with its vibrant strings and organ, reflects Baroque elegance adapted for colonial audiences.
Jeremiah Dencke (1725–1795), an organist, wrote what may be America’s first Moravian ensemble piece for chorus, strings, and organ. David Moritz Michael (1751–1827), a Bethlehem Collegium Musicum leader, crafted wind ensemble and sacred vocal works, blending European precision with American simplicity. In Winston-Salem, Johann Christian Bechler (1784–1857) composed the hymn “Sing Hallelujah,” still sung today.
These composers, often doubling as teachers or pastors, created music for worship and community, making classical music accessible to all.
Bethlehem’s musical culture was a marvel, with instrument-making (violins, organs, flutes) supporting a vibrant scene. The Trombone Choir, a Moravian hallmark, played chorales for festivals and funerals, a tradition continued by groups like the Bethlehem Area Moravian Trombone Choir.
Winston-Salem’s Salem Collegium Musicum, active by 1786, performed similar works, with about 500 compositions preserved, including 150 manuscripts. The Moravians’ meticulous record-keeping ensured their music survived, unlike much colonial music lost to time. Their performances, held in community halls, drew diverse audiences, including Native American converts, fostering cultural exchange. This inclusivity, though limited by the era’s constraints, hints at America’s diverse musical future.
The Moravians’ influence extended beyond their settlements. Their music education and copying of European scores (Haydn, Mozart) introduced classical forms to America, influencing later composers like Lowell Mason (next week’s article). Despite their insular communities, their archives inspired 20th-century rediscovery, with the 1950 Moravian Music Festival in Bethlehem sparking modern performances.
Today, ensembles like the Bach Choir of Bethlehem and Moramus Chorale in Winston-Salem perform Moravian works, with 2026 anniversary concerts planned. The Moravian Music Foundation, founded in 1956, continues to preserve and share this legacy, making manuscripts available to scholars and performers.
As we approach July 4, 2026, the Moravians’ serene chorales and lively chamber music remind us that America’s musical roots are as diverse as its people. Their story, from Bethlehem to Winston-Salem, shows classical music thriving in unexpected places, uniting communities through faith and art. ■
Read more by Mark Gresham.
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