Schoeck's publishers were far from enamored with the Notturno. Breitkopf turned it down, as they had Wanderung im Gebirge. Hug took on the latter work, but Schoeck was reluctant to have the Notturno published at home, as he was sure that his compatriots would cease to take him seriously if his biggest works were not published abroad. Universal Edition had just accepted the Praeludium, and they now also agreed to publish the Notturno when the Swiss Musicians' Association donated a thousand francs for the purpose. Hug did bring out his next opus number, however: the Cantata Op. 49, written in the second half of 1933. This is an odd work for an odd ensemble—seven movements, all to texts by Eichendorff, for small men's chorus, solo baritone, three trombones, tuba, piano, and percussion. The piano had been Karl Heinrich David's idea—Schoeck had shown him the score at an early stage, only to be assured that the tuba player would have a heart attack “after ten measures” if he did not change the instrumentation to lighten his load. Not only was this Schoeck's first substantial choral work since Trommelschläge, but it is also his only unashamedly “political” work. While its target is clearly the totalitarianism that was dominant to the north, it takes “jingoism” in general (“Vaterländerei”) firmly in its sights, admonishing the listener to hold fast to moral values.