Psalms 42 Thru 72 - Rev
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Psalm 42 As an Independent Lament and Synecdochic of the Elohistic Psalter
“Turning the Tempest for God’s Forgotten:” Psalm 42 as an Independent Lament and Synecdochic of the Elohistic Psalter A Dissertation Proposal Presented to the Joint Doctoral Committee of The University of Denver and the Iliff School of Theology In Partial Fulfillment of the Requirements For the Doctor of Philosophy Degree Submitted by David Pettit Biblical Interpretation: Hebrew Bible September 17th, 2018 Denver, Colorado Thesis Psalm 42 is an independent psalm of lament, and as an independent composition is the lead psalm of the Elohistic Psalter (Pss 42-83), and synecdochic of the whole. Statement of the Problem This dissertation argues for a way of reading Psalm 42 that is rooted in Psalm 42’s own poetry as well as in the synecdochic relationship between poems set in juxtaposition and incorporated into collection(s). This dissertation engages questions of how we discern the boundaries of a poetic unit such as a psalm and how we understand or experience the poetry in light of those boundaries, and how a particular psalm relates to other psalms in a collection. This is of particular interest given the comparative evidence from Mesopotamian prayers and collections, as well as collections at Qumran. Psalms or prayers can be compiled or utilized in a number of different contexts. Psalms scrolls at Qumran demonstrate variability in order and in composition. This dissertation is attentive to how individual compositions relate to the literary context and/or collection in which we find them and to the somewhat complex and fluid relationship of parts to wholes where parts reflect the whole and yet retain their distinctiveness. -
Najaarsconcert 2018 2
NAJAARSCONCERT 2018 2 Welkom Beste concertbezoeker, Ik heet u namens de Oratoriumvereniging van harte welkom bij ons najaarsconcert in deze prachtige Martinikerk van Bolsward. Dit concert staat in het teken van Jacob Ludwig Felix Mendelssohn Bartholdy (geboren 3 februari 1809 en overleden op 4 november 1847). Hij was een Duitse componist, pianist, organist en dirigent in de vroeg romantische periode. Mendelssohn schreef symfonieën, concerten, oratoria, pianomuziek en kamermuziek. Hij vierde zijn successen in Duitsland en liet de muziek van Johann Sebastian Bach herleven. Vanmiddag voeren wij twee werken van hem uit: het Lobgesang en Psalm 42. Verder zal onze organist nog een sonate van Mendelssohn spelen. Onze uitvoering vanmiddag is een bijzondere uitvoering. Zoals u ziet zijn het koor, het orkest en de solisten geplaatst op een speciaal voor deze uitvoering gemaakt podium vlak voor het prachtige kerkorgel, dat meewerkt aan de uitvoering. U, als publiek zit nu ook andersom. Wij willen vandaag als koor ervaren hoe deze opstelling bevalt. Mocht dat positief zijn, dan zullen we in de toekomst waarschijnlijk vaker gebruik gaan maken van deze opstelling. In dit concertboekje kunt u verder alle informatie over dit concert lezen. Ook is er een plattegrond opgenomen waarop staat aangegeven waar de toiletten zijn en waar de nooduitgangen zich bevinden. Graag deze plattegrond voor aanvang van het concert goed bekijken. Volgend jaar voeren wij in de week voor Pasen weer tweemaal de Matthäus-Passion uit en in het najaar de volledige uitvoering van de Messiah van Händel. We hopen u dan ook als luisteraar te mogen begroeten. Met vriendelijke groeten, G.J.Ankersmit (voorzitter) Heeft u vandaag genoten van onze uitvoering, dan is het misschien een goed idee om vriend van onze Oratoriumvereniging te worden. -
Psalms Psalm
Cultivate - PSALMS PSALM 126: We now come to the seventh of the "Songs of Ascent," a lovely group of Psalms that God's people would sing and pray together as they journeyed up to Jerusalem. Here in this Psalm they are praying for the day when the Lord would "restore the fortunes" of God's people (vs.1,4). 126 is a prayer for spiritual revival and reawakening. The first half is all happiness and joy, remembering how God answered this prayer once. But now that's just a memory... like a dream. They need to be renewed again. So they call out to God once more: transform, restore, deliver us again. Don't you think this is a prayer that God's people could stand to sing and pray today? Pray it this week. We'll pray it together on Sunday. God is here inviting such prayer; he's even putting the very words in our mouths. PSALM 127: This is now the eighth of the "Songs of Ascent," which God's people would sing on their procession up to the temple. We've seen that Zion / Jerusalem / The House of the Lord are all common themes in these Psalms. But the "house" that Psalm 127 refers to (in v.1) is that of a dwelling for a family. 127 speaks plainly and clearly to our anxiety-ridden thirst for success. How can anything be strong or successful or sufficient or secure... if it does not come from the Lord? Without the blessing of the Lord, our lives will come to nothing. -
Life-Cycle of the Believer: a Crescendo of Praise
PENINSULA BIBLE CHURCH CUPERTINO LIFE-CYCLE OF THE BELIEVER: Catalog No. 7153 A CRESCENDO OF PRAISE Psalms Dorman Followwill July 18th, 1999 Over the past year, my world has been turned upside- forward, the journey away from the “self” and toward our down. Having embarked on the path of being a vocational eternal God begins, and it is a journey we see traced in the pastor for the rest of my life, and after eight years of walking book of Psalms in the Hebrew Scriptures. Here we find Da- along that path, suddenly the plan changed drastically a year vid, a man after God’s own heart, working out his entire spiri- ago. It became clear to me that my God was calling me back tual life with his Lord, in all its agonies and ecstasies, on into the business world for a season. This past year has been a paper. Through it all he came to know himself very deeply. much different journey than any I have ever taken, and it has But more importantly, he came to know God. And even more forced me to think and pray about what God wants my life to importantly, he grew in praising God, the ultimate end of this look like now. So, since this has been so greatly on my heart life and the preoccupation of the next. and in my prayers over the past year, I want to take the next The path toward knowing God intimately and learning the two weeks to do a short series on the topic, finding God’s vision crucial importance of praising him lies through the Psalms. -
The Psalms As Hymns in the Temple of Jerusalem Gary A
4 The Psalms as Hymns in the Temple of Jerusalem Gary A. Rendsburg From as far back as our sources allow, hymns were part of Near Eastern temple ritual, with their performers an essential component of the temple functionaries. 1 These sources include Sumerian, Akkadian, and Egyptian texts 2 from as early as the third millennium BCE. From the second millennium BCE, we gain further examples of hymns from the Hittite realm, even if most (if not all) of the poems are based on Mesopotamian precursors.3 Ugarit, our main source of information on ancient Canaan, has not yielded songs of this sort in 1. For the performers, see Richard Henshaw, Female and Male: The Cu/tic Personnel: The Bible and Rest ~(the Ancient Near East (Allison Park, PA: Pickwick, 1994) esp. ch. 2, "Singers, Musicians, and Dancers," 84-134. Note, however, that this volume does not treat the Egyptian cultic personnel. 2. As the reader can imagine, the literature is ~xtensive, and hence I offer here but a sampling of bibliographic items. For Sumerian hymns, which include compositions directed both to specific deities and to the temples themselves, see Thorkild Jacobsen, The Harps that Once ... : Sumerian Poetry in Translation (New Haven: Yale University Press, 1987), esp. 99-142, 375--444. Notwithstanding the much larger corpus of Akkadian literarure, hymn~ are less well represented; see the discussion in Alan Lenzi, ed., Reading Akkadian Prayers and Hymns: An Introduction, Ancient Near East Monographs (Atlanta: Society of Biblical Literature, 2011), 56-60, with the most important texts included in said volume. For Egyptian hymns, see Jan A%mann, Agyptische Hymnen und Gebete, Orbis Biblicus et Orientalis (Gottingen: Vandenhoeck & Ruprecht, 1999); Andre Barucq and Frarn;:ois Daumas, Hymnes et prieres de /'Egypte ancienne, Litteratures anciennes du Proche-Orient (Paris: Cerf, 1980); and John L. -
Glimpses of Handel in the Choral-Orchestral Psalms of Mendelssohn
Glimpses of Handel in the Choral-Orchestral Psalms of Mendelssohn Zachary D. Durlam elix Mendelssohn was drawn to music of the Baroque era. His early training Funder Carl Friedrich Zelter included study and performance of works by Bach and Handel, and Mendelssohn continued to perform, study, and conduct compositions by these two composers throughout his life. While Mendels- sohn’s regard for J. S. Bach is well known (par- ticularly through his 1829 revival of Bach’s St. Matthew Passion), his interaction with the choral music of Handel deserves more scholarly at ten- tion. Mendelssohn was a lifelong proponent of Handel, and his contemporaries attest to his vast knowledge of Handel’s music. By age twenty- two, Mendelssohn could perform a number of Handel oratorio choruses from memory, and two years later, fellow musician Carl Breidenstein remarked that “[Mendelssohn] has complete knowledge of Handel’s works and has captured their spirit.”1 Zachary D. Durlam Director of Choral Activities Assistant Professor of Music University of Wisconsin Milwaukee [email protected] 28 CHORAL JOURNAL Volume 56 Number 10 George Frideric Handel Felix Mendelssohn Glimpses of Handel in the Choral- Mendelssohn’s self-perceived familiarity with Handel’s Mendelssohn’s Psalm 115 compositions is perhaps best summed up in the follow- and Handel’s Dixit Dominus ing anecdote about English composer William Sterndale During an 1829 visit to London, Mendelssohn was Bennett: allowed to examine Handel manuscripts in the King’s Library. Among these scores, he discovered and -
The Book of Alternative Services of the Anglican Church of Canada with the Revised Common Lectionary
Alternative Services The Book of Alternative Services of the Anglican Church of Canada with the Revised Common Lectionary Anglican Book Centre Toronto, Canada Copyright © 1985 by the General Synod of the Anglican Church of Canada ABC Publishing, Anglican Book Centre General Synod of the Anglican Church of Canada 80 Hayden Street, Toronto, Ontario, Canada M4Y 3G2 [email protected] www.abcpublishing.com All rights reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the written permission of the publisher. Acknowledgements and copyrights appear on pages 925-928, which constitute a continuation of the copyright page. In the Proper of the Church Year (p. 262ff) the citations from the Revised Common Lectionary (Consultation on Common Texts, 1992) replace those from the Common Lectionary (1983). Fifteenth Printing with Revisions. Manufactured in Canada. Canadian Cataloguing in Publication Data Anglican Church of Canada. The book of alternative services of the Anglican Church of Canada. Authorized by the Thirtieth Session of the General Synod of the Anglican Church of Canada, 1983. Prepared by the Doctrine and Worship Committee of the General Synod of the Anglican Church of Canada. ISBN 978-0-919891-27-2 1. Anglican Church of Canada - Liturgy - Texts. I. Anglican Church of Canada. General Synod. II. Anglican Church of Canada. Doctrine and Worship Committee. III. Title. BX5616. A5 1985 -
Mendelssohn Bartholdy
Felix Mendelssohn Bartholdy Der 42. Psalm op. 42 Wie der Hirsch schreit /Like as the hart MWV A 15 Soli (STTBB), Coro (SATB) 2 Flauti, 2 Oboi, 2 Clarinetti, 2 Fagotti 2 Corni, 2 Trombe, 3 Tromboni, Timpani 2 Violini, Viola, Violoncello, Contrabbasso ed Organo herausgegeben von/edited by Günter Graulich Stuttgarter Mendelssohn-Ausgaben Urtext Partitur/Full score C Carus 40.072 Inhalt Vorwort Dem heutigen Musikbetrieb dient Felix Mendelssohn Bar- liegen auch solche von Händel in Mendelssohns Bearbei- Vorwort / Foreword / Avant-propos 3 tholdy (1809–1847), der „romantische Klassizist“ (A. Ein- tungen und Ausgaben vor, so das Dettinger Te Deum, Acis stein) oder „klassizistische Romantiker“ (P. H. Lang), nur und Galatea sowie Israel in Ägypten. Hier hat Mendelssohn Faksimiles 8 mit einem schmalen Anteil seines reichen Werkes: mit Sin- nicht nur die Partituren nach den Originalquellen revidiert, fonien, Ouvertüren, dem Violin- und dem Klavierkonzert, sondern auch obligate Orgelpartien ausgeschrieben. der Musik zu Shakespeares Sommernachtstraum und weni- 1. Coro (SATB) 11 ger Kammermusik (z.B. dem Streicheroktett), Aufführun- Mendelssohn selbst hat sowohl geistliche A-cappella- Wie der Hirsch schreit gen seines gewichtigen und einst populären Oratorien- Musik „im alten Stil“ geschrieben als auch Werke mit As the hart longs spätlings Elias op. 70 (1846) sind heute selten. Und sein bei instrumentaler Begleitung. In der ersten Gruppe ragen das weitem originellstes Vokalwerk, die Erste Walpurgisnacht großartige achtstimmige Te Deum (1826) sowie die Mo- 2. Aria (Solo S) 26 op. 60 nach Goethe (zwei Fassungen: 1831 und 1843), von tetten op. 69, drei Psalmen op. 78 und Sechs Sprüche für Meine Seele dürstet nach Gott Berlioz gerühmt und ein Gipfel des Oratorienschaffens Doppelchor op. -
ODE 1201-1 DIGITAL.Indd
ESTONIAN PHILHARMONIC CHAMBER CHOIR MENDELSSOHN DANIEL REUSS PSALMS KREEK 1 FELIX MENDELSSOHN (1809–1847) 1 Psalm 100 “Jauchzet dem Herrn, alle Welt”, Op. 69/2 4’27 CYRILLUS KREEK (1889–1962) 2 Psalm 22 “Mu Jumal! Mikspärast oled Sa mind maha jätnud?” 4’27 FELIX MENDELSSOHN 3 Psalms, Op. 78: 3 Psalm 2 “Warum toben die Heiden” 7’29 4 Psalm 43 “Richte mich, Gott” 4’31 5 Psalm 22 “Mein Gott, warum hast du mich verlassen?” * 8’08 * TIIT KOGERMAN, tenor CYRILLUS KREEK 6 Psalm 141 “Issand, ma hüüan Su poole” 2’27 7 Psalm 104 “Kiida, mu hing, Issandat!” 2’28 8 “Õnnis on inimene” 3’26 9 Psalm 137 “Paabeli jõgede kaldail” 6’40 FELIX MENDELSSOHN 10 “Hebe deine Augen” (from: Elijah, Op. 70) 2’16 11 “Denn er hat seinen Engeln befohlen” (from: Elijah, Op. 70) 3’32 12 “Wie selig sind die Toten”, Op. 115/1 3’30 2 CYRILLUS KREEK Sacred Folk Songs: 13 “Kui suur on meie vaesus” 2’43 14 “Jeesus kõige ülem hää” 1’54 15 “Armas Jeesus, Sind ma palun” 2’31 16 “Oh Jeesus, sinu valu” 2’03 17 “Mu süda, ärka üles” 1’43 ESTONIAN PHILHARMONIC CHAMBER CHOIR DANIEL REUSS, conductor Publishers: Carus-Verlag (Mendelssohn), SP Muusikaprojekt (Kreek) Recording: Haapsalu Dome Church, Estonia, 14–17.9.2009 Executive Producer: Reijo Kiilunen Recording and Post Production: Florian B. Schmidt ℗ 2012 Ondine Oy, Helsinki © 2012 Ondine Oy, Helsinki Booklet Editor: Elke Albrecht Translations to English: Kaja Kappel/Phyllis Anderson (liner notes), Kaja Kappel (tracks 13-17) Photos: Kaupo Kikkas (Niguliste Church in Tallinn – Front Cover; Daniel Reuss); Tõnis Padu (Haapsalu Dome Church) Design: Armand Alcazar 3 PSALMS BY FELIX MENDELSSOHN Jakob Ludwig Felix Mendelssohn-Bartholdy (1809–1847) was born in Germany into a family with Jewish roots; his grandfather was the philosopher Moses Mendelssohn, his father a banker. -
Felix Mendelssohn Bartholdy Sielminger Straße 51 Herr, Gedenke Nicht Op
Mendelssohn Bartholdy Das geistliche Vokalwerk · Sacred vocal music · Musique vocale sacrée Carus Alphabetisches Werkverzeichnis · Works listed alphabetically Adspice Domine. Vespergesang op. 121 25 Hymne op. 96 19, 27 Abendsegen. Herr, sei gnädig 26 Ich harrete des Herrn 30 Das geistliche Vokalwerk · The sacred vocal works · La musique vocale sacrée 4 Abschied vom Walde op. 59,3 33 Ich weiche nicht von deinen Rechten 29 Die Stuttgarter Mendelssohn-Ausgaben · The Stuttgart Mendelssohn Editions Ach Gott, vom Himmel sieh darein 15 Ich will den Herrn preisen 29 Les Éditions Mendelssohn de Stuttgart 8 Allein Gott in der Höh sei Ehr 26 Jauchzet dem Herrn in A op. 69,2 28 Orchesterbegleitete Werke · Works with orchestra · Œuvres avec orchestre Alleluja (aus Deutsche Liturgie) 26, 27 Jauchzet dem Herrn in C 30 Amen (aus Deutsche Liturgie) 26, 27 Jauchzet Gott, alle Lande 29 – Die drei Oratorien · The three oratorios · Les trois oratorios 11 Auf Gott allein will hoffen ich 26 Jesu, meine Freude 17 – Die fünf Psalmen · The five psalms · Les cinq psaumes 13 Aus tiefer Not schrei ich zu dir op. 23,1 27 Jesus, meine Zuversicht 30 – Die acht Choralkantaten · The eight chorale cantatas · Les huit cantates sur chorals 15 Ave Maria op. 23,2 27 Jube Domne 31 – Lateinische und deutsche Kirchenmusik · Latin and German church music Ave maris stella 24 Kyrie in A (aus Deutsche Liturgie) 26, 27 Musique sacrée latine et allemande 19 Beati mortui / Selig sind op. 115,1 25 Kyrie in c 31 Werke für Solostimme · Works for solo voice · Œuvres pour voix solo 24 Cantique pour l’Eglise Wallonne 26, 31 Kyrie in d 21 Christe, du Lamm Gottes 15 Lasset uns frohlocken op. -
(1Qha XX 7–XXI 39[?]) a NEW SUPERSCRIPTION-ORIENTED APPROACH
ASSESSING THE GENRE OF THE MASKIL THANKSGIVING-PRAYER (1QHa XX 7–XXI 39[?]) A NEW SUPERSCRIPTION-ORIENTED APPROACH by MICHAEL BROOKS JOHNSON A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES BIBLICAL STUDIES PROGRAM We accept this thesis as conforming to the required standard ................................................................................. Peter Flint, Ph.D.; Thesis Supervisor ................................................................................. Martin Abegg, Jr., Ph.D.; Second Reader TRINITY WESTERN UNIVERSITY August 28, 2013 © Michael Brooks Johnson To Stanley C. Johnson, a gardener, carpenter, and father. Memory Eternal CONTENTS Table of Contents i Acknowledgements iii Sigla, Terms, and Abbreviations iv Abstract vii Chapter 1: Introduction: Thesis Question, Plan of Study, and Definitions of Key Terms 1 1.0 Introduction 1.1 Thesis Question 1.2 The Problem and Solution for the Thesis Question 1.3 The Contents of the Maskil Thanksgiving-Prayer 1.4 Plan of Study 1.5 Definitions of Key Terms Chapter 2: Review of Scholarship on the Maskil Thanksgiving-Prayer 26 2.0 Introduction 2.1 Review of Hodayot Scholarship: From E. L. Sukenik to A. K. Harkins 2.2 Editions of Hodayot Manuscripts 2.3 Dating the Hodayot Manuscripts 2.4 Observations, Proposals, and Conclusions Chapter 3: Genre Criticism: A Method and a Model for Maskil Superscriptions 53 3.0 Introduction 3.1 A Working Definition of “Genre” and “Genre Criticism” 3.2 Three Phases of -
WEEK 84, DAY 1 KNOW the WORD PSALMS 42, 43, 73, and 88 Good Morning. This Is Pastor Soper and Welcome to Week 84 of Know the Wo
WEEK 84, DAY 1 KNOW THE WORD PSALMS 42, 43, 73, and 88 Good morning. This is Pastor Soper and welcome to Week 84 of Know the Word. We have just about 1/3 of the Book of Psalms left to read, so this week we will focus our attention there before progressing to the remaining portions of the Book of Leviticus and the New Testament Epistle to the Hebrews. Today we read four Psalms: 42,43,73, and 88. Now I am rather certain that some of you were trying to figure out why I chose these particular Psalms for our reading today. They are not connected by author. Psalm 43 is one of only 34 Psalms that do not have any superscription at all and therefore we have no clue whatever as to who might have written it. Psalms 42 and 88 are attributed to the sons of Korah - the Levites who led worship in the Temple that Solomon built. Psalm 73 is, according to its title, from the pen of Asaph. Nor can we link these four Psalms by means of identifying the situations out of which they emerged. This much they have in common - they are all prayers. Most of the Psalms are either hymns or prayers - though perhaps we could say that they all are prayers for all hymns rightly understood are prayers, aren’t they? But these four Psalms are prayers of a particular kind - they have at least 2, maybe 3, common characteristics. First, they are personal prayers - personal prayers that somehow came to be prayed very publicly, but personal prayers nonetheless.