BWV 245: Passion According to St. John Good Friday (Vespers
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The Musical Heritage of the Lutheran Church Volume I
The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945). -
Lutheran Spirituality and the Pastor
Lutheran Spirituality and the Pastor By Gaylin R. Schmeling I. The Devotional Writers and Lutheran Spirituality 2 A. History of Lutheran Spirituality 2 B. Baptism, the Foundation of Lutheran Spirituality 5 C. Mysticism and Mystical Union 9 D. Devotional Themes 11 E. Theology of the Cross 16 F. Comfort (Trost) of the Lord 17 II. The Aptitude of a Seelsorger and Spiritual Formation 19 A. Oratio: Prayer and Spiritual Formation 20 B. Meditatio: Meditation and Spiritual Formation 21 C. Tentatio: Affliction and Spiritual Formation 21 III. Proper Lutheran Meditation 22 A. Presuppositions of Meditation 22 B. False Views of Meditation 23 C. Outline of Lutheran Meditation 24 IV. Meditation on the Psalms 25 V. Conclusion 27 G.R. Schmeling Lutheran Spirituality 2 And the Pastor Lutheran Spirituality and the Pastor I. The Devotional Writers and Lutheran Spirituality The heart of Lutheran spirituality is found in Luther’s famous axiom Oratio, Meditatio, Tentatio (prayer, meditation, and affliction). The one who has been declared righteous through faith in Christ the crucified and who has died and rose in Baptism will, as the psalmist says, “delight … in the Law of the Lord and in His Law he meditates day and night” (Psalm 1:2). He will read, mark, learn, and take the Word to heart. Luther writes concerning meditation on the Biblical truths in the preface of the Large Catechism, “In such reading, conversation, and meditation the Holy Spirit is present and bestows ever new and greater light and devotion, so that it tastes better and better and is digested, as Christ also promises in Matthew 18[:20].”1 Through the Word and Sacraments the entire Trinity makes its dwelling in us and we have union and communion with the divine and are conformed to the image of Christ (Romans 8:29; Colossians 3:10). -
Inhalt Des Ersten Bandes. Die Periode Des Vekenntmsliedes 1570—1648
Inhalt des ersten Bandes. Die Periode des Vekenntmsliedes 1570—1648. A. Die Zeit von 1570-1618. Seite Seite Seite I. Tie thüringischen Dichter. Leonhard Kreichheim . 81 Sebastian Hornmolt . 156 Johannes Timäns. 82 Johann Philipp Apsfel Cyriakus Schneegaß . 1 Caspar Schreiber . 83 selber . 158 Erasmus Winter ... 3 Melchior Eccard . 84 Johann Assum . 158 Johann Stenrlein ... 3 Nathanael Tilesins . 88 Bernhard Heupold 160 Johann Stoll .... 6 Martin Hancke .... 92 David Spaiser . 161 Melchior Bischoff ... 7 Caspar Rauch .... 93 Abraham Suarinns . 10 c) Sonstige Dichter. Johann Lemann . 94 Michael Sachse . ... 14 Johannes Flimmer Christiana Cunradina. 96 Martin Rutilius .... 21 (Flinner) . 167- Valerius Herberger . 97 Basilius Förtsch .... 22 Johann Halbmeyr 167 Zacharias Herberg er . 99 NicolauS Rhost .... 26 Sebastian Ambrosius 169 Adam Meitzer .... 100 Johann Kempff .... 27 Zacharias Eyring . 170 Christoph Knoll . 100 Tobias Kiel 28 Moritz Moltzer . 172 Lieder von unbekannten Johann Lindemann . 32 Lieder von unbekannten Verfassern 103 Lieder von unbekannten Verfassern . .... 173 Verfassern 33 IV. Die süddeutschen Dichter. V. Die norddeutschen Dichter. Urban Störner . 177 II. Die sächsischen Dichter. a) Die Dichter aus Franken. Valentin Rehefeld . 178 Urban Langhans ... 42 Andreas Pancratins 117 Georg Schultze . 178 Thomas Popel .... 44 Christoph Homagius 118 Stephan Praetorins 179 Cornelius Freundt ... 45 Johann Mylius 118 Theodor Sommer . 181 Christian Schön .... 49 Hieronymus Oertel 122 Wolfgang Striccius 182 Tobias Roth 51 Georg Oesterreicher 124 David Lang . 184 Johann Wagner.... 52 Caspar Uttenhoser . 136 Petrus Bambamins 185 Johann Förster .... 53 137 Johann Neser . Nicolaus Gryse. 186 Michael Schumler ... 57 Georg Grünewald . 138 Friedrich Gundelwein 190 Zachäus Faber d. Ä. 57 Christian Thalhamer 139 Christoph Friccius. 190 Johann Thönniker .. -
Johannes-Passion
JOHANN SEBASTIAN BACH 1685-1750 JOHANNES-PASSION BWV 244 (1727, revisie 1736) op teksten van Barthold Heinrich Brockes en anderen ZANGTEKSTEN Uitgave van Preludium, muziekmagazine van Het Concertgebouw en het Koninklijk Concertgebouworkest www.preludium.nl 1 MATTHÄUS-PASSION EERSTE DEEL 1 Koor Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist! Zeig uns durch deine Passion, dass du, der wahre Gottessohn, zu aller Zeit, auch in der grössten Niedrigkeit, verherrlicht worden bist! JOHANNES XVIII 2a Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garte, da rein ging Jesus und seine Jünger. Judas aber, der ihn verriet, wusste den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Fakkeln, Lampen und mit Waffen. Als nun Jesus wusste alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen: Jezus Wen suchet ihr? Evangelist Sie antworteten ihm: 2b Koor Jesum von Nazareth. 2c Evangelist Jesus spricht zu ihnen: 2 Jezus Ich bins. Evangelist Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bins, wichen sie zurükke und fielen zu Boden. Da fragete er sie abermal: Jezus Wen suchet ihr? Evangelist Sie aber sprachen: 2d Koor Jesum von Nazareth. 2e Evangelist Jesus antwortete: Jezus Ich habs euch gesagt, dass ichs sei, suchet ihr denn mich, so lasset diese gehen! 3 Koraal O grosse Lieb, o Lieb ohn alle Masse, die dich gebracht auf diese Marterstrasse! Ich lebte mit der Welt in Lust und Freuden, und du musst leiden. -
Inhalts-Übersicht
Inhalts-Übersicht. Erster Teil. Das Kirchenlied von seinen ersten Anfangen im apostolischen Zeitalter bis )«m Leginn der Reformation. Erste Periode. Dos kirchliche Lied als Gemeindesesang. A. Sis zur Freigabe des Christentums als Staatsrcllgton des römischen Reichs (314). Seite 1. Die alttestamentlichen Psalmen als Hauptbestandteil der ersten christlichen Gesänge . ' 1 2. Neu hinzukommende neutestamentliche Lobgesänge u. Griginallieder 3 3. Zwei Hymnen aus dem nachapostolifchen Zeitalter: Gloria und Agnus 3 B. ver ambrofifliitfdjt Airchengesang und die lateinische Hymnendichtnng. 1. Die Scheidung in eine morgenländische (griechische) und abend- ländische (lateinische) Kirche. — Hieronymus. — psalmodie ... 4 2. Ambrosiusv. Mailand, seine Persönlichkeit und Bedeutung. 5 Hilarius. — prudentius. Zweite Periode. Das kirchliche Lied wird Priestergesang. A. Sie Reformen Gregors des Großen^ 8 Verroettlichung des ambrofianifchen Gesanges. — Gregors mönchisch- hierarchische Anschauung. — Umgestaltung des Kirchengesanges. — Ver gleich des gregorianischen und ambrofianifchen Kirchengesanges. • B. Durchführung des gregorianische« Gesanges Im fränkischen Reiche durch Larl den Großen . 10 Karls Ziele. — Lhrodegana von Metz.—Nabanus Maurus. — Ergebnis. Bibliografische Informationen digitalisiert durch http://d-nb.info/578326906 Inhalts-llbersicht. XI Dritte Periode. Neben der kirchlichen Vorherrschast des lateinischen Priester- gesanges die Entwicklung des geistlichen Liedes zum Volks gesang in deutscher Sprache. A. Bas lateinische Kirchenlied. Seite 1. Gründe für die Vorherrschaft der lateinischen Sprache im kirchlichen Lied 12 2. Die hervorragendsten Erzeugnisse der lateinischen Liederdichtung seit dem 9. Jahrhundert 13 9. Jahrhundert: lvalafried Strabo. — Notker der Ältere. S e- quenzen 13 11. „ Robert von Zrankreich 14 12. „ Bernhard v. Clairvaux. Beginn der IRyftit . 14 13. „ Die Bettelorden. Thomas v. Celano. Zakoponus. 15 Thomas v. flquino 18 14. u. 15. „ verfall des lateinischen Kirchenliedes .... 18 B. -
J.E. Gardiner (SDG
Cantatas for Quinquagesima King’s College Chapel, Cambridge This concert was significant in several ways. Firstly, it contained Bach’s two ‘test’ pieces for the cantorship at St Thomas’s in Leipzig, BWV 22 and BWV 23, designed to be performed within a single service either side of the sermon on 7 February 1723. Then Quinquagesima being the last Sunday before Lent, it was accordingly the final opportunity Leipzigers had of hearing music in church before the statutory tempus clausum that lasted until Vespers on Good Friday, and Bach seemed determined to leave them with music – four cantatas – that they wouldn’t easily forget. Thirdly, by coincidence, in 2000 Quinquagesima fell on 5 March, thirty-six years to the day since I first conducted Monteverdi’s Vespers of 1610 in King’s College Chapel as an undergraduate. The Monteverdi Choir was born that night. I was pleased to be returning to King’s for this anniversary, and to invite the four collegiate choirs from which I had recruited the original Monteverdians to join with us in the singing of the chorales at the start of the concert. Of these, the choirs of Clare and Trinity Colleges responded positively. King’s Chapel seemed to work its unique Gothic alchemy on the music, though, as ever, one needed to be on one’s guard against the insidious ‘tail’ of its long acoustic which can turn even the most robust music-making into mush. St Luke’s Gospel for Quinquagesima recounts two distinct episodes, of Jesus telling the disciples of his coming Passion and of sight restored to a blind man begging near Jericho. -
A Critical Study of Five Reconstructions of Bach's Markuspassion BWV 247 with Particular Reference to the Parody Technique
A critical study of five reconstructions of Bach’s Markuspassion BWV 247 with particular reference to the parody technique Paula Fourie Supervisor: Professor John Hinch Submitted in fulfilment of the requirements of the degree MMus Department of Music University of Pretoria November 2010 © University of Pretoria Acknowledgements I would like to thank the following people for their part in this dissertation: • Professor John Hinch for his guidance and supervision • Johann van der Sandt for guiding me to this topic and for providing scores and recordings of several of the reconstructions under discussion • Isobel Rycroft from the UP music library for her unwavering help in locating information sources • My parents who have shown that learning is a life-long quest • Etienne, for his patience and assistance with proofreading ©© Abstract A part of Johann Sebastian Bach’s musical duties in Leipzig was to present an annual setting of the passion for Good Friday Vespers. One such work was the Markuspassion, performed in 1731. Although the score of this companion work to the Matthäuspassion and Johannespassion has been lost, the original text of the Markuspassion is extant. Bach frequently made use of the parody technique in his compositions. This practice consisted of adapting existing music to a new text that was based on the rhyme scheme of the original one, resulting in two compositions essentially sung to the same music, barring a number of enforced changes. This particular feature of Bach’s compositional technique makes it possible that the lost music originally contained in the Markuspassion could be discovered within his oeuvre. In the late 19th century, Bach scholars began to research the possibility of reconstructing the Markuspassion, recognizing that it may have contained music parodied from other compositions basing, to a large extent, their research on textual comparison. -
Mote‡E in Derthomaskir E
ï Mote‡e in der Thomaskire Freitag, den 3. März 2017, 18 Uhr Beim Glockenschlag bitten wir die Gemeinde, sich zu erheben. Johann Sebastian Bach (* 21.3.1685, Eisenach; † 28.7.1750, Leipzig; Thomaskantor 1723–1750) Zwei Choralvorspiele über Lieder Martin Luthers − Wir gläuben all an einen Gott · vierstimmige Orgelmotette BWV 765 − Dies sind die heilgen zehen Gebot Choralbearbeitung BWV 678 »a 2 Clav. et Ped. / Canto fermo in Canone« aus dem »Dritten Theil der Clavier Übung« (Leipzig 1739) Ingressus (Eingang) & b œ œ ˙ œ œ Kantor: Herr, höre meine Stimme wenn ich ru - fe; Gemeinde: sei mir gnädig und er - hö - re mich. Kantor: Eile, Gott, mich zu er - ret - ten, Gemeinde: Herr, mir zu hel - fen. Kantor: Ehre sei dem Vater und dem Sohne und dem Hei - li - gen Gei - ste, Gemeinde: wie es war im Anfang, jetzt und immerdar und von Ewigkeit zu E- wig - keit. A- men. & b œ œ œ œ œœ Gemeinde: Lob sei dem König der Herr-lich - keit. Psalmodie Johann Ludwig Bach (Psalmgebet) (˜ 6.2.1677, Thal bei Eisenach; 1.5.1731, Meiningen) Das ist meine Freude Motette für zwei vierstimmige Chöre und Basso continuo Das ist meine Freude, daß ich mich zu Gott halte, und meine Zuversicht setze auf den Herren. Psalm 73:28 ï Lektion Johannes Brahms (Lesung) (* 7.5.1833, Hamburg; † 3.4.1897, Wien) Warum ist das Licht gegeben dem Mühseligen Motette op. 74/1 für vier- bis sechsstimmigen Chor (1879) Warum ist das Licht gegeben dem Mühseligen, und das Leben den betrübten Herzen? Die des Todes warten und kommt nicht, und grüben ihn wohl aus dem Verborgenen. -
Reception of Josquin's Missa Pange
THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic -
Inhal! Seite Geschichtliche Einleitung XXIX
Inhal! Seite Geschichtliche Einleitung XXIX Erstes Buch. Alte deutsche Leise 3 Von der Geburt Christi (Gelobet seist du, Jesu Christ) . 3 Off erlieb (Christ ist erstanden) 3 Abendmahl (Gott sei gelobet und gebenedeiet) 4 Von der Himmelfahrt Christi (Christ fuhr gen Himmel) ... 4 Pfingstlied (Nun bitten wir den heiligen Geist) 4 Am Fest der heiligen Dreifaltigkeit (Das helfen uns die Namen drei) 5 O du armer Judas 5 Kreuzleis (In Gottes Namen fahren wir) 5 Veni sancte spiritus (Komm, heiliger Geist, Herre Gott) ... 6 Media vita (Inmitten in des Lebens Zeit) 6 Ymnum dicamus domino (Gott sagen wir Gnade- und Ehrendank) 6 Ave Maria (Ave Maria, ein Ros' ohn alle Dorn) 7 Spervogel (der ältere) . 8 Das Crlösungswerk (Er ist gewaltig und ist stark) .... 8 Hartmann von Aue 9 Kreuzlied (Dem Kreuze ziemet frommer Mut) 9 Walther von der Vogelweide 11 Morgensegen (Mit Segen laß mich heut erstehn) 11 Gott, hilf und vergib (Du hochgelobter Gott, wie selten ich dich Preise) 11 Kreuzigung 1 (Sünder, du sollst der großen Rot bei dir gedenken) 12 Kreuzigung 2 (Der Blinde sprach zu seinem Knechte: „Du sollst kehren") - 12 Der große Sturm (O weh, vernehmt's gewiß, es kommt ein Sturm) 12 Im gelobten Lande (Nun erst leb ich ohne Fährde) .... 13 Gottfried von Straßburg 16 Von der Armut (Kind, und wollte dich das Glück auch meiden) 16 Unbekannter Verfasser 18 Lied von der Gottesminne (Wer Gottes Minne will erjagen) 18 Reinmar von Zweter 22 Gott aller guten Dinge Ursprung (Gott, Ursprung aller guten Ding) 22 Der Marner 22 Sieh nach allen Seiten (Sieh, Sünder, an die Straßen) . -
Luther's Lost Books and the Myth of the Memory Cult
Luther's Lost Books and the Myth of the Memory Cult Dixon, C. S. (2017). Luther's Lost Books and the Myth of the Memory Cult. Past and Present, 234(Supplement 12), 262-85. https://doi.org/10.1093/pastj/gtx040 Published in: Past and Present Document Version: Peer reviewed version Queen's University Belfast - Research Portal: Link to publication record in Queen's University Belfast Research Portal Publisher rights © The Past and Present Society. This work is made available online in accordance with the publisher’s policies. Please refer to any applicable terms of use of the publisher General rights Copyright for the publications made accessible via the Queen's University Belfast Research Portal is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The Research Portal is Queen's institutional repository that provides access to Queen's research output. Every effort has been made to ensure that content in the Research Portal does not infringe any person's rights, or applicable UK laws. If you discover content in the Research Portal that you believe breaches copyright or violates any law, please contact [email protected]. Download date:26. Sep. 2021 1 Luther’s Lost Books and the Myth of the Memory Cult C. Scott Dixon On the morning of 18 February 1546, in his birthplace of Eisleben, Martin Luther died of heart failure. Just as Johann Friedrich, Elector of Saxony, had feared, and Luther himself had prophesied, his trip to the duchy of Mansfeld to settle a jurisdictional dispute had proven too much. -
Bach's Cantata Libretti PROFESSOR C
This article was downloaded by: [University of Huddersfield] On: 09 January 2015, At: 18:58 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Proceedings of the Musical Association Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/ rrma18 Bach's Cantata Libretti PROFESSOR C. Sanford Terry & D. Litti Published online: 28 Jan 2009. To cite this article: PROFESSOR C. Sanford Terry & D. Litti (1917) Bach's Cantata Libretti, Proceedings of the Musical Association, 44:1, 71-125, DOI: 10.1093/jrma/44.1.71 To link to this article: http://dx.doi.org/10.1093/jrma/44.1.71 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.