May 2 Order of Worship

Total Page:16

File Type:pdf, Size:1020Kb

May 2 Order of Worship FIRST BAPTIST CHURCH Historic | Liturgical | Vibrant FIFTH SUNDAY OF EASTERTIDE May 2, 2021 at 11:00 am WE GATHER TO PRAISE GOD Music Notes CHIMING OF THE HOUR Much of the music used in today’s worship service will be excerpts from “Der WELCOME Rev. Katie Callaway & Rev. John Callaway Himmel lacht! Die Erde jubilieret” (Heaven Laughs! Earth Exults) by INVOCATION Johann Sebastian Bach. This work is Bach’s 31st PRELUDE - “Sonata” from Cantata No. 31 by Johann Sebastian Bach church cantata and was North Carolina Baroque Orchestra written for the first day of the Easter season. It was first performed in CALL TO WORSHIP - Psalm 22:25-31 Ellen Davis, Lay Reader Weimar, Germany, on April 21, 1715 and later HYMN - “Christ Is Risen, Shout Hosanna” Tune: HYMN TO JOY reworked for performances in Leipzig. The work is scored for five Christ is risen! Shout hosanna! part choir, large Celebrate this day of days! orchestra, and soprano, tenor, and bass soloists. Christ is risen! Hush in wonder: All creation is amazed. In the desert all surrounding, Guest Musicians See, a spreading tree has grown. Healing leaves of grace abounding Today we welcome the Bring a taste of love unknown. choir of Wake Forest University from Winston Salem, NC. They are Christ is risen! Raise your spirits under the direction of Dr. From the caverns of despair. Christopher Gilliam and Walk with gladness in the morning. accompanied by the North See what love can do and dare. Carolina Baroque Orchestra. The choral Drink the wine of resurrection, program at Wake Not a servant, but a friend. encompasses a large Jesus is our strong companion. Concert Choir and a smaller Chamber Choir. Joy and peace shall never end. Their motto, “Pro Humanitate” (For Christ is risen! Earth and heaven Humanity), is a calling to Nevermore shall be the same. use knowledge, talents, and compassion to better Break the bread of new creation the lives of others. The Where the world is still in pain. ensembles in the Music Tell its grim, demonic chorus: Department are open to “Christ is risen! Get you gone!” ALL Wake Forest University students. God the First and Last is with us. Sing hosanna, everyone! Text by Brian Wren WE LISTEN TO GOD Guest Proclaimer FIRST LESSON - Acts 8:26-40 Today we welcome Rev. Junia Joplin (June) to our virtual pulpit. June HOMILY - “Beyond the Binary” Rev. June Joplin received a Bachelor of Arts from Appalachian ANTHEM - “Hallelujah” from Christ on the Mount of Olives State University and a Master of Divinity from by Ludwig Van Beethoven the Baptist Theological Wake Forest University Choir & Seminary at Richmond, North Carolina Baroque Ensemble Virginia. She is a past recipient of the Canada 150 Community Leader Hallelujah! unto God’s almighty Son. Award and has been Praise the Lord, ye bright angelic choirs, named one of Canada’s In holy songs of joy. top 25 Women of Influence in 2021. June is Man, proclaim his grace and glory! a member of Good Faith Hallelujah! unto God’s almighty Son. Media’s strategic board, Praise the Lord in holy songs of joy. and she works with Transmission Ministry Collective to Original German text by Franz Xaver Huber provide support to trans seminarians & clergy. SECOND LESSON - 1 John 4:7-9, 19-21 June currently serves as Associate Pastor of Programs and HOMILY - “To the Table” Rev. John Callaway Congregational Care at the Metropolitan Community Church in WE RESPOND TO GOD Toronto, Canada. HOLY COMMUNION Communion COMMUNION MUSIC - “Letzte Stunde, brich herein” from Cantata No. 31 Today we will observe by Johann Sebastian Bach Holy Communion. For Brianna Coppolino, Soprano your safety during this time of pandemic, individually wrapped Last hour, break forth to press closed my eyes! cups with wafers on top Let me gaze upon Jesus’ joyous glow and his bright light. have been placed in the Let me be like the angels! Last hour, break forth! cup holders of the pews. We will partake of these elements at a designated Original German Text by Salomon Franck time in the service. When you have finished, please place your empty OFFERTORY - “Der Himmel lacht! Die Erde jubilieret” from Cantata No. 31 container back in the cup by Johann Sebastian Bach holder for the deacons to Wake Forest University Choir & collect after the service. North Carolina Baroque Ensemble Heaven laughs! Earth exults And all she bears in her lap; The Creator lives! The Highest triumphs And is freed from the bonds of death. He who has selected the grave for rest, The Holy One, cannot be corrupted. Scan to give. Original German Text by Salomon Franck DOXOLOGY Tune: OLD 100TH Giving Praise God, from whom all blessings flow; If you would like to Praise God, all creatures here below; participate in worship by Praise God above, you heavenly host; giving monetarily, you Creator, Christ, and Holy Ghost. Amen. may place a donation in the offering plate near the doors of the sanctuary, PRAYERS OF THE PEOPLE - You are invited to respond to the petitions of scan the QR code, or click the prayer by saying, “Hear our prayer.” “online giving” on our website: LORD’S PRAYER www.fbc-sav.org. You may also mail a contribution directly to Our Father, who art in heaven, PO Box 9551 Hallowed be thy name. Savannah, GA 31412. Thy kingdom come, Thy will be done, on earth as it is in heaven. Liturgical Season Give us this day our daily bread. And forgive us our sins First Baptist Church As we forgive those who sin against us. follows the liturgical seasons of the Christian And lead us not into temptation, but deliver us from evil. Year as a means of For thine is the kingdom, and the power, and the glory, marking time together. Forever and ever. Amen. We are currently in the season of Eastertide, celebrating Christ’s power RESPONSE - “Chorale” from Cantata No. 31 by Johann Sebastian Bach over death and sin. Wake Forest University Choir & The liturgical colors for the North Carolina Baroque Orchestra season are white and gold. We eat and live well on the true Easter bread, COVID-19 Reminders The old leaven shall not exist next to the word of grace. Christ will be our food and nourish the soul alone. We are currently in Phase Faith will live in no other way. Hallelujah! One of our Reopening Plan. Please remember to wear a mask and maintain Original German Text by Nikolaus Herman social distancing while in the sanctuary. Also, please follow the directions of the WE GO TO SERVE GOD ushers for entering and exiting the building. Thank you for your cooperation. INVITATION TO DISCIPLESHIP TIME OF RESPONSE - You are invited to participate by engaging in the Serving Today comments section of the Facebook Live broadcast. Tricia Kilgore, Video John Rabun, Audio PASTORAL BENEDICTION FBC Deacons POSTLUDE - “Christ lag in Todesbanden” by Johann Sebastian Bach Dr. Justin L. Addington, Organ Permission to reprint and stream the music in this service obtained from ONE LICENSE with license #736838-A. All rights reserved. About Our Church First Baptist Church is a welcoming congregation located in historic downtown Savannah, Georgia. We believe Jesus treated everyone with a spirit of love and equality. Therefore, we accept every individual without regard to age, gender, race, ethnicity, sexual orientation, or socio-economic status. We affirm all persons as created in the image of God. At First Baptist Church, individuals can find family, families can find community, the injured can find healing, and all can seek truth and justice. We labor together in love for each other, our community, our world, and our God. No matter who you are or where you are on life's journey, you are welcomed, you are accepted, you are loved. www.fbc-sav.org Rev. Katie Callaway Co-Pastor [email protected] Rev. John Callaway Co-Pastor [email protected] Dr. Justin Addington Minister of Music [email protected] Abigail Belote Office Coordinator [email protected] .
Recommended publications
  • 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).
    [Show full text]
  • The Reformation: 500 Years © Cantata Bwv 79 J
    Central United Church of Christ presents the SOUTHSIDE PHILHARMONIC ORCHESTRA WITH SPECIAL GUEST Vox Nova THE REFORMATION: 500 YEARS © CANTATA BWV 79 J. S. Bach CANTATA BWV 80 J. S. Bach SYMPHONY NO. 5 in D minor Mendelssohn FEATURING Patrick Clark, Artistic Director and Conductor Christine Jarquio Nichols, Vocal Director JEFFERSON CITY, MISSOURI NOVEMBER 3, 2017, 7:00 pm The Reformation, the German Southside, and Central United Church of Christ When German immigrants began arriving in Jefferson City in the 1840s, Catholic families settled west of St. Peter Church, and Refor- mation Protestant families settled on the south side of Wear’s Creek, creating a neighborhood now called Munichburg. These Protestant immigrants bought land for a church in 1850 and organized and built Central Church in 1858. They formed a congregation open to all German-speaking Protestants, regardless of creed or confession. The congregation’s name in the first constitution (1858) was Evangelical Central Congregation. “Evangelical” refers to the Good News of the gospel. It was a “union” congregation open to all German Protestants. Three Protestant tradi- tions converged: Lutheran (from Luther), Reformed (from Zwingli and Calvin), and Evangelical. The Evangelical denomination was formed when the Prussian ruler united the Lutheran and Reformed churches on October 31, 1817, the 300th anniversary of the Reformation. Since Prussian immigrants dominated the young congregation, Central saw itself an Evangelical church, a united and uniting church for Protestants. It recognized several confessions and catechisms insofar as they agreed, and respected individual conscience where they differed. Shortly after the Civil War, Lutherans who recognized only the Augsburg Confes- sion and Luther’s catechism as the sole creed arising from the Reformation withdrew from the Evangelical Central congregation and joined many more Lutherans who had never participated in the union congregation.
    [Show full text]
  • VAIMULIKUD LOOSUNGID 2008 Valitud Piiblisalmid Igaks Päevaks
    VAIMULIKUD LOOSUNGID 2008 Valitud piiblisalmid igaks päevaks Eesti Evangeelne Vennastekogudus 2008. aasta loosung Jeesus Kristus ütleb: Mina elan ja ka teie peate elama. Jh 14:19 Saatesõna 278. väljaandele Kas uskuda või mitte seda, mida ütleb Jeesus? Usklik inimene häbeneb ja ta ei küsi selliselt. Aga ometi, kas oled sa oma hinges kindel, et kui Jeesus on surnuist üles tõusnud ja elab, siis elad ka sina? Me ei söanda endale esitada selliseid küsimusi ja eriti meeleldi ei mõtle oma tulevikule. Kuigi igal päeval elame otse surma piiril, sest liiga palju on surmaga lõppevaid autoõnnetusi, tulesurmasid ja muid hukkumisi. See on reaalsus, mille keskel siin asume. Igavene elu, mis jätkub peale surma on teoreetilisena tunduv. Kui mu isa rääkis matustel ülestõusmise elust, siis ma noore mehena, kes praktiseeris tema kõrval, ei jõudnud selle mõttega kaasa minna, et jõuda rõõmuni, millele isa osutas. Näeme surma silmade ees ja meile tundub, et selles pole midagi ilusat. Ei olegi ilusat. Aga surm ei ole kohutav, kui su pilk on igavikule suunatud. Mu isa kordas ikka ja jälle: Meie elu on taevas. Meie aga küsime, kuidas on võimalik teha olematuks surma reaalsust ja traagilisust? Meie armsad lahkuvad ja meie ei peaks nutma? Ega nutmine ole keelatud. Nutmine leevendab valu. Siiski ei võta see valu ära. - 3 - Valu saab võtta sinult üksi Jeesus. Sellepärast seabki Ta enese võrdsena meie kõrvale. Ka Tema läks läbi maise surma. Ta ei ütle, mina suren ja teie peate surema. Paned sa tähele, Tema ei vaata surmale, vaid elule. Ta ütleb, see mis minule osaks sai, saab osaks ka sinule. Tõepoolest me ei astu surmast mööda.
    [Show full text]
  • Bach Christmas Oratorio Prog Notes
    Johann Sebastian Bach Christmas Oratorio Programme Notes Johann Sebastian Bach’s Christmas Oratorio was composed in 1734. The title page of the printed libretto, prepared for the congregation, notes “Oratorio performed over the holy festival of Christmas in the two chief churches in Leipzig.” The oratorio was divided into six parts, each part to be performed at one of the six services held during the Lutheran celebration of the Twelve Nights of Christmas. Parts I, II, IV and VI were each performed twice, at St. Thomas and St. Nicholas in alternate morning and afternoon services. Parts III and V, written for days of lesser significance in the festival, were performed only once at St. Nicholas. The music would have served as the “principal music” for the day, replacing the cantata that would otherwise have been performed. The structure of the Christmas Oratorio is similar to that of Bach’s Passions: Bach presents a dramatic rendering of a biblical text, largely in the form of secco recitative (recitative with simple continuo accompaniment) sung by an Evangelist, and adds to it comments and reflections of both an individual and congregational nature, in the form of arias, choruses, and chorales. The biblical text in question is the story of the birth of Jesus through to the arrival of the three Wise Men, drawn from the Gospels according to Luke and Matthew. The narrative is by its very nature less dramatic than that of the Passions, so Bach introduces a number of arioso passages: accompanied recitatives in which the spectator enters the story. The bass soloist, for example, speaks to the shepherds, and the alto to Herod and to the Wise Men, outside the narrative proper, yet intimately involved with it.
    [Show full text]
  • Lutherans for Lent a Devotional Plan for the Season of Lent Designed to Acquaint Us with Our Lutheran Heritage, the Small Catechism, and the Four Gospels
    Lutherans for Lent A devotional plan for the season of Lent designed to acquaint us with our Lutheran heritage, the Small Catechism, and the four Gospels. Rev. Joshua V. Scheer 52 Other Notables (not exhaustive) The list of Lutherans included in this devotion are by no means the end of Lutherans for Lent Lutheranism’s contribution to history. There are many other Lutherans © 2010 by Rev. Joshua V. Scheer who could have been included in this devotion who may have actually been greater or had more influence than some that were included. Here is a list of other names (in no particular order): Nikolaus Decius J. T. Mueller August H. Francke Justus Jonas Kenneth Korby Reinhold Niebuhr This copy has been made available through a congregational license. Johann Walter Gustaf Wingren Helmut Thielecke Matthias Flacius J. A. O. Preus (II) Dietrich Bonheoffer Andres Quenstadt A.L. Barry J. Muhlhauser Timotheus Kirchner Gerhard Forde S. J. Stenerson Johann Olearius John H. C. Fritz F. A. Cramer If purchased under a congregational license, the purchasing congregation Nikolai Grundtvig Theodore Tappert F. Lochner may print copies as necessary for use in that congregation only. Paul Caspari August Crull J. A. Grabau Gisele Johnson Alfred Rehwinkel August Kavel H. A. Preus William Beck Adolf von Harnack J. A. O. Otteson J. P. Koehler Claus Harms U. V. Koren Theodore Graebner Johann Keil Adolf Hoenecke Edmund Schlink Hans Tausen Andreas Osiander Theodore Kliefoth Franz Delitzsch Albrecht Durer William Arndt Gottfried Thomasius August Pieper William Dallman Karl Ulmann Ludwig von Beethoven August Suelflow Ernst Cloeter W.
    [Show full text]
  • ISBN 978-3-7995-0510-9 Musik In
    Sonderdruck aus: Michael Fischer, Norbert Haag, Gabriele Haug-Moritz (Hgg.) MUSIK IN NEUZEITLICHEN KONFESSIONS KULTUREN (16. BIS 19. JAHRHUNDERT) Räume – Medien – Funktionen Jan Thorbecke Verlag 005109_sonderdruck.indd5109_sonderdruck.indd 1 227.01.147.01.14 111:471:47 Gedruckt mit Unterstützung der Geisteswissenschaftlichen Fakultät und des Vizerektorats für Forschung und Nachwuchsförderung der Karl-Franzens-Universität Graz Gedruckt mit Unterstützung des Deutschen Volksliedarchivs in Freiburg Gedruckt mit Unterstützung des Evangelischen Oberkirchenrats Stuttgart sowie des Vereins für württembergische Kirchengeschichte. Für die Schwabenverlag AG ist Nachhaltigkeit ein wichtiger Maßstab ihres Handelns. Wir achten daher auf den Einsatz umweltschonender Ressourcen und Materialien. Dieses Buch wurde auf FSC®-zertifiziertem Papier gedruckt. FSC (Forest Stewardship Council®) ist eine nicht staatliche, gemeinnützige Organisation, die sich für eine ökologische und sozial verantwortliche Nutzung der Wälder unserer Erde einsetzt. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National- bibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Alle Rechte vorbehalten © 2014 Jan Thorbecke Verlag der Schwabenverlag AG, Ostfildern www.thorbecke.de Umschlaggestaltung: Finken & Bumiller, Stuttgart Umschlagabbildung: Stahlstich Eine feste Burg ist unser Gott von H. Gugeler (Gesangbuch für die evangelische Kirche in Württemberg,
    [Show full text]
  • Christian Education in the Seventh-Day Adventist Church in Remo, Ogun State, Nigeria, 1959-2004
    CHRISTIAN EDUCATION IN THE SEVENTH-DAY ADVENTIST CHURCH IN REMO, OGUN STATE, NIGERIA, 1959-2004 BY ADESEGUN, ABIODUN AYODEJI B.A. (Andrews), M.A. (Ibadan) MATRIC NO 40172 A THESIS IN THE DEPARTMENT OF RELIGIOUS STUDIES, SUBMITTED TO THE FACULTY OF ARTS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY, UNIVERSITY OF IBADAN, IBADAN, NIGERIA FEBRUARY, 2009 DEDICATION To the glory of God, and to my darling wife, Mrs.Olubusola Iretiola Adesegun, Chief Nursing Officer, Olabisi Onabanjo University Teaching Hospital, Sagamu, a pearl of inestimable value. ii CERTIFICATION I certify that this work was carried out by Mr. Abiodun Ayodeji ADESEGUN, under my direct supervision in the Department of Religious Studies, Faculty of Arts, University of Ibadan, Ibadan in Partial Fulfillment for the award of the degree of Doctor of Philosophy in Religious Studies …………………………… …………………………… Date Supervisor ‘Deji Ayegboyin B.A. Hons, (Legon), M.A. (Ibadan), Ph.D (Ibadan) iii ACKNOWLEDGMENTS I wish to express my profound gratitude to the triune God who gave me the grace, health and the means of sustenance with which I was able to undertake doctoral studies. He has intervened in my life in positive ways in years past and He has shown Himself as a reliable and present help in time of need. I am grateful and deeply indebted to my supervisor, Dr. ‘Deji Ayegboyin, an erudite intellectual and a humble and loving son of Africa who through sound scholarship, patience, and experience guided me through. In spite of his loaded academic schedule, he treated me and my colleagues in a thorough and personal way.
    [Show full text]
  • The Organ Music of Ethel Smyth
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by IUScholarWorks THE ORGAN MUSIC OF ETHEL SMYTH: A GUIDE TO ITS HISTORY AND PERFORMANCE PRACTICE BY SARAH M. MOON Submitted to the faculty of the School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University May, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. __________________________________ Janette Fishell, Research Director __________________________________ Gretchen Horlacher __________________________________ Bruce Neswick __________________________________ Christopher Young ii Copyright © 2014 Sarah M. Moon iii This document is dedicated to my family. iv ACKNOWLEDGEMENTS I would foremost like to thank the members of my Doctoral Committee: Professor Janette Fishell, Professor Gretchen Horlacher, Professor Bruce Neswick, and Professor Christopher Young. I truly appreciate my five years at Indiana University under their guidance and admire their inspirational models of character and excellence. I would especially like to thank Dr. Janette Fishell, my organ professor and research director, who has provided invaluable musical and academic encouragement. I am also grateful to many people and institutions in England who helped with my research: Fiona McHenry and the helpful staff at the British Library’s Music and Rare Books Reading Room; Michael Mullen and the librarians at the Royal College of Music; Peter Graham Avis, a fellow Ethel Smyth scholar; and Alex Joannides from Boosey and Hawkes for granting me permission to make a copy of “Prelude on a Traditional Irish Air” for study purposes.
    [Show full text]
  • B Ach C Antatas G Ardiner
    Johann Sebastian Bach 1685-1750 Cantatas Vol 26: Long Melford SDG121 COVER SDG121 CD 1 67:39 For Whit Sunday Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 Wer mich liebet, der wird mein Wort halten I BWV 59 Wer mich liebet, der wird mein Wort halten II BWV 74 O ewiges Feuer, o Ursprung der Liebe BWV 34 Lisa Larsson soprano, Nathalie Stutzmann alto Derek Lee Ragin alto, Christoph Genz tenor Panajotis Iconomou bass C CD 2 47:58 For Whit Monday M Erhöhtes Fleisch und Blut BWV 173 Also hat Gott die Welt geliebt BWV 68 Y Ich liebe den Höchsten von ganzem Gemüte BWV 174 K Lisa Larsson soprano, Nathalie Stutzmann alto Christoph Genz tenor, Panajotis Iconomou bass The Monteverdi Choir The English Baroque Soloists John Eliot Gardiner Live recordings from the Bach Cantata Pilgrimage Holy Trinity, Long Melford, 11 & 12 June 2000 Soli Deo Gloria Volume 26 SDG 121 P 2006 Monteverdi Productions Ltd C 2006 Monteverdi Productions Ltd www.solideogloria.co.uk Edition by Reinhold Kubik, Breitkopf & Härtel Manufactured in Italy LC13772 8 43183 01212 1 26 SDG 121 Bach Cantatas Gardiner Bach Cantatas Gardiner CD 1 67:39 For Whit Sunday The Monteverdi Choir The English Flutes 1-7 18:31 Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 Baroque Soloists Marten Root Sopranos Rachel Beckett 8-12 11:38 Wer mich liebet, der wird mein Wort halten I BWV 59 Suzanne Flowers First Violins 13-20 20:34 Wer mich liebet, der wird mein Wort halten II BWV 74 Gillian Keith Kati Debretzeni Oboes Emma Preston-Dunlop Penelope Spencer Michael Niesemann 21-25 16:45
    [Show full text]
  • Walther Vetter
    Walther Vetter DER KAPELLMEISTER BACH Versuch einer Deutung Bachs auf Grund seines Wirkens als Kapellmeister in Köthen Verlag Autonomie und Chaos Leipzig – Berlin www.autonomie-und-chaos.berlin 1 WALTHER VETTER DER KAPELLMEISTER BACH Erstveröffentlichung bei der Akademischen Verlagsgesellschaft Athenaion Potsdam (1950) Diese erste Neuausgabe versteht sich als Leseausgabe für an Johann Sebastian Bach interessierte Laien. Deshalb wurde auf den Anmerkungsapparat sowie Stichwort- und Personenregister verzichtet. Hinzugekommen sind mehrere Beiträge im Anhang, einige Abbildungen sowie ein Nachwort des Herausgebers (MvL). Das Titelbild zeigt mutmaßlich Johann Sebastian Bach in den Köthener Jahren; es wird Ernst Rentsch d.Ä. (etwa 1715) zugeschrieben. Standort: Angermuseum, Erfurt © 2020 für diese Neuausgabe Verlag Autonomie und Chaos Leipzig – Berlin © für die Texte bei den Rechteinhabern. ISBN 978-3-945980-48-4 Diese online–Veröffentlichung kann zum privaten Bedarf heruntergeladen werden. www.autonomie-und-chaos.berlin 2 WALTHER VETTER DER KAPELLMEISTER BACH INHALT Vorwort Walther Vetter 6 Einleitung 8 Erstes Hauptstück: Das Bachbild von Johann Gottfried Walther bis Goethe 16 I. Die älteste biographische Nachricht 17 II. Die Meinung des Sohnes und der Schüler 19 III. Die Briefe Philipp Emanuels 27 IV. Der Angriff Johann Adolf Scheibes 30 V. Friedrich Wilhelm Marpurg und Johann Adam Hiller 34 VI. Forkels Bachbuch 38 1. Bachs Vielseitigkeit 39 2. Der "heilige Stil" 40 3. Das Instrumentale und Vokale 42 4. Die Köthener Krise 45 VII. Gerber im Tonkünstlerlexikon 49 V1II. Reichardt und Goethe 53 Zweites Hauptstück: Der Weg nach Köthen I. Weimar und Köthen 60 II. Mühlhausen und die regulierte Kirchenmusik 65 III. Weimarer Persönlichkeiten 69 IV. Die Jagdkantate 71 1.
    [Show full text]
  • T. Koopman & Amsterdam Baroque Orchestra
    Johann Sebastian Bach (1685 – 1750) COMPLETE CANTATAS – L’INTÉGRALE DES CANTATES DAS KANTATENWERK VOLUME 18 Johannette Zomer, Sandrine Piau, Sibylla Rubens soprano Bogna Bartosz alto Christoph Prégardien, James Gilchrist tenor Klaus Mertens bass THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN COMPACT DISC I 74’56 “Ich armer Mensch, ich Sündenknecht” BWV 55 12’54 Dominica 22 post Trinitatis On the 22nd Sunday after Trinity – Am 22. Sonntag nach Trinitatis – Pour le 22e dimanche après la Trinité Text: unknown. (5) 6th verse from Werde munter, mein Gemüte, Johann Rist 1642 Strings, traverso, oboe d´amore, basso continuo Christoph Prégardien, tenor 01 Aria (Tenor): “Ich armer Mensch, ich Sündenknecht” 5’44 02 Recitative (Tenor): “Ich habe wider Gott gehandelt” 1’11 03 Aria (Tenor): “Erbarme dich, laß die Tränen dich erweichen” 3’31 04 Recitative (Tenor): “Erbarme dich! Jedoch nun tröst ich mich” 1’28 05 Chorale: “Bin ich gleich von dir gewichen” 1’00 “Wer sich selbst erhöhet, der soll erniedriget werden” BWV 47 19’27 Dominica 17 post Trinitatis On the 17th Sunday after Trinity – Am 17. Sonntag nach Trinitatis – Pour le 17e dimanche après la Trinité Text: Johann Friedrich Helbig 1720. (1) Luke 14, 11; (5) 11th verse from Warum betrübst du dich, mein Herz, anon. 1561 Strings, oboes, bassoon, organo obbligato, basso continuo Sandrine Piau, soprano – Klaus Mertens, bass 06 Chorus: “Wer sich selbst erhöhet” 5’22 07 Aria (Soprano): “Wer ein wahrer Christ will heißen” 8’04 08 Recitative (Bass): “Der Mensch ist Kot, Staub, Asch und Erde” 1’44 09 Aria (Bass): “Jesu, beuge doch mein Herze” 3’31 10 Chorale: “Der zeitlichen Ehrn will ich gern entbehrn” 0’46 “Ich lasse dich nicht, du segnest mich denn” BWV 157 16’37 Festo Purificationis Mariae At the feast of the purification – Mariae Reinigung – Pour la Fête de la Purification de Marie Text: Christian Friedrich Henrici (Picander) 1727, after Mose 32, 27; (5) 6th verse from Meinem Jesum laß ich nicht, Christian Keymann 1658.
    [Show full text]
  • T. Koopman & Amsterdam Baroque Orchestra & Choir
    _crar ~cr- :xxh :2- -5: =-:.-:: 7' .ocr _o(ob -e __- ::Si2"a::-:cc--~ ,,::" JC' fC :::e;:: .--,: 2 Johann Sebastian BACH(1685-1750) COMPLETE CANTATAS/L'INTEGRALE DES CANTATES DAS KANTATENWERK . VOLUME 3 BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHYON MAGNUS, soprano If, alto ANDREASSCHOU,alto(BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN 3 2 JohannSebastianBACH(1685-1750) COMPLETECANTATAS/L'INTEGRALEDESCANTATES DASKANTATENWERK VOLUME3 BARBARASCHLICK,CAROLINESTAM,RUTHHOLTON,ELSBONGERS,soprano ELISABETHVON MAGNUS,sopranoII, alto ANDREASSCHOU,alto (BWV 54) PAULAGNEW,lenor KLAUSMERTENS,boss THEAMSTERDAMBAROQUEORCHESTRA& CHOIR TON KOOPMAN 3 COMPACTDISC1 70'13 P~/ 5eite "Christen, iitzet diesen Tag" BWV 63 28'20 Feria 1 Nativitatis Christi For the 1st day. of Christmas/Pour Ie I~ jour de Noel/Erster Weihnachtstag Text: Anon., Johann Michael Heineccios (?). 171.8 Ruth Holton, soprano [I] Chorale (Chorus): "Christen, otzel diesen Ta~" £148 [43] Violins, Violas, Cel/o, Double bass, Oboes, Trumpets, Timpani, Bassoon, Organ W Recitative(Altol:"a seiger Tag! 0 ungemeines Heute" -< " [43J Violins, Violas, Cel/o, Double -bass, Organ OJ Duel (Soprano, Bassi: "Gott. du hast es wohl gefuget" v [45] Oboe, Cel/o, Organ ""':::,' m Recitative (Tenor): "So kehret sich nun heut das bange leid" [45] Cel/a, Organ []] Duet (Alto, Tenorl: "Run und flehl den Himmel an" [45] Violins, Violas, Cel/i, Double bass, Organ W Recitative(Bass): "Verdoppelt euch demnach" [45] Violins, Violas, Cel/i, Double bass, Oboes, Bassoon, Organ [[] Chorale (Chorus): "HOchsler,schau in Gnaden an" [47] Violins, Violas, Cel/i, Double bass, Oboes, Trumpets,Timpani Bossoor C>-F "Ach, ich sehe, ilzt, do ich zur Hachzeit gehe" BWV 162 16"22 Dominica 20 post Trinitatis For the 20th Sunday aner Trinity/Pour Ie 20' Dimanche ap<es Ie ~""" e.
    [Show full text]