DOCSLIB.ORG

Oratorio De Noël, Op. 12 by Camille Saint-Saëns: Conservative Eclecticism

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Oratorio De Noël, Op. 12 by Camille Saint-Saëns: Conservative Eclecticism ORATORIO DE NOËL, OP. 12 BY CAMILLE SAINT-SAËNS: CONSERVATIVE ECLECTICISM by Eunji Lee ______________________________ Copyright © Eunji Lee 2019 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2019 7/25/2019 7/25/2019 7/25/2019 7/25/2019 STATEMENT BY AUTHOR This document has been submitted in partial fulfillment of requirements of an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library. Brief quotations from this document are allowable without special permission, provided that accurate acknowledgment of source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder. SIGNED: Eunji Lee ACKNOWLEDGEMENTS I would like to acknowledge and express my sincere gratitude to all of those that have supported and assisted along this journey, especially my committee members: Dr. Bruce Chamberlain, Dr. Elizabeth Schauer and Dr. Jay M. Rosenblatt. First, I would like to give my deepest thanks to Dr. Chamberlain for motivating me to continue the journey in music and broaden my musical scope. I am forever indebted to you for setting an example of how a conductor should approach music. Also I am greatly thankful to Dr. Schauer who has always encouraged me. Your affirmation made me believe in myself and helped finish what I thought was not possible. Lastly, I would like to thank Dr. Rosenblatt for helping me open my “scholarly eyes” and providing valuable advice during the research of this work. A big thank you to my editor, Judith Billings, who has helped to lead my writing in the right direction, also thanks to my colleagues and church family for giving me support with prayers, encouragements and for cheering me on. To my parents, without whom I would not be where I am today, I am forever grateful for your support and unconditional love. Lastly, I give all of my thanks to God who has always been with me throughout this journey, who has led me, and who is unfailing in His love and grace. TABLE OF CONTENTS LIST OF FIGURES ......................................................................................................................... 7 LIST OF MUSICAL EXAMPLES ................................................................................................. 8 ABSTRACT .................................................................................................................................. 11 CHAPTER 1: INTRODUCTION .................................................................................................. 12 Statement of Primary Thesis ............................................................................................. 13 Review of Scholarly Literature ......................................................................................... 13 CHAPTER 2: BACKGROUND OF CAMILLE SAINT-SAËNS ................................................ 17 Biography .......................................................................................................................... 17 Musical Characteristics ..................................................................................................... 18 Austro-Germanic Tradition ................................................................................... 18 Art for Art’s Sake .................................................................................................. 20 French Style ........................................................................................................... 22 CHAPTER 3: ANALYSIS OF THE SELECTED WORKS ......................................................... 25 Mendelssohn: chorale cantata “Vom Himmel hoch” ........................................................ 25 Overview ............................................................................................................... 25 Baroque Influences ................................................................................................ 26 Viennese Classical Influences ............................................................................... 32 Romantic Influences .............................................................................................. 35 Saint-Saëns: Oratorio de Noël, op. 12 ............................................................................... 39 Overview ............................................................................................................... 39 Baroque Influences ................................................................................................ 42 Viennese Classical Influences ............................................................................... 55 Romantic Influences .............................................................................................. 58 French Characteristics ........................................................................................... 65 Comparison and Contrast .................................................................................................. 72 CHAPTER 4: CONCLUSION ...................................................................................................... 74 APPENDIX: TEXT AND TRANSLATION ................................................................................ 75 REFERENCES .............................................................................................................................. 79 LIST OF FIGURES Figure 3.1. Overview of chorale cantata “Vom Himmel hoch” .................................................... 25 Figure 3.2. Symmetrical Structure of chorale cantata “Vom Himmel hoch” ................................ 28 Figure 3.3. Analysis of Movement 1 from chorale cantata “Vom Himmel hoch” ........................ 33 Figure 3.4. Formal Analysis of Movement 4 from chorale cantata “Vom Himmel hoch” ........... 35 Figure 3.5. Key Scheme of the Overall Structure of chorale cantata “Vom Himmel hoch” ......... 36 Figure 3.6. Overview of Oratorio de Noël, op. 12 ........................................................................ 41 Figure 3.7. Harmonic Analysis of Movement 7, mm. 20-34 from Oratorio de Noël, op. 12 ....... 62 LIST OF MUSICAL EXAMPLES Musical Example 3.1. J. S. Bach, Variation I from Einige canonische Veränderungen über das Weihnachtslied: Vom Himmel hoch da komm’ ich her, BWV 769, mm. 1-2....................26 Musical Example 3.2. Mendelssohn, Movement 1 from “Vom Himmel hoch,” mm. 1-4............26 Musical Example 3.3. Mendelssohn, Movement 1 from “Vom Himmel hoch,” mm. 205-214......................................................................................................................27 Musical Example 3.4. Mendelssohn, Movement 6 from “Vom Himmel hoch,” mm. 1-2............29 Musical Example 3.5. G. F. Handel, Zadok the Priest, HWV 258 in Coronation Anthems, mm. 1-3..............................................................................................................................30 Musical Example 3.6. Mendelssohn, Movement 2 from “Vom Himmel hoch,” mm. 43-49........32 Musical Example 3.7.1. Mendelssohn, Movement 4 from “Vom Himmel hoch,”mm. 1-4 in clarinet I and mm. 13-16 in soprano solo; Original Theme...........................................34 Musical Example 3.7.2. Mendelssohn, Movement 4 from “Vom Himmel hoch,” mm. 33-36 in soprano solo; Variation I................................................................................................34 Musical Example 3.7.3. Mendelssohn, Movement 4 from “Vom Himmel hoch,” mm. 32-35 in violin I; Variation II.......................................................................................................34 Musical Example 3.8. Mendelssohn, Movement 5, mm. 16-20 and Movement 6, mm. 1-2 from “Vom Himmel hoch”................................................................................................37 Musical Example 3.9. J. S. Bach, Sinfonia from Part II of Weihnachts-Oratorium, BWV 248, mm. 1-3..............................................................................................................................42 Musical Example 3.10. Saint-Saëns, Movement 1 from Oratorio de Noël, op. 12, mm. 1-7.......43 Musical Example 3.11. Saint-Saëns, Movement 9 from Oratorio de Noël, op. 12, mm. 21-24..........................................................................................................................44 Musical Example 3.12. Saint-Saëns, Movement 9 from Oratorio de Noël, op. 12, mm. 29-33..........................................................................................................................44 Musical Example 3.13.1. Saint-Saëns, Movement 3 from Oratorio de Noël, op. 12, mm. 1-29............................................................................................................................46 Musical Example 3.13.2. Saint-Saëns, Movement 3 from Oratorio de Noël, op. 12, mm. 62-80..........................................................................................................................47 Musical Example 3.14. Saint-Saëns, Movement 9 from Oratorio de Noël, op. 12, mm. 42-46..........................................................................................................................48 Musical Example 3.15.1. Saint-Saëns, Movement 8 from Oratorio de Noël,
Load more

Recommended publications
  • Music for the Christmas Season by Buxtehude and Friends Musicmusic for for the the Christmas Christmas Season Byby Buxtehude Buxtehude and and Friends Friends
    Music for the Christmas season by Buxtehude and friends MusicMusic for for the the Christmas Christmas season byby Buxtehude Buxtehude and and friends friends Else Torp, soprano ET Kate Browton, soprano KB Kristin Mulders, mezzo-soprano KM Mark Chambers, countertenor MC Johan Linderoth, tenor JL Paul Bentley-Angell, tenor PB Jakob Bloch Jespersen, bass JB Steffen Bruun, bass SB Fredrik From, violin Jesenka Balic Zunic, violin Kanerva Juutilainen, viola Judith-Maria Blomsterberg, cello Mattias Frostenson, violone Jane Gower, bassoon Allan Rasmussen, organ Dacapo is supported by the Cover: Fresco from Elmelunde Church, Møn, Denmark. The Twelfth Night scene, painted by the Elmelunde Master around 1500. The Wise Men presenting gifts to the infant Jesus.. THE ANNUNCIATION & ADVENT THE NATIVITY Heinrich Scheidemann (c. 1595–1663) – Preambulum in F major ������������1:25 Dietrich Buxtehude – Das neugeborne Kindelein ������������������������������������6:24 organ solo (chamber organ) ET, MC, PB, JB | violins, viola, bassoon, violone and organ Christian Geist (c. 1640–1711) – Wie schön leuchtet der Morgenstern ������5:35 Franz Tunder (1614–1667) – Ein kleines Kindelein ��������������������������������������4:09 ET | violins, cello and organ KB | violins, viola, cello, violone and organ Johann Christoph Bach (1642–1703) – Merk auf, mein Herz. 10:07 Dietrich Buxtehude – In dulci jubilo ����������������������������������������������������������5:50 ET, MC, JL, JB (Coro I) ET, MC, JB | violins, cello and organ KB, KM, PB, SB (Coro II) | cello, bassoon, violone and organ Heinrich Scheidemann – Preambulum in D minor. .3:38 Dietrich Buxtehude (c. 1637-1707) – Nun komm der Heiden Heiland. .1:53 organ solo (chamber organ) organ solo (main organ) NEW YEAR, EPIPHANY & ANNUNCIATION THE SHEPHERDS Dietrich Buxtehude – Jesu dulcis memoria ����������������������������������������������8:27 Dietrich Buxtehude – Fürchtet euch nicht.
    [Show full text]
  • Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation
    Johann Sebastian Bach’s St. John Passion from 1725: A Liturgical Interpretation MARKUS RATHEY When we listen to Johann Sebastian Bach’s vocal works today, we do this most of the time in a concert. Bach’s passions and his B minor Mass, his cantatas and songs are an integral part of our canon of concert music. Nothing can be said against this practice. The passions and the Mass have been a part of the Western concert repertoire since the 1830s, and there may not have been a “Bach Revival” in the nineteenth century (and no editions of Bach’s works for that matter) without Felix Mendelssohn Bartholdy’s concert performance of the St. Matthew Passion in the Berlin Singakademie in 1829.1 However, the original sitz im leben of both large-scaled works like his passions, and his smaller cantatas, is the liturgy. Most of his vocal works were composed for use during services in the churches of Leipzig. The pieces unfold their meaning in the context of the liturgy. They engage in a complex intertextual relationship with the liturgical texts that frame them, and with the musical (and theological) practices of the liturgical year of which they are a part. The following essay will outline the liturgical context of the second version of the St. John Passion (BWV 245a) Bach performed on Good Friday 1725 in Leipzig. The piece is a revision of the familiar version of the passion Bach had composed the previous year. The 1725 version of the passion was performed by the Yale Schola Cantorum in 2006, and was accompanied by several lectures I gave in New Haven and New York City.
    [Show full text]
  • LUTHERAN Bach Cantata Sunday
    LUTHERAN ACADEMY & FESTIVAL Bach Cantata Sunday The Eighth Sunday after Pentecost | Sunday, 14 July 2013 Service of Holy Communion Bach Cantata Sunday + Eighth Sunday after Pentecost + 14 July 2013 — 10:30AM Lutheran Summer Music Academy and Festival Today’s Texts It is easy to miss the shocking nature of this morning's parable if we think that this story only teaches us to imitate the Samaritan. The parable says so much more about God, our relationship to God, and the lengths to which God will go to reach out to us. Through the image of the Samaritan, Jesus lifts up a surprising rescuer as an image of our God who relentlessly cares for those in need. Could it be that we are meant to identify not with the Samaritan or even the lawyer to whom Jesus speaks the parable, but rather with the man who is hopeless and left for dead? Could it be that Christ is the good Samaritan who embraces us with the tender compassion of God? Jesus is not just giving us a comfortable morality tale reminding us to be nice, helpful, generous people. Instead Jesus is proclaiming the good news of the kingdom. God's grace comes to us through the cross, and our baptism into Jesus' death and resurrection. God's grace comes to us even—and especially—when we are at our worst, left for dead, bleeding and dying in life's many ditches. Even when we cannot or will not cry out, mercy and grace come into our lives through Jesus. This powerful message of Christ's death and resurrection is reinforced in Bach’s Cantata #4, Christ lag in Todesbanden.
    [Show full text]
  • Document Cover Page
    A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • Rebuilding the Soul: Churches and Religion in Bavaria, 1945-1960
    REBUILDING THE SOUL: CHURCHES AND RELIGION IN BAVARIA, 1945-1960 _________________________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _________________________________________________ by JOEL DAVIS Dr. Jonathan Sperber, Dissertation Supervisor MAY 2007 © Copyright by Joel Davis 2007 All Rights Reserved The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled REBUILDING THE SOUL: CHURCHES AND RELIGION IN BAVARIA, 1945-1960 presented by Joel Davis, a candidate for the degree of Doctor of Philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. __________________________________ Prof. Jonathan Sperber __________________________________ Prof. John Frymire __________________________________ Prof. Richard Bienvenu __________________________________ Prof. John Wigger __________________________________ Prof. Roger Cook ACKNOWLEDGEMENTS I owe thanks to a number of individuals and institutions whose help, guidance, support, and friendship made the research and writing of this dissertation possible. Two grants from the German Academic Exchange Service allowed me to spend considerable time in Germany. The first enabled me to attend a summer seminar at the Universität Regensburg. This experience greatly improved my German language skills and kindled my deep love of Bavaria. The second allowed me to spend a year in various archives throughout Bavaria collecting the raw material that serves as the basis for this dissertation. For this support, I am eternally grateful. The generosity of the German Academic Exchange Service is matched only by that of the German Historical Institute. The GHI funded two short-term trips to Germany that proved critically important.
    [Show full text]
  • The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 "The eumeiN ster collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works Sara Ann Jones Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Jones, Sara Ann, ""The eN umeister collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works" (2002). LSU Doctoral Dissertations. 77. https://digitalcommons.lsu.edu/gradschool_dissertations/77 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NEUMEISTER COLLECTION OF CHORALE PRELUDES OF THE BACH CIRCLE: AN EXAMINATION OF THE CHORALE PRELUDES OF J. S. BACH AND THEIR USAGE AS SERVICE MUSIC AND PEDAGOGICAL WORKS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts Sara Ann Jones B. A., McNeese State University
    [Show full text]
  • THE ARTS of PERSUASION (Revised)
    The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude Item Type text; Electronic Dissertation Authors Anderson, Ron James Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 20:06:37 Link to Item http://hdl.handle.net/10150/242454 THE ARTS OF PERSUASION: MUSICAL RHETORIC IN THE KEYBOARD GENRES OF DIETERICH BUXTEHUDE by Ron James Anderson ______________________________ Copyright © Ron James Anderson 2012 A Document Submitted to the Faculty of the SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Ron James Anderson entitled “The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude," and recommend that it be accepted as fulfilling the requirements for the degree of Doctor of Musical Arts. _________________________________________________________Date: 6/25/12 Rex Woods _________________________________________________________ Date: 6/25/12 Paula Fan _________________________________________________________ Date: 6/25/12 Tannis Gibson Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.
    [Show full text]
  • July 09 Pp. 21-23.Indd
    Text Interpretation and Cyclic Unity in Buxtehude’s Nimm von uns Herr, du treuer Gott, BuxWV 207 Markus Rathey Buxtehude’s chorale variations compositions that fulfi ll a merely utilitar- Example 1: Melody, Nimm von uns Herr The number of chorale variations in ian purpose. The following essay will fo- Dietrich Buxtehude’s organ works is cus on Buxtehude’s chorale variations on considerably smaller than in the oeuvre the hymn Nimm von uns Herr, du treuer of other northern and central German Gott, BuxWV 207, examining its musical composers like Samuel Scheidt, Georg structure, its function, and its contexts in Böhm, and Jan Pieterszoon Sweelinck. contemporary piety. Among Buxtehude’s organ works the chorale variations form a rather small Nimm von uns Herr, BuxWV 207 group of six sets:1 The variations are based on a Prot- estant chorale from the second half of BuxWV 177, Ach Gott und Herr, 2 the 16th century. The text has seven variations stanzas and was published in 1584 by BuxWV 179, Auf meinen lieben Gott, the 16th-century poet and theologian 5 variations Martin Moller (1547–1606); the words BuxWV 181, Danket dem Herren, 3 were traditionally combined with Mar- variations tin Luther’s melody for the hymn Vater Example 2: Buxtehude, Nimm von uns Herr, BuxWV 207/2 BuxWV 205, Meine Seele erhebt den unser, im Himmelreich. (See Example 1: Herren, 2 variations Melody, “Nimm von uns Herr.”) BuxWV 207, Nimm von uns Herr, du treuer Gott, 4 variations First movement BuxWV 213, Nun lob, mein Seel, den Buxtehude’s set of variations consists of Herren, 3 variations four verses.
    [Show full text]
  • Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’S Megalynodia Sionia Adrian D
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 10 Article 2 Issue 1 Current Issue: Volume 10, Issue 1 (2017) In coelo et in terra: Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’s Megalynodia Sionia Adrian D. J. Ross University of Toronto Recommended Citation Ross, Adrian D. J. () "In coelo et in terra: Lutheran Theological Structure of theT roped Magnificats of Michael Praetorius’s Megalynodia Sionia," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 10: Iss. 1, Article 2. In coelo et in terra: Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’s Megalynodia Sionia Abstract Michael Praetorius (1571–1621) ranks among the most prolific German musical figures of the seventeenth century. Despite his stature, many of his works, especially his earlier collections, remain largely understudied and underperformed. This paper examines one such early collection, the Megalynodia Sionia, composed in 1602, focussing on the relationship between formal structure of its first three Magnificat settings and the Lutheran theological ideal of uniting the Word of God with music. Structurally, these three Magnificats are distinguished by their interpolation of German chorales within the Latin text. In order to understand his motivations and influences behind the use of this technique unique at the time of composition, the paper explores Praetorius’s religious surroundings in both the personal and civic realms, revealing a strong tradition of orthodox Lutheran theology. To understand the music in light of this religious context, certain orthodox Lutheran liturgical practices are examined, in particular the Vespers service and alternatim, a compositional technique using alternating performing forces which Praetorius used to unite the Latin and German texts.
    [Show full text]
  • Easter Sunday “Christ Jesus Lay in Death's Strong Bands (Lutheran
    Easter Sunday “Christ Jesus Lay in Death’s Strong Bands (Lutheran Service Book, #458) “He is risen!” “He is risen indeed! Alleluia!” What need is there to write the rest of this devotion for Easter? This is the message of Martin Luther’s hymn published in 1524. Stanza 7 says: “Then let us feast this Easter Day on Christ, the Bread of heaven; the Word of grace has purged away the old and evil leaven. Christ alone our souls will feed; he is our meat and drink indeed; faith lives upon no other! Alleluia!” This is the message that many of us will do our best to portray on this high holy day. Martin Luther gave it his best portrayal in this hymn in matching his words with an existing tune written by Johann Walther. J.S. Bach gave it another try in his Orgelbüchlein. We consistently fall short in any of our efforts to celebrate completely the Resurrection of our Lord. We have to simply bow in awe, saying the words of stanza 5, “He died on the accursed tree—so strong his love—to save us”. If any of the readers of this devotion are organists, we struggle to even interpret what J.S. Bach composed in this chorale setting for the Orgelbüchlein (also a part of Cantata No.4). Some of you have interpreted the setting by starting softly (as Christ rests in the tomb) and building to climax as we play the final, “Alleluia!” Others of us play it majestically with full registration throughout. But no interpretation can properly help us “… keep the festival to which the Lord invites us” (stanza 6).
    [Show full text]
  • In Celebration of the 500Th Anniversary of the Reformation, We Sing a Chorale Setting of Holy Communion
    In celebration of the 500th Anniversary of the Reformation, we sing a chorale setting of Holy Communion. This follows the tradition of Martin Luther’s German Mass, where he wrote new melodies to be sung by the congregation. The tunes printed in our bulletin were sung during the Reformation. In his last published hymnal, Luther describes music as a joyful response to the Gospel of Christ Jesus: “God has made our hearts and spirit happy through His dear Son, whom He has delivered up that we might be redeemed from sin, death, and the devil. He who believes this cannot but be happy; he must cheerfully sing...that others might hear it and come to Christ.” First Lutheran Church Sunday, October 29, 2017 - 8:00 AND 9:30 AM Reformation Sunday Gathering this morning we proclaim the death and resurrection of Jesus Christ. We celebrate the 500th Anniversary of the Reformation with praise, prayer and thanksgiving. All hymns can be found in the red Evangelical Lutheran Worship book. P = Pastor A = Assisting Pastor C = Congregation L = Leader Prelude: Johann Sebastian Prelude Toccata in D minor, BWV 538 Bach was a Lutheran church Fugue in G minor, BWV 578 musician and organist. Today, two solo organ works and Chorale from Ein feste burg ist unser Gott, BWV 80 an arrangement from Bach's Johann Sebastian Bach cantata based on "A Mighty Welcome and Announcements Fortress Is Our God" prepare us for worship on this festive day. Please stand and face the back of the church and processional cross. Invocation A Blessed be the Holy Trinity, Father, i Son, and Holy Spirit, one God who fashions, redeems, and reforms us again and again.
    [Show full text]
  • Muzikološki Z B O R N I K L
    MUZIKOLOŠKI ZBORNIK MUSICOLOGICAL ANNUAL L / 2 ZVEZEK/VOLUME L J U B L J A N A 2 0 1 4 Glasba kot sredstvo in predmet v procesih sakralizacije profanega in profanacije sakralnega Sacralization of the Profane and Profanation of the Sacred: Music as a Means and an Object Izdaja • Published by Oddelek za muzikologijo Filozofske fakultete Univerze v Ljubljani Urednik zvezka • Edited by Aleš Nagode (Ljubljana) Glavni in odgovorni urednik • Editor-in-chief Jernej Weiss (Ljubljana) Asistentka uredništva • Assistant Editor Tjaša Ribizel (Ljubljana) Uredniški odbor • Editorial Board Matjaž Barbo (Ljubljana) Aleš Nagode (Ljubljana) Svanibor Pettan (Ljubljana) Leon Stefanija (Ljubljana) Andrej Rijavec (Ljubljana), častni urednik • honorary editor Mednarodni uredniški svet • International Advisory Board Michael Beckermann (Columbia University, USA) Nikša Gligo (University of Zagreb, Croatia) Robert S. Hatten (Indiana University, USA) David Hiley (University of Regensburg, Germany) Thomas Hochradner (Mozarteum Salzburg, Austria) Bruno Nettl (University of Illinois, USA) Helmut Loos (University of Leipzig, Germany) Jim Samson (Royal Holloway University of London, UK) Lubomír Spurný (Masaryk University Brno, Czech Republic) Katarina Tomašević (Serbian Academy of Sciences and Arts, Serbia) John Tyrrell (Cardiff University, UK) Michael Walter (University of Graz, Austria) Uredništvo • Editorial Address Oddelek za muzikologijo Filozofska fakulteta Aškerčeva 2, SI-1000 Ljubljana, Slovenija e-mail: [email protected] http://revije.ff.uni-lj.si/MuzikoloskiZbornik Cena posamezne številke • Single issue price 10 EUR Letna naročnina • Annual subscription 20 EUR Založila • Published by Znanstvena založba Filozofske fakultete Univerze v Ljubljani Za založbo • For the publisher Branka Kalenić Ramšak, dekanja Filozofske fakultete Tisk • Printed by Birografika Bori d.o.o., Ljubljana Naklada 500 izvodov • Printed in 500 copies Rokopise, publikacije za recenzije, korespondenco in naročila pošljite na naslov izdajatelja.
    [Show full text]