DOCSLIB.ORG

Bach St. John Passion #8

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Bach St. John Passion #8 Bach’s St. John Passion Day Eight: Bach and Coldplay Eric Osborne, 2021 Amanda laughed at me one day when I mentioned I was listening to Coldplay for the first time. I had to admit, it was something that I hadn’t done before that in 41 years on this planet. Standing there in her kitchen, she then proceeded to ask me if I had listened to other popular music (I didn’t know the song Africa by Toto). I admit, being a classically trained musician sometimes our listening experience is a little limited. However I am making up for it now. You may ask what Coldplay might have to do with Bach, and in particular the St. John Passion. One of my favourite hymns (and I have many) is My song is love unknown. The text is by Samuel Crossman (1623-1683) and music by John Ireland (1879-1962). In my experience as a choir boy and as a church musician, it was usually sung on Palm Sunday as the offertory hymn. The tune was written on the back of a menu during a lunch in 1925 between the composer and Geoffrey Shaw. The composition of the melody took less than fifteen minutes. The Ireland tune, is credited with taking the hymn from obscurity and bringing it into mainstream congregational song. Of the six verses, I’m selecting two for the purpose of this reflection: My song is love unknown, My Saviour’s love to me; Love to the loveless shown, That they might lovely be. O who am I, That for my sake My Lord should take Frail flesh and die? Why, what hath my Lord done? What makes this rage and spite? He made the lame to run, He gave the blind their sight, Sweet injuries! Yet they at these Themselves displease, and ’gainst Him rise. What does Coldplay have to do with St. John Passion? The connection is the Crossman/IReland hymn. On their 2005 album, X&Y, Coldplay has a song, titled, A Message. My song is love Love to the loveless shown And it goes up You don't have to be alone Your heavy heart Is made of stone And it's so hard to see clearly You don't have to be on your own You don't have to be on your own And I'm not gonna take it back And I'm not gonna say I don't mean that You're the target that I'm aiming at And I'll get that message home My song is love My song is love unknown And I'm on fire for you clearly You don't have to be alone You don't have to be on your own And I'm not gonna take it back And I'm not gonna say I don't mean that You're the target that I'm aiming at And I'm nothing on my own Got to get that message home And I'm not gonna stand and wait Not gonna leave it until it's much too late On a platform, I'm gonna stand and say That I'm nothing on my own And I love you please come home My song is love is love unknown And I've got to get that message home If you look at the Coldplay song, the melody and the lyrics are derived from the Crossman/ Ireland hymn. Western music has a tradition of borrowing music from previous compositions. We will see that later when we look at the melody for today’s chorale. We “meet” this chorale after Jesus is struck by one of the servants of the chief priests for his perceived inappropriate reply. I think there is a theme running through these chorales. I believe the theme is “Love.” By the end of this Lenten journey y’all going to be sick of me reflecting on this. (forgive my southern experience from creeping in) So, let’s jump right into the chorale. Wer hat dich so geschlagen, Who has struck you in this way, Mein Heil, und dich mit Plagen my saviour, and with torments So übel zugericht’? treated you so badly? Du bist ja nicht ein Sünder You are indeed not a sinner Wie wir und unsre Kinder, as we and our children are, Von Missetaten weißt du nicht. of wrongdoing you know nothing. Ich, ich und meine Sünden, I, I, and my sins, Die sich wie Körnlein finden that are as many as grains Des Sandes an dem Meer, of sand by the sea Die haben dir erreget have provoked for you Das Elend, das dich schläget, the misery that has struck you Und das betrübte Marterheer. and the host of troubles and torment. I am going to reflect in reverse today. I am going to start with the chorale melody. Most students of music history in university know this melody very mell. The melody is derived from a German renaissance song Innsbruck, ich muss dich lassen (Innsbruck, I must leave thee) written by Heinrich Issac (1450-1517) The melody was later used in the Lutheran chorale "O Welt, ich muß dich lassen", and still appears in modern English-language hymnals with the tune name “Innsbruck”. It is also the melody for the Paul Gerhardt chorale, O Welt, sieh hier dein Leben. Bach uses this chorale melody several times in his vocal works. Let us now turn to the chorale text. Paul Gerhardt (1607-1676) was a Lutheran pastor, theologian and hymn-writer. Gerhardt based his work on a mediation on the Passion by Martin Moller, Soliloquia de passione. (1587) The theme is a reflection what the suffering of Jesus means for the Christian. TThe hymn was first published in 1647 in Johann Crüger's Praxis pietatis melica. Bach uses two stanzas of the hymn here after Jesus asks the one who beat him for justification. Stanza 3 asks, "Wer hat dich so geschlagen" (Who has struck you in this way…?), and stanza 4 answers, "Ich, ich und meine Sünden" (I, I and my sins),highlighting the personal responsibility of the speaking sinner for the suffering of Jesus. Bach uses this chorale in all of his passions. As I mentioned, this first part of St. John Passion is about ‘failed discipleship.’ Following Jesus is costly and sometimes can hurt. To think, act, and love like Jesus we sometimes have a metaphorical “slap in the face,” for following. Love is like that also. It hurts to love sometimes. Love can bring us pain and suffering. I speak from personal experience that Love hurts from my first marriage and even in my relationship with my beloved fiancée. Love hurts when we try to do the right thing. Love hurts when we are wrong. Love hurts when it is gone. There is a wonderful saying attributed to Queen Elizabeth II, “Grief is the price we pay for love.” I think you could change the word, “grief” for “hurt.” Jesus in his suffering and pain is the ultimate expression of love. Meditating on the passion, be it in this musical idiom or in the gospel narrative we reflect on the pain and suffering Jesus went through for us. There is another Paul Gerhardt hymn text, O sacred head surrounded. The famous Passion Chorale, as it is know, has a wonderful third and fourth verse in the Canadian Anglican hymnal, Common Praise. I think they tie in to our reflection on these two chorales. Your sinless soul’s oppression was all for sinners’ gain. mine, mine was the transgression, but yours the deadly pain: I bow my head my Saviour, for I deserve your place; O grant to me your favour, and heal me by your grace. What language shall I borrow to thank you, dearest friend, For this your dying sorrow, your mercy without end? Lord, make e yours forever: your servant let me be, And may I never, never betray your love for me. Next time we will be looking at the next chorale in the St. John Passion. We will look at the face of Jesus and the meaning of ‘to turn.’ For Further Listening Besides the Coldplay song and the hymn, My song is love unknown, I am suggesting one of my favourite organ works from the nineteenth century, Brahms’ O Welt Ich muß dich lassen. This is from the last work he wrote, a collection of twelve chorale preludes. There are two settings in this collection, this is the second, no. 11 https://open.spotify.com/track/4VWAOIQKHO6QnfRFSOczJB? si=FHMeIbrSRASG4YawNwwIkg S.D.G. (Soli Deo Gloria = To God alone be the Glory) and J.J.(Jesu juva = Jesus, help), .
Load more

Recommended publications
  • Now Let Us Come Before Him Nun Laßt Uns Gehn Und Treten 8.8
    Now Let Us Come Before Him Nun laßt uns gehn und treten 8.8. 8.8. Nun lasst uns Gott, dem Herren Paul Gerhardt, 1653 Nikolaus Selnecker, 1587 4 As mothers watch are keeping 9 To all who bow before Thee Tr. John Kelly, 1867, alt. Arr. Johann Crüger, alt. O’er children who are sleeping, And for Thy grace implore Thee, Their fear and grief assuaging, Oh, grant Thy benediction When angry storms are raging, And patience in affliction. 5 So God His own is shielding 10 With richest blessings crown us, And help to them is yielding. In all our ways, Lord, own us; When need and woe distress them, Give grace, who grace bestowest His loving arms caress them. To all, e’en to the lowest. 6 O Thou who dost not slumber, 11 Be Thou a Helper speedy Remove what would encumber To all the poor and needy, Our work, which prospers never To all forlorn a Father; Unless Thou bless it ever. Thine erring children gather. 7 Our song to Thee ascendeth, 12 Be with the sick and ailing, Whose mercy never endeth; Their Comforter unfailing; Our thanks to Thee we render, Dispelling grief and sadness, Who art our strong Defender. Oh, give them joy and gladness! 8 O God of mercy, hear us; 13 Above all else, Lord, send us Our Father, be Thou near us; Thy Spirit to attend us, Mid crosses and in sadness Within our hearts abiding, Be Thou our Fount of gladness. To heav’n our footsteps guiding. 14 All this Thy hand bestoweth, Thou Life, whence our life floweth.
    [Show full text]
  • 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 Treatment of the Chorale Wie Scan Leuchtet Der Iorgenstern in Organ Compositions from the Seven Teenth Century to the Twentieth Century
    379 THE TREATMENT OF THE CHORALE WIE SCAN LEUCHTET DER IORGENSTERN IN ORGAN COMPOSITIONS FROM THE SEVEN TEENTH CENTURY TO THE TWENTIETH CENTURY THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Paul Winston Renick, B. M. Denton, Texas August, 1961 PREFACE The chorale Wie schn iihtet derMorgenstern was popular from its very outset in 1589. That it has retained its popularity down to the present day is evident by its continually appearing in hymnbooks and being used as a cantus in organ compositions as well as forming the basis for other media of musical composition. The treatment of organ compositions based on this single chorale not only exemplifies the curiously novel attraction that this tune has held for composers, but also supplies a common denominator by which the history of the organ chorale can be generally stated. iii TABLE OF CONTENTS Page PREFACE . * . * . * . * * * . * . LIST OF ILLUSTRATIONS . .0.0..0... 0 .0. .. V Chapter I. THE LUTHERAN CHORALE. .. .. The Development of the Chorale up to Bach The Chorale Wie sch8n leuchtet der Morgenstern II. BEGINNINGS OF THE ORGAN CHORALE . .14 III* ORGAN CHORALS BASED ON WIE SCHN IN THE BAROQUE ERA .. *. .. * . .. 25 Samuel Scheidt Dietrich Buxtehude Johann Christoph Bach Johann Pachelbel Johann Heinrich Buttstet Andreas Armsdorf J. S. Bach IV. ORGAN COMPOSITIONS BASED ON WIE SCHON ...... 42 AFTER BACH . 4 Johann Christian Rinck Max Reger Sigf rid Karg-Elert Heinrich Kaminsky Ernst Pepping Johann Nepomuk David Flor Peeters and Garth Edmund son V.
    [Show full text]
  • Luther's Hymn Melodies
    Luther’s Hymn Melodies Style and form for a Royal Priesthood James L. Brauer Concordia Seminary Press Copyright © 2016 James L. Brauer Permission granted for individual and congregational use. Any other distribution, recirculation, or republication requires written permission. CONTENTS Preface 1 Luther and Hymnody 3 Luther’s Compositions 5 Musical Training 10 A Motet 15 Hymn Tunes 17 Models of Hymnody 35 Conclusion 42 Bibliography 47 Tables Table 1 Luther’s Hymns: A List 8 Table 2 Tunes by Luther 11 Table 3 Tune Samples from Luther 16 Table 4 Variety in Luther’s Tunes 37 Luther’s Hymn Melodies Preface This study began in 1983 as an illustrated lecture for the 500th anniversary of Luther’s birth and was presented four times (in Bronxville and Yonkers, New York and in Northhampton and Springfield, Massachusetts). In1987 further research was done on the question of tune authorship and musical style; the material was revised several times in the years that followed. As the 500th anniversary of the Reformation approached, it was brought into its present form. An unexpected insight came from examining the tunes associated with the Luther’s hymn texts: Luther employed several types (styles) of melody. Viewed from later centuries it is easy to lump all his hymn tunes in one category and label them “medieval” hymns. Over the centuries scholars have studied many questions about each melody, especially its origin: did it derive from an existing Gregorian melody or from a preexisting hymn tune or folk song? In studying Luther’s tunes it became clear that he chose melody structures and styles associated with different music-making occasions and groups in society.
    [Show full text]
  • The Lutheran Chorale, an Overview of Other Types of Chorales
    THE LUTHERAN CHORALE, AN OVERVIEW OF OTHER TYPES OF CHORALES Ph.D. student ANAMARIA LUPU National University of Music Bucharest Anamaria LUPU is currently a first-year student in a Scientific Doctoral Programme at the National University of Music Bucharest and at the same time a permanent teacher at the “Dinu Lipatti” National College of Arts. With a rich and almost decade-long activity in the media as a TV and radio programme editor and producer at Speranța TV and Radio Vocea Speranței, the author has had the opportunity to host her own music programmes entitled “Amadeus”, attended by many prestigious guests from the Romanian musical world. ABSTRACT Sixteenth-century Protestantism marked the entire history of culture and civilization and thus, implicitly, the history of music at least on a European level. The paper The Lutheran Chorale, An Overview of Other Types of Chorales, attempts to briefly capture the context of the emergence of the chorale during the Reformation, the most representative musical forms that developed based on the chorale, as well as a few hallmarks of the Protestant chorale. The chorale reflects a variety of musical styles, ranging from the medieval cantus firmus and the songs of the 16th-century meistersingers, to the continuo lied of the Baroque period. In a wider sense, the chorale can refer to two types of choral hymns: (1) cantus choralis – the Roman Catholic liturgical chant; (2) the Lutheran hymns of the German-Evangelical tradition. For the first 200 years after the Reformation, the chorale provided raw material for a wide variety of musical compositions, among which the chorale prelude, chorale motet, chorale cantata, chorale fugue, chorale partita, chorale fantasia, chorale mass, chorale variations, figured chorale, or chorale concerto.
    [Show full text]
  • Copyright by Gary Dean Beckman 2007
    Copyright by Gary Dean Beckman 2007 The Dissertation Committee for Gary Dean Beckman Certifies that this is the approved version of the following dissertation: The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism Committee: ____________________________________ Andrew Dell’ Antonio, Supervisor ____________________________________ Susan Jackson ____________________________________ Rebecca Baltzer ____________________________________ Elliot Antokoletz ____________________________________ Susan R. Boettcher The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism by Gary Dean Beckman, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2007 Acknowledgments I would like to acknowledge Dr. Douglas Dempster, interim Dean, College of Fine Arts, Dr. David Hunter, Fine Arts Music Librarian and Dr. Richard Cherwitz, Professor, Department of Communication Studies Coordinator from The University of Texas at Austin for their help in completing this work. Emeritus Professor, Dr. Keith Polk from the University of New Hampshire, who mentored me during my master’s studies, deserves a special acknowledgement for his belief in my capabilities. Olav Chris Henriksen receives my deepest gratitude for his kindness and generosity during my Boston lute studies; his quite enthusiasm for the lute and its repertoire ignited my interest in German lute music. My sincere and deepest thanks are extended to the members of my dissertation committee. Drs. Rebecca Baltzer, Susan Boettcher and Elliot Antokoletz offered critical assistance with this effort. All three have shaped the way I view music.
    [Show full text]
  • 10.-Baroque-J.S.Bach.Pdf
    The HIGH BAROQUE:! J. S. BACH Johann Sebastian Bach, 1685-1750 The HIGH BAROQUE:! J. S. BACH J. S. BACH was best-known during his lifetime as a keyboard virtuoso Born into family of musicians. Lives a provincial life, never traveling out of Germany The youngest of eight children, Bach was educated by his brother, Johann Christoph. The HIGH BAROQUE:! J. S. BACH CAREER Arnstadt 1707 Organist Weimar 1708-1717 Organist, Konzertmeister Cöthen 1717-1723 Kapellmeister Leipzig 1723- Kapellmeister, Teacher The HIGH BAROQUE:! J. S. BACH Bach wrote in almost ALL the genres of music in the late Baroque EXCEPT the most important of that era, OPERA. Bach tended to write in sets of compositions, systematically pursuing the invention of an idea, elaborating it through every possible permutation. The HIGH BAROQUE:! J. S. BACH Bach’s compositions spring from his jobs: Many secular compositions for his court positions at WEIMAR and CöTHEN, and religious music for his later position at LEIPZIG. As a virtuoso keyboardist, Bach writes keyboard music through out his life. The HIGH BAROQUE:! J. S. BACH 1707 Bach obtains his first position of organist at the Arnstadt Neukirche. Obtains permission to travel Lübeck to hear the organist Buxtehude… and stays away for 4 months! The HIGH BAROQUE:! J. S. BACH 1708-1717 (Weimar) Position at court of Weimar, first as organist, and then as Konzertmeister in 1714. During his Weimar years Bach gets to know G. P. TELEMANN, who is working nearby in Eisenach. Bach marries Maria Barbara who has his first children. The HIGH BAROQUE:! J.
    [Show full text]
  • Tifh CHORALE CANTATAS
    BACH'S TREATMIET OF TBE CHORALi IN TIfh CHORALE CANTATAS ThSIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS By Floyd Henry quist, B.A. Denton, Texas August, 1950 N. T. S. C. LIBRARY CONTENTS Page LIST OF ILLUSTRATIONS. ...... .... v PIEFACE . vii Chapter I. ITRODUCTION..............1 II. TECHURCH CANTATA.............T S Origin of the Cantata The Cantata in Germany Heinrich Sch-Utz Other Early German Composers Bach and the Chorale Cantata The Cantata in the Worship Service III. TEEHE CHORAI.E . * , . * * . , . , *. * * ,.., 19 Origin and Evolution The Reformation, Confessional and Pietistic Periods of German Hymnody Reformation and its Influence In the Church In Musical Composition IV. TREATENT OF THED J1SIC OF THE CHORAIJS . * 44 Bach's Aesthetics and Philosophy Bach's Musical Language and Pictorialism V. TYPES OF CHORAJETREATENT. 66 Chorale Fantasia Simple Chorale Embellished Chorale Extended Chorale Unison Chorale Aria Chorale Dialogue Chorale iii CONTENTS (Cont. ) Chapter Page VI. TREATMENT OF THE WORDS OF ThE CHORALES . 103 Introduction Treatment of the Texts in the Chorale Cantatas CONCLUSION . .. ................ 142 APPENDICES * . .143 Alphabetical List of the Chorale Cantatas Numerical List of the Chorale Cantatas Bach Cantatas According to the Liturgical Year A Chronological Outline of Chorale Sources The Magnificat Recorded Chorale Cantatas BIBLIOGRAPHY . 161 iv LIST OF ILLUSTRATIO1S Figure Page 1. Illustration of the wave motive from Cantata No. 10e # * * # s * a * # . 0 . 0 . 53 2. Illustration of the angel motive in Cantata No. 122, - - . 55 3. Illustration of the motive of beating wings, from Cantata No.
    [Show full text]
  • Saint Songs List of Songs 2020-03-05 Promo List
    Table 1 Page Number LITURGICAL LOCATION ALT LITURGY PSALM # or CHURCH CALENDAR Title Tune/Text Listening Link Author Date Composer Tune Name Style SCRIPTURE Common 1 03 CONSECRATION PSALM 1 PENTECOST Blest Is the Man https://allsaints-church.com/files/music/2.mp3 Wilson, Douglas 1600s Schütz, Heinrich BECKER 1 German renaissance 2 03 CONSECRATION PSALM 2 EPIPHANY Why Do the Heathen https://allsaints-church.com/files/music/4.mp3 Wilson, Douglas 1500s Bourgeois, Louis GENEVAN 2 French Renaissance 3 03 CONSECRATION PSALM 5 PENTECOST Give Ear, O LORD https://allsaints-church.com/files/music/6.mp3 Wilson, Douglas 1600s Schütz, Heinrich BECKER 5 German renaissance 4 03 CONSECRATION PSALM 8 CHRISTMASTIDE O Lord, our Lord, how majestic https://allsaints-church.com/files/music/30.mp3 Unknown 1800s American folk song LAREDO Amer. Folk hymn 5 03 CONSECRATION PSALM 9 PENTECOST O Lord Most High https://uribrito.com/o-lord-most-high-psalm-9/ The Psalter (1912) recent Wilbur, Greg Modern hymnody 6 03 CONSECRATION PSALM 14 PENTECOST The God who sits enthoned The Psalter (1912) recent Wilbur, Greg Contemp. hymn 7 03 CONSECRATION PSALM 15 EASTERTIDE LORD, Who Shall Dwell https://allsaints-church.com/files/music/17.mp3 Wilson, Douglas 1600s Schütz, Heinrich BECKER 15 German renaissance 8 03 CONSECRATION PSALM 19 PENTECOST The law of God is my delight Penney Brian L. recent Penney, James HAMPTON Modern hymnody 9 03 CONSECRATION PSALM 20 PENTECOST May the LORD Respond in George, Nathan Clark recent George, Nathan Clark Contemp. hymn 10 03 CONSECRATION PSALM 20 PENTECOST The LORD Hear Thee https://allsaints-church.com/files/music/28.mp3 Wilson, Douglas 1600s Schütz, Heinrich BECKER 20 German renaissance 11 03 CONSECRATION PSALM 21 EASTERTIDE O LORD, Our King Rejoices https://allsaints-church.com/files/music/30.mp3 Wilson, Douglas 1600s Schütz, Heinrich BECKER 21 German renaissance 12 01 CALL TO WORSHIP PSALM 22 EASTERTIDE All earth to Him https://allsaints-church.com/files/music/PH1.mp3 The Psalter (1912) recent Wilbur, Greg Contemp.
    [Show full text]
  • Tradition and Individual Style in the Motets of J.S
    TRADITION AND INDIVIDUAL STYLE IN THE MOTETS OF J.S. BACH Natalie Beck The extant motets of Johann Sebastian Bach provide examples of Bach's distinctive composing techniques as he applied them to the traditional motet style of the Baroque period. The study is a comparison of Bach's motets to the traditional Lutheran motet style as it was known in the Baroque period and will highlight similarities as well as differences. In the Baroque periods, the term "motet" was generally applied to a sacred composition for voices with Latin text taken from the Bible or religious poetry. This was a very broad definition for choral works which presented the text in an uninterrupted fashion and did not include solo passages, recitative or independent instrumental parts. Modern day confusion over identifying motets is due to the fact that the term was used interchangeably with concert, cantiones, concentus and cantata as well as being used for pieces that do not fall within the standard definition of the motet. Michael Praetorius, in Syntagum Musicum, (as quoted in Morgan) simply describes a motet as "any sacred Latin work" written for four to eight parts (1, 1). This is a broad, but simple statement, that is indicative of the thought of the time with regard to motet composition. The development of the chorale motet in Germany in the early 17th century with simple, homophonic settings of the Lutheran chorale. The form was expanded with the use of contrapuntal treatment of each line in the chorale, addition of Biblical verse and antiphonal repetitions (1, 9).
    [Show full text]
  • O Lord, How Shall I Meet Thee (Booklet)
    O Lord, How Shall I Meet Thee Wie soll ich dich empfangen 7.6. 7.6. D Wie soll ich dich empfangen Paul Gerhardt, 1653 Johann Crüger, 1653 Tr. composite Arr. composite 2 Thy Zion strews before Thee 6 Rejoice, then, ye sad-hearted, Green boughs and fairest palms, Who sit in deepest gloom, And I, too, will adore Thee Who mourn o’er joys departed With joyous songs and psalms. And tremble at your doom. My heart shall bloom forever Despair not, He is near you, For Thee with praises new Yea, standing at the door, And from Thy name shall never Who best can help and cheer you Withhold the honor due. And bids you weep no more. 3 What hast Thou left ungranted 7 Ye need not toil nor languish To give me glad relief? Nor ponder day and night When soul and body panted How in the midst of anguish In utmost depth of grief, Ye draw Him by your might. In deepest degradation, He comes, He comes all willing, Devoid of joy and peace, Moved by His love alone, Then Thou, my soul’s Salvation, Your woes and troubles stilling; Didst come to bring release. For all to Him are known. 4 I lay in fetters, groaning, 8 Sin’s debt, that fearful burden, Thou com’st to set me free; Let not your souls distress; I stood, my shame bemoaning, Your guilt the Lord will pardon Thou com’st to honor me; And cover by His grace. A glory Thou dost give me, He comes, for men procuring A treasure safe on high, The peace of sin forgiv’n, That will not fail or leave me For all God’s sons securing As earthly riches fly.
    [Show full text]
  • Singing the Faith—Part I Martin Luther’S Love of Music
    SLIVIiNnG THgE LiUnTHEgRANtMhUSeICAFL HERaITAiGtE h A Study Guide by Daniel Zager 2 SLIVIiNnG THgE LiUnTHEgRANtMhUSeICAFL HERaITAiGtE h A Study Guide by Daniel Zager ©2008 The Good Shepherd Institute Concordia Theological Seminary 6600 North Clinton Street Fort Wayne, Indiana 46825 3 Contents Singing the Faith—Part I Martin Luther’s Love of Music . 4 Luther’s Musical Discernment . 4 Luther and Popular Music: Myth and Fact . 5 Luther’s Views on Music in Worship . 6 Singing the News . 7 Singing the Good News . 7 Singing the Faith—Part II Martin Schalling (1532–1608) . 11 Philipp Nicolai (1556–1608) . 12 Paul Gerhardt (1607–1676) . 14 Melodies for Gerhardt’s Hymns . 16 Singing the Faith—Part III Luther and Bach . 17 Bach’s Organ Preludes on Hymns . 17 Bach’s Cantatas . 18 Cantata BWV 80: Ein feste Burg ist unser Gott (“ A Mighty Fortress Is Our God ”) . 19 After Bach . 20 Felix Mendelssohn Bartholdy (1809–1847) . 21 Friedrich Layriz (1808–1859) . 22 Singing the Faith—Part IV Lutheran Hymns of the Twentieth and Twenty-first Centuries . 23 Martin H. Franzmann (1907–1976) . 23 Jaroslav J. Vajda (b. 1919) . 24 Herman G . Stuempfle Jr. (1923–2007) . 25 Stephen P. Starke (b. 1955) . 25 Hymn Tunes . 26 Hymn Festivals . 27 4 Foreword This study guide is intended primarily for parish pastors and musicians using the DVD Singing the Faith: Living the Lutheran Musical Heritage as a teaching resource in a parish educational setting. The intent of the guide is to provide supplemental background material that will complement the teaching and music contained on the DVD.
    [Show full text]