Tifh CHORALE CANTATAS
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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. -
The Bach Experience
MUSIC AT MARSH CHAPEL 10|11 Scott Allen Jarrett Music Director Sunday, December 12, 2010 – 9:45A.M. The Bach Experience BWV 62: ‘Nunn komm, der Heiden Heiland’ Marsh Chapel Choir and Collegium Scott Allen Jarrett, DMA, presenting General Information - Composed in Leipzig in 1724 for the first Sunday in Advent - Scored for two oboes, horn, continuo and strings; solos for soprano, alto, tenor and bass - Though celebratory as the musical start of the church year, the cantata balances the joyful anticipation of Christ’s coming with reflective gravity as depicted in Luther’s chorale - The text is based wholly on Luther’s 1524 chorale, ‘Nun komm, der Heiden Heiland.’ While the outer movements are taken directly from Luther, movements 2-5 are adaptations of the verses two through seven by an unknown librettist. - Duration: about 22 minutes Some helpful German words to know . Heiden heathen (nations) Heiland savior bewundert marvel höchste highest Beherrscher ruler Keuschheit purity nicht beflekket unblemished laufen to run streite struggle Schwachen the weak See the morning’s bulletin for a complete translation of Cantata 62. Some helpful music terms to know . Continuo – generally used in Baroque music to indicate the group of instruments who play the bass line, and thereby, establish harmony; usually includes the keyboard instrument (organ or harpsichord), and a combination of cello and bass, and sometimes bassoon. Da capo – literally means ‘from the head’ in Italian; in musical application this means to return to the beginning of the music. As a form (i.e. ‘da capo’ aria), it refers to a style in which a middle section, usually in a different tonal area or key, is followed by an restatement of the opening section: ABA. -
Fasolis-D-V06c[Brilliant-2CD-Booklet].Pdf
94639 bach_BL2 v8_BRILLIANT 04/02/2013 10:10 Page 2 Johann Sebastian Bach 1685 –1750 Passion Chorales 39 –40 O Lamm Gottes, unschuldig BWV618 3’54 1’24 Orgelbüchlein BWV 599 –644 41 –42 Christe, du Lamm Gottes BWV619 1’01 1’23 with alternating chorales 43 –44 Christus, der uns selig macht BWV620 2’45 1’22 45 –46 Da Jesus an dem Kreuze stund BWV621 2’03 1’10 Compact Disc 1 67’20 Compact Disc 2 67’14 Part I Organ Chorale Advent Chorales Part II Organ Chorale 1–2 Nun komm, der Heiden Heiland BWV599 2’03 0’46 1–2 O Mensch, bewein dein’ Sünde groß BWV622 6’02 2’27 3–4 Gottes Sohn ist kommen BWV600 1’27 1’10 3–4 Wir danken dir, Herr Jesu Christ BWV623 1’03 0’49 5–6 Herr Christ, der ein’ge Gottes Sohn BWV601 1’38 1’09 5–6 Hilf Gott, daß mir’s gelinge BWV624 1’33 1’01 7–8 Lob sei dem allmächtigen Gott BWV602 0’54 0’47 Easter Chorales Christmas Chorales 7–8 Christ lag in Todesbanden BWV625 1’19 1’25 9–10 Puer natus in Bethlehem BWV603 1’18 0’46 9–10 Jesus Christus, unser Heiland BWV626 1’01 0’49 11 –12 Gelobet seist du, Jesu Christ BWV604 1’12 0’48 11 –12 Christ ist erstanden Verse 1 BWV627 1’18 0’50 13 –14 Der Tag, der ist so freudenreich BWV605 1’57 1’18 13 –14 Christ ist erstanden Verse 2 1’14 0’50 15 –16 Vom Himmel hoch, da komm’ ich her BWV606 0’54 0’47 15 –16 Christ ist erstanden Verse 3 1’41 0’49 17 –18 Vom Himmel kam der Engel Schar BWV607 1’10 0’30 17 –18 Erstanden ist der heil’ge Christ BWV628 0’44 0’26 19 –20 In dulci jubilo BWV608 1’24 0’51 19 –20 Erschienen ist der herrlich Tag BWV629 0’50 0’36 21 –22 Lobt Gott, ihr Christen, allzugleich -
Introduction
Copyright © Thomas Braatz, 20071 Introduction This paper proposes to trace the origin and rather quick demise of the Andreas Stübel Theory, a theory which purportedly attempted to designate a librettist who supplied Johann Sebastian Bach with texts and worked with him when the latter composed the greater portion of the 2nd ‘chorale-cantata’ cycle in Leipzig from 1724 to early 1725. It was Hans- Joachim Schulze who first proposed this theory in 1998 after which it encountered a mixed reception with Christoph Wolff lending it some support in his Bach biography2 and in his notes for the Koopman Bach-Cantata recording series3, but with Martin Geck4 viewing it rather less enthusiastically as a theory that resembled a ball thrown onto the roulette wheel and having the same chance of winning a jackpot. 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Norton, 2000), (first published as a paperback in 2001), p. 278. 3 Christoph Wolff, ‘The Leipzig church cantatas: the chorale cantata cycle (II:1724-1725)’ in The Complete Cantatas volumes 10 and 11 as recorded by Ton Koopman and published by Erato Disques (Paris, France, 2001). 4 Martin Geck, Bach: Leben und Werk, (Hamburg, 2000), p. 400. 1 Andreas Stübel Andreas Stübel (also known as Stiefel = ‘boot’) was born as the son of an innkeeper in Dresden on December 15, 1653. In Dresden he first attended the Latin School located there. Then, in 1668, he attended the Prince’s School (“Fürstenschule”) in Meißen. -
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). -
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. -
Bach Festival the First Collegiate Bach Festival in the Nation
Bach Festival The First Collegiate Bach Festival in the Nation ANNOTATED PROGRAM APRIL 1921, 2013 THE 2013 BACH FESTIVAL IS MADE POSSIBLE BY: e Adrianne and Robert Andrews Bach Festival Fund in honor of Amelia & Elias Fadil DEDICATION ELINORE LOUISE BARBER 1919-2013 e Eighty-rst Annual Bach Festival is respectfully dedicated to Elinore Barber, Director of the Riemenschneider Bach Institute from 1969-1998 and Editor of the journal BACH—both of which she helped to found. She served from 1969-1984 as Professor of Music History and Literature at what was then called Baldwin-Wallace College and as head of that department from 1980-1984. Before coming to Baldwin Wallace she was from 1944-1969 a Professor of Music at Hastings College, Coordinator of the Hastings College-wide Honors Program, and Curator of the Rinderspacher Rare Score and Instrument Collection located at that institution. Dr. Barber held a Ph.D. degree in Musicology from the University of Michigan. She also completed a Master’s degree at the Eastman School of Music and received a Bachelor’s degree with High Honors in Music and English Literature from Kansas Wesleyan University in 1941. In the fall of 1951 and again during the summer of 1954, she studied Bach’s works as a guest in the home of Dr. Albert Schweitzer. Since 1978, her Schweitzer research brought Dr. Barber to the Schweitzer House archives (Gunsbach, France) many times. In 1953 the collection of Dr. Albert Riemenschneider was donated to the University by his wife, Selma. Sixteen years later, Dr. Warren Scharf, then director of the Conservatory, and Dr. -
A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 5-2-2014 A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A. Labadorf University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Labadorf, Thomas A., "A New Transcription and Performance Interpretation of J.S. Bach's Chromatic Fantasy BWV 903 for Unaccompanied Clarinet" (2014). Doctoral Dissertations. 332. https://opencommons.uconn.edu/dissertations/332 A New Transcription and Performance Interpretation of J.S. Bach’s Chromatic Fantasy BWV 903 for Unaccompanied Clarinet Thomas A. Labadorf, D. M. A. University of Connecticut, 2014 A new transcription of Bach’s Chromatic Fantasy is presented to offset limitations of previous transcriptions by other editors. Certain shortcomings of the clarinet are addressed which add to the difficulty of creating an effective transcription for performance: the inability to sustain more than one note at a time, phrase length limited by breath capacity, and a limited pitch range. The clarinet, however, offers qualities not available to the keyboard that can serve to mitigate these shortcomings: voice-like legato to perform sweeping scalar and arpeggiated gestures, the increased ability to sustain melodic lines, use of dynamics to emphasize phrase shapes and highlight background melodies, and the ability to perform large leaps easily. A unique realization of the arpeggiated section takes advantage of the clarinet’s distinctive registers and references early treatises for an authentic wind instrument approach. A linear analysis, prepared by the author, serves as a basis for making decisions on phrase and dynamic placement. -
Benjamin Alard
THE COMPLETE WORK FOR KEYBOARD TOWARDS THE NORTH VERS LE NORD Benjamin Alard Organ & Claviorganum FRANZ LISZT JOHANN SEBASTIAN BACH (1685-1750) The C omplete W orks for Keyboard Intégrale de l’Œuvre pour Clavier / Das Klavierwerk Towards the North Vers le Nord | Nach Norden Lübeck Hambourg DIETRICH BUXTEHUDE (1637?-1707) JOHANN SEBASTIAN BACH 1 | Choralfantasie “Nun freut euch, lieben Christen g’mein” BuxWV 210 14’31 1 | Toccata BWV 912a, D major / Ré majeur / D-Dur 12’20 Weimarer Orgeltabulatur 2 | Choral “Jesu, meines Lebens Leben” BWV 1107 1’44 JOHANN SEBASTIAN BACH JOHANN PACHELBEL 2 | Choral “Herr Christ, der einig Gottes Sohn” BWV Anh. 55 2’22 3 | Choral “Kyrie Gott Vater in Ewigkeit” 2’44 3 | Choral “Wie schön leuchtet der Morgenstern” BWV 739 4’50 Weimarer Orgeltabulatur JOHANN PACHELBEL (1653-1706) JOHANN SEBASTIAN BACH 4 | Fuge, B minor / si mineur / h-Moll 2’46 4 | Choral “Liebster Jesu, wir sind hier” BWV 754 3’22 Weimarer Orgeltabulatur 5 | Fantasia super “Valet will ich dir geben” BWV 735a 3’42 6 | Fuge BWV 578, G minor / sol mineur / g-Moll 3’35 JOHANN SEBASTIAN BACH 7 | Fuge “Thema Legrenzianum” BWV 574b, C minor / ut mineur / c-Moll 6’17 5 | Choral “Ach Herr, mich armen Sünder” BWV 742 2’11 8 | Fuge BWV 575, C minor / ut mineur / c-Moll 4’16 6 | Fuge über ein Thema von A. Corelli BWV 579, B minor / si mineur / h-Moll 5’24 7 | Choral “Christ lag in Todesbanden” BWV 718 4’57 JOHANN ADAM REINKEN (1643?-1722) 8 | Fuge BWV 577, G major / Sol majeur / G-Dur 3’43 9 | Choralfantasie “An Wasserflüssen Babylon” 18’42 9 | Partite -
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. -
Keyboard & Instrumental
Keyboard & Instrumental GIA PUBLICATIONS, INC. New THRee PSALM PRELUDES FOR ORGAN Raymond Haan This set of three preludes is based on psalm texts—“Repose” based on Psalm 4:8, “Contemplation” based on Psalm 8:3a, 4a, and “Meditation” based on Psalm 143:5. The pieces can be used as a set or as individual move- ments. Extensive registration suggestions and nuance of dynamics are included. Contents: Repose • Contemplation • Meditation G-8088 ......................................................................... $12.00 LORD, I WANT TO BE A CHRISTIAN FOR ORGAN AND FLUTE arr. Kenneth Dake Kenneth Dake’s arrangement for flute and organ is based on the familiar African American spiritual “Lord, I Want to Be a Christian.” This charming piece is highly accessible for both parts and offers endless expressive possibilities for interpretation. Perfect for a brief moment of reflection and meditation. G-8184 ......................................................................... $10.00 RESIGNATION MY ShePheRD WILL SUPPLY MY NeeD FOR ORGAN AND VIOLA OR HORN IN F arr. Kenneth Dake Originally written for well-known violist Lawrence Dutton, this beautiful arrangement for viola and organ meanders gently as if floating on a soft summer breeze. The peaceful repose of this work makes it perfect for any reflective moment in your worship service. A part for horn in F is also provided. G-8185 .......................................................................... $12.00 HIS EYE IS ON The SPARROW FOR ORGAN AND HORN IN F OR CLARINET IN B< Charles H. Gabriel arr. Kenneth Dake This meditative piece based on Matthew 6:26 and John 14:1, 27 employs the tender hymn tune sparrow. Scored for horn in F and organ, both parts begin in a quiet, thoughtful manner before soaring to a majestic climax and then returning to the opening mood. -
Program-For-Website.Pdf
Buon Natale Laudate Singers & Baroque Chamber Orchestra Lars Kaario, Conductor Livestream December 13, 2020 * Pre-Concert Music – see next page for detail Magnificat, RV610 Antonio Vivaldi 1678-1741 1. Magnificat Chorus 2. Et exultavit Soprano, alto, tenor & chorus Soloists – Elizabeth, Monica, Kilian 3. Et misericordia eius Chorus 4. Fecit potentiam Chorus 5. Deposuit potentes Chorus 6. Esurientes Soprano duet – Laurel & Elizabeth 7. Suscepit Israel Chorus 8. Sicut locutus est Chorus 9. Gloria Patri Chorus Soprano: Laurel Curley, Laura Kaario, Elizabeth Petersen Alto: Alana Davies, Monica Teng Tenor: Kilian Benson, Nathan Kaleta Bass: Alec Faris, Preston Lee 20-MINUTE INTERLUDE see next page for detail Gloria in D major, RV589 Antonio Vivaldi 1678-1741 1. Gloria in excelsis Chorus 2. Et in terra pax Chorus 3. Laudamus te Soprano duet – Cassie & Isabella 4. Gratias agimus tibi Chorus 5. Propter magnam gloriam tuam Chorus 6. Domine Deus Soprano aria – Cassie 7. Domine Fili unigenite Chorus 8. Domine Deus, Agnus Dei Alto (Jessica) and Chorus 9. Qui tollis peccata mundi Chorus 10. Qui sedes ad dexteram Patris Alto aria – Maria 11. Quoniam tu solus sanctus Chorus 12. Cum Sancto Spiritu Chorus Soprano: Cassie Karvonen, Isabella Kershaw Alto: Jessica De Gaust, Maria Golas Tenor: Kilian Benson, Nathan Kaleta Bass: Nick Ainsworth, Andrew Wilson Instrumentalists Nancy DiNovo, violin Andrea Siradze, violin Sarah Kwok, viola Brian Mix, cello Marea Chernoff, oboe Mark D’Angelo, trumpet Michael Molnar, organ *Post-Concert Music – see next page for detail 2 Please enjoy music from our previous recordings before the concert begins, during the 20-minute interlude while the venue’s air is exchanged for musicians’ safety, and at the end of the concert.