Abend Wird Es Wieder 218 Ach Bleib Bei Uns, Herr Jesu Christ 45 Ach
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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 -
O Ewigkeit, Du Donnerwort Eternity, Thou Thundrous Word BWV 20
Johann Sebastian BACH O Ewigkeit, du Donnerwort Eternity, thou thundrous word BWV 20 Kantate zum 1. Sonntag nach Trinitatis für Soli (ATB), Chor (SATB) 3 Oboen, Trompete 2 Violinen, Viola und Basso continuo herausgegeben von Ulrich Leisinger Cantata for the 1st Sunday after Trinity for soli (ATB), choir (SATB) 3 oboes, trumpet 2 violins, viola and basso continuo edited by Ulrich Leisinger English version by Henry S. Drinker Stuttgarter Bach-Ausgaben · Urtext In Zusammenarbeit mit dem Bach-Archiv Leipzig Klavierauszug /Vocal score Paul Horn C Carus 31.020/03 Vorwort Foreword Die Kantate O Ewigkeit, du Donnerwort BWV 20 bildet The cantata O Ewigkeit, du Donnerwort BWV 20 (Eter nity, den Auftakt für das wohl ehrgeizigste kompositorische Pro- thou thundrous word), marked the beginning of what was jekt, das Johann Sebastian Bach auf sich genommen hat: probably the most ambitious compositional project ever Die Kantate eröffnet den sogenannten Choralkantatenjahr- undertaken by Johann Sebastian Bach: this cantata opens gang, den der Thomaskantor als zweiten Jahrgang von Kir- the annual cycle of so-called chorale cantatas, which the chenkantaten mit dem 1. Sonntag nach Trinitatis 1724 in Thomaskantor began to compose as his second annual Angriff nahm. cycle of church cantatas with a work for the 1st Sunday after Trinity in 1724. Der Kantate liegt das gleichnamige Lied von Johann Rist aus dem Jahre 1642 zugrunde, das in Leipzig durch das This cantata is based on the hymn of the same name by Gesangbuch von Gottfried Vopelius (1682 und öfter) in Johann Rist, published in 1642, which was familiar in einer auf 12 (von ursprünglich 16) Strophen verkürzten Fas- Leipzig through its inclusion in a hymn book assembled by sung bekannt war. -
Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake. -
The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)* By Robert M. Cammarota Apart from changes in tonality and instrumentation, the two versions of J. S. Bach's Magnificat differ from each other mainly in the presence offour Christmas interpolations in the earlier E-flat major setting (BWV 243a).' These include newly composed settings of the first strophe of Luther's lied "Vom Himmel hoch, da komm ich her" (1539); the last four verses of "Freut euch und jubiliert," a celebrated lied whose origin is unknown; "Gloria in excelsis Deo" (Luke 2:14); and the last four verses and Alleluia of "Virga Jesse floruit," attributed to Paul Eber (1570).2 The custom of troping the Magnificat at vespers on major feasts, particu larly Christmas, Easter, and Pentecost, was cultivated in German-speaking lands of central and eastern Europe from the 14th through the 17th centu ries; it continued to be observed in Leipzig during the first quarter of the 18th century. The procedure involved the interpolation of hymns and popu lar songs (lieder) appropriate to the feast into a polyphonic or, later, a con certed setting of the Magnificat. The texts of these interpolations were in Latin, German, or macaronic Latin-German. Although the origin oftroping the Magnificat is unknown, the practice has been traced back to the mid-14th century. The earliest examples of Magnifi cat tropes occur in the Seckauer Cantional of 1345.' These include "Magnifi cat Pater ingenitus a quo sunt omnia" and "Magnificat Stella nova radiat. "4 Both are designated for the Feast of the Nativity.' The tropes to the Magnificat were known by different names during the 16th, 17th, and early 18th centuries. -
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. -
Tune Name Arranger Page Volume Hymn Title Allein Gott in Der Hoh Albrecht, Timothy 6 Easter All Glory Be to God on High Alleluia No
Tune Name Arranger Page Volume Hymn Title Allein Gott In Der Hoh Albrecht, Timothy 6 Easter All Glory Be to God on High Alleluia No. 1 Honore, Jeffrey 9 Easter Alleluia, Alleluia, Give Thanks Bridegroom Biery, James 14 Easter Like the Murmer of the Dove's Song Bryn Calfaria Haller, William 18 Easter Look, the Sight is Glorious Christ Arose Ferguson, John 21 Easter Up from the Grave He Arose Christ Ist Erstanden Leupold, Anton Wilhelm 24 Easter Christ Is Arisen Crimond Harbach, Barbara 27 Easter The Lord's My Shepherd Cristo Vive (Central) Farlee, Robert Buckley 32 Easter Christ Is Risen, Christ Is Living Den Signede Dag Wold, Wayne L. 36 Easter O Day Full of Grace Down Ampney Sedio, Mark 39 Easter Come Down, O Love Divine Duke Street Held, Wilbur 42 Easter I Know that My Redeemer Lives! Dunlap's Creek Biery, James 45 Easter We Walk by Faith and Not by Sight Earth And All Stars Kolander, Keith 49 Easter Earth And All Stars Easter Hymn Powell, Robert J. 53 Easter Jesus Christ is Risen Today Easter Hymn Goemanne, Noel 57 Easter Jesus Christ is Risen Today Engelberg Cherwien, David M. 60 Easter We Know That Christ is Raised Fortunatus Neswick, Bruce 66 Easter Welcome, Happy Morning! Gaudeamus Pariter Farlee, Robert Buckley 76 Easter Come, You Faithful, Raise the Strain Gelobt Sei Gott Leavitt, John 79 Easter Good Christian Friends, Rejoice and Sing Jesus, Meine Zuversicht Leupold, Anton Wilhelm 81 Easter Jesus Lives! The Victory's Won! Judas Maccabaeus Porter, Emily Maxson 83 Easter Thine Is the Glory Lasst Uns Erfreuen Sedio, Mark 87 Easter Now All the Vault of Heaven Resounds Llanfair Powell, Robert J. -
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. -
The Christology of Bach's St John Passion
PARADOSIS 3 (2016) ‘Zeig uns durch deine Passion’: The Christology of Bach’s St John Passion Andreas Loewe St Paul’s Cathedral Melbourne Melbourne Conservatorium of Music Introduction On a wet, early spring afternoon, on Good Friday 1724, the congregants of Leipzig’s Nikolaikirche witnessed the first performance of Bach’s St John Passion.1 For at least a generation, Good Friday in Leipzig’s principal Lutheran churches—St Thomas’, St Nikolai and the ‘New’ Church—had concluded with the singing of Johann Walter’s chanted Passion.2 As part of the final liturgical observance of the day, the story of the death of Jesus would be sung, combining words and music in order to reflect on the significance of that day. Bach took the proclamation of the cross to a new level – theologically and musically. Rather than use a poetic retelling of the Passion story as his textual basis, Bach made use of a single gospel account, matched with contemporary poems and traditional chorales to retell the trial and death of Jesus. By providing regular opportunities for theological reflection, he purposefully created a “sermon in sound” and so, in his music making, he closely mirrors Lutheran Baroque homiletic principles. An orthodox Lutheran believer throughout his life, Bach’s Passion serves as a vehicle to invite his listeners to make their own his belief that it was “through Christ’s agony and death” that “all the world’s 1 Andreas Elias Büchner, Johann Kanold, Vollständiges und accurates Universal-Register, Aller wichtigen und merckwürdigen Materien (Erfurt: Jungnicol, 1736), 680. 2 As popularised in Gottfried Vopelius, ed., Neu Leipziger Gesangbuch/ Von den schönsten und besten Liedern verfasset/ In welchem Nicht allein des sel. -
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. -
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. -
GOTT DER VATER WOHN UNS BEI from Musae Sioniae I, 1605 Double Choir Motet Arranged for Small Orchestra (Choir I: Woodwinds & Strings; Choir II: Brass)
Full Score from the library of the Concordia Sinfonietta Michael Praetorius (1571-1621) arr. Christian Guebert GOTT DER VATER WOHN UNS BEI from Musae Sioniae I, 1605 double choir motet arranged for small orchestra (Choir I: woodwinds & strings; Choir II: brass) Choir I Choir II Flute Trumpet I Clarinet Trumpet II Violin I Trombone I Violin II Trombone II Viola Bass Trombone or Tuba Cello Contrabass 2 About this arrangement: This edition is a true transcription, reflecting the original pitches, rhythms, and key. There are many instrumental combinations that work well in this setting. Conductors are encouraged to adapt to the needs of their ensembles. The Concordia Sinfonietta uses this arrangement on church outings with a small to medium sized string section, five brass (bass trombone preferred over tuba), and two woodwinds. The setting should work nicely for church and school orchestral ensembles. The rhythms and ranges of parts are accessible for intermediate amateur players. About the hymn: Luther chose an ancient medieval litany and reworked it into a hymn of invocation of the Holy Trinity. It appeared in the first Lutheran hymnal, the Geystliche gesangk Buchleyn of 1524. Praetorius turned it into a motet for double choir in 1605. His setting is arranged here, for a choir of brass and a choir of woodwinds and strings. Christian Guebert, a 2010 graduate of Concordia University Irvine, is a composer of a wide variety of works, including music for choirs, orchestras, handbells, and chamber music ensembles. He holds a Master of Music degree in Music Composition from California State University Fullerton (CSUF) and is studying composition in the doctoral degree program at the University of California, Los Angeles (UCLA). -
A Pedal Study of Johann Sebastian Bach's Orgelbüchlein
A Pedal Study of Johann Sebastian Bach’s Orgelbüchlein A document proposal submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music April, 2013 by Yoonnah L. Lee BM, Ewha Womans University, Korea, 2002 MM, University of Cincinnati, 2005 Committee Chair: Roberta Gary, DMA ABSTRACT This study explores diverse figures in the pedal passages in Johann Sebastian Bach’s Orgelbüchlein in order to improve pedal technique by a more effective practice style. The Orgelbüchlein has been thought to include easy pieces that are usually played by beginning students. One of the reasons for this belief is that the pieces are short. In fact, however, none of the chorale settings in the Orgelbüchlein are easy to play. Their various levels of difficulty and styles prove Bach’s pedagogical purpose. I will take full advantage of the obbligato pedal writing in the Orgelbüchlein to develop a pedal technique for music composed before 1750. This study provides pedal exercises according to level of difficulty with directions for practicing included. These pedal exercises based on the Orgelbüchlein will challenge organ students in the great variety they include. ii Copyright © 2013 by Yoonnah L. Lee. All rights reserverd. iii ACKNOWLEDGEMENTS My long journey of graduate studies at CCM would not have been possible without the support of many people. I would like to acknowledge my advisor, Dr. Roberta Gary. Her teaching and mentorship throughout the completion of my studies will always be remembered with a profound gratitude.