500Th Anniversary of the Reformation 1517 - 2017
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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. -
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. -
Program Notesby Victor Gebauer
Program Notes by Victor Gebauer Der 136. Psalm Heinrich Schütz (1585 – 1672) Heinrich Schütz’s world of music expanded during his first trip to Venice (1609-1613) to study with the renowned Giovanni Gabrieli. There he probably frequented the Fondaco dei Tedeschi, a center for German merchants and musicians. The famed Saint Mark’s Cathedral boasted huge spaces that had generated a polychoral style, reflected here in a double chorus and double capella of ensembles plus continuous bass. The first capella declaims the psalm’s refrain (“For God’s mercy endures forever”) while a chorus announces each psalm verse. Schütz later expands the refrain’s sonority in response to the verses, sung in varied registers and textures by a chorus. The final, extensive verse (“Give thanks to the God of heaven . .”) summarizes the entire psalm, splendidly tossing phrases among all ensembles of voices and instruments. Such music both fills the echoing spaces of a great cathedral and envelopes the worshiper with the praises of God. Gelobet seist du, Jesu Christ Johann Hermann Schein (1586 – 1630) Already in 1690, W. K. Printz’s Historische Beschreibung (Historic Portrayal) identified three great S’s in German music (Samuel Scheidt, Heinrich Schütz, and Johann Hermann Schein). All three were noted for combining styles of the 16th century with expressive new conventions of 17th century Baroque music. Schein’s hymn setting is a clear example. The first stanza dates back to the 14th century, additional stanzas were added by Martin Luther, and the melody also emerged during the Reformation. The “Kyrieleis” marks this as a religious hymn of popular origin. -
Bach's Chorals Part I
BACH'S CHORALS PART I THE HYMNS AND HYMN MELODIES OF THE "PASSIONS" AND MOTETTS gfl. xvi + 74. Price 6s, 6d. net. "An invaluable work of reference.'_--Guardian. "This useful work of reference. '_--,gu_cal Times. "The result of an extensive amount of research and erudition."--Slandard. "A careful piece of archaeological enquiry."--Scolsman. "A scholarly piece of work."--Oxford MaKazin¢. "An invaluable volume of reference...wdl quickly become a standard work."--3/Zu_c StudenL "A perfect storehouse of information."--Musical ATe_s. PART II THE HYMNS AND HYMN MELODIES OF TIIE CANTATAS AND MOTETTS Pp. xiv+ 615. Price 24s. net. "A monumental and exhaustive study..,a notable contri- bution to musical literature...of permanent value, and hardly likely to be superseded.'--Musical Times. "A perfect encyclopaedia of information on its subject." Yorkshire Post. "Its information is extraordinarily full and comprehen- sive."--Musical News. "This valuable work of reference."--Mthenaeum. "An honour to British scholarship and research." Musical Opinion. "The book is in detail one of which both author and pub- hsher may m every way be proud."-- The Times. "The book must be placed in our bookcases next to Grove."--Music Student. "A work which no student of music on the historical side should be without."--New Statesman. "A real triumph of laboriousness, quite indispensable to the serious student of the subject."--Oxford Magazine. "An admirable and scholarly addition to musical litera- ture. --Cambridge Review. BACH'S CHORALS CAMBRIDGE UNIVERSITY PRESS C. F. CLAY, MANAGZR LONDON : FETTER LANE, E.C.4 NEW YORK THE MACMILLAN CO. CALCUTTA MACMILLAN AND CO.,L'rD. -
J.S. Bach Chorales
J.S. Bach Chorales a new critical and complete edition arranged by BWV catalogue number with text and historical contextual information included for each chorale with numerous indices includedCOPY in the appendix PERUSAL Edited by Luke Dahn www.bach-chorales.com www.bach-chorales.comLUXSITPRESS COPY PERUSAL www.bach-chorales.com i General Table of Contents Preface ii Individual Chorales iii Layout Overview / Abbreviations ix The Chorales BWVs 1-197a Chorales from the Cantatas 1 BWVs 226-248 Chorales from the Motets, Passions, and Christmas Oratorio 81 BWVs 250-1126 Individual Chorales 97 Indices A. Index of Chorale Melody Titles 179 B. Index of Chorale Tune Composers and Origins 181 C. Index of Melodies (by scale-degree number) 184 D. Index of Melodies (by Zahn number) 191 E. Index of Chorale Text Titles 193 F. Index of Chorale Text Authors and Origins 196 G. Index of Chorales by Liturgical Occasion 200 H. Index of Chorales by Date COPY 202 I. Cross Indices I1. BWV-to-Dietel / Dietel-to-BWV 206 I2. BWV-to-Riemenschneider 207 I3. Riemenschneider-to-BWV 208 I4. Dietel-to-Riemenschneider / Riemenschneider-to-Dietel 209 I5. Riemenschneider-to-BWV 210 J. Chorales not in Breitkopf-Riemenschneider 211 K. Breitkopf-Riemenschneider Chorales Appearing in Different Keys 213 L. Chorale duplicates in Breitkopf-Riemenschneider 214 M. Realizations of Schemelli Gesangbuch Chorales 215 N. Chorale Instrumentation and Texture Index 216 PERUSAL www.bach-chorales.com ii PREFACE This new edition of the Bach four-part chorales is intentionally created and organized to serve all those who engage with the Bach chorales, from music theorists and theory students interested in studying the Bach chorale style or in using the chorales in the classroom, to musicologists and Bach scholars interested in the most up-to-date research on the chorales, to choral directors and organists interested in performing the chorales, to amateur Bach-lovers alike. -
Laudate Omnes Gentes, Laudate Dominum. Nations
Lobsingt, ihr Völker alle Große deutsche Kirchenlieder und Choräle Praise the Lord, all you peoples Large German Sacred and Choral Works Nations, louez toutes le Seigneur Des Cantiques et Chœurs célèbres allmands Windsbacher Knabenchor Karl-Friedrich Beringer Torsten Laux, Orgel/organ/orgue ROP2014 , 1992/1998/2001/2003 1 Laudate omnes gentes (EG 181.6) .................................................................................................. 1:49 12 Ach wie flüchtig, ach wie nichtig (EG 528/GL 657) ................................................................... 1:46 Text: nach Psalm 117,1; Melodie und Satz: Jacques Berthier, Taizé, 1978 Text und Melodie: Michael Franck, 1652; Satz: Johann Bach (aus: Motette „Unser Leben ist ein Schatten“, Nr. 5) 2 Die Nacht ist vorgedrungen (EG 16/GL 111) ................................................................................ 3:06 Text: Jochen Klepper, 1938; Melodie: Johannes Petzold, 1939; Satz: Ulrich Grainer, 1984 13 Mitten wir im Leben sind (EG 518/GL 654) ................................................................................... 4:56 3 Wie soll ich dich empfangen (EG 11) ........................................................................................... 4:26 Text: Salzburg, 1456; Martin Luther, 1524; Melodie: Salzburg 1456; Johann Walter, 1524; Text: Paul Gerhardt, 1653; Melodie und Satz: Johann Crüger, 1653 Satz: nach Lukas Osiander 4 Es kommt ein Schiff geladen (EG 8/GL 114) ................................................................................ 3:32 -
STUDIES in LUTHERAN CHORALES by Hilton C
STUDIES IN LUTHERAN CHORALES by Hilton C. Oswald Edited by Bruce R. Backer ! Copyright 1981 by Dr. Martin Luther College, New Ulm, Minnesota All Rights Reserved Printed in U.S.A. • Redistributed in Digital Format By Permission TABLE OF CONTENTS EDITOR’S PREFACE! iii ABOUT THE AUTHOR! v 1!THREE REPRESENTATIVE CHORALES OF DR. MARTIN LUTHER! 1 1.1!A MIGHTY FORTRESS IS OUR GOD! 1 1.2!WE NOW IMPLORE GOD, THE HOLY GHOST! 3 1.3!IN THE MIDST OF EARTHLY LIFE! 4 2!CHORALES BY CONTEMPORARIES OF LUTHER! 7 2.1!MY SOUL, NOW BLESS THY MAKER! 7 2.2!IN THEE, LORD, HAVE I PUT MY TRUST! 8 3!THE UNFAMILIAR CHORALES OF DR. MARTIN LUTHER! 10 3.1!MAY GOD BESTOW ON US HIS GRACE! 10 3.2!WE ALL BELIEVE IN ONE TRUE GOD! 12 3.3!IN PEACE AND JOY I NOW DEPART! 14 3.4!O LORD, LOOK DOWN FROM HEAVEN, BEHOLD! 16 3.5!IF GOD HAD NOT BEEN ON OUR SIDE! 17 4!THE GREAT CHORALES OF LUTHER’S CONTEMPORARIES! 19 4.1!IN THEE, LORD, HAVE I PUT MY TRUST! 19 4.2!PRAISE GOD, THE LORD, YE SONS OF MEN! 20 4.3!ALL GLORY BE TO GOD ON HIGH! 22 4.4!LAMB OF GOD, PURE AND HOLY! 22 4.5!WHEN IN THE HOUR OF UTMOST NEED! 24 5!GREAT CHORALES OF THE 17TH CENTURY! 27 5.1!ZION MOURNS IN FEAR AND ANGUISH! 27 5.2!O DARKEST WOE! 28 5.3!ON CHRIST’S ASCENSION I NOW BUILD! 30 5.4!NOW THANK WE ALL OUR GOD! 31 5.5!O LORD, WE WELCOME THEE! 32 6!LUTHER’S ADAPTATIONS FROM THE HYMNODY OF THE OLD CHURCH! 33 6.1!JESUS CHRIST, OUR BLESSED SAVIOR! 33 6.2!O LORD, WE PRAISE THEE! 34 6.3!ALL PRAISE TO THEE, ETERNAL GOD! 35 6.4!CHRIST JESUS LAY IN DEATH’S STRONG BANDS! 37 6.5!COME, HOLY GHOST, GOD AND LORD! 39 i TABLE OF CONTENTS 7!THE CATECHISM CHORALES OF DR. -
Clavierübung III of J. S. Bach Theology in Notes and Numbers1
Clavierübung III of J. S. Bach 1 Theology in Notes and Numbers , Part 1 Alexander Fiseisky t goes without saying that the primary and Directore Chori Musici in Leipzig. Der Generalbaß ist das vollkommenste works of Johann Sebastian Bach. Albert Fundament der Music welcher [auf einem I task of every performer who wishes Published by the author.] Clavier] mit beyden Händen gespielt wird Schweitzer wrote in his masterful fashion: to convey the meaning of any given mu- “Music is an act of worship with Bach… dergestalt das die lincke Hand die vorge- 20 sical work must fi rst be to understand Bach here follows the example of his schriebenen Noten spielet die rechte aber For him, art was religion...” The ortho- the original intention of the composer. predecessor at St. Thomas Church, Jo- Con- und Dissonantien darzu greift damit dox Lutheran Bach, who was born and And when the works in question are hann Kuhnau (1660–1722), and modest- dieses eine wohlklingende Harmonie gebe raised in Eisenach, Luther’s own town, those of Johann Sebastian Bach, where ly calls his work Clavierübung [Keyboard zur Ehre Gottes und zulässiger Ergötzung where the façade of the main church of the invisible thread that should link us Exercise].2 He thereby encourages us, des Gemüths und soll wie aller Music, also St. George was decorated with the Protes- to the era in which he lived seems to be through diligent practice (Übung in Ger- auch des General Basses Finis und End tant motto “A mighty fortress is our God,” Uhrsache anders nicht, als nur zu Gottes irretrievably broken, the task takes on man), to understanding his purpose in Ehre und Recreation des Gemüths seyn. -
Werbeservice & Notensatz, Steffen Fischer
Diese pdf-Datei ist das Inhaltesverzeichnis der Notensatz CD, 133 Chorsätze Alter Meister, genauere Informationen finden Sie unterhttp:// www.notensatz-s-fischer.de oder direkt beim Artikel, folgen Sie dazu folgendem Link: http://www.notensatz-s-fischer.de/index.php?route=product/product&path=4_5&product_id=17 Tonart Titel Komponist / Herkunft (nur Dur) 001_Gottes Sohn ist kommen Weise: 15. Jh. / Böhmische Brüder F-Dur Satz: Michael Praetorius 1571-1621 Text: Böhmische Brüder 002_Nun jauchzet, all ihr Frommen Weise: Hamburg 1598 G-Dur Satz: Bartholomäus Gesius Text: Michael Schirmer 003_Mit Ernst, o Menschenkinder Weise: Loyn/geistlich Erfurt 1572 F-Dur Satz: Hans Leo Hassler 004_Nun komm der Heiden Heiland Weise: Altkirchlich/Martin Luther 1524 F-Dur Satz: Melchior Vulpius; um 1570-1615 Der altkirchliche Hymnus Veni redemptor gentium des Bischofs Ambrosius (um 340-197) deutsch von Martin Luther, 1524 005_Gott sei Dank durch alle Welt Weise: Altkirchlich/Martin Luther 1524 F-Dur Satz: Melchior Vulpius; um 1570-1615 Text: Heinrich Held, 1658 006_Wie soll ich dich empfangen Weise und Satz: Johann Crüger, 1598-1662 F-Dur Text: Paul Gerhardt, 1653 007_Vom Himmel kam der Engel Weise: Martin Luther, 1539 C-Dur Schar Satz: Johann Hermann Schein, 1586-1630 Text: Martn Luther, 1543 008_Vom Himmel hoch da komm ich Weise: Martin Luther, 1539 C-Dur her Satz: Adam Gumpelzhaimer, 1559-1625 Text: Martin Luther, 1535 009_Kommt und laßt uns Christum Weise: 14. Jh. bei Valentin Triller 1522 F-Dur ehren Satz: Michael Praetorius, 1571-1621 Text: Paul Gerhardt, 1666 010_Gelobet seist du, Jesu Christ Weise: 15. Jh. Wittenberg 1524 C-Dur Satz: Erhard Bodenschatz, 1576-1636 Strophe1: 14. -
J.E. Gardiner (SDG
Cantatas for the First Sunday after Easter (Quasimodogeniti) Johann-Sebastian-Bach-Kirche, Arnstadt After the uplifting experience of celebrating the Easter Festival in Eisenach, Bach’s birthplace, we moved on some thirty miles southeast through the Thuringian forest to Arnstadt. Said to be the oldest town in Thuringia, this was once the ‘nerve-centre of the Bach family’, the ‘major hub’ of their musical activities since the 1640s (Christoph Wolff). It was also the seat of a small principality ruled at the turn of the seventeenth and eighteenth centuries by Count Anton Günther of Schwarzburg, who, ever since the death in 1693 of Johann Christoph, Bach’s uncle and court and town musician, had been on the look-out for another available family member; ‘for he should and must have a Bach again’. It took him eight years to find his man. One day in June 1703, a private coach drew up outside the ducal castle in Weimar to escort the eighteen-year-old Johann Sebastian Bach, then a minor court servant (officially registered as ‘the lackey Bach’) to Arnstadt. His task was to inspect and evaluate the new organ in the rebuilt Saint Boniface’s or New Church, where we were due to perform on Low Sunday. Had the 800 florins paid by the Council to the organ builder J F Wender been good value for money? For the next couple of days Bach needed to draw on his impressive, precocious technical know-how: measuring wind-pressure, the thickness and quality of the pipes (had Wender cheated by substituting lead for tin in those that were out of sight, for example?), the voicing of the reeds, including the three big 16’ stops, the touch and rebound of the depressed keys and so on. -
Download a PDF File
Full list of hymlyrics available at http://www.traditionalmusic.co.uk/hymnlyrics2/ The Three Kings of Cologne-Eugene Field Three Kings from Out the Orient-Thomas Brown Three in One, and One in Three-Gilbert Rorison Forty Days Thy Seer of Old-Jackson Mason The Ninety and Nine-Elizabeth Clephane As Above the Darkest Storm Cloud-Daniel Howard Are All the Foes of Sion Fools-Isaac Watts And Am I Only Born to Die-Charles Wesley Among th'Assemblies of the Great-Isaac Watts At All Times Praise the Lord-John Howson ca Abba, Father! We Approach Thee-James Deck Abide Not in the Realm of Dreams-William Burleigh Abide with Me(Perkins)-Kate Perkins Abide with Me(Lyte)-Henry Lyte Abide with Us, the Day Is Waning-Caspar Boye Abiding in Jesus-Minnie Enlow Abide in Me, O Lord-Harriet Stowe Abiding, Oh, So Wondrous Sweet-Charles Root Abide with Me(Dietrich)-Emma Dietrich Abide in Thee-Joseph Smith Able to Deliver-Fanny Crosby Able to Save-Richard Venting Alas! By Nature How Depraved-John Newton Abode of Peace-Agata Rosenius Above the Hills of Time-Thomas Tiplady Above the Clear Blue Sky-John Chandler Above the Bright Blue-Charles Pollock Above the Starry Spheres-From the Latin Above Yon Clear Blue Sky-Mary Bourdillon Absent from Flesh! O Blissful Thought-Isaac Watts Abundant Fields of Grain Shall Wave-The Psalter And Can It Be That I Should Gain-Charles Wesley Accepted in the Beloved-Civilla Martin Accept Him Today-Howard Hastings According to Thy Gracious Word-James Montgomery At the Cross, Her Station Keeping-From the Latin And Can I Yet Delay-Charles -
Chorale Book
AUGSBURG CHORALE BOOK AUGSBURG FORTRESS MINNEAPOLIS CONTENTS Foreword, iv All Glory Be to God on High, 81 Introduction, v Allein Gott in der Höh Setting by Chad Fothergill Composition & Performance Notes, vi We All Believe in One True God, 84 Wir glauben all Savior of the Nations, Come, 1 Setting by Helmut Barbe Nun komm, der Heiden Heiland Wake, Awake, for Night Is Flying, 88 Setting by Nancy M. Raabe Wachet auf O Savior, Rend the Heavens Wide, 4 Setting by Bartholomäus Gesius O Heiland, reiss die Himmel auf In Peace and Joy I Now Depart, 94 Setting by Johannes Brahms Mit Fried und Freud From Heaven Above, 12 Setting by Dietrich Buxtehude Vom Himmel hoch A Mighty Fortress Is Our God, 100 Setting by Daniel E. Schwandt Ein feste Burg Let All Together Praise Our God, 20 Setting by Georg Philipp Telemann Lobt Gott, ihr Christen Lord, Keep Us Steadfast in Your Word, 102 Setting by John Helgen Erhalt uns, Herr To Jordan Came the Christ, Our Lord, 22 Setting by Jeremy J. Bankson Christ, unser Herr Creator Spirit, Heavenly Dove, 106 Setting by Gerhard Krapf Veni Creator Spiritus / Komm, Gott Schöpfer O Morning Star, How Fair and Bright, 25 Setting by Anne Krentz Organ Wie schön leuchtet Salvation unto Us Has Come, 110 Setting by Hugo Distler Es ist das Heil The Only Son from Heaven, 30 Setting by Johann Walter Herr Christ, der einig Gotts Sohn Out of the Depths I Cry to You, 114 Setting by Robert Buckley Farlee Aus tiefer Not Ah, Holy Jesus, 40 Setting by Felix Mendelssohn-Bartholdy Herzliebster Jesu Now to the Holy Spirit Let Us Pray, 116 Setting by Ralph M.