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Stadtkirche St. Michael Kirche Gehren
Stadtkirche St. Michael Kirche Gehren Auch Gehren kann in seiner Geschichte auf mehrere Kirchbauten verweisen. Dort, wo heute die Stadtkirche St. Michael steht, befand sich ein Vorgängerbau, dessen erste Erwähnung aus dem Jahre 1521 stammt. Hier war Johann Michael Bach, der Schwiegervater von Johann Sebastian Bach, von 1673 bis 1694 als Organist tätig. Anfang des 18. Jh. wurde diese Kirche zu klein für die ständig wachsende Zahl der Gottesdienstbesucher, da mit dem Ausbau der fürstlichen Verwaltungsstrukturen als „Amt“ Gehren der Ort überregionale 1834 Bedeutung erlangte. Eine 1729 eingeweihte größere Kirche auf dem benachbarten Kirchberg stand allerdings nur 20 Jahre, dann fiel sie einem Brand zum Opfer. So wurde die Kirche am Markt bis 1830 genutzt. Dann riss man sie ab und erbaute an gleicher Stelle im klassizistischen Stil eine Neue. In der „kirchenlosen Zeit“ fanden die Gottesdienste in der Kapelle des Gehrener Schlosses statt. Der Kirchturm der neuen Kirche hatte zunächst eine ebene Plattform. 35 Jahre später erst erhielt er die heutige Spitze mit vier kleinen Ecktürmchen. 1895 wurde eine vom Hof-Orgelbauer Sauer gebaute Orgel installiert. Aus dem gleichen Jahr stammt auch die Kanzel. 1924 schenkte die Fürstin Marie von Schwarzburg- Sondershausen der Kirchgemeinde einige Kunstgegenstände aus der nicht mehr genutzten Schlosskapelle. Diese wurden dadurch kein Opfer der Flammen, die das Schloss 1933 zerstörten. Der etwas streng wirkende Altarraum erhielt in den 1960er Jahren seine heutige Form. In diesem Zusammenhang kam der von der Fürstin Marie gespendete Altar nach Jesuborn. 1917 mussten die drei Bronzeglocken – eine davon fast 450 Jahre alt – zur Einschmelzung abgeführt werden. Heute läuten nun an ihrer Stelle drei Stahlglocken. -
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). -
Im Auftrag Der Internationalen Heinrich-Schütz-Gesellschaft E.V. Herausgegeben Von Walter Werbeck in Verbindung Mit Werner Brei
Im Auftrag der Internationalen Heinrich-Schütz-Gesellschaft e.V. herausgegeben von Walter Werbeck in Verbindung mit Werner Breig, Friedhelm Krummacher, Eva Linfield 33. Jahrgang 2011 Bärenreiter Kassel . Basel . London . New York . Praha 2012_schuetz-JB_druck_120531.ind1 1 31.05.2012 10:03:13 Gedruckt mit Unterstützung der Internationalen Heinrich-Schütz-Gesellschaft e.V. und der Landgraf-Moritz-Stiftung Kassel © 2012 Bärenreiter-Verlag Karl Vötterle GmbH & Co. KG, Kassel Alle Rechte vorbehalten / Printed in Germany Layout: ConText, Carola Trabert – [email protected] ISBN 978-3-7618-1689-9 ISSN 0174-2345 2012_schuetz-JB_druck_120531.ind2 2 31.05.2012 10:03:13 Inhalt Vorträge des Schütz-Festes Kassel 2010 Heinrich Schütz und Europa 7 Silke Leopold Heinrich Schütz in Kassel 19 Werner Breig Europa in der ersten Hälfte des 17. Jahrhunderts 31 Georg Schmidt Music and Lutherian Devotion in the Schütz Era 41 Mary E. Frandsen »Mein Schall aufs Ewig weist«: Das Jenseits und die Kirchenmusik in der lutherischen Orthodoxie 75 Konrad Küster Medien sozialer Distinktion: Funeral- und Gedenkkompositionen des 17. Jahrhunderts im europäischen Vergleich 91 Peter Schmitz Echos in und um »Daphne« 105 Bettina Varwig Heinrich Schütz und Otto Gibel 119 Andreas Waczkat, Elisa Erbe, Timo Evers, Rhea Richter, Arne zur Nieden Heinrich Schütz as European cultural agent at the Danish courts 129 Bjarke Moe Freie Beiträge Eine unbekannte Trauermusik von Heinrich Schütz 143 Eberhard Möller Heinrich Schütz und seine Brüder: Neue Stammbucheinträge 151 Joshua Rifkin Die Verfasser der Beiträge 168 2012_schuetz-JB_druck_120531.ind3 3 31.05.2012 10:03:13 Abkürzungen ADB Allgemeine deutsche Biographie, München u. Leipzig 1876 – 1912 AfMw Archiv für Musikwissenschaft AmZ Allgemeine musikalische Zeitung Bd., Bde. -
The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2002 "The eumeiN ster collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works Sara Ann Jones Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Jones, Sara Ann, ""The eN umeister collection of chorale preludes of the Bach circle": an examination of the chorale preludes of J. S. Bach and their usage as service music and pedagogical works" (2002). LSU Doctoral Dissertations. 77. https://digitalcommons.lsu.edu/gradschool_dissertations/77 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. THE NEUMEISTER COLLECTION OF CHORALE PRELUDES OF THE BACH CIRCLE: AN EXAMINATION OF THE CHORALE PRELUDES OF J. S. BACH AND THEIR USAGE AS SERVICE MUSIC AND PEDAGOGICAL WORKS A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music and Dramatic Arts Sara Ann Jones B. A., McNeese State University -
“Canon in D”- Johann Pachelbel
“CANON IN D”- JOHANN PACHELBEL Johann Pachelbel was baptised on 1 September 1653 and buried 9 1. When was Pachelbel born? Underline one answer March 1706. He was a German composer, organist, and teacher a. 1970 who brought the south German organ tradition to its peak. He composed a large body of sacred and secular music, and his b. 1706 contributions to the development of the chorale, prelude and fugue have earned him a place among the most c. 1653 important composers of the middle Baroque era. Pachelbel's music enjoyed enormous popularity during his lifetime; d. 2000 he had many pupils and his music became a model for the composers of south and central Germany. Today, Pachelbel is best known for the Canon in D, as well as the Chaconne in F minor, and the Toccata in E minor for organ. 2. Pachelbel was an Austrian composer. Underline 1 answer. Pachelbel's Canon is the common name for a canon by the German Baroque composer in his Canon and Gigue for 3 violins True or False and basso continuo sometimes referred to as Canon and Gigue in D or Canon in D. Neither the date nor the circumstances of its composition are known but suggested dates range from 1680 to 3. What is Pachelbel best known for? Find and copy the 1706, and the oldest surviving manuscript copy of the piece dates sentence: from the 19th century. __________________________________________________ Pachelbel's Canon, like his other works, although popular during his lifetime, soon went out of style, and remained in obscurity for __________________________________________________ centuries. -
Bärenreiter Music for Organ
URTEXT Bärenreiter Series and Complete Sets for Organ George Frideric Handel Complete Organ Bärenreiter Works URTEXT · BA 11226 1 volume NEW Music for Organ Antonio de Cabezón Selected Works for Keyboard Dieterich Buxtehude URTEXT · BA 9270 4 volumes New Edition of the A selection Gerard Bunk Complete Organ Works Complete Organ Works BA 8220 5 volumes URTEXT BA 11219 6 volumes Johann Sebastian Bach Felix Mendelssohn The Complete Johann Jacob Froberger Bartholdy New Edition of the New Edition of the Complete Works Alexandre Guilmant URTEXT · BA 9299 11 volumes Complete Organ Works Organ Works Selected Organ Works URTEXT · BA 8198 2 volumes URTEXT · BA 9289 6 volumes The Definitive Edition Bärenreiter Urtext editions provide: With the completion of the New Bach Edition for which all sources have been exhaustively ● Information on the genesis researched, Bärenreiter presents the definitive and history of the work edition of Bach’s organ works in a set of 11 volumes. ● A description of the sources Used ● Valuable notes on by more than ● The excellent quality of printing, the comprehensive performance practice 20,000 organists ● A critical commentary content and a favourable price make this edition explaining all source an absolute must for all organ music collections. worldwide discrepancies and editorial ● The volumes can also be purchased separately. Johann Pachelbel decisions Selected Organ Works Jan Pieterszoon Sweelinck ● Page turns where organists Complete Organ and Keyboard Works BA 2819 10 volumes need them A superb foundation for everyone interested in URTEXT · An eleven-volume performing edition URTEXT · BA 8500 8 volumes ● A well-presented layout the authentic performance of Bach’s organ music. -
The American Bach Society the Westfield Center
The Eastman School of Music is grateful to our festival sponsors: The American Bach Society • The Westfield Center Christ Church • Memorial Art Gallery • Sacred Heart Cathedral • Third Presbyterian Church • Rochester Chapter of the American Guild of Organists • Encore Music Creations The American Bach Society The American Bach Society was founded in 1972 to support the study, performance, and appreciation of the music of Johann Sebastian Bach in the United States and Canada. The ABS produces Bach Notes and Bach Perspectives, sponsors a biennial meeting and conference, and offers grants and prizes for research on Bach. For more information about the Society, please visit www.americanbachsociety.org. The Westfield Center The Westfield Center was founded in 1979 by Lynn Edwards and Edward Pepe to fill a need for information about keyboard performance practice and instrument building in historical styles. In pursuing its mission to promote the study and appreciation of the organ and other keyboard instruments, the Westfield Center has become a vital public advocate for keyboard instruments and music. By bringing together professionals and an increasingly diverse music audience, the Center has inspired collaborations among organizations nationally and internationally. In 1999 Roger Sherman became Executive Director and developed several new projects for the Westfield Center, including a radio program, The Organ Loft, which is heard by 30,000 listeners in the Pacific 2 Northwest; and a Westfield Concert Scholar program that promotes young keyboard artists with awareness of historical keyboard performance practice through mentorship and concert opportunities. In addition to these programs, the Westfield Center sponsors an annual conference about significant topics in keyboard performance. -
Vox Luminis Program Final Copy
MUSIC BEFORE 1800 Louise Basbas, Director Vox Luminis Schütz and the Bach Family Lionel Meunier, artistic director Zsuzsi Tóth, Sara Jäggi, Helen Cassano, Maria Valdmaa, sopranos Jan Kullmann, Barnabás Hegyi, altos Olivier Berten, Philippe Froeliger, Robert Buckland, Michael Barrett, tenors Bertrand Delvaux, Lionel Meunier, basses Ricardo Rodriguez Miranda, viola da gamba; Jorge Lopez-Escribano, organ Musikalische Exequien Heinrich Schütz (1585 - 1672) !Mit Fried und Freud ich fahr dahin Martin Luther (chorale) !Concert in Form einer teutschen Begräbnis-Missa, SWV 279 Heinrich Schütz Motette: Herr, wenn ich nur dich habe, SWV 280 ! Heinrich Schütz Herr, nun lässest du deinen Diener in Friede fahren, SWV 281 Heinrich Schütz !Canticum B. Simeonis ! INTERMISSION Sei nun wieder zufrieden meine Seele ! Johann Bach (1604 - 1673) !Herr wenn ich nur dich habe Johann Michael Bach (1648 - 1694) !Halt was du hast Johann Michael Bach !Ich weiss, dass mein Erlöser lebt Johann Michael Bach !Der Mensch vom Weibe geboren Johann Christoph Bach (1642 - 1703) !Herr nun lässest du deinen Diener Johann Christoph Bach !Das Blut Jesu Christi Johann Ludwig Bach (1677 - 1731) Das ist meine Freude Johann Ludwig Bach ! Music Before 1800’s programs are supported, in part, by public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature and the New York City Department of Cultural Affairs in partnership with the City Council. Please note that photography and the use of recording devices are not permitted. Remember to turn off all cellular! phones and pagers. Corpus Christi Church 4 p.m. Sunday, October 26, 2014. -
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. -
Introduction
Introduction During the first half of the eighteenth century, the principalities of the Holy Roman Empire of the German Nation witnessed a remarkable efflorescence of palace fresco painting executed largely by Italian artists.1 Beginning in the Austrian and Czech lands in the late seventeenth century and spreading to the German territories by 1700, large-scale Italian ceiling paintings soared in popularity as Catholic and Protestant nobles of all ranks competed with one another to produce ever more lavish decorative schemes that expressed their claim to princely power and political authority. Drawing upon various picto- rial styles and iconographic programs from Italy and across Europe, frescoists and decorators developed new types of imagery that uniquely embodied their patrons’ ambitions and cultural aspirations.2 A synthesis of predominantly Italian and French styles and forms per- vaded Austro-German baroque culture and society in this period and critically shaped the evolution of their visual and performing arts.3 Although this book concentrates on Italy’s primary contribution to the production of these monu- mental fresco cycles, it is important to acknowledge that French culture under Louis XIV (1638–1714) and Louis XV (1710–1774) played an equally crucial role in influencing Imperial palace design and decoration as well as court music and theater. In the past, scholars sometimes viewed the presence of these two 1 Starting in the Early Middle Ages under Charlemagne and Otto I and continuing until Napoleon’s dissolution of the Empire in 1806, rulers and authors referred to the loose federation of states overseen by an imperial monarch as the “Heilige Römische Reich Deutscher Nation.” These lands consisted of present-day Austria, Germany, and the Czech Republic as well as parts of France, Poland, and Italy. -
1. Die Musikerfamilie Bach Kat. 1: "Ursprung Der Musicalisch-Bachischen Familie", Sog. Genealogie, Wahrscheinlich
Jens Ph. Wilhelm, "Dieß wunderbarste Räthsel aller Zeiten" (R. Wagner): Johann Sebastian Bach 1 Johann Sebastian Bachs Herkunft, Leben, Werk und Nachwirken (Katalogteil) - Auszug aus dem Katalog zu der Mannheimer Ausstellung des Bachhauses Eisenach (25.2.-26.3.2000) - 1. Die Musikerfamilie Bach Kat. 1: "Ursprung der musicalisch-Bachischen Familie", sog. Genealogie, wahrscheinlich von Johann Sebastian Bach Ende 1735 verfaßt, hier in der Abschrift Anna Carolina Philippina Bachs mit Zusätzen Carl Philipp Emanuel Bachs (sog. Quelle A) [Faksimile (Staatsbibliothek zu Berlin. Preußischer Kulturbesitz. Musikabteilung mit Mendelssohn- Archiv, Mus. ms. theor. 1215) - Bachhaus Eisenach; Bachdok. I/184] S.u. Dok. 1 mit einem Auszug hieraus. - Die von Bach verfaßte Genealogie ist in drei Abschriften überliefert. Sie umfaßt über einen Zeitraum von mehr als 150 Jahren biographische Angaben zu 53 Mitgliedern der Familie Bach, fast ausnahmslos Musiker. Zusammen mit dem von Bach verwahrten "Alt-Bachischen Archiv" mit Kompositionen seiner Vorfahren und Verwandten (Kat. 5) ist sie Ausdruck seines ausgeprägten Familiensinns. (Die fragmentarische Quelle C der Genealogie befindet sich übrigens im Bachhaus Eisenach [Inv. 3.1.3.5 = R 11 aF].) Kat. 2: Stammbaum der Familie Bach, nach einer Vorlage - wohl aus dem Besitz Carl Philipp Emanuel Bachs - im 18. Jahrhundert angefertigt [Faksimile (Bibliothèque Royale Bruxelles, Sammlung Johann Jacob Heinrich Westphal) - Bachhaus Eisenach] Die Genealogie (Kat. 1) und der nach ihr angefertigte Stammbaum dienten neben dem sog. Nekrolog (Kat. 63) dem ersten Bachbiographen Johann Nikolaus Forkel als Quellen für seine Schrift "Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke" (Kat. 89). Kat. 2a: Stammbaum der Familie Bach, hrsg. vom Böhnerverein zu Gotha [Faksimile Eisenach 1999 (Bachhaus Eisenach) - Privatbesitz] Kat. -
Sacred German Music in the Thirty Years'
Musical Offerings Volume 3 Number 1 Spring 2012 Article 1 2012 Sacred German Music in the Thirty Years’ War Brandi Hoffer Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the History Commons, and the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Hoffer, Brandi (2012) "Sacred German Music in the Thirty Years’ War," Musical Offerings: Vol. 3 : No. 1 , Article 1. DOI: 10.15385/jmo.2012.3.1.1 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol3/iss1/1 Sacred German Music in the Thirty Years’ War Document Type Article Abstract The religious and political turmoil of the Thirty Years’ War significantly impacted the performance and preservation of sacred Baroque music in the German lands. Conflict between the Catholics and Protestants created an unstable social environment, which resulted in a myriad of responses from composers and performers. Leading composers including Heinrich Schütz, Michael Praetorius, Thomas Selle, and Heinrich Scheidemann, expressed their values either overtly or implicitly depending upon their occupational, geographical, political, and religious positions. Research indicates that the influences of the Thirty Years’ War created an ideal environment for the flourishing of the following German music in the late Baroque Era.