DOCSLIB.ORG

Booklet Notes: Torkil Baden // English Translation: Jim Skurdall // Booklet Editor: Hege Wolleng // Cover Design: Blunderbuss // Artist Photo: Thomas Carlström

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Booklet Notes: Torkil Baden // English Translation: Jim Skurdall // Booklet Editor: Hege Wolleng // Cover Design: Blunderbuss // Artist Photo: Thomas Carlström BACH SCHÜBLER AND LEIPZIG CHORALES CANONIC VARIATIONS KÅRE NORDSTOGA SCHNITGER ORGAN ST. MARTIN’S CHURCH OF GRONINGEN BACH ORGAN WORKS ‡ ‡ DA BACH VILLE OPPSUMMERE Mot slutten av sitt virke hadde blir demonstrert og uttømt med Bach-eleven Lorenz Mizler, og Den overlegne beherskelsen av Samlingen «Orgelbüchlein» med utsmykket melodi som en vug- J.S. Bach bedre tid enn i de en uovertruffen kunstferdighet. medlemslisten omfattet allerede kanonteknikken er beslektet med korte koralbearbeidelser fra gende sarabande. første årene i Leipzig fra 1723. Telemann og Händel. matematiske løsninger. Det er Weimar får i dette Leipzig-verket Han hadde bygget opp et re- EINIGE CANONISCHE hevdet at hvis ikke Bach hadde en avansert parallell. Teknikker 3. An Wasserflüssen Babylon, pertoar innen mange genrer han De musikalske bidragene skulle blitt musiker, hadde han kanskje fra tysk tradisjon (Pachelbel og BWV 653 VERÄNDERUNGEN ÜBER DAS kunne gripe tilbake til, ikke minst ha vitenskapelig kvalitet, men vært matematiker på høyeste nivå. Buxtehude) finslipes og bringes biblioteket av kantater til sønda- WEYNACHT-LIED «VOM HIMMEL ikke som «en unyttig teori». De Det kan også være en opplevelse opp til nye dimensjoner. Den tyske salmeteksten bygger gens gudstjenester. HOCH, DA KOMM ICH HER» skulle «vekke eller tilfredsstille å studere de skrevne notene med på jødenes klagesang ved Baby- PER CANONES Á 2 CLAVIERS ET menneskers lidenskap». sin kunstferdige kontrapunktikk. Manuskriptet åpner med boksta- lons floder i Salme 137. På norsk Den kortsiktige arbeidsinnsatsen Det er ikke bare «øremusikk», men vene «J.J.», «Jesu juva»: «Hjelp, (og også på tysk) er koralen PÉDALE, BWV 769 med nye verker fra uke til uke Sammen med sitt portrett, det også «øyemusikk»! Jesus». brukt til pasjonsteksten «Her ser ble avløst av en mer langsiktig. kjente av Haussmann, rådsma- jeg tålmodig lam» («Ein Lämm- Martin Luther er både forfatter ler i Leipzig, leverte Bach som Bachs geni var å kombinere intel- 1. Fantasia super Komm, Heiliger lein geht»). og komponist til «Vom himmel Arbeidet med privatundervis- opptaksprøve variasjonene over lekt og musikalsk temperament. Geist, BWV 651 hoch» (1535). De første versene ning for begavete studenter «Fra himlen høyt». I ordet «ka- Slik ble han et verdig medlem Det var over denne salmen Bach er lagt i munnen til engelen krevde et repertoar til studium nonisk» ligger det at stemmene av Mizlers selskap: ikke unyttig 2. Komm, Heiliger Geist, improviserte i en halv time i julenatt. Så svarer menigheten av komposisjonens og polyfoni- følger hverandre helt likt i kanon, teori, men lidenskap. BWV 652 Hamburg slik at Reinken, den med takk og et velkommen til ens edle kunst. Og han hadde men i ulik avstand fra variasjon store veteranen i nordtysk kirke- Jesusbarnet som gjest til vår selv en trang til systematisk og til variasjon. Pinsesalmen «Kom Hellige Ånd, musikk, sa: «Jeg trodde at denne jord. Landstad oversatte slik: LEIPZIGER CHORÄLE helhetlig utforsking av et mate- Herre Gud, gyd dine nådegaver kunsten var utdødd. Men nå ser «Fra himlen høyt jeg kommer (ACHTZEHN CHORÄLE VON riale. På denne CD-utgivelsen er Variatio 1. Canone all’ ottava ut» (Landstads overs.) går til- jeg at den lever i Dem.» her med hilsen både god og et slikt repertoar representert (kanon i oktaven) VERSCHIEDENER ART) bake til den gregorianske «Veni kjær, det glade budskap om med tre verker med koraler som Variatio 2. Alio Modo in Canone sancte spiritus», en av de sen- I likhet med den foregående og Guds fred, det bringer jeg til utgangspunkt. alla Quinta (kanon i kvinten) I Leipzig (1723–50) tok Johann trale sekvensene i pinsemessen. I også den neste utformes koralen jorden ned.» Variatio 3. Canone alla Settima, Sebastian Bach for seg orgelko- likhet med mange andre middel- med melodisk ornamentikk i «Orgelbüchlein» fra Weimar- cantabile (kanon i septimen) raler fra sine år som hofforganist alderske gudstjenestesanger fant sarabanderytme. Bach hadde bearbeidet koralen tiden hadde et pedagogisk for- Variatio 4. Canon per augmen- i Weimar (1708–17). Utgangs- den sin vei inn i den lutherske flere ganger, og på slutten av sitt mål: «dem höchsten Gott allein tationem (bassen spiller i oktav i punktet for noen av dem kan kirke etter reformasjonen. I den 4. Schmücke dich, o liebe Seele, liv tok han den opp igjen. I 1747 zu Ehren, dem Nächsten, draus forlengete noteverdier) være enda eldre, dvs. fra ung- første orgelkoralen, «fantasia», BWV 654 skulle han bli medlem i «Kor- sich zu belehren» («Gud alene Variatio 5. L’altra Sorte domstiden i Arnstadt eller Mühl- ligger melodien i pedal under respondierende Societät der ære, vi av det kan lære»). del’Canone all’rovercio (omvend- hausen. Nr. 16 og 17 er notert ned «ildtunger» av overstemmer, en «Jesus, livets sol og glede» musikalischen Wissenschaften» Slik er også Bachs sene koral ing), 1) alla Sesta, 2) alla Terza, mellom 1744 og 1747 av eleven pinsefest verdig. En helt annen (overs. Ellingsen) har vært en («De musikalske vitenskapers verker kompendier, lærebøker, der 3) alla Seconda è 4) alla Nona. og svigersønnen J.C. Altnikol, og lyrisk karakter får salmen i den viktig nattverdsalme siden forening»). Initiativtaker var mulighetene til å variere en koral Dimunitio. Alla Stretta nr. 18 enda senere. neste trestemmige satsen, en Johann Crüger skrev tekst og melodi på midten av 1600-tallet. naturlig i åtte avsnitt. I tradis- De tre svært ulike måtene å påminnelse om koralen til slutt büchlein» før han lar pedalen Leipzig og litt sør for Bachs jonen fra Pachelbel, men i større behandle koralen på viser spenn- i pedal. hamre ut den ruvende fødeby Eisenach. Ikke rart at Robert Schumann dimensjoner, fugerer Bach hver vidden i Bachs mesterskap, fra pinsesalmen med full helligånds kalte Bachs vakre sats «en del i understemmene før melo- himmelstemningen i den første, 15. Jesus Christus, unser Heiland, kraft. Det ble en del trykkfeil i utgiv- forgyllet bladkrans». Og Men- dien setter inn i sopran. som en meditasjon over at Gud BWV 665 elsen, så Bach har antakelig ikke 18. Vor deinen Thron tret’ ich selv overvåket notesettingen. delssohn mente at hvis troen kommer ned til jorden, til de 16. Jesus Christus, unser Heiland, hiermit, BWV 668 og håpet forsvant i livet, kunne 8. Von Gott will ich nicht lassen, komplekst polyfone i de to siste. BWV 666 denne Bachs koral gjenskape alt BWV 658 Tittelen og informasjonen om på nytt. 12. Allein Gott in der Höh’ sei Ehr, «Jesus Christus nostra salus» Bachs øyeoperasjoner og distribusjon presenterer Bach Den franske 1500-tallsmelodien BWV 662 går tilbake til Johannes Hus svekkede helse forhindret ikke korrekt som «kongelig polsk og 5. Trio super Herr Jesu Christ, brukes i Norge til teksten «O (på norsk «Jesus Kristus er vår at han var aktiv til det siste. kursaksisk hoffkomponist, ka- 13. Allein Gott in der Höh’ sei Ehr, dich zu uns wend, BWV 655 Gud som tiden vender». Bach frelse»), og under tittelen skrev På dødsleiet tok han frem en pellmester og director musices BWV 663 har komponert til en annen Bach «sub communione», «under orgelkoral fra «Orgelbüchlein», i Leipzig. Er å få i Leipzig hos 1600-tallssalmen «O Herre Krist, tekst som handler om tro og 14. Trio super Allein Gott in der nattverden». Bach ser tydeligvis «Wenn wir in höchsten Nöten herr kapellmester Bach, hos hans deg til oss vend» jubles ut i over- løfter, kraftfullt formidlet av Höh’ sei Ehr, BWV 664 nattverden som en gledesfest sein» («Når i vår største nød vi sønner i Berlin og Halle, og hos stemmene, og først mot slutten tenorstemmen, som bærer siden den første kraftfulle varia- ser»), og dikterte en utvidelse. forleggeren i Zella». kommer koralen i pedal. koralen. Englesangen julenatt ble til sjonen med pedal er temmelig Så valgte han en annen tittel som gudstjenestens Gloria og til kraftfull til å være nattverd- på en gripende måte forteller om I 1747 hadde Schübler trykt «Das 6. O Lamm Gottes unschuldig, 9. Nun komm’ der Heiden Hei- en lovsalme, på norsk «Alene musikk. Så kommer en «lillebror» hans situasjon: «Nå trer jeg for Musikalische Opfer». Utgivelsen BWV 656 land, BWV 659 Gud i himmerik». Som ved den for manual i rytmen til en elegant din trone frem». av de seks koralene skjedde foregående adventssalmen dansende gigue. sannsynligvis i 1748, og forleg- 10. Trio super Nun komm’ der Det gamle «Agnus Dei», «O, presenterer Bach lovsalmen på Som sunget salme fortsetter den geren har i ettertid fått sitt navn Heiden Heiland, BWV 660 Guds lam uskyldig», har lang tre forskjellige måter. 17. Komm, Gott, Schöpfer, slik: «Ta min sjel i din hånd så jeg knyttet til verket. tradisjon både i nattverdliturgien 11. Nun komm’ der Heiden Hei- heiliger Geist, BWV 667 kan se deg i evighet!» og som en pasjonssalme. Bach land, BWV 661 Den første har uvanlig nok De seks satsene (nr. 2 er usikker) Med den opprinnelig siste gjennomfører salmens tre vers, betegnelsen «Adagio», og SECHS CHORÄLE VON er orgelversjoner av kantatesat- «Veni redemptor gentium» er mediterer som BWV 659 over koralen i samlingen knyttes ser fra de første årene i Leipzig, med en stigning i det siste. Da VERSCHIEDENER ART overtar pedalen koralen, og tek- den store adventshymnen til Am- sammenhengen mellom det tråden tilbake til den innledende 1724–31, og med koralmelodien sten om Jesu lidelse skildres med brosius fra 300-tallet. «Folkefrel- himmelske og det jordiske, med pinsesalmen i BWV 651 og 652. (SCHÜBLER-KORALENE) i fokus. krass, uttrykksfull harmonisering. sar, til oss kom» heter den i den et lovsangsutbrudd mot slutten. «Kom, Hellig Ånd med skaper- norske salmeboken etter Luthers Den andre er i fransk stil med makt» (overs. Landstad) er en Samlingen er blant de få verkene 1. Wachet auf, ruft uns die som ble trykt i Bachs levetid.
Load more

Recommended publications
  • 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
    [Show full text]
  • THE ARTS of PERSUASION (Revised)
    The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude Item Type text; Electronic Dissertation Authors Anderson, Ron James 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 or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 27/09/2021 20:06:37 Link to Item http://hdl.handle.net/10150/242454 THE ARTS OF PERSUASION: MUSICAL RHETORIC IN THE KEYBOARD GENRES OF DIETERICH BUXTEHUDE by Ron James Anderson ______________________________ Copyright © Ron James Anderson 2012 A Document Submitted to the Faculty of the 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 2012 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Ron James Anderson entitled “The Arts of Persuasion: Musical Rhetoric in the Keyboard Genres of Dieterich Buxtehude," and recommend that it be accepted as fulfilling the requirements for the degree of Doctor of Musical Arts. _________________________________________________________Date: 6/25/12 Rex Woods _________________________________________________________ Date: 6/25/12 Paula Fan _________________________________________________________ Date: 6/25/12 Tannis Gibson Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copy of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the requirement.
    [Show full text]
  • July 09 Pp. 21-23.Indd
    Text Interpretation and Cyclic Unity in Buxtehude’s Nimm von uns Herr, du treuer Gott, BuxWV 207 Markus Rathey Buxtehude’s chorale variations compositions that fulfi ll a merely utilitar- Example 1: Melody, Nimm von uns Herr The number of chorale variations in ian purpose. The following essay will fo- Dietrich Buxtehude’s organ works is cus on Buxtehude’s chorale variations on considerably smaller than in the oeuvre the hymn Nimm von uns Herr, du treuer of other northern and central German Gott, BuxWV 207, examining its musical composers like Samuel Scheidt, Georg structure, its function, and its contexts in Böhm, and Jan Pieterszoon Sweelinck. contemporary piety. Among Buxtehude’s organ works the chorale variations form a rather small Nimm von uns Herr, BuxWV 207 group of six sets:1 The variations are based on a Prot- estant chorale from the second half of BuxWV 177, Ach Gott und Herr, 2 the 16th century. The text has seven variations stanzas and was published in 1584 by BuxWV 179, Auf meinen lieben Gott, the 16th-century poet and theologian 5 variations Martin Moller (1547–1606); the words BuxWV 181, Danket dem Herren, 3 were traditionally combined with Mar- variations tin Luther’s melody for the hymn Vater Example 2: Buxtehude, Nimm von uns Herr, BuxWV 207/2 BuxWV 205, Meine Seele erhebt den unser, im Himmelreich. (See Example 1: Herren, 2 variations Melody, “Nimm von uns Herr.”) BuxWV 207, Nimm von uns Herr, du treuer Gott, 4 variations First movement BuxWV 213, Nun lob, mein Seel, den Buxtehude’s set of variations consists of Herren, 3 variations four verses.
    [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]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • Dietel Chorale List C1734
    Item# Title BWV# 95 [Auf, auf! Mein Herz mit Freuden] 441 145 [Jesu, der du meine Seele] 354 37 Ach Gott und Herr 48/3 10 Ach Gott von Himmel sieh darein 77/6 26 Ach Gott von Himmel sieh darein 2/6 28 Ach Gott wie manches Hertzeleyd 3/6 122 Ach Herr mich armen Sünder 248/64 91 Ach lieben Christen seyd getrost 114/7 2 Allein Gott in der Höh sey Ehr 260 80 Allein zu dir Herr Jesu Christ 33/6 79 Alleluja: Aus dem Liede Christ ist erstanden 66/6 144 An Waßer Flüßen Babylon 267 93 Auf meinen lieben Gott 5/7 94 Aus tieffer Noth schrey ich zu dir 38/6 62 Befiehl du deine Wege 270 143 Befiehl du deine Wege 271 34 Befiel du deine Wege 161/6 133 Christ lag in Todtes Banden 278 24 Christ lag in Todtes-Banden 158/4 5 Das alte Jahr vergangen ist 288 55 Das neugebohrne Kindelein 122/6 38 Denket doch ihr Menschen-Kinder deest 101 Der Herr ist mein getreuer Hirt 112/5 6 Dir dir Jehovah will ich singen 299 4 Du Friede-Fürst Herr Jesu Christ 67/7 107 Du Lebens-Fürst Herr Jesu Christ 43/11 119 Du Lebens-Fürst Herr Jesu Christ 248/12 64 Ein fest Burg ist unser Gott 302 3 Ein feste Burg ist unser Gott 303 35 Ein feste Burg ist unser Gott 80/8 45 Eins ist Noth: ach! Herr dis eine 304 134 Ermuntre dich mein schwacher Geist 248/12 70 Es ist das Heyl uns kommen her 9/7 46 Es ist genung 60/5 22 Es ist gewißlich an der Zeit 307 121 Es ist gewißlich an der Zeit 248/59 99 Es woll uns Gott genädig seyn 312 116 Freu dich sehr ô meine Seele 39/7 13 Gelobet seyst du Jesu Christ 64/2 65 Gelobet seyst du Jesu Christ 314 123 Gelobet seyst du Jesu Christ 248/28 130 Gelobet
    [Show full text]
  • O Pops! Organ Preludes, Offertories and Postludes Association of Lutheran Church Musicians 2011 Seattle Conference Dr
    O POPs! Organ Preludes, Offertories and Postludes Association of Lutheran Church Musicians 2011 Seattle Conference Dr. Faythe Freese, Professor of Organ The University of Alabama Wednesday, August 3, 2011 Publisher Title Composer Hope Publishing Company 8522 Eight Psalm Impressions for Organ, Vol. III Douglas E. Wagner 8472 The Wedding Organist: 50 Organ Settings Edited by Jane Holstein For the Perfect Wedding Concordia Publishing House 97-7338 Treasures of the Singing Church: Organ Edited by Henry V. Gerike Literature for the Liturgical Year, th Vols 1 & 2(Based on 17 C. Hymntunes) Vol. 1: Ach Gott und Herr, Allein zu Dir, Herr Jesu Christ, Auf meinen lieben Gott, Christus, der ist mein Leben, Es ist das Heil uns kommen her, Freu Dich sehr, o meine Seele, Gottes Sohn ist kommen, Herr Christ, der einig Gotts Sohn, Herr Jesu Christ, Dich zu uns wend, Herzlich lieb hab ich Dich, O Herr. Vol. 2: In Dich hab ich gehoffet, Herr, In Dir ist Freude, Jesu Kreuz, leiden und pein, Kommt her zu Mir, spricht Gottes Sohn, Lobt Gott, ihr Christen alle gleich, Machs mit mir, Gott, nach deiner Güt, Von Gott will ich nicht lassen, Wachet auf, ruft uns die Stimme, Was mein Gott will, das gscheh Allzeit, Wenn wir in Höchsten Nöten zein, Wer nur den lieben Gott läβt walten, Wie schön leuchtet der Morgenstern. 97-7396 Four Preludes for the Redeemer Bernard Wayne Sanders Tunes: O Grosser Gott, OJesulein süss, St. Magnus, Swabia 97-7406 Ten Familiar Hymns in New Settings Richard Heschke Tunes: Coronation, Diademata, Duke Street, Hymn to Joy, In Babilone, In Dir ist Freude, In dulci jubilo, O dass ich tausend Zungen hätte, St.
    [Show full text]
  • Fantasia and Fantasy: Some Notes on Two Homonymic Genres of German Chorale-Based Organ Music
    Fantasia and fantasy: Some Notes on Two Homonymic Genres of German Chorale-Based Organ Music Sverker Jullander During the last 500 years, the title of fantasia or fantasy (German: Fantasie) has been given to musical compositions of very different kinds, in most cases the title referring to a single-movement instrumental work for one (keyboard) player.1 Most fantasias are “free works,” but the term has some- times been used for organ compositions based on Lutheran chorales. The scope of the present text is limited to chorale-based organ works by German composers that have been given the title of fantasia or Fantasie, either by the composer or by later generations.2 The emphasis is twofold: the use of the term for baroque pieces, including the history of the label “chorale fantasia” for compositions of the North German baroque, and the emergence of the modern (“romantic”) chorale fantasy around the middle of the nineteenth century. The (im)possibility of a relationship between these two types of chorale-based works is also discussed. The seventeenth-century “chorale fantasia” The word fantasia was commonly used in the titles of keyboard pieces in the sixteenth and seventeenth centuries, but it is debatable whether it can be seen as a distinct genre; a piece named “fantasia” in one source could ap- pear in another under another title, for instance “ricercar.”3 Typical of the early fantasia was the prominence of imitative texture, but its distinguish- ing mark was supposed to be the element of improvisatory spontaneity in its creation, springing “solely from the fantasy and skill of the author who 1 Early fantasias were also composed for plucked stringed instruments such as the vi- huela and the lute.
    [Show full text]
  • Bach Bach Complete Organ Music Stefano Molardi Johann Christoph Bach 1642-1703 Johann Michael Bach 1648-1694 Complete Organ Music
    Johann Michael Johann Christoph Bach Bach Complete Organ Music Stefano Molardi Johann Christoph Bach 1642-1703 Johann Michael Bach 1648-1694 Complete Organ Music Johann Christoph Bach Johann Christoph Bach Johann Christoph Bach 71. Herr Christ, der einig 1. Praeludium E-flat 2’11 Aria Eberliniana, theme & variations Aria variata Gottes Sohn 1’36 2. Fuga in E-flat 4’17 20. Aria 1’12 46. Aria 0’58 72. Dies sind die heiligen 3. Ach Herr, mich armen Sünder 1’39 21. Variatio 1 1’06 47. Variatio 1 0’45 zehn Gebote 0’58 4. Ach Herr, mich armen Sünder, 22. Variatio 2 0’59 48. Variatio 2 0’42 73. Wo Gott zum Haus nicht Variatio 1 2’40 23. Variatio 3 0’55 49. Variatio 3 0’41 gibt sein Gunst 1’36 5. Ach Herr, mich armen Sünder, 24. Variatio 4 0’54 50. Variatio 4 0’50 74. Wenn mein Stündlein Variatio 2 3’49 25. Variatio 5 0’54 51. Variatio 5 0’48 vorhanden 1’48 26. Variatio 6 0’55 52. Variatio 6 0’49 75. Mit Fried und Freud ich Johann Michael Bach 27. Variatio 7 0’49 53. Variatio 7 0’56 fahr dahin 1’05 6. Nun komm, der Heiden 28. Variatio 8 0’52 54. Variatio 8 0’52 Heiland 1’31 29. Variatio 9 0’58 55. Variatio 9 0’55 Johann Michael Bach 7. Meine Seele erhebt den 30. Variatio 10 0’56 56. Variatio 10 0’46 76. Komm her zu mir, Herren, Versus 1 1’28 31.
    [Show full text]
  • Bunjes Index
    1 Bunjes Index with Uploads Noted • PDFs • Mp3s 2 CONTENTS Biography………………………………………………………………...……..2 Choral Music (original settings and performing editions) ……………...……...4 Chorale Concertatos…………………………………………..……….………13 Hymn Compositions (original, accompaniments, and descants)……….….….16 Organ Compositions……………………………………………………..…….19 Liturgical Settings.…………………………………………………………….20 A special word of thanks is due to Mark Kirchenberg for the preparation of this index and the Bunjes archive. 3 BIOGRAPHY Paul Bunjes, (1914-1998), was born in Frankenmuth, Michigan, where his father was a teacher at St. Lorenz Lutheran Church. Paul received his education in the parish school at Frankenmuth, and attended Concordia Teachers College (now University), River Forest, Illinois. Following his graduation in 1936 from Concordia, River Forest, he taught at Zion Lutheran Church, Wausau, Wisconsin, from 1936 to 1951, during which time he served as teacher, principal, organist, and choirmaster. In 1940 he attended Valparaiso University, Valparaiso, Indiana, where he received a bachelor’s degree. In 1944 he received a master of music degree from the University of Michigan, Ann Arbor. He was granted a doctor of philosophy degree in music theory from the Eastman School of Music of the University of Rochester, Rochester, New York, in 1966. Bunjes joined the faculty of Concordia College in River Forest, Illinois, in 1951, where he served as chairman of the music department from 1961 until 1977. He continued teaching until his retirement in 1981. During his tenure the music department grew to its largest size in the history of the school for which he drew together a music faculty of unique quality and national reputation. During his tenure a new music building—Kretzmann Hall was erected, which included the then unprecedented number of some forty-four practice piano rooms and some twenty practice organs for student use.
    [Show full text]
  • The Neumeister Collection of Chorale Preludes of the Bach Circle: an Examination of the Chorale Preludes of J
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Louisiana State University 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 M.
    [Show full text]