A Lamb Goes Uncomplaining Forth, Part 1 Paul Gerhardt, 1648
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Now Let Us Come Before Him Nun Laßt Uns Gehn Und Treten 8.8
Now Let Us Come Before Him Nun laßt uns gehn und treten 8.8. 8.8. Nun lasst uns Gott, dem Herren Paul Gerhardt, 1653 Nikolaus Selnecker, 1587 4 As mothers watch are keeping 9 To all who bow before Thee Tr. John Kelly, 1867, alt. Arr. Johann Crüger, alt. O’er children who are sleeping, And for Thy grace implore Thee, Their fear and grief assuaging, Oh, grant Thy benediction When angry storms are raging, And patience in affliction. 5 So God His own is shielding 10 With richest blessings crown us, And help to them is yielding. In all our ways, Lord, own us; When need and woe distress them, Give grace, who grace bestowest His loving arms caress them. To all, e’en to the lowest. 6 O Thou who dost not slumber, 11 Be Thou a Helper speedy Remove what would encumber To all the poor and needy, Our work, which prospers never To all forlorn a Father; Unless Thou bless it ever. Thine erring children gather. 7 Our song to Thee ascendeth, 12 Be with the sick and ailing, Whose mercy never endeth; Their Comforter unfailing; Our thanks to Thee we render, Dispelling grief and sadness, Who art our strong Defender. Oh, give them joy and gladness! 8 O God of mercy, hear us; 13 Above all else, Lord, send us Our Father, be Thou near us; Thy Spirit to attend us, Mid crosses and in sadness Within our hearts abiding, Be Thou our Fount of gladness. To heav’n our footsteps guiding. 14 All this Thy hand bestoweth, Thou Life, whence our life floweth. -
The Musical Heritage of the Lutheran Church Volume I
The Musical Heritage of the Lutheran Church Volume I Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The greatest contribution of the Lutheran Church to the culture of Western civilization lies in the field of music. Our Lutheran University is therefore particularly happy over the fact that, under the guidance of Professor Theodore Hoelty-Nickel, head of its Department of Music, it has been able to make a definite contribution to the advancement of musical taste in the Lutheran Church of America. The essays of this volume, originally presented at the Seminar in Church Music during the summer of 1944, are an encouraging evidence of the growing appreciation of our unique musical heritage. O. P. Kretzmann The Musical Heritage of the Lutheran Church Volume I Table of Contents Foreword Opening Address -Prof. Theo. Hoelty-Nickel, Valparaiso, Ind. Benefits Derived from a More Scholarly Approach to the Rich Musical and Liturgical Heritage of the Lutheran Church -Prof. Walter E. Buszin, Concordia College, Fort Wayne, Ind. The Chorale—Artistic Weapon of the Lutheran Church -Dr. Hans Rosenwald, Chicago, Ill. Problems Connected with Editing Lutheran Church Music -Prof. Walter E. Buszin The Radio and Our Musical Heritage -Mr. Gerhard Schroth, University of Chicago, Chicago, Ill. Is the Musical Training at Our Synodical Institutions Adequate for the Preserving of Our Musical Heritage? -Dr. Theo. G. Stelzer, Concordia Teachers College, Seward, Nebr. Problems of the Church Organist -Mr. Herbert D. Bruening, St. Luke’s Lutheran Church, Chicago, Ill. Members of the Seminar, 1944 From The Musical Heritage of the Lutheran Church, Volume I (Valparaiso, Ind.: Valparaiso University, 1945). -
Johann Sebastian Bach's St. John Passion from 1725: a Liturgical Interpretation
Johann Sebastian Bach’s St. John Passion from 1725: A Liturgical Interpretation MARKUS RATHEY When we listen to Johann Sebastian Bach’s vocal works today, we do this most of the time in a concert. Bach’s passions and his B minor Mass, his cantatas and songs are an integral part of our canon of concert music. Nothing can be said against this practice. The passions and the Mass have been a part of the Western concert repertoire since the 1830s, and there may not have been a “Bach Revival” in the nineteenth century (and no editions of Bach’s works for that matter) without Felix Mendelssohn Bartholdy’s concert performance of the St. Matthew Passion in the Berlin Singakademie in 1829.1 However, the original sitz im leben of both large-scaled works like his passions, and his smaller cantatas, is the liturgy. Most of his vocal works were composed for use during services in the churches of Leipzig. The pieces unfold their meaning in the context of the liturgy. They engage in a complex intertextual relationship with the liturgical texts that frame them, and with the musical (and theological) practices of the liturgical year of which they are a part. The following essay will outline the liturgical context of the second version of the St. John Passion (BWV 245a) Bach performed on Good Friday 1725 in Leipzig. The piece is a revision of the familiar version of the passion Bach had composed the previous year. The 1725 version of the passion was performed by the Yale Schola Cantorum in 2006, and was accompanied by several lectures I gave in New Haven and New York City. -
Concordia Journal
CONCORDIA JOURNAL Volume 28 July 2002 Number 3 CONTENTS ARTICLES The 1676 Engraving for Heinrich Schütz’s Becker Psalter: A Theological Perspective on Liturgical Song, Not a Picture of Courtly Performers James L. Brauer ......................................................................... 234 Luther on Call and Ordination: A Look at Luther and the Ministry Markus Wriedt ...................................................................... 254 Bridging the Gap: Sharing the Gospel with Muslims Scott Yakimow ....................................................................... 270 SHORT STUDIES Just Where Was Jonah Going?: The Location of Tarshish in the Old Testament Reed Lessing .......................................................................... 291 The Gospel of the Kingdom of God Paul R. Raabe ......................................................................... 294 HOMILETICAL HELPS ..................................................................... 297 BOOK REVIEWS ............................................................................... 326 BOOKS RECEIVED ........................................................................... 352 CONCORDIA JOURNAL/JULY 2002 233 Articles The 1676 Engraving for Heinrich Schütz’s Becker Psalter: A Theological Perspective on Liturgical Song, Not a Picture of Courtly Performers James L. Brauer The engraving at the front of Christoph Bernhard’s Geistreiches Gesang- Buch, 1676,1 (see PLATE 1) is often reproduced as an example of musical PLATE 1 in miniature 1Geistreiches | Gesang-Buch/ -
500Th Anniversary of the Lutheran Reformation
500TH ANNIVERSARY OF THE LUTHERAN REFORMATION L LU ICA TH EL ER G A N N A S V Y E N E O H D T LUTHERAN SYNOD QUARTERLY VOLUME 57 • NUMBERS 2 & 3 JUNE & SEPTEMBER 2017 The journal of Bethany Lutheran Theological Seminary ISSN: 0360-9685 LUTHERAN SYNOD QUARTERLY VOLUME 57 • NUMBERS 2 & 3 JUNE & SEPTEMBER 2017 The journal of Bethany Lutheran Theological Seminary LUTHERAN SYNOD QUARTERLY EDITOR-IN-CHIEF........................................................... Gaylin R. Schmeling BOOK REVIEW EDITOR ......................................................... Michael K. Smith LAYOUT EDITOR ................................................................. Daniel J. Hartwig PRINTER ......................................................... Books of the Way of the Lord The Lutheran Synod Quarterly (ISSN: 0360-9685) is edited by the faculty of Bethany Lutheran Theological Seminary 6 Browns Court Mankato, Minnesota 56001 The Lutheran Synod Quarterly is a continuation of the Clergy Bulletin (1941–1960). The purpose of the Lutheran Synod Quarterly, as was the purpose of the Clergy Bulletin, is to provide a testimony of the theological position of the Evangelical Lutheran Synod and also to promote the academic growth of her clergy roster by providing scholarly articles, rooted in the inerrancy of the Holy Scriptures and the Confessions of the Evangelical Lutheran Church. The Lutheran Synod Quarterly is published in March and December with a combined June and September issue. Subscription rates are $25.00 U.S. per year for domestic subscriptions and $35.00 U.S. per year for international subscriptions. All subscriptions and editorial correspondence should be sent to the following address: Bethany Lutheran Theological Seminary Attn: Lutheran Synod Quarterly 6 Browns Ct Mankato MN 56001 Back issues of the Lutheran Synod Quarterly from the past two years are available at a cost of $10.00 per issue. -
The Musical Heritage of the Church
The Musical Heritage of the Church Volume VII Edited by Theodore Hoelty-Nickel Valparaiso, Indiana The Musical Heritage of the Lutheran Church Volume VII Table of Contents Publisher’s Foreword O. A. Dorn Editor’s Preface Theo. Hoelty-Nickel Foreword Elmer E. Foelber The Authors Church Music and Theology Theo. Hoelty-Nickel, Valparaiso University Worship from Luther to Lutheranism Helge Nyman, Abo, Finland The Hymnody of the Reformation, Then and Now Mandus Egge, Minneapolis, Minnesota Church Music and the Ecumenical Scene Charles Anders, Northfield, Minnesota Luther and the Composers of His Time Charles Anders, Northfield, Minnesota New Concepts of Hymnody and Polyphony Heinz Werner Zimmermann, Berlin, Germany “Word” and “Tone” in Three Different Musicae Novae M. Geerink Bakker, Hilversum, Holland The Place of Religious Music in Broadcasting M. Geerink Bakker, Hilversum, Holland Christian Culture and the Cultured Christian Leader Walter E. Buszin, Omaha, Nebraska Has the Lutheran Hymn Run Its Course? Friedrich Hofmann, Neumarkt/Obf., Germany Luther and the New Song Martin J. Naumann, Springfield, Illinois What Makes It Lutheran? E. Theo. DeLaney, St. Louis, Missouri From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). Reprinted by permission of Valparaiso University. For personal use only. The Musical Heritage of the Lutheran Church Volume VII Aesthetics of Music Joachim Widman, Munich, Germany International Cooperation in Church Music Willem Mudde, Den Haag, Holland The Problem of Expression in Music Donald Ferguson, Minneapolis, Minnesota Heinrich Schütz and Johann Sebastian Bach in the Protestant Liturgy Leo Schrade †, University of Basel, Switzerland From The Musical Heritage of the Lutheran Church, Volume VII (Valparaiso, Ind.: Valparaiso University, 1970). -
Through the Church the Song Goes on ALCM 25Th Anniversary Hymn Festival Reflections
Through the Church the Song Goes On ALCM 25th Anniversary Hymn Festival Reflections Reflection 1 – Mark P. Bangert “While we own the mystery”< and for a moment there it seemed like we did have our bodies wrapped around it through soaring sounds of voice and instrument. It’s convenient, if not satisfying, to imagine ourselves owners, as if mystery were artifact. If it were true, if we indeed can own the mystery, even for a moment, then could we just call it quits right now, content with our contribution to the waking praise hours from morn to set of sun? Are we done? The problem is that we don’t own the mystery; rather, the mystery owns us. Can we call it quits now? No, because we never have or own the mystery, we are given to be known by it. We have just begun to enter that intricate braid of relationships revealing what it means to BE in the name of the Father, and of the Son, and of the Holy Spirit. Could we call it quits now? I doubt it. Holy Father, Holy Son, Holy Breath have been roused. They are owning us. We could never even have begun without the Creator giving us, as Luther reminds us, “my body and soul, eyes, ears, . house, home, life,” and, in this moment, voice— all gifts. Nor could we know that all those things are gifts without any merit on our part, were it not for the Son, the Word, who, “just as he is risen from the dead lives” (now, here) “and reigns” (now, here) “eternally”. -
The Translation of German Pietist Imagery Into Anglo-American Cultures
Copyright by Ingrid Goggan Lelos 2009 The Dissertation Committee for Ingrid Goggan Lelos Certifies that this is the approved version of the following dissertation: The Spirit in the Flesh: The Translation of German Pietist Imagery into Anglo-American Cultures Committee: Katherine Arens, Supervisor Julie Sievers, Co-Supervisor Sandy Straubhaar Janet Swaffar Marjorie Woods The Spirit in the Flesh: The Translation of German Pietist Imagery into Anglo-American Cultures by Ingrid Goggan Lelos, B.A.; M.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2009 Dedication for my parents, who inspired intellectual curiosity, for my husband, who nurtured my curiositities, and for my children, who daily renew my curiosities Acknowledgements I would like to express my gratitude to so many who made this project possible. First, I must thank Katie Arens, who always believed in me and faithfully guided me through this journey across centuries and great geographic expanses. It is truly rare to find a dissertation advisor with the expertise and interest to direct a project that begins in medieval Europe and ends in antebellum America. Without her belief in the study of hymns as literature and the convergence of religious and secular discourses this project and its contributions to scholarship would have remained but vague, unarticulated musings. Without Julie Sievers, this project would not have its sharpness of focus or foreground so clearly its scholarly merits, which she so graciously identified. -
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. -
M-Pythian Games
THE AGES DIGITAL LIBRARY REFERENCE CYCLOPEDIA of BIBLICAL, THEOLOGICAL and ECCLESIASTICAL LITERATURE M - Pythian Games by James Strong & John McClintock To the Students of the Words, Works and Ways of God: Welcome to the AGES Digital Library. We trust your experience with this and other volumes in the Library fulfills our motto and vision which is our commitment to you: MAKING THE WORDS OF THE WISE AVAILABLE TO ALL — INEXPENSIVELY. AGES Software Rio, WI USA Version 1.0 © 2000 2 M Maarath For this site Mr. Tyrwhitt Drake proposes (Quar. Statement of the "Pal. Explor. Fund," April 1874, page 76) the Mons Mardes where St. Euthymius found ruins (Acta Sanctorum, 2:306), now Khirbet Mird, near Mar Saba, on a round, isolated hill, containing the remains of an aqueduct, wells, and cisterns (Memoirs to the Ordnance Survey, 3:212); but Lieut. Conder suggests (Quar. Statement, January 1875, page 13) an ancient site near Beit Ainum, where a valley has the corresponding Arabic name, Wady el-Moghair. This latter ruin is laid down on the Ordnance Map, two miles north-east of Hebron, without any name attached. Later, however, Lieut. Conder suggests (Tent Work, 2:338) Beit Ummar, six miles north of Hebron, probably the Betumair of Eusebius (Onomast. s.v. Baalthamar). It is "a small but conspicuous village, standing on the watershed, and visible from some distance on the north. An ancient road passes through it. Halfa mile north-east is a good spring, Ain Kufin. The mosque has a small tower to it. The surrounding neighborhood is covered with brushwood" (Memoirs to Ordnance Survey, 3:303). -
Sofia Gubaidulina and Wolfgang Rihm
THEOLOGY OF BEAUTY Rocznik Teologii Katolickiej, tom XVII/1, rok 2018 DOI: 10.15290/rtk.2018.17.1.12 0000-0001-6701-1378 Joanna Cieślik-Klauza Uniwersytet Muzyczny Fryderyka Chopina Passion Music at the Turn of the XX and XXI Centuries, Part I: Sofia Gubaidulina and Wolfgang Rihm The great conductor and scholar of the works of Bach, Helmuth Rilling, com- missioned his colleague composers from different countries to write works on the Passion of Christ inspired by the four Gospels. This project known as Passion 2000 was realized on the 250th anniversary of Bach’s death. As part of this valuable initiative and tribute to the Bach, the Russian composer Sofia Gubaidulina, the German composer Wolfgang Rihm, the Chinese composer Tan Dun, and the Argentinian composer Osvaldo Goliovo created four considerable works that completely differ stylistically and provide new perspectives onPas - sion settings. This article presents the following two European Passions from a historical perspective: the St. John Passion by Sofia Gubaidulina and the Deus Passus by Wolfgang Rihm. These composers’ perspectives of the Passion genre expand the traditional framework of this genre as they present the events of the Passion within contemporary contexts and combine musical styles from different historical periods. Key words: Passion, Wolfgang Rihm, Sofia Gubaidulina, contemporary sacred music, St. John Passion, Deus Passus. One cannot remain indifferent to the topic of the Passion. Every year for centuries, cultures and traditions have recalled the revelation of the mystery of the cross, the sorrow of the Mother of God, and the sacrifice of Jesus Christ. This teaching arises from the moment that is the most important to Christians: the Death and Resurrection of 184 Joanna Cieślik-Klauza Christ. -
The LHP Newsletter
/LWXUJ\ +\PQRG\ Volume 1, Issue 1, Advent 2004 You may be thinking, “Right. That’s what they Welcome said last time.” “The Common Service (Divine Service I), familiar to all Lutherans, is carried This is the inaugural issue of Liturgy & forward with no great changes…” (LW Hymnody, a publication of the Wyoming Introduction, p. 6.) This time, there are only District of the Lutheran Church—Missouri minimal changes. Synod. TLH page 15 shows up in LSB as Divine Our goal is to Service, Setting Three. The sung portions of + Foster appreciation for the Lutheran the familiar liturgy remain intact, complete with heritage in Christian Worship “Holy Ghost,” “We praise Thee,” “And with thy spirit,” and “Praise be to Thee, O Christ.” The + Advise and counsel congregations Familiar four-part harmony supports the text the way it always has. The only musical change is and pastors in the use of appropriate that the Kyrie and Gloria have been lowered one worship resources and material step to allow for easier singing and an easier key for the organist. + Provide specific helps to ease the transition from The Lutheran Hymnal, Spoken text in Divine Service, Setting Three has Lutheran Worship, and Hymnal been gently updated. For example, “I, a poor, Supplement 98 to the forthcoming miserable sinner, confess unto You all my sins Lutheran Service Book (hereafter LSB), and iniquities with which I have ever offended expected to be released in fall 2006 You and justly deserved Your temporal and eternal punishment…” The LCMS Commission on Worship TLH page 5, “The Order of Morning Service website, http://worship.lcms.org Without Communion” is not printed separately has electronic files of LSB material in LSB, to save space.