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THE REFORMATION Beginnings of Modernity

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! ! ! ! ! THE REFORMATION! Beginnings of Modernity! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Religious rebellion against the authority of the Catholic Church ! ! Germany and Scandinavia: LUTHERAN! Switzerland, Low Countries: CALVINIST! England: CHURCH OF ENGLAND! ! ! ! ! ! ! ! ! ! ! ! MARTIN LUTHER (1483–1546)! ! ! ! ! ! ! ! THE REFORMATION! ! MARTIN LUTHER (1483–1546)! ! Trains as for Law profession! ! Thunderstorm in the summer of 1505. A lightning bolt struck near him as he was returning to school. Terrified, he cried out, “Help! Saint Anne, I will become a monk!” He left law school, sold his books, and entered the monastery.! ! ! ! ! ! ! ! THE REFORMATION! ! MARTIN LUTHER (1483–1546)! Professor of biblical theology at the University of Wittenberg in Germany! ! ! ! ! ! ! ! ! City of Wittenberg ! ! ! ! ! THE REFORMATION! ! MARTIN LUTHER (1483–1546)! ! Believes salvation comes through FAITH, ! not good works or penance! as taught by the Catholic Church! ! Rebelled against nonbiblical practices in the! Catholic Church! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Writes ninety-five theses (points or arguments)! A list of complaints against the Catholic practices, posted on a door of the Schlosskirche in Wittenberg on! October 31, 1517! ! ! ! ! ! ! ! Schlosskirche in Wittenberg The door that Martin Luther nailed the 95 Theses to ! ! ! ! ! THE REFORMATION! ! Sale of indulgences! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! ! The theses are printed and widely disseminated— within two weeks it had spread throughout Germany, within two months throughout Europe ! making Martin Luther famous! ! ! ! ! ! ! ! Beginning of Martin Luther’s 95 theses ! ! ! ! ! ! ! THE REFORMATION! ! The theses are translated into German in 1518! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Pope Leo X writes a papal enclyclical in reply ! ! When Martin refused to recant his theses, he was excommunicated from the Catholic Church ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Martin Luther translates the Bible into German! ! Printed in 1522 and sells 2000 copies in 2 months. ! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Luther marries Katharina von Bora ! (a former nun) on June 13, 1535, ! and reintroduces the practice of clerical marriage to the Western Christian traditions! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! New Evangelical, or “Lutheran” Church! ! German princes adopted Lutheranism, freeing them from Roman control.! ! The vernacular was used for the liturgy, but Luther considered Latin essential for education.! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Music important in Lutheran Church because of Luther’s belief in its ethical power and his! appreciation of composers such as Josquin! ! ! Thanks, ! Martin! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Did not do away with church music or even Latin church music! ! “Music is a gift from God”! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! “It is not my view that the Gospel should cause all the arts to be struck down and disappear; on the contrary, I should like to see all the arts, and especially music, used in the service of God who gave and created them.”! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! ! Texts were in the vernacular, ! but much of the! Latin Catholic liturgy was retained.! ! ! ! ! ! ! ! ! ! ! ! ! ! THE REFORMATION! ! Churches were! free to use music as they wished! ! Large churches with trained choirs kept much of the Latin liturgy and polyphony.! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE! ! Most important form of Lutheran church music! ! Congregations sang several chorales at each service! ! Luther wrote many chorales himself.! ! Four collections were published in 1524.! ! ! ! “Ein neues Lied wir heben an” Geistliche gesang Büchlein, 1524 ! ! ! ! ! CHORALE! ! Metric, rhymed, strophic poetry! for unison, unaccompanied performance! by the congregation! ! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Adaptation of existing Gregorian chants! Existing devotional songs in German! Secular songs given new words ! Newly composed melodies! ! ! ! ! ! ! ! ! ! ! “Why should the Devil have! all the good tunes?”! ! ! Secular songs were given new words ! ! CONTRAFACTA! ! ! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Adaptation of existing Gregorian chants! ! ! Veni! redemptor gentium" =! ! Nun! komm, der Heiden Heiland ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Newly composed melodies! ! Ein feste burg! ! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Newly composed melodies: Ein feste Burg! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! CHORALE MELODIES! ! Luther adapted Psalm 46 for the text! ! Ein feste Burg became an “anthem” of the! Reformation! ! The original rhythm suits the text, but! modern versions use a more regular rhythm.! ! ! ! ! ! ! ! ! ! Polyphonic Chorale Settings! ! Group singing in home settings! ! Performance in church by choirs,! alternating stanzas with the congregation in unison! ! Luther wanted “wholesome” music for young! people, to “rid them of their love ditties and! wanton song.”! ! ! ! ! ! ! ! ! Polyphonic Chorale Settings! ! Lied Style! ! “Lied” technique with melody in TENOR! ! Three or more free polyphonic parts! ! Johann Walter was Martin Luther’s chief! musical collaborator. ! ! ! ! ! ! ! ! ! Johann Walter! ! Ein feste Burg! ! ! ! ! ! ! ! ! ! ! Music Viva, “Ein feste Burg” ! ! ! ! ! Polyphonic Chorale Settings! ! Chorale Motets! ! Josquin-like motet style! ! Chorale appears as a cantus firmus in long! notes in some motets! ! Some chorale motets use the chorale imitatively in all voices! ! ! ! ! ! ! ! Polyphonic Chorale Settings! ! Cantional Style! ! Homophony (cantional style, from the Latin! cantionale, “songbook”)! ! Tune in the highest voice! ! Accompaniment in block chords! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Catholic Response to the Reformation! (Counter-Reformation or Catholic Reformation)! ! Jesuits (Society of Jesus)! Founded St. Ignatius Loyola (1491–1556) in 1534! Founded schools to teach proper Catholicism! Proselytized, reconverting Poland, southern! Germany, and much of France! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Council of Trent (1545–1563)! ! Series of meetings held in Trent (northern Italy)! Reaffirmed doctrines that Luther attacked! Purged the Church of abuses and laxities! ! ! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Council of Trent (1545–1563)! ! Music was a subject for debate, especially the use of secular song in the composition of masses.! ! Eliminated tropes and all but four sequences! ! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Council of Trent (1545–1563)! ! The use of secular music in sacred music! The density of polyphony! The different musical practices ! The use of instruments in sacred music! The irreverent attitude of church singers! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Council of Trent (1545–1563)! ! The final statement was vague, leaving it to! bishops to regulate music.! ! ! ! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! Catholic Church Music: 1520–1550! ! Franco-Flemish composers dominated the! generation active! ! ! ! ! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! STYLE FEATURES! ! Clearly defined mode! Careful treatment of dissonance! Equality of voices! Five- or six-voice compositions, using! contrasting combinations of voices! Duple meter with brief passages in triple! ! ! ! ! ! ! ! ! COUNTER REFORMATION! ! STYLE FEATURES! ! Imitative polyphony! Imitation mass the most common type,! but composers still use ! paraphrase and cantus firmus! techniques! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina (c1525–1594)! ! Born in Palestrina, near Rome! ! Educated in Rome, where he was a choirboy! ! 1544–1551: Organist and choirmaster in Palestrina! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! 1551–55 : Choirmaster of Julian Chapel! 1555: Sang in Sistine Chapel briefly but could not continue because he was married! 1555––1566: Important posts in Rome! 1571–1594: Choirmaster of Julian Chapel ! ! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Spent his last forty years as choirmaster and! teacher at influential churches in Rome! ! Taught music at the new Jesuit seminary! ! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! 104 masses, more than any other composer! Over 300 motets! Participated in the reformation of chant-books, which were published after his death! ! Madrigals, which he later regretted ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Credited with saving polyphony from the! Council of Trent! ! According to legend, his Pope Marcellus Mass, dedicated to the pope, demonstrated that sacred words could be intelligible in polyphonic music.! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! STYLE! ! Long-breathed melodies! Easily singable! Moves mostly by steps! Most leaps followed by stepwise motion in opposite direction! ! ! ! ! ! ! Counterpoint follows the rules! ! Dissonances introduced in suspensions and resolved on strong beats! ! Dissonances between beats are allowed if the moving voice is doing so in a stepwise fashion or as a suspension ! ! Downward leap of a third, from a dissonance to a consonance (later called cambiata), is also allowable.! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! The resulting harmonic style comprises an! alternation between ! consonance and “allowable” dissonance! ! ! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Palestrina makes the text intelligible by using! syllabic text-setting and homophony in! movements with long texts! ! ! Palestrina’s style was a model for subsequent! generations and is still the ideal in! present-day textbooks on counterpoint! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Pope Marcellus Mass: Credo! ! ! ! ! ! ! ! ! ! ! ! ! ! ! Giovanni Pierluigi da Palestrina ! ! Pope Marcellus Mass: Credo! ! Each new phrase uses a different! combination of voices.! ! All six voices come together for important words, cadences, and musical climaxes.! ! Voice combinations sometimes used for text- painting, e.g., three voices to symbolize the Trinity.! ! ! St. Peter’s Basilica, June 29 2012 St. Peter’s Basilica, June 12, 2012 Westminster Abbey Choir, Cappella Musicale Pontificia Sistina .
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  • GOTT DER VATER WOHN UNS BEI from Musae Sioniae I, 1605 Double Choir Motet Arranged for Small Orchestra (Choir I: Woodwinds & Strings; Choir II: Brass)

    GOTT DER VATER WOHN UNS BEI from Musae Sioniae I, 1605 Double Choir Motet Arranged for Small Orchestra (Choir I: Woodwinds & Strings; Choir II: Brass)

    Full Score from the library of the Concordia Sinfonietta Michael Praetorius (1571-1621) arr. Christian Guebert GOTT DER VATER WOHN UNS BEI from Musae Sioniae I, 1605 double choir motet arranged for small orchestra (Choir I: woodwinds & strings; Choir II: brass) Choir I Choir II Flute Trumpet I Clarinet Trumpet II Violin I Trombone I Violin II Trombone II Viola Bass Trombone or Tuba Cello Contrabass 2 About this arrangement: This edition is a true transcription, reflecting the original pitches, rhythms, and key. There are many instrumental combinations that work well in this setting. Conductors are encouraged to adapt to the needs of their ensembles. The Concordia Sinfonietta uses this arrangement on church outings with a small to medium sized string section, five brass (bass trombone preferred over tuba), and two woodwinds. The setting should work nicely for church and school orchestral ensembles. The rhythms and ranges of parts are accessible for intermediate amateur players. About the hymn: Luther chose an ancient medieval litany and reworked it into a hymn of invocation of the Holy Trinity. It appeared in the first Lutheran hymnal, the Geystliche gesangk Buchleyn of 1524. Praetorius turned it into a motet for double choir in 1605. His setting is arranged here, for a choir of brass and a choir of woodwinds and strings. Christian Guebert, a 2010 graduate of Concordia University Irvine, is a composer of a wide variety of works, including music for choirs, orchestras, handbells, and chamber music ensembles. He holds a Master of Music degree in Music Composition from California State University Fullerton (CSUF) and is studying composition in the doctoral degree program at the University of California, Los Angeles (UCLA).