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Liturgical Drama in Bach's St. Matthew Passion
Uri Golomb Liturgical drama in Bach’s St. Matthew Passion Bach’s two surviving Passions are often cited as evidence that he was perfectly capable of producing operatic masterpieces, had he chosen to devote his creative powers to this genre. This view clashes with the notion that church music ought to be calm and measured; indeed, Bach’s contract as Cantor of St. Thomas’s School in Leipzig stipulated: In order to preserve the good order in the churches, [he would] so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion. (New Bach Reader, p. 105) One could argue, however, that Bach was never entirely faithful to this pledge, and that in the St. Matthew Passion he came close to violating it entirely. This article explores the fusion of the liturgical and the dramatic in the St. Matthew Passion, viewing the work as the combination of two dramas: the story of Christ’s final hours, and the Christian believer’s response to this story. This is not, of course, the only viable approach to this masterpiece. The St. Matthew Passion is a complex, heterogeneous work, rich in musical and expressive detail yet also displaying an impressive unity across its vast dimensions. This article does not pretend to explore all the work’s aspects; it only provides an overview of one of its distinctive features. 1. The St. Matthew Passion and the Passion genre The Passion is a musical setting of the story of Christ’s arrest, trial and crucifixion, intended as an elaboration of the Gospel reading in the Easter liturgy. -
Introduction
INTRODUCTION During Lent , Carl Philipp Emanuel Bach performed It is difficult to explain why Bach chose to borrow other his first setting of the Passion according to St. John. Had composers’ music rather than always write his own. After he continued the rotation from Georg Philipp Telemann’s performing his first Passion in , a work based in part time, Bach’s first Passion would have been a setting based and almost on the scale of his father’s St. Matthew Passion, on St. John’s Gospel. In Lent , before Bach arrived in BWV , C. P. E. Bach must have become discouraged or Hamburg, Georg Michael Telemann presented his grand- disillusioned with the Hamburg church authorities. Per- father’s St. Luke Passion of . It is not clear why Bach haps one of the pastors told him this work was too long decided to present a St. Matthew Passion in , skip- and elaborate for the services. In December , Bach ping St. John in the sequence. (e entries in Bach’s estate wrote a letter in which he said: “Hamburg is no place for catalogue indicate that he began assembling his Passions a fine musician to stay. (ere is no taste here. Mostly in the year preceding the season of Lent, so that the St. queer stuff and no pleasure in the noble simplicity.” As John Passion is dated –. While the title page of the early as January Bach mentioned that a pair of the libretto to Telemann’s St. John Passion of states “ein- church elders “said politely but pointedly (it was their gerichtet von G. -
1. Summer Rain by Carl Thomas 2. Kiss Kiss by Chris Brown Feat T Pain 3
1. Summer Rain By Carl Thomas 2. Kiss Kiss By Chris Brown feat T Pain 3. You Know What's Up By Donell Jones 4. I Believe By Fantasia By Rhythm and Blues 5. Pyramids (Explicit) By Frank Ocean 6. Under The Sea By The Little Mermaid 7. Do What It Do By Jamie Foxx 8. Slow Jamz By Twista feat. Kanye West And Jamie Foxx 9. Calling All Hearts By DJ Cassidy Feat. Robin Thicke & Jessie J 10. I'd Really Love To See You Tonight By England Dan & John Ford Coley 11. I Wanna Be Loved By Eric Benet 12. Where Does The Love Go By Eric Benet with Yvonne Catterfeld 13. Freek'n You By Jodeci By Rhythm and Blues 14. If You Think You're Lonely Now By K-Ci Hailey Of Jodeci 15. All The Things (Your Man Don't Do) By Joe 16. All Or Nothing By JOE By Rhythm and Blues 17. Do It Like A Dude By Jessie J 18. Make You Sweat By Keith Sweat 19. Forever, For Always, For Love By Luther Vandros 20. The Glow Of Love By Luther Vandross 21. Nobody But You By Mary J. Blige 22. I'm Going Down By Mary J Blige 23. I Like By Montell Jordan Feat. Slick Rick 24. If You Don't Know Me By Now By Patti LaBelle 25. There's A Winner In You By Patti LaBelle 26. When A Woman's Fed Up By R. Kelly 27. I Like By Shanice 28. Hot Sugar - Tamar Braxton - Rhythm and Blues3005 (clean) by Childish Gambino 29. -
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. -
The Crucifixion: Stainer's Invention of the Anglican Passion
The Crucifixion: Stainer’s Invention of the Anglican Passion and Its Subsequent Influence on Descendent Works by Maunder, Somervell, Wood, and Thiman Matthew Hoch Abstract The Anglican Passion is a largely forgotten genre that flourished in the late nineteenth and early twentieth centuries. Modeled distinctly after the Lutheran Passion— particularly in its use of congregational hymns that punctuate and comment upon the drama—Anglican Passions also owe much to the rise of hymnody and small parish music-making in England during the latter part of the nineteenth century. John Stainer’s The Crucifixion (1887) is a quintessential example of the genre and the Anglican Passion that is most often performed and recorded. This article traces the origins of the genre and explores lesser-known early twentieth-century Anglican Passions that are direct descendants of Stainer’s work. Four works in particular will be reviewed within this historical context: John Henry Maunder’s Olivet to Calvary (1904), Arthur Somervell’s The Passion of Christ (1914), Charles Wood’s The Passion of Our Lord according to St Mark (1920), and Eric Thiman’s The Last Supper (1930). Examining these works in a sequential order reveals a distinct evolution and decline of the genre over the course of these decades, with Wood’s masterpiece standing as the towering achievement of the Anglican Passion genre in the immediate aftermath of World War I. The article concludes with a call for reappraisal of these underperformed works and their potential use in modern liturgical worship. A Brief History of the Passion Genre from the sung in plainchant, and this practice continued Medieval Era to the Eighteenth Century through the late medieval and early Renaissance eras. -
Editorial Guidelines
CARL PHILIPP EMANUEL BACH he omplete orks Editorial Guidelines The Packard Humanities Institute Cambridge, Massachusetts 2019 Editorial Board Robert D. Levin, Chair Darrell M. Berg, General Editor, Series I Ulrich Leisinger, General Editor, Series IV, V, VI Peter Wollny, General Editor, Series II, III, VII Walter B. Hewlett John B. Howard David W. Packard Uwe Wolf Christoph Wolff † Christopher Hogwood, chair 1999–2014 Editorial Office Paul Corneilson, Managing Editor [email protected] Laura Buch, Editor [email protected] Jason B. Grant, Editor [email protected] M a rk W. K n o l l , Editor [email protected] Lisa DeSiro, Production and Editorial Assistant [email protected] Ruth B. Libbey, Administrator and Editorial Assistant [email protected] 11a Mt. Auburn Street Cambridge, MA 02138 Phone: (617) 876-1310 Fax: (617) 876-0074 Website: www.cpebach.org Updated 2019 Contents Introduction to and Organization of the Edition. 1 A. Prefatory Material. 5 Title Pages . 5 Part Titles . 5 Table of Contents . 5 Order of Pieces . 6 Alternate Versions . 7 Abbreviations . 7 General Preface . 8 Preface to Genres . 8 Introduction . 8 Tables . 8 Facsimile Plates and Illustrations . 9 Captions . 9 Original Dedications and Prefaces . 9 Texts of Vocal Works . 9 B. Style and Terminology in Prose . 10 Titles of Works . 10 Movement Designations . 11 Thematic Catalogues. 11 Geographical Names . 12 Library Names and RISM Sigla . 12 Name Authority. 12 Categories of Works . 13 Varieties of Works . 13 Principal and Secondary Churches of Hamburg . 14 Liturgical Calendar . 14 Keys . 15 Pitch Names and Music Symbols . 15 Dynamics and Terms. 16 Meters and Tempos . -
Suffering and Social Conscience in the Passion Genre from JS Bach's
Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Johann Jacob Van Niekerk A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts University of Washington 2014 Reading Committee: Giselle Wyers, Chair Geoffrey Boers Shannon Dudley Program Authorized to Offer Degree: School of Music ©Copyright 2014 Johann Jacob Van Niekerk University of Washington Abstract Messiahs and Pariahs: Suffering and Social Conscience in the Passion Genre from J.S. Bach’s St. Matthew Passion (1727) to David Lang’s the little match girl passion (2007) Chair of the Supervisory Committee: Giselle Wyers Associate Professor of Choral Music and Voice The themes of suffering and social conscience permeate the history of the sung passion genre: composers have strived for centuries to depict Christ’s suffering and the injustice of his final days. During the past eighty years, the definition of the genre has expanded to include secular protagonists, veiled and not-so-veiled socio- political commentary and increased discussion of suffering and social conscience as socially relevant themes. This dissertation primarily investigates David Lang’s Pulitzer award winning the little match girl passion, premiered in 2007. David Lang’s setting of Danish author and poet Hans Christian Andersen’s “The Little Match Girl” interspersed with text from the chorales of Johann Sebastian Bach’s St. Matthew Passion (1727) has since been performed by several ensembles in the United States and abroad, where it has evoked emotionally visceral reactions from audiences and critics alike. -
Song Suggestions for Special Dances
SONG SUGGESTIONS FOR SPECIAL DANCES PARTY EXCITEMENT www.partyexcitement.com Top 50 Bride & Groom First Dance Songs (Everything I Do) I do it for you by Bryan Adams A Thousand Years by Christina Perri All My Life by K‐Ci & JoJo Amazed by Lonestar At Last by Etta James Better Together by Jack Johnson Bless the Broken Road by Rascal Flatts By Your Side by Sade Can’t Help Falling in Love by Elvis Presley Chasing Cars by Snow Patrol Come Away with Me by Norah Jones Cowboys and Angels by Dustin Lynch Crazy Girl by Eli Young Band Crazy Love by Van Morrison Everything by Michael Buble Faithfully by Journey First Day of My Life by Bright Eyes God Gave Me You by Blake Shelton Hold on by Michael Buble I Cross my Heart by George Strait I Don’t Want to Miss a Thing by Aerosmith I Gotta Feeling by Black Eyed Peas I won’t give up by Jason Mraz I’ll be by Edwin McCain Into the Mystic by Van Morrison It’s Your Love by Tim McGraw and Faith Hill Let’s Stay Together by Al Green Lucky by Jason Mraz & Colbie Caillat Make You Feel My Love by Adele Making Memories of Us by Keith Urban Marry Me by Train Me and You by Kenny Chesney My Best Friend by Tim McGraw She’s everything by Brad Paisley Smile by Uncle Kracker Stand By Me by Ben E. King The Way you look tonight by Frank Sinatra Then by Brad Paisley This Year’s Love by David Gray Unchained Melody by Righteous Brothers Wanted by Hunter Hayes What a Wonderful World by Louis Armstrong When You Say Nothing at All by Alison Krauss Wonderful Tonight by Eric Clapton You and Me by Dave Matthews Band You are the Best -
Most Requested Songs of 2019
Top 200 Most Requested Songs Based on millions of requests made through the DJ Intelligence music request system at weddings & parties in 2019 RANK ARTIST SONG 1 Whitney Houston I Wanna Dance With Somebody (Who Loves Me) 2 Mark Ronson Feat. Bruno Mars Uptown Funk 3 Journey Don't Stop Believin' 4 Cupid Cupid Shuffle 5 Neil Diamond Sweet Caroline (Good Times Never Seemed So Good) 6 Walk The Moon Shut Up And Dance 7 Justin Timberlake Can't Stop The Feeling! 8 Earth, Wind & Fire September 9 Usher Feat. Ludacris & Lil' Jon Yeah 10 V.I.C. Wobble 11 DJ Casper Cha Cha Slide 12 Outkast Hey Ya! 13 Black Eyed Peas I Gotta Feeling 14 Bon Jovi Livin' On A Prayer 15 ABBA Dancing Queen 16 Bruno Mars 24k Magic 17 Garth Brooks Friends In Low Places 18 Spice Girls Wannabe 19 AC/DC You Shook Me All Night Long 20 Kenny Loggins Footloose 21 Backstreet Boys Everybody (Backstreet's Back) 22 Isley Brothers Shout 23 B-52's Love Shack 24 Van Morrison Brown Eyed Girl 25 Bruno Mars Marry You 26 Miley Cyrus Party In The U.S.A. 27 Taylor Swift Shake It Off 28 Luis Fonsi & Daddy Yankee Feat. Justin Bieber Despacito 29 Montell Jordan This Is How We Do It 30 Beatles Twist And Shout 31 Ed Sheeran Thinking Out Loud 32 Sir Mix-A-Lot Baby Got Back 33 Maroon 5 Sugar 34 Ed Sheeran Perfect 35 Def Leppard Pour Some Sugar On Me 36 Killers Mr. Brightside 37 Pharrell Williams Happy 38 Toto Africa 39 Chris Stapleton Tennessee Whiskey 40 Flo Rida Feat. -
To Stir Them up to Believe, Love, Obey”— Soteriological Dimensions of the Class Meeting in Early Methodism
Methodist History, 48:3 (April 2010) “TO STIR THEM UP to BELIEVE, LOVE, OBEy”— SOTERIOLOGICAL DIMENSIONS OF THE CLASS MEETING IN EARLY METHODISM1 ANDREW C. THOMPSON As leader of the Methodist movement over half a century, John Wesley viewed the practice of Christians meeting together in small groups as a vital part of their growth in holiness of heart and life. Wesley’s initial field preach- ing near Bristol in April of 1739 coincided with his assuming leadership of two religious societies in and around the city, which met together regularly for prayer and holy conversation. After further helping to organize two local bands, Wesley reflects in hisJournal , “How dare any man deny this to be (as to the substance of it) a means of grace, ordained by God?”2 He came to see the intimate interaction fostered by such groups as crucial to the very pos- sibility of sanctification, and his leadership of the Methodist movement in subsequent years was characterized by Societies sub-divided into groupings such as classes, bands, select societies, penitential bands, and trial bands. This essay examines the sub-grouping that became mandatory for all Methodists—the class meeting—and argues that it functioned as a pruden- tial means of grace in early Methodism, best characterized as a Christian practice that facilitated the sanctification of its members through the nurtur- ing process of social holiness. My account of the class meeting builds off of the prevailing interpretation of it, found in the admirable work of David Lowes Watson, while differing from that interpretation in some important respects. -
Karaoke Mietsystem Songlist
Karaoke Mietsystem Songlist Ein Karaokesystem der Firma Showtronic Solutions AG in Zusammenarbeit mit Karafun. Karaoke-Katalog Update vom: 13/10/2020 Singen Sie online auf www.karafun.de Gesamter Katalog TOP 50 Shallow - A Star is Born Take Me Home, Country Roads - John Denver Skandal im Sperrbezirk - Spider Murphy Gang Griechischer Wein - Udo Jürgens Verdammt, Ich Lieb' Dich - Matthias Reim Dancing Queen - ABBA Dance Monkey - Tones and I Breaking Free - High School Musical In The Ghetto - Elvis Presley Angels - Robbie Williams Hulapalu - Andreas Gabalier Someone Like You - Adele 99 Luftballons - Nena Tage wie diese - Die Toten Hosen Ring of Fire - Johnny Cash Lemon Tree - Fool's Garden Ohne Dich (schlaf' ich heut' nacht nicht ein) - You Are the Reason - Calum Scott Perfect - Ed Sheeran Münchener Freiheit Stand by Me - Ben E. King Im Wagen Vor Mir - Henry Valentino And Uschi Let It Go - Idina Menzel Can You Feel The Love Tonight - The Lion King Atemlos durch die Nacht - Helene Fischer Roller - Apache 207 Someone You Loved - Lewis Capaldi I Want It That Way - Backstreet Boys Über Sieben Brücken Musst Du Gehn - Peter Maffay Summer Of '69 - Bryan Adams Cordula grün - Die Draufgänger Tequila - The Champs ...Baby One More Time - Britney Spears All of Me - John Legend Barbie Girl - Aqua Chasing Cars - Snow Patrol My Way - Frank Sinatra Hallelujah - Alexandra Burke Aber Bitte Mit Sahne - Udo Jürgens Bohemian Rhapsody - Queen Wannabe - Spice Girls Schrei nach Liebe - Die Ärzte Can't Help Falling In Love - Elvis Presley Country Roads - Hermes House Band Westerland - Die Ärzte Warum hast du nicht nein gesagt - Roland Kaiser Ich war noch niemals in New York - Ich War Noch Marmor, Stein Und Eisen Bricht - Drafi Deutscher Zombie - The Cranberries Niemals In New York Ich wollte nie erwachsen sein (Nessajas Lied) - Don't Stop Believing - Journey EXPLICIT Kann Texte enthalten, die nicht für Kinder und Jugendliche geeignet sind. -
Background to the Brockespassion Writing a Passion Oratorio Was Not Without Its Dangers in Early Eighteenth-Century Hamburg
Background to the Brockespassion Writing a Passion oratorio was not without its dangers in early eighteenth-century Hamburg. While oratorio Passions—musical works that set the Gospel text with added arias and choruses—were common, Passion oratorios were controversial. The main theological difficulty for conservative Lutherans in Hamburg was that all the characters in a Passion oratorio received newly written verses, even the Evangelist! In fact, it might seem strange for audiences today who have grown up with Bach’s Passions to hear that the Evangelist in Brockes’s text also “speaks” in rhyme. The poetic Passion oratorio trend began in Hamburg in 1704, with the performance of Reinhard Keiser’s setting of Der blutige und sterbende Jesus, on a text by galant poet Christian Friedrich Hunold (known by his Arcadian name of Menantes). Hunold’s at times graphic poetry, celebrating the pain and suffering of Jesus, was highly influenced by contemporary trends toward a bodily understanding of spiritual matters (a feature of Pietism). It also featured something never before seen in a sacred German work: recitatives and arias, which looked (and sounded) far too much like opera for the religious powers of Hamburg. This suspiciously Italian—and therefore Catholic—feature caused outrage, as did the fact that the Passion oratorio was performed in a church attached to the poorhouse of the city (Zuchthauskirche) by singers famous from the Gäsemarkt Oper. How dare Hunold and Keiser give such a secular work a quasi-sacred performance, with opera singers? Even worse, according to a complaint filed in 1705 requesting legal action to prevent further performances of the oratorio, was the text itself: Hunold claimed in the preface of the published libretto that he represents the suffering of Christ even more emphatically than the Holy Evangelist, and even offensively “compares the tears of Peter to baptismal water.” The debate grew more fiery with subsequent attempts at poetic Passions in Hamburg by the composer and organist Georg Bronner, who advertised new works in 1705 and 1710.