Lobet Den Herrn: German Music for Quire
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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). -
“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 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. -
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. -
Composers for the Pipe Organ from the Renaissance to the 20Th Century
Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today. -
Music History Lecture Notes Baroque & Early Opera
Music History Lecture Notes Baroque & Early Opera 1600 AD – 1750 AD This presentation is intended for the use of current students in Mr. Duckworth’s Music History course as a study aid. Any other use is strictly forbidden. Copyright, Ryan Duckworth 2010 Images used for educational purposes under the TEACH Act (Technology, Education and Copyright Harmonization Act of 2002). All copyrights belong to their respective copyright holders, Baroque • From Portuguese “Boroqo” • A term describing a deformed pearl turned into art – Unique and strangely beautiful – Abnormal, bizarre, grotesque, in bad taste – “Admirably flamboyant, decorative, and expressionistic tendencies” Historical Perspective • Same time as the colonizing of America • Absolute monarchies in Europe Art by Rembrandt Etchings by Rembrandt Portraits by Rembrandt Self Portrait Sculpture & Architecture by Bernini Architecture by Borromini Famous Thinkers Rene Descartes “I think therefore I am” Galileo Galilei Astronomer, physicist Johannes Kepler Laws of Planetary Motion Isaac Newton Laws of Motion, Calculus Music (1600-1750) • “Unlike sculpture and painting, music did not have to represent natural objects, nor was music bound, like architecture, by the unyielding physical demands of medium and function.” – A History of Western Music Two Practices of this Early Baroque • Prima Pratica - old style vocal polyphony – Music dominates text – Netherland and Palestrina style – AKA; stile antico or stylus gravis • Secunda Pratica - more adventurous Italian style – Text dominates music, use -
Madrigals of Johann Schein Unearthing German Secular Music Angelica Dunsavage | University of Arizona | [email protected] NCCO 2019
Madrigals of Johann Schein Unearthing German Secular Music Angelica Dunsavage | University of Arizona | [email protected] NCCO 2019 Across the Alps: German Madrigal Tradition • German Reformation: caused a wave of influence and interest in the rest of Europe o Poetry in the vernacular § Led to interest in Italian poetry § Education exchange between Germany and Italy: poets and composers • Humanist Movement o Led to an interest in spreading knowledge and literacy o Revival of Classical (Greek and Roman) learning o Popular in universities: debate and rhetoric • Book Fairs: influx of Italian poetry and music into German culture o Led to imitation of Italian style, translations of Italian works into German, and eventually original compositions o Similar effect in England Biography Highlights: Johann Hermann Schein Birth: January 20, 1586 Grünhain, Germany Death: November 19, 1630 Leipzig, Germany • Taken to Hofkapelle in Dresden as a boy soprano at age 13, where he studied musical theory and choral music • Studied law at University of Leipzig, but switched back and forth between law and music o Parallels Heinrich Schütz o Wrote his first secular collection as a student in 1609, Venus Kräntzlein • 1616 – Became Thomaskantor of Leipzig o Substantial extra income occasional pieces: weddings and funerals § German or Italian § Some pieces from Diletti pastorali were occasional pieces • Maintained extremely close friendship with Heinrich Schütz • 1630 – Schein died of health complications. Schütz composed a motet for his funeral. Secular Compositional Output • Venus Kräntzlein (1609): 5 voices, including instrumental works • Musica boscareccia (1621, 1626, 1628): 3-voice Italian-style villanelle o 3 different collections o Mostly occasional music for weddings, etc. -
Program Notesby Victor Gebauer
Program Notes by Victor Gebauer Der 136. Psalm Heinrich Schütz (1585 – 1672) Heinrich Schütz’s world of music expanded during his first trip to Venice (1609-1613) to study with the renowned Giovanni Gabrieli. There he probably frequented the Fondaco dei Tedeschi, a center for German merchants and musicians. The famed Saint Mark’s Cathedral boasted huge spaces that had generated a polychoral style, reflected here in a double chorus and double capella of ensembles plus continuous bass. The first capella declaims the psalm’s refrain (“For God’s mercy endures forever”) while a chorus announces each psalm verse. Schütz later expands the refrain’s sonority in response to the verses, sung in varied registers and textures by a chorus. The final, extensive verse (“Give thanks to the God of heaven . .”) summarizes the entire psalm, splendidly tossing phrases among all ensembles of voices and instruments. Such music both fills the echoing spaces of a great cathedral and envelopes the worshiper with the praises of God. Gelobet seist du, Jesu Christ Johann Hermann Schein (1586 – 1630) Already in 1690, W. K. Printz’s Historische Beschreibung (Historic Portrayal) identified three great S’s in German music (Samuel Scheidt, Heinrich Schütz, and Johann Hermann Schein). All three were noted for combining styles of the 16th century with expressive new conventions of 17th century Baroque music. Schein’s hymn setting is a clear example. The first stanza dates back to the 14th century, additional stanzas were added by Martin Luther, and the melody also emerged during the Reformation. The “Kyrieleis” marks this as a religious hymn of popular origin. -
Programme Du Cycle Des Musiques Sacrées
C y c l e d e M u s i q u e s S a c r é e s Partenaire du Festival d’Avignon depuis 1967 sur la volonté initiale de Jean Vilar, Musique Sacrée en Avignon propose un Cycle de concerts d’orgue qui a pour but de mettre en valeur les instruments histo- riques d’Avignon et de sa proche région. Festival de théâtre, le Festival d’Avignon présente ainsi la particularité d’inclure depuis de nombreuses années, au sein de sa propre programmation, un cycle de concerts d’orgue et de musiques sacrées. Dans un souci de cohérence, ce cycle est conçu afin qu’il entre en résonance avec la programmation théâtrale du Festival, inspiré par l’artiste associé Josef Nadj. Nous avons voulu, au cours de trois concerts rendre hommage à l’univers de création de ce danseur-poète. Le premier sera la projection du film muet l’Aurore de Friedrich Wilhelm Murnau au cours duquel Thierry Escaich, organiste et compositeur, improvisera en direct à l’orgue. L’atmosphère de l’Aurore tient surtout à l’emploi de la lumière, qui constitue le vrai pouvoir métaphorique du film. Un film d’une rigueur impla- cable où le symbolisme (la lune, le vent…) et le vécu sont étroitement liés. Le second, Pas de Deux égale Six pour quintette à vent en forme d’orgue et orgue en fugue proposera un commentaire croisé sur les mondes sonores de Ligeti et de Bartók, mais aussi l’affrontement de l’orgue avec les souffleurs du quintette à vent (Le Concert Impromptu) qui forment à eux cinq comme un orgue positif vivant. -
Classical Wedding / Event Music Selections Johann Pachelbel
Classical Wedding / Event Music Selections Johann Pachelbel Canon in D Johann Sebastian Bach Air from Orchestral Suite No.3 in D Major, BWV 1068 Gigue from Orchestral Suite No.3 in D Major, BWV 1068 Jesu, Joy of Man’s Desiring Cantata, BWV 147 Sheep May Safely Graze Arioso from Cantata No.156 March in D Major Cello Suite No.1 in G Major, BWV 1007 Cello Suite No. 3 in C Major, BWV 1009 Brandenburg Concerto No. 5 in D Major, BWV 1050 Brandenburg Concerto No.3 in G Major, BWV1048 Violin Concerto in E major, BWV 1042 Sonata for Solo Violin No.1, BWV 1001 Partita for Solo Violin No.3, BWV 1006 "Wachet auf, ruft uns die Stimme" BWV 645 Henry Purcell Trumpet Tune Georg Fridrich Handel Water Music, Suite No. 1 in F major, HWV 348 Water Music Suite No. 2 in D Major Alla Hornpipe Andante Allegro Music For The Royal Fireworks HWV351 - V. La Réjouissance Hallelujah from Oratorio Messiah HWV 56 Concerto Grosso in G major, Op.6 No.1 The Arrival of the Queen of Sheba from Oratorio Solomon Arcangelo Corelli Concerto Grosso No.8, Op.6 Antonio Vivaldi Le Quattro Stagioni -The Four Seasons Concerto for two violins in a minor RV 522 Concerto for two violins g minor RV 578 Concerto for four violins in b minor (RV 580) Wolfgang Amadeus Mozart Divertimento in D Major, KV 136 Divertimento in b minor, KV 137 Divertimento in F Major, KV 138 String Quartet No.11, KV 155 String Quartet No.12, KV 156 String Quartet “Dissonance”C-Major, KV 465 Serenade No.