DOCSLIB.ORG

Anna Maria FINAL J.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anna Maria FINAL J.Indd ¢¡¤£¦¥¨§ © ©¥© © ¢ ! "§#%$&¤'¢()§¤ *(+ Objektivitet och liturgisk förankring Strävanden att införa ny saklighet inom kyrkomusik och gudstjänstliv i Borgå stift åren 1923–1943 Anna Maria Böckerman-Peitsalo ÅBO 2005 ÅBO AKADEMIS FÖRLAG – ÅBO AKADEMI UNIVERSITY PRESS ¢¡¤£¥ ¢¦¨§©¦ £ ¦§© ! #"%$ &('*),+#-./0&%132546+87 9#:<;>=#=@?BAC?*D5E? FGIHIJ*K8L LJILPOQSRUT LWV KU[Y\ K ENM@E E DYX#EWZ D5?¤= D]E3=^X`_ L J LcL [\ K^T R¨J¤L O8f Z D]aSM#?*=@b =¢? EN= D5?!=^deZ6? EcX EN= K K^O<f¢V KUO#Q¤R V L H L T O L [L d<D Z©E X b^Z aS=@Z EgMhE@i DYX#j>Z E J \#QSK^J f jSD =lk%m8n^o(pk*m8q#o>r;s=#=@?BAt?SD5E?!i D ?S=@u J L TOw G@O G^O K JSf w v E Z©? p¢x _yx ; ?(b EW:8n#zz@{ w G@O K JSf w Vf¢f w |}EZ6Z _<x ; ?%b E pl~ ?SDd ~#im^{k*u# ^{u n@mn^u{ ~#i0m#{k*u# ^{u n@mn^u{ L Tc ~#i0m^{k*u^ ^{u n^m^o#uoe5bEcX#E ? G@O K JSf L QSK^J x ; ?%b EZ Dd D]E G¨O x n^zz#{ Innehåll Förord 11 1 Inledning 13 1.1 Forskningsuppgift och avgränsningar 14 1.2 Forskningsmaterial 16 1.3 Metod och uppläggning 19 1.4 Begrepp 22 1.5 Disposition 27 2 Bakgrund 29 2.1 Den nya sakligheten och dess rötter 29 2.2 Nysakligt tänkande i Danmark och Sverige 40 2.2.1 Thomas Laubs gudstjänstsyn 40 2.2.2 Reformsträvanden i Sverige – Kyrkosångens Vänner 46 2.3 Orgelrörelsen 50 2.4 Det nysakliga programmet 55 2.5 Borgå stift blir till 60 3 Kyrkomusikalisk samling (1923–1931) 69 3.1 Musik och gudstjänst i det nygrundade stiftet 69 3.1.1 Inre organisation 69 3.1.2 De första nysakliga impulserna 78 3.1.2.1 Stormönstring med nysakliga inslag 79 3.1.2.2 Nytt ljus över musiken i gudstjänst- och församlingsliv 95 3.1.2.3 Organisatoriska aspekter på förnyelsearbetet 97 3.2 Gudstjänstliv 99 3.2.1 Liturgiskt bruk 99 3.2.2 Högmässan 100 3.2.2.1 Högmässoordningen 100 3.2.2.2 Mässmusiken 103 3.2.2.3 Diskussion om högmässan 106 3.2.3 Tidebönen 111 3.3 Körverksamhet 121 3.4 Psalmer och församlingssång 129 3.4.1 Tillägg till psalmboken 129 3.4.2 Församlingens sång 133 3.5 Orgelspel 136 3.6 Publikationsverksamhet 144 3.6.1 Serien Ur kyrkokörernas repertoar 145 3.6.2 Publikationer inför den första allmänna svenska kyrkomusikfesten 1931 148 3.7 Sammanfattning 151 4 Nysaklig väckelse (1932–1936) 153 4.1 Verksamhet och impulser 154 4.1.1 Nya verksamhetsformer och påverkningsmetoder 155 4.1.1.1 Radioandakter 155 4.1.1.2 Repertoarplanering 157 4.1.2 Nordisk kyrkomusikalisk mönstring som inspiration 164 4.1.3 Nysaklig omvändelse 175 4.1.4 Förändrat synsätt och nytt tempo 180 4.1.5 Den nordiska diskussionen förtydligar 183 4.1.5.1 Det andra nordiska kyrkomusikermötet i Helsingfors 1936 183 4.1.5.2 Musica sacra 185 4.1.5.3 Motsättningar inom Finlands svenska kyrkosångsutskott 194 4.2 Gudstjänstlivet 198 4.2.1 Från vesperfråga till tidegärd 198 4.2.2 Högmässans förnyelse – framsteg eller ett hot mot Ordets plats? 204 4.3 Koralfrågor, kör- och församlingssång 211 4.3.1 Psalm och församlingssång 211 4.3.2 Kören i gudstjänsten 222 4.4 Orglar och liturgiskt orgelspel 226 4.5 Publikationsverksamhet 235 4.6 Sammanfattning 242 5 Nysakliga idéer konsolideras (1937–1943) 247 5.1 Det nysakliga budskapet sprids 247 5.1.1 Blockfl öjt och liturgisk sång 247 5.1.2 Kyrkokören – en väg för nysaklig påverkan 250 5.1.3 Nysakligheten inåt: gudstjänstmusiken, utåt: budskap till folket 258 5.1.4 Nysakligheten under krigstiden 261 5.1.4.1 Liturgiska frågor i fokus 263 5.1.4.2 Koraldagar år 1942 268 5.2 Gudstjänsten 270 5.2.1 Konstnären i mötet mellan församlingen och Gud 270 5.2.2 Kyrkoåret i färg, ord och ton 275 5.2.2.1 Kyrkoåret och gudstjänstordningen 276 5.2.2.2 Kyrkorummets utsmyckning och kyrklig skrud 281 5.2.2.3 Musiken i gudstjänsten 284 5.3 Församlingssångens förnyelse 295 5.3.1 Gregoriansk sång 295 5.3.2 Koraler 299 5.4 Liturgiskt orgelspel 305 5.5 Publikationsverksamhet 311 5.5.1 Serien Kyrkokörernas repertoar 312 5.5.2 Tidskriften Kyrkomusik 316 5.5.3 Boken Vår högmässa 321 5.6 Sammanfattning 329 6 Sammanfattande slutsatser 333 6.1 Nysaklighet som fenomen 333 6.2 Objektivitet och liturgisk förankring 334 6.3 Samling, samarbete och kontakter 336 6.4 Liturgi 339 6.5 Körverksamhet 342 6.6 Psalmer och församlingssång 344 6.7 Gregorianik 345 6.8 Orgelkonst 346 6.9 Publikationsverksamhet 347 6.10 Påverkningsmetoder och helhetsutveckling 349 6.11 Det nysakliga programmet i Borgå stift 351 Förkortningar 357 Källor och litteratur 359 Personregister 381 Summary 393 Förord Den nya sakligheten kan i hög grad karakteriseras av en strävan ”tillbaka till källorna”. Jag har personligen haft ett behov av att gå tillbaka till käl- lorna i fråga om min yrkesidentitet som kyrkomusiker i Borgå stift och i fråga om den gudstjänst som jag genom mitt arbete är med om att utforma. Det fi nns en orsak till att ifrågavarande forskning känts angelägen. Från och med 1950-talet var min far aktivt med om att inom den evangelisk- lutherska kyrkan i Finland utveckla den liturgiska och kyrkomusikaliska förnyelse som jag här redogjort för. Jag har vuxit upp med berättelser om viktiga möten och stora personligheter som har bidragit till förståelsen för kyrkomusikens plats i liturgin. Det ledde till att jag också ville förstå. Till hjälp har jag haft min fars bibliotek, en guldgruva som visat sig innehålla största delen av den litteratur jag har behövt för min forskning. Jag vill rikta mitt djupt kända tack till en rad personer som har bistått mig i mitt arbete: min handledare professor Sixten Ekstrand för all prak- tisk hjälp, framlidne professor Harald Andersén för visat intresse, material, synpunkter och goda diskussioner samt deltagarna i det högre seminariet i praktisk teologi vid Åbo Akademi för gott och inspirerande samarbete. Vidare vill jag tacka Gustav Petterssons dotter Kerstin Heikkilä för det material och de minnen hon delat med sig av och Dag-Ulrik Almqvist för samtal, stöd och arkivfynd. Den som jag alldeles speciellt vill lyfta fram i detta sammanhang är pro- fessor Karl-Johan Hansson. Utan hans hjälp, sakkunskap, klarsynthet och målmedvetenhet hade jag inte kunnat utföra detta arbete. Det fi nns lärare som undervisar i ett bestämt ämne och det fi nns lärare som undervisar för livet. Jocke hör till den sistnämnda kategorin. Tack för att Du lotsat mig under dessa år och tack för de redskap Du givit! 11 Ull-Britt Gustafsson-Pensar har språkgranskat manuskriptet och Cynthia Sandström har översatt summeringen. Jag vill också tacka rektor Gustav Björkstrand för erhållet stipendium. För utgivning av boken tackar jag Stiftelsens för Åbo Akademi forskningsinstitut och Åbo Akademis förlag. Slutligen vill jag tacka min mor Elisabet Böckerman och min man Peter Peitsalo. Denna bok tillägnar jag min framlidne far Geo Böckerman, min man Peter och min son Johan. Grankulla i oktober 2005 Anna Maria Böckerman-Peitsalo 12 1 Inledning Innan Borgå stift grundades år 1923 kan man knappast tala om ett spe- cifi kt fi nlandssvenskt kyrkomusikaliskt arbete. Den svenskspråkiga och den fi nskspråkiga kyrkliga verksamheten i Finland utgjorde en helhet där språkliga och kulturella faktorer inte utgjorde någon skiljelinje. Den svenskspråkiga minoriteten och den fi nskspråkiga majoriteten inom den evangelisk-lutherska kyrkan var en organisatorisk enhet som i nästan alla avseenden följde samma tillvägagångssätt och beslut. Så var 1913 års kyr- kohandbok och 1923 års missale parallella böcker på olika språk, fi nska och svenska.1 De två psalmböcker, den fi nska och den svenska som hade antagits av kyrkomötet år 1886 var dock olika utformade trots att de hade en gemensam koralbok. Efter Borgå stifts tillkomst kunde det svenskspråkiga kyrkliga arbetet profi lera sig bättre än tidigare. För detta ändamål uttalades behovet av en ledning för arbetet och av svenskspråkiga organ som kunde ta ansvar för och utveckla stiftets kyrkomusikaliska och liturgiska verksamhet. Den offi - ciella ledning som efterlystes blev verklighet då Finlands svenska kyrko- sångsutskott tillsattes fem år senare, år 1928. Det blev kyrkosångsutskottet och dess uppdragsgivande organisationer som i praktiken fi ck leda detta arbete på stiftsnivå. Utskottet fi ck offi ciell status inom Borgå stift trots att det inte var ett offi ciellt, dvs. av någon stiftsorganisation tillsatt, organ.2 Även om arbetet för den kyrkomusikaliska och liturgiska utvecklingen för det mesta utfördes i någon organisations namn var det några få perso- 1 Kyrkohandbok för den Evangelisk-lutherska kyrkan i Storfurstendömet Finland. Antagen av sjunde All- männa Finska Kyrkomötet 1913, 1915; Missale 1923. Se även Cleve och Carlsson 1931, 8, 17–18. 2 Böckerman-Peitsalo 2001, 16–19. 13 ner som stod bakom verksamheten. Tack vare dessa aktiva kyrkomusikers och prästers insats kom Borgå stifts gudstjänst- och musikliv att påverkas av den kyrkliga förnyelse som samtidigt pågick i Tyskland, i de anglosaxiska länderna och i det övriga Norden.3 Den liturgiska och kyrkomusikaliska väckelse som kallas den nya sakligheten vann fotfäste i landets svensksprå- kiga församlingar. 1.1 Forskningsuppgift och avgränsningar I och med att Borgå stift hade grundats år 1923 fanns ett behov av att bygga upp en svenskspråkig kyrklig identitet i det både geografi skt och andligt splittrade stiftet. Frågan om förnyelse av gudstjänstliv och kyrkomusik aktualiserades.
Load more

Recommended publications
  • Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
    MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake.
    [Show full text]
  • The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
    The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)* By Robert M. Cammarota Apart from changes in tonality and instrumentation, the two versions of J. S. Bach's Magnificat differ from each other mainly in the presence offour Christmas interpolations in the earlier E-flat major setting (BWV 243a).' These include newly composed settings of the first strophe of Luther's lied "Vom Himmel hoch, da komm ich her" (1539); the last four verses of "Freut euch und jubiliert," a celebrated lied whose origin is unknown; "Gloria in excelsis Deo" (Luke 2:14); and the last four verses and Alleluia of "Virga Jesse floruit," attributed to Paul Eber (1570).2 The custom of troping the Magnificat at vespers on major feasts, particu­ larly Christmas, Easter, and Pentecost, was cultivated in German-speaking lands of central and eastern Europe from the 14th through the 17th centu­ ries; it continued to be observed in Leipzig during the first quarter of the 18th century. The procedure involved the interpolation of hymns and popu­ lar songs (lieder) appropriate to the feast into a polyphonic or, later, a con­ certed setting of the Magnificat. The texts of these interpolations were in Latin, German, or macaronic Latin-German. Although the origin oftroping the Magnificat is unknown, the practice has been traced back to the mid-14th century. The earliest examples of Magnifi­ cat tropes occur in the Seckauer Cantional of 1345.' These include "Magnifi­ cat Pater ingenitus a quo sunt omnia" and "Magnificat Stella nova radiat. "4 Both are designated for the Feast of the Nativity.' The tropes to the Magnificat were known by different names during the 16th, 17th, and early 18th centuries.
    [Show full text]
  • Bibliografi Över Finlands Tidningspress Bibliography
    SUOMEN SANOMALEHDISTÖN BIBLIOGRAFIA 1771-1963 BIBLIOGRAFI ÖVER FINLANDS TIDNINGSPRESS 1771-1963 BIBLIOGRAPHY OF THE FINNISH NEWSPAPERS 1771-1963 TOIMITTANEET - REDIGERAD AV - EDITED BY VAINÖ KAARNA (t) & KAARINA WINTER HELSINKI 1965 7 Lyhenteita Förkortningar k.k. = ... kertaa kuukaudessa k.k. = . gånger i månaden k.v. = ... kertaa viikossa ks. = se p-p. = ... päiväinen painos k.v. = gånger i veckan äk = äänenkannattaja p.p. = . dagars upp1. v:sta, v:lta = från år Ed Kansallinen edistyspuolue äk (äänenkannattaja) = organ Ik1 = Isänmaallinen kansanliike Kans.sos. = Kansallissosialistinen puolue Ed = Nationella framstegspartiet Kok = Kansallinen kokoomus Ik1 = Fosterländska folkrörelsen Komm = Kommunistinen puolue Kans.sos. = Nationalsocialistiska partiet Kp = Kansanpuolue 1917-18, 1933-36, Kok = Nationella samlingspartiet Suomen kansanpuolue 1951— Komm = Kommunistpartiet L1 = Lapuan liike Kp Folkpartiet 1917-18, 1933-36, M1 = Maalaisliitto Finska folkpartiet 1951— Ns = Nuorsuomalainen puolue L1 == Lappo-rörelsen P = Puolueeton М1 = Agrarförbundet Pv = Suomen pienviljehjåin puolue Ns = Ungfinska partiet Rkp = Ruotsalainen kansanpuolue P = Partilös Sd = Suomen sosialidemokraattinen puo- Pv = Finlands småbrukarparti lue Rkp = Svenska folkpartiet Skdl = Suomen kansan demokraattinen liitto Sd = Finlands socialdemokratiska parti Skp = Suomen kommunistinen puolue Skd1 = Demokratiska förbundet för Fin- Sktl = Suomen kristillisen työväen liitto lands folk Sm = Suomalainen puolue (vanha) Skp = Finlands kommunistiska parti Spp = Suomen pientalonpoikain
    [Show full text]
  • Lutherans for Lent a Devotional Plan for the Season of Lent Designed to Acquaint Us with Our Lutheran Heritage, the Small Catechism, and the Four Gospels
    Lutherans for Lent A devotional plan for the season of Lent designed to acquaint us with our Lutheran heritage, the Small Catechism, and the four Gospels. Rev. Joshua V. Scheer 52 Other Notables (not exhaustive) The list of Lutherans included in this devotion are by no means the end of Lutherans for Lent Lutheranism’s contribution to history. There are many other Lutherans © 2010 by Rev. Joshua V. Scheer who could have been included in this devotion who may have actually been greater or had more influence than some that were included. Here is a list of other names (in no particular order): Nikolaus Decius J. T. Mueller August H. Francke Justus Jonas Kenneth Korby Reinhold Niebuhr This copy has been made available through a congregational license. Johann Walter Gustaf Wingren Helmut Thielecke Matthias Flacius J. A. O. Preus (II) Dietrich Bonheoffer Andres Quenstadt A.L. Barry J. Muhlhauser Timotheus Kirchner Gerhard Forde S. J. Stenerson Johann Olearius John H. C. Fritz F. A. Cramer If purchased under a congregational license, the purchasing congregation Nikolai Grundtvig Theodore Tappert F. Lochner may print copies as necessary for use in that congregation only. Paul Caspari August Crull J. A. Grabau Gisele Johnson Alfred Rehwinkel August Kavel H. A. Preus William Beck Adolf von Harnack J. A. O. Otteson J. P. Koehler Claus Harms U. V. Koren Theodore Graebner Johann Keil Adolf Hoenecke Edmund Schlink Hans Tausen Andreas Osiander Theodore Kliefoth Franz Delitzsch Albrecht Durer William Arndt Gottfried Thomasius August Pieper William Dallman Karl Ulmann Ludwig von Beethoven August Suelflow Ernst Cloeter W.
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • The Continuation War As a Metanoic Moment. a Burkean Reading of Lutheran Hierocratic Rhetoric Jyväskylä, University of Jyväskylä, 2012, 200 P
    JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 449 Jouni Tilli The Continuation War as a Metanoic Moment A Burkean Reading of Lutheran Hierocratic Rhetoric JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 449 Jouni Tilli The Continuation War as a Metanoic Moment A Burkean Reading of Lutheran Hierocratic Rhetoric Esitetään Jyväskylän yliopiston yhteiskuntatieteellisen tiedekunnan suostumuksella julkisesti tarkastettavaksi yliopiston päärakennuksen salissa C5 lokakuun 5. päivänä 2012 kello 12. Academic dissertation to be publicly discussed, by permission of the Faculty of Social Sciences of the University of Jyväskylä, in University Main Building, hall C5, on October 5, 2012 at 12 o'clock noon. UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2012 The Continuation War as a Metanoic Moment A Burkean Reading of Lutheran Hierocratic Rhetoric JYVÄSKYLÄ STUDIES IN EDUCATION, PSYCHOLOGY AND SOCIAL RESEARCH 449 Jouni Tilli The Continuation War as a Metanoic Moment A Burkean Reading of Lutheran Hierocratic Rhetoric UNIVERSITY OF JYVÄSKYLÄ JYVÄSKYLÄ 2012 Editors Jussi Kotkavirta Department of Social Sciences and Philosophy, University of Jyväskylä Pekka Olsbo, Harri Hirvi Publishing Unit, University Library of Jyväskylä URN:ISBN:978-951-39-4864-1 ISBN 978-951-39-4864-1 (PDF) ISBN 978-951-39-4863-4 (nid.) ISSN 0075-4625 Copyright © 2012 , by University of Jyväskylä Jyväskylä University Printing House, Jyväskylä 2012 ABSTRACT Tilli, Jouni The Continuation War as a Metanoic Moment. A Burkean Reading of Lutheran Hierocratic Rhetoric Jyväskylä, University of Jyväskylä, 2012, 200 p. (Jyväskylä Studies in Education, Psychology and Social Research ISSN 0075-4625; 449) ISBN 978-951-39-4863-4 (nid.) ISBN 978-951-39-4864-1 (PDF) Summary Diss.
    [Show full text]
  • Finns' Holy War Against the Soviet Union [Or: Fin(N)Ish Holy War
    Finns’ Holy War against the Soviet Union [or: Fin(n)ish Holy War against Soviet Union] Kari Latvus 06.11.2011 UNPOLISHED, UNFINISHED PAPER Note: this paper is not yet finished and especially the conclusions need feedback of all readers. As non-native English speaker I have used my own dialect, Finglish. I hope it will not prevent your reading too much. All translations from Finnish to English are mine and not yet corrected. 1. Introduction The aim of the paper is to analyze the reception of the Old Testament (term Old Testament follows the language of the studied sources) in Finland during the Second World War. Specific period of the study is the latter part of year 1941 and the data analyzed is Kotimaa –newspaper and Finnish theological journal Teologinen Aikakauskirja (Finnish Journal of Theology). In 1941 Kotimaa was a church oriented newspaper published twice a week, each issue having four pages. Teologinen Aikakauskirja contained all together 513 pages in 1941: scholarly and professionally oriented articles, reviews and actual short notices. The research question is as follows: how the Hebrew Bible texts about the land and conquest were used in the Finnish war context. The presupposition before the analysis was that there are similarities and connections between Finnish texts and the Hebrew Bible conquest stories in Joshua and Judeges. The expected common theme was God’s guidance in the conquest of land, the land taken from the enemies and given to Israelites/Finns; a central theme in the Deuteronomistic History (DH) and the burning issue in the Finnish war context.
    [Show full text]
  • The Christology of Bach's St John Passion
    PARADOSIS 3 (2016) ‘Zeig uns durch deine Passion’: The Christology of Bach’s St John Passion Andreas Loewe St Paul’s Cathedral Melbourne Melbourne Conservatorium of Music Introduction On a wet, early spring afternoon, on Good Friday 1724, the congregants of Leipzig’s Nikolaikirche witnessed the first performance of Bach’s St John Passion.1 For at least a generation, Good Friday in Leipzig’s principal Lutheran churches—St Thomas’, St Nikolai and the ‘New’ Church—had concluded with the singing of Johann Walter’s chanted Passion.2 As part of the final liturgical observance of the day, the story of the death of Jesus would be sung, combining words and music in order to reflect on the significance of that day. Bach took the proclamation of the cross to a new level – theologically and musically. Rather than use a poetic retelling of the Passion story as his textual basis, Bach made use of a single gospel account, matched with contemporary poems and traditional chorales to retell the trial and death of Jesus. By providing regular opportunities for theological reflection, he purposefully created a “sermon in sound” and so, in his music making, he closely mirrors Lutheran Baroque homiletic principles. An orthodox Lutheran believer throughout his life, Bach’s Passion serves as a vehicle to invite his listeners to make their own his belief that it was “through Christ’s agony and death” that “all the world’s 1 Andreas Elias Büchner, Johann Kanold, Vollständiges und accurates Universal-Register, Aller wichtigen und merckwürdigen Materien (Erfurt: Jungnicol, 1736), 680. 2 As popularised in Gottfried Vopelius, ed., Neu Leipziger Gesangbuch/ Von den schönsten und besten Liedern verfasset/ In welchem Nicht allein des sel.
    [Show full text]
  • Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’S Megalynodia Sionia Adrian D
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 10 Article 2 Issue 1 Current Issue: Volume 10, Issue 1 (2017) In coelo et in terra: Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’s Megalynodia Sionia Adrian D. J. Ross University of Toronto Recommended Citation Ross, Adrian D. J. () "In coelo et in terra: Lutheran Theological Structure of theT roped Magnificats of Michael Praetorius’s Megalynodia Sionia," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 10: Iss. 1, Article 2. In coelo et in terra: Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’s Megalynodia Sionia Abstract Michael Praetorius (1571–1621) ranks among the most prolific German musical figures of the seventeenth century. Despite his stature, many of his works, especially his earlier collections, remain largely understudied and underperformed. This paper examines one such early collection, the Megalynodia Sionia, composed in 1602, focussing on the relationship between formal structure of its first three Magnificat settings and the Lutheran theological ideal of uniting the Word of God with music. Structurally, these three Magnificats are distinguished by their interpolation of German chorales within the Latin text. In order to understand his motivations and influences behind the use of this technique unique at the time of composition, the paper explores Praetorius’s religious surroundings in both the personal and civic realms, revealing a strong tradition of orthodox Lutheran theology. To understand the music in light of this religious context, certain orthodox Lutheran liturgical practices are examined, in particular the Vespers service and alternatim, a compositional technique using alternating performing forces which Praetorius used to unite the Latin and German texts.
    [Show full text]
  • 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.
    [Show full text]
  • Luther, Bach, and the Jews: the Place of Objectionable Texts in the Classroom
    religions Article Luther, Bach, and the Jews: The Place of Objectionable Texts in the Classroom Beth McGinnis 1 and Scott McGinnis 2,* 1 Division of Music, School of the Arts, Samford University, 800 Lakeshore Dr., Birmingham, AL 35229, USA; [email protected] 2 Department of Religion, Samford University, 800 Lakeshore Dr., Birmingham, AL 35229, USA * Correspondence: [email protected]; Tel.: +1-205-726-4260 Academic Editors: Peter Iver Kaufman and Christopher Metress Received: 16 February 2017; Accepted: 26 March 2017; Published: 1 April 2017 Abstract: This article examines the pedagogical challenges and value of using objectionable texts in the classroom by way of two case studies: Martin Luther’s writings on Jews and two works by J.S. Bach. The use of morally or otherwise offensive materials in the classroom has the potential to degrade the learning environment or even produce harm if not carefully managed. On the other hand, historically informed instructors can use difficult works to model good scholarly methodology and offer useful contexts for investigating of contemporary issues. Moral judgments about historical actors and events are inevitable, the authors argue, so the instructor’s responsibility is to seize the opportunity for constructive dialogue. Keywords: Martin Luther; Johann Sebastian Bach; anti-Judaism; anti-Semitism; pedagogy 1. Introduction Although the Castle Church in Wittenberg famously appears in Martin Luther’s biography as the site of the (possibly mythical but nevertheless) dramatic posting of the Ninety-Five Theses, the “mother church of the Reformation” actually lies a short walk to the east: the Stadtkirche, or City Church, dedicated to St.
    [Show full text]
  • 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).
    [Show full text]