The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Biography Thomaskantor Gotthold Schwarz As of March 2018
Thomaskantor Gotthold Schwarz Gotthold Schwarz is the 17 th Thomaskantor after Johann Sebastian Bach. On 9 June 2016 he has been appointed as Thomaskantor and has been officially inaugurated on 20 August 2016. Born in Zwickau as a son of a cantor he gained his musical education at the “Hochschule für Kirchenmusik Dresden” (University for Church Music Dresden) and also at the “Hochschule für Musik und Theater „Felix Mendelssohn Bartholdy“ Leipzig” (University of Music and Theatre „Felix Mendelssohn Bartholdy“ Leipzig) after having been a member of Thomanerchor Leipzig for s short time in his childhood. He studied singing with Gerda Schriever, playing the organ with former St. Thomas Organist Hannes Kästner and Wolfgang Schetelich, as well as conducting with Max Pommer and Hans-Joachim Rotzsch. Furthermore he has worked with, amongst others, Hermann Christian Polster, Peter Schreier and Helmuth Rilling in masterclasses and academies. Gotthold Schwarz, who began to work as vocal trainer for the Thomanerchor Leipzig in 1979, stood in for the Thomaskantor for several times since the 1990's. On this position he led the motets, performances of cantatas and oratorios with the Thomanerchor Leipzig; moreover he was entrusted with other duties as an interim officiating cantor. Together with the world-famous boys’ choir he has been on numerous tours in Germany, Europe and overseas (Japan, China, USA, Canada), several together with the Gewandhausorchester Leipzig. Furthermore Gotthold Schwarz is initiator and leader of “Concerto vocale”, “Saxon Baroque Orchestra”, “Leipziger Cantorey” and “Bach Consort Leipzig”. In recognition of his special merits the versatiled singer and conductor was awarded with the Cross of Merit of the Federal Republic of Germany (1 st class) on 4 October 2017. -
'Dream Job: Next Exit?'
Understanding Bach, 9, 9–24 © Bach Network UK 2014 ‘Dream Job: Next Exit?’: A Comparative Examination of Selected Career Choices by J. S. Bach and J. F. Fasch BARBARA M. REUL Much has been written about J. S. Bach’s climb up the career ladder from church musician and Kapellmeister in Thuringia to securing the prestigious Thomaskantorat in Leipzig.1 Why was the latter position so attractive to Bach and ‘with him the highest-ranking German Kapellmeister of his generation (Telemann and Graupner)’? After all, had their application been successful ‘these directors of famous court orchestras [would have been required to] end their working relationships with professional musicians [take up employment] at a civic school for boys and [wear] “a dusty Cantor frock”’, as Michael Maul noted recently.2 There was another important German-born contemporary of J. S. Bach, who had made the town’s shortlist in July 1722—Johann Friedrich Fasch (1688–1758). Like Georg Philipp Telemann (1681–1767), civic music director of Hamburg, and Christoph Graupner (1683–1760), Kapellmeister at the court of Hessen-Darmstadt, Fasch eventually withdrew his application, in favour of continuing as the newly- appointed Kapellmeister of Anhalt-Zerbst. In contrast, Bach, who was based in nearby Anhalt-Köthen, had apparently shown no interest in this particular vacancy across the river Elbe. In this article I will assess the two composers’ positions at three points in their professional careers: in 1710, when Fasch left Leipzig and went in search of a career, while Bach settled down in Weimar; in 1722, when the position of Thomaskantor became vacant, and both Fasch and Bach were potential candidates to replace Johann Kuhnau; and in 1730, when they were forced to re-evaluate their respective long-term career choices. -
Introduction
Copyright © Thomas Braatz, 20071 Introduction This paper proposes to trace the origin and rather quick demise of the Andreas Stübel Theory, a theory which purportedly attempted to designate a librettist who supplied Johann Sebastian Bach with texts and worked with him when the latter composed the greater portion of the 2nd ‘chorale-cantata’ cycle in Leipzig from 1724 to early 1725. It was Hans- Joachim Schulze who first proposed this theory in 1998 after which it encountered a mixed reception with Christoph Wolff lending it some support in his Bach biography2 and in his notes for the Koopman Bach-Cantata recording series3, but with Martin Geck4 viewing it rather less enthusiastically as a theory that resembled a ball thrown onto the roulette wheel and having the same chance of winning a jackpot. 1 This document may be freely copied and distributed providing that distribution is made in full and the author’s copyright notice is retained. 2 Christoph Wolff, Johann Sebastian Bach: The Learned Musician (Norton, 2000), (first published as a paperback in 2001), p. 278. 3 Christoph Wolff, ‘The Leipzig church cantatas: the chorale cantata cycle (II:1724-1725)’ in The Complete Cantatas volumes 10 and 11 as recorded by Ton Koopman and published by Erato Disques (Paris, France, 2001). 4 Martin Geck, Bach: Leben und Werk, (Hamburg, 2000), p. 400. 1 Andreas Stübel Andreas Stübel (also known as Stiefel = ‘boot’) was born as the son of an innkeeper in Dresden on December 15, 1653. In Dresden he first attended the Latin School located there. Then, in 1668, he attended the Prince’s School (“Fürstenschule”) in Meißen. -
T H O M a N E R C H
Thomanerchor LeIPZIG DerThomaner chor Der Thomaner chor ts n te on C F o able T Ta b l e o f c o n T e n T s Greeting from “Thomaskantor” Biller (Cantor of the St Thomas Boys Choir) ......................... 04 The “Thomanerchor Leipzig” St Thomas Boys Choir Now Performing: The Thomanerchor Leipzig ............................................................................. 06 Musical Presence in Historical Places ........................................................................................ 07 The Thomaner: Choir and School, a Tradition of Unity for 800 Years .......................................... 08 The Alumnat – a World of Its Own .............................................................................................. 09 “Keyboard Polisher”, or Responsibility in Detail ........................................................................ 10 “Once a Thomaner, always a Thomaner” ................................................................................... 11 Soli Deo Gloria .......................................................................................................................... 12 Everyday Life in the Choir: Singing Is “Only” a Part ................................................................... 13 A Brief History of the St Thomas Boys Choir ............................................................................... 14 Leisure Time Always on the Move .................................................................................................................. 16 ... By the Way -
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. -
JS BACH (1685-1750): Violin and Oboe Concertos
BACH 703 - J. S. BACH (1685-1750) : Violin and Oboe Concertos Johann Sebastian Bach was born on March 21 st , l685, the son of Johann Ambrosius, Court Trumpeter for the Duke of Eisenach and Director of the Musicians of the town of Eisenach in Thuringia. For many years, members of the Bach family throughout Thuringia had held positions such as organists, town instrumentalists, or Cantors, and the family name enjoyed a wide reputation for musical talent. By the year 1703, 18-year-old Johann Sebastian had taken up his first professional position: that of Organist at the small town of Arnstadt. Then, in 1706 he heard that the Organist to the town of Mülhausen had died. He applied for the post and was accepted on very favorable terms. However, a religious controversy arose in Mülhausen between the Orthodox Lutherans, who were lovers of music, and the Pietists, who were strict puritans and distrusted art. So it was that Bach again looked around for more promising possibilities. The Duke of Weimar offered him a post among his Court chamber musicians, and on June 25, 1708, Bach sent in his letter of resignation to the authorities at Mülhausen. The Weimar years were a happy and creative time for Bach…. until in 1717 a feud broke out between the Duke of Weimar at the 'Wilhelmsburg' household and his nephew Ernst August at the 'Rote Schloss’. Added to this, the incumbent Capellmeister died, and Bach was passed over for the post in favor of the late Capellmeister's mediocre son. Bach was bitterly disappointed, for he had lately been doing most of the Capellmeister's work, and had confidently expected to be given the post. -
Stories from the Road
Issue No. 7 | August 2021 STORIES FROM THE ROAD. In this issue... MADAGASCAR REFORMATION MINISTRY RELIEF FUND HYMNODY: A GIFT ACROSS FOR ALL TIME DENOMINATIONS P. 3 P. 5 P. 9 Published by Southwestern Pennsylvania Synod MISSION: INSIDE THIS ISSUE TO SERVE, CONNECT, AND EQUIP ELCA 02 The Global Church CONGREGATIONS IN SOUTHWESTERN 04 iServe PENNSYLVANIA TO TELL THE STORY OF JESUS 05 Reformation Hymnody 07 The Power of Data “O sing to the Lord a new song, for he has done 08 marvelous things.” Meeting Our Neighbors Grants –Psalm 98:1 09 Ministry Across Denominations 11 Health & Wellness Ministry 12 Eating Again at the Table Cover Photo: Luther in the circle of his family, by Gustav Adolph 13 Staff Book Picks that Inspire Spangenberg, edited 14 Colleague Connections CONTACT: 1014 PERRY HWY, SUITE 200 15 Calendar of Causes PITTSBURGH, PA 15237 412-367-8222 SOUTHWESTERN PENNSYLVANIA SYNOD WWW.SWPASYNOD.ORG Rev. Kurt F. Kusserow SYNOD COUNCIL BISHOP Jennifer Armstrong-Schaefer Rev. James V. Arter III BISHOP & ASSISTANTS Barbara Nugent Rev. Kerri L. Clark [email protected] VICE-PRESIDENT Rev. Beth Clementson [email protected] Dr. Wendy Farone [email protected] Rev. William Schaefer Myra L. Fozard SECRETARY Beryl Gundy RESOURCE MINISTRY Rev. Brenda Henry Gary N. Teti [email protected] Rev. Susan A. G. Irons TREASURER Rev. Allyn Itterly ACCOUNTING Janice Jeletic [email protected] Dennis T. Lane Rev. Peter D. Asplin Fiona Lubold ADMINISTRATIVE SUPPORT ASSISTANT TO THE BISHOP Rev. J.J. Lynn [email protected] Rev. Sarah Rossing Rev. Melissa L. -
Concordia Theological Quarterly
teach the faithful, reach lost, and care for all. Forming servants in Jesus Christ who CONCORDIA THEOLOGICAL QUARTERLY CONCORDIA THEOLOGICAL SEMINARY THEOLOGICAL CONCORDIA CONCORDIA Fort Wayne, IN 46825-4996 Fort Wayne, 6600 North Clinton Street THEOLOGICAL QUARTERLY Volume 81 Number 3–4 July/October 2017 REFORMATION 500 ANNIVERSARY ISSUE The Ninety-Five Theses Cameron A. MacKenzie Luther on Galatians as the Banner of the July/Oct 2017 Reformation Naomichi Masaki Pfarramt, Geography, and the Order of the Church Mark D. Nispel Luther’s Use of Apologetics Adam S. Francisco Antichrist in the Scriptures and Lutheran Confessions 81:3–4 Charles A. Gieschen ORGANIZATION Berne, IN 46711 NON-PROFIT NON-PROFIT Permit No. 43 Will the Real Martin Luther Stand Up? U.S. Postage PAID David P. Scaer Luther Lessons for the Present Crisis Peter J. Scaer The Great Litany Benjamin T. G. Mayes US ISSN 0038-8610 Concordia Theological Quarterly Concordia Theological Quarterly, a continuation of The Springfielder, is a theological journal of The Lutheran Church—Missouri Synod, published for its ministerium by the faculty of Concordia Theological Seminary, Fort Wayne, Indiana. Editor: David P. Scaer ([email protected]) Associate Editor: Charles A. Gieschen ([email protected]) Assistant Editor: Benjamin T.G. Mayes ([email protected]) Book Review Editor: Peter J. Scaer ([email protected]) Members of the Editorial Committee James G. Bushur, Paul J. Grime, John G. Nordling, and Lawrence R. Rast Jr. Editorial Assistant: Eamonn M. Ferguson The Faculty James G. Bushur Naomichi Masaki David P. Scaer Carl C. Fickenscher II Benjamin T.G. -
Bach-Werke-Verzeichnis
Bach-Werke-Verzeichnis All BWV (All data), numerical order Print: 25 January, 1997 To be BWV Title Subtitle & Notes Strength placed after 1 Wie schön leuchtet der Morgenstern Kantate am Fest Mariae Verkündigung (Festo annuntiationis Soli: S, T, B. Chor: S, A, T, B. Instr.: Corno I, II; Ob. da Mariae) caccia I, II; Viol. conc. I, II; Viol. rip. I, II; Vla.; Cont. 2 Ach Gott, von Himmel sieh darein Kantate am zweiten Sonntag nach Trinitatis (Dominica 2 post Soli: A, T, B. Chor: S, A, T, B. Instr.: Tromb. I - IV; Ob. I, II; Trinitatis) Viol. I, II; Vla.; Cont. 3 Ach Gott, wie manches Herzeleid Kantate am zweiten Sonntag nach Epiphanias (Dominica 2 Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Corno; Tromb.; Ob. post Epiphanias) d'amore I, II; Viol. I, II; Vla.; Cont. 4 Christ lag in Todes Banden Kantate am Osterfest (Feria Paschatos) Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Cornetto; Tromb. I, II, III; Viol. I, II; Vla. I, II; Cont. 5 Wo soll ich fliehen hin Kantate am 19. Sonntag nach Trinitatis (Dominica 19 post Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Tromba da tirarsi; Trinitatis) Ob. I, II; Viol. I, II; Vla.; Vcl. (Vcl. picc.?); Cont. 6 Bleib bei uns, denn es will Abend werden Kantate am zweiten Osterfesttag (Feria 2 Paschatos) Soli: S, A, T, B. Chor: S, A, T, B. Instr.: Ob. I, II; Ob. da caccia; Viol. I, II; Vla.; Vcl. picc. (Viola pomposa); Cont. 7 Christ unser Herr zum Jordan kam Kantate am Fest Johannis des Taüfers (Festo S. -
Magnificat JS Bach
Whitehall Choir London Baroque Sinfonia Magnificat JS Bach Conductor Paul Spicer SOPRANO Alice Privett MEZZO-SOPRANO Olivia Warburton TENOR Bradley Smith BASS Sam Queen 24 November 2014, 7. 30pm St John’s Smith Square, London SW1P 3HA In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061 www.sjss.org.uk/ St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. ACKNOWLEDGEMENTS The Choir is very grateful for the support it continues to receive from the Department for Business, Innovation and Skills (BIS). The Choir would like to thank Philip Pratley, the Concert Manager, and all tonight’s volunteer helpers. We are grateful to Hertfordshire Libraries’ Performing Arts service for the supply of hire music used in this concert. The image on the front of the programme is from a photograph taken by choir member Ruth Eastman of the Madonna fresco in the Papal Palace in Avignon. WHITEHALL CHOIR - FORTHCOMING EVENTS (For further details visit www.whitehallchoir.org.uk.) Tuesday, 16 -
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. -
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.