Liturgy and Music in Leipzig's Main Churches By
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Now Let Us Come Before Him Nun Laßt Uns Gehn Und Treten 8.8
Now Let Us Come Before Him Nun laßt uns gehn und treten 8.8. 8.8. Nun lasst uns Gott, dem Herren Paul Gerhardt, 1653 Nikolaus Selnecker, 1587 4 As mothers watch are keeping 9 To all who bow before Thee Tr. John Kelly, 1867, alt. Arr. Johann Crüger, alt. O’er children who are sleeping, And for Thy grace implore Thee, Their fear and grief assuaging, Oh, grant Thy benediction When angry storms are raging, And patience in affliction. 5 So God His own is shielding 10 With richest blessings crown us, And help to them is yielding. In all our ways, Lord, own us; When need and woe distress them, Give grace, who grace bestowest His loving arms caress them. To all, e’en to the lowest. 6 O Thou who dost not slumber, 11 Be Thou a Helper speedy Remove what would encumber To all the poor and needy, Our work, which prospers never To all forlorn a Father; Unless Thou bless it ever. Thine erring children gather. 7 Our song to Thee ascendeth, 12 Be with the sick and ailing, Whose mercy never endeth; Their Comforter unfailing; Our thanks to Thee we render, Dispelling grief and sadness, Who art our strong Defender. Oh, give them joy and gladness! 8 O God of mercy, hear us; 13 Above all else, Lord, send us Our Father, be Thou near us; Thy Spirit to attend us, Mid crosses and in sadness Within our hearts abiding, Be Thou our Fount of gladness. To heav’n our footsteps guiding. 14 All this Thy hand bestoweth, Thou Life, whence our life floweth. -
Xerox University Microfilms
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
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). -
The Limits Upon Adiaphoristic Freedom: Luther and Melanchthon1 Bernard J
THE LIMITS UPON ADIAPHORISTIC FREEDOM: LUTHER AND MELANCHTHON1 BERNARD J. VERKAMP Vincennes University, Indiana HEN LUTHER and his principal spokesman, Philip Melanchthon, Wlaunched their attack against the many ecclesiastical laws and regulations which had cropped up over the centuries, it was not so much a matter of attacking the traditions in themselves as it was an attempt to restore the doctrine of solafideism, which in their opinion the traditions had severely jeopardized. Once that doctrine was fully appreciated, Luther wrote, the Christian would "easily and safely find his way through those myriad mandates and precepts of popes, bishops, monas teries, churches, princes, and magistrates."2 As it turned out, that way, according to both Luther and Melanchthon, was an adiaphoristic via media. But whether such a path was as "easily and safely" to be discerned as Luther thought, may be doubted; for, as a matter of fact, the adiaphoristic freedom championed by the two Wittenberg Reformers was closely circumscribed by "limits" from without and within, which, because of their subtlety and complexity, could be and not infrequently were overlooked. In what follows, it will be my intention to show exactly what those limits are. I will begin by trying to establish the outer boundaries, or, in other words, the precise locus of the adiaphorism proffered by Luther and Melanchthon. At its sixth session the Council of Trent declared: "Si quis dixerit, nihil praeceptum esse in Evangelio praeter fidem, cetera esse indifferentia, ñeque praecepta, -
O Ewigkeit, Du Donnerwort Eternity, Thou Thundrous Word BWV 20
Johann Sebastian BACH O Ewigkeit, du Donnerwort Eternity, thou thundrous word BWV 20 Kantate zum 1. Sonntag nach Trinitatis für Soli (ATB), Chor (SATB) 3 Oboen, Trompete 2 Violinen, Viola und Basso continuo herausgegeben von Ulrich Leisinger Cantata for the 1st Sunday after Trinity for soli (ATB), choir (SATB) 3 oboes, trumpet 2 violins, viola and basso continuo edited by Ulrich Leisinger English version by Henry S. Drinker Stuttgarter Bach-Ausgaben · Urtext In Zusammenarbeit mit dem Bach-Archiv Leipzig Klavierauszug /Vocal score Paul Horn C Carus 31.020/03 Vorwort Foreword Die Kantate O Ewigkeit, du Donnerwort BWV 20 bildet The cantata O Ewigkeit, du Donnerwort BWV 20 (Eter nity, den Auftakt für das wohl ehrgeizigste kompositorische Pro- thou thundrous word), marked the beginning of what was jekt, das Johann Sebastian Bach auf sich genommen hat: probably the most ambitious compositional project ever Die Kantate eröffnet den sogenannten Choralkantatenjahr- undertaken by Johann Sebastian Bach: this cantata opens gang, den der Thomaskantor als zweiten Jahrgang von Kir- the annual cycle of so-called chorale cantatas, which the chenkantaten mit dem 1. Sonntag nach Trinitatis 1724 in Thomaskantor began to compose as his second annual Angriff nahm. cycle of church cantatas with a work for the 1st Sunday after Trinity in 1724. Der Kantate liegt das gleichnamige Lied von Johann Rist aus dem Jahre 1642 zugrunde, das in Leipzig durch das This cantata is based on the hymn of the same name by Gesangbuch von Gottfried Vopelius (1682 und öfter) in Johann Rist, published in 1642, which was familiar in einer auf 12 (von ursprünglich 16) Strophen verkürzten Fas- Leipzig through its inclusion in a hymn book assembled by sung bekannt war. -
Melanchthon Versus Luther: the Contemporary Struggle
CONCORDIA THEOLOGICAL QUARTERLY Volume 44, Numbers 2-3 --- - - - JULY 1980 Can the Lutheran Confessions Have Any Meaning 450 Years Later?.................... Robert D. Preus 104 Augustana VII and the Eclipse of Ecumenism ....................................... Sieg bert W. Becker 108 Melancht hon versus Luther: The Contemporary Struggle ......................... Bengt Hagglund 123 In-. Response to Bengt Hagglund: The importance of Epistemology for Luther's and Melanchthon's Theology .............. Wilbert H. Rosin 134 Did Luther and Melanchthon Agree on the Real Presence?.. ....................................... David P. Scaer 14 1 Luther and Melanchthon in America ................................................ C. George Fry 148 Luther's Contribution to the Augsburg Confession .............................................. Eugene F. Klug 155 Fanaticism as a Theological Category in the Lutheran Confessions ............................... Paul L. Maier 173 Homiletical Studies 182 Melanchthon versus Luther: the Contemporary Struggle Bengt Hagglund Luther and Melanchthon in Modern Research In many churches in Scandinavia or in Germany one will find two oil paintings of the same size and datingfrom the same time, representing Martin Luther and Philip Melanchthon, the two prime reformers of the Church. From the point of view of modern research it may seem strange that Melanchthon is placed on the same level as Luther, side by side with him, equal in importance and equally worth remembering as he. Their common achieve- ment was, above all, the renewal of the preaching of the Gospel, and therefore it is deserving t hat their portraits often are placed in the neighborhood of the pulpit. Such pairs of pictures were typical of the nineteenth-century view of Melanchthon and Luther as harmonious co-workers in the Reformation. These pic- tures were widely displayed not only in the churches, but also in many private homes in areas where the Reformation tradition was strong. -
Abuses Under Indictment at the Diet of Augsburg 1530 Jared Wicks, S.J
ABUSES UNDER INDICTMENT AT THE DIET OF AUGSBURG 1530 JARED WICKS, S.J. Gregorian University, Rome HE MOST recent historical scholarship on the religious dimensions of Tthe Diet of Augsburg in 1530 has heightened our awareness and understanding of the momentous negotiations toward unity conducted at the Diet.1 Beginning August 16, 1530, Lutheran and Catholic represent atives worked energetically, and with some substantial successes, to overcome the divergence between the Augsburg Confession, which had been presented on June 25, and the Confutation which was read on behalf of Emperor Charles V on August 3. Negotiations on doctrine, especially on August 16-17, narrowed the differences on sin, justification, good works, and repentance, but from this point on the discussions became more difficult and an impasse was reached by August 21 which further exchanges only confirmed. The Emperor's draft recess of September 22 declared that the Lutheran confession had been refuted and that its signers had six months to consider acceptance of the articles proposed to them at the point of impasse in late August. Also, no further doctrinal innovations nor any more changes in religious practice were to be intro duced in their domains.2 When the adherents of the Reformation dis sented from this recess, it became unmistakably clear that the religious unity of the German Empire and of Western Christendom was on the way to dissolution. But why did it come to this? Why was Charles V so severely frustrated in realizing the aims set for the Diet in his conciliatory summons of January 21, 1530? The Diet was to be a forum for a respectful hearing of the views and positions of the estates and for considerations on those steps that would lead to agreement and unity in one church under Christ.3 1 The most recent stage of research began with Gerhard Müller, "Johann Eck und die Confessio Augustana/' Quellen und Forschungen aus italienischen Archiven und Biblio theken 38 (1958) 205-42, and continued in works by Eugène Honèe and Vinzenz Pfhür, with further contributions of G. -
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. -
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. -
Martin Luther and Katharina Von Bora's Wedding As Reform And
To Spite the Devil: Martin Luther and Katharina von Bora’s Wedding as Reform and Resistance Prepared by Diane V. Bowers, Ph.D. For Presentation to the Pacific Coast Theological Society, April 22, 2017 Introduction It is a popular and dramatic tableau in the imagination of Lutherans and historically-minded Christians, memorialized in story, art and film: the young monk Martin Luther stands before the entrance to the Castle Church in Wittenberg on All Saints Eve, October 31, 2017, and nails his “Disputation on the Power and Efficacy of Indulgences,”1 or the 95 Theses, to the church door. When upon publication the theses became an instant best seller, Luther’s call to reform was carried throughout German speaking lands and beyond. This date is generally designated as the beginning of the Lutheran or German Reformation. Five years later, on Easter Eve, April 4, 1523, in an equally compelling but lesser-known action, twelve nuns, convinced by the teachings of the German reformation, risked their lives to escape from Marionthron Convent. The nuns had written to Martin Luther asking his help in obtaining their freedom, and Luther made the arrangements for them to escape hidden in the back of an empty delivery wagon. Nine of the twelve nuns were delivered to Martin Luther’s care in Wittenberg, and one was Katharina von Bora, who two years later in 1525 later 1 While there is no scholarly consensus as to whether Luther did in fact post the theses on the Castle Church door, this would have been in keeping with University custom. -
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. -
J.E. Gardiner (SDG
Cantatas for Quinquagesima King’s College Chapel, Cambridge This concert was significant in several ways. Firstly, it contained Bach’s two ‘test’ pieces for the cantorship at St Thomas’s in Leipzig, BWV 22 and BWV 23, designed to be performed within a single service either side of the sermon on 7 February 1723. Then Quinquagesima being the last Sunday before Lent, it was accordingly the final opportunity Leipzigers had of hearing music in church before the statutory tempus clausum that lasted until Vespers on Good Friday, and Bach seemed determined to leave them with music – four cantatas – that they wouldn’t easily forget. Thirdly, by coincidence, in 2000 Quinquagesima fell on 5 March, thirty-six years to the day since I first conducted Monteverdi’s Vespers of 1610 in King’s College Chapel as an undergraduate. The Monteverdi Choir was born that night. I was pleased to be returning to King’s for this anniversary, and to invite the four collegiate choirs from which I had recruited the original Monteverdians to join with us in the singing of the chorales at the start of the concert. Of these, the choirs of Clare and Trinity Colleges responded positively. King’s Chapel seemed to work its unique Gothic alchemy on the music, though, as ever, one needed to be on one’s guard against the insidious ‘tail’ of its long acoustic which can turn even the most robust music-making into mush. St Luke’s Gospel for Quinquagesima recounts two distinct episodes, of Jesus telling the disciples of his coming Passion and of sight restored to a blind man begging near Jericho.