Fully Alive with the Passion of Christ
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An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger
An Introduction to the Annotated Bach Scores - Sacred Cantatas Melvin Unger Abbreviations NBA = Neue Bach Ausgabe (collected edition of Bach works) BC = Bach Compendium by Hans-Joachim Schulze and Christoph Wolff. 4 vols. (Frankfurt: Peters, 1989). Liturgical Occasion (Other Bach cantatas for that occasion listed in chronological order) *Gospel Reading of the Day (in the Lutheran liturgy, before the cantata; see below) *Epistle of the Day (in the Lutheran liturgy, earlier than the Gospel Reading; see below) FP = First Performance Note: Some of the following material is taken from Melvin Unger’s overview of Bach’s sacred cantatas, prepared for Cambridge University Press’s Bach Encyclopedia. Copyright Melvin Unger. That overview (which is available here with the annotated Bach cantata scores) includes a bibliography. Additional, online sources include the Bach cantatas website at https://www.bach-cantatas.com/ and Julian Mincham’s website at http://www.jsbachcantatas.com/. The German Cantata Before Bach In Germany, Lutheran composers adapted the genre that had originated in Italy as a secular work intended for aristocratic chamber settings. Defined loosely as a work for one or more voices with independent instrumental accompaniment, usually in discrete sections, and employing the ‘theatrical’ style of opera, the Italian cantata it was originally modest in scope—usually comprising no more than a couple of recitative-aria pairs, with an accompaniment of basso continuo. By the 1700s, however, it had begun to include other instruments, and had grown to include multiple, contrasting movements. Italian composers occasionally wrote sacred cantatas, though not for liturgical use. In Germany, however, Lutheran composers adapted the genre for use in the main weekly service, where it subsumed musical elements already present: the concerted motet and the chorale. -
The Second Sunday of Advent
The Second Sunday of Advent THE HOLY EUCHARIST December 6, 2020, 11:00 AM The Church of Saint Mary the Virgin in the City of New York We Need Your Help We are enormously grateful to all the members and friends of Saint Mary’s from far and wide who have supported the parish during the extraordinary events of the past several months. Your gifts have encouraged us and they have kept us going. We hope that you will make a pledge to the parish for 2021 at this time. Pledge cards may be found on the ushers’ table at the Forty-sixth Street entrance to the church. If you are able to make an additional donation to support the parish at this time, we would happily receive it. Donations may be made online via the Giving section of the parish website. You may also make arrangements for other forms of payment by contacting our parish administrator, Christopher Howatt, who would be happy to assist you. He may be reached at 212-869-5830 x 10. If you have questions about pledging, please speak to a member of the clergy or to one of the members of the Stewardship Committee, MaryJane Boland, Steven Heffner, or Marie Rosseels. We are grateful to you for your support of Saint Mary’s. About the Music Today’s organ voluntaries are both from the North German Baroque school and are based upon Luther’s chorale Nun komm, der Heiden Heiland (“Come now, Savior of the Gentiles”). This chorale (54 in The Hymnal 1982) is Martin Luther’s sixteenth-century adaptation of the fourth-century Latin hymn Veni Redemptor gentium attributed to Ambrose of Milan (55 in The Hymnal 1982). -
Chamber Choir
CHAMBER CHOIR EUGENE ROGERS, DIRECTOR GRADUATE STUDENT CONDUCTORS SCOTT VANORNUM, ORGAN Sunday, April 25, 2021 Hill Auditorium 4:00 PM THREE BACH CANTATAS Aus der Tiefen rufe ich zu dir, BWV 131 Johann Sebastian Bach Aus der Tiefen rufe ich zu dir (1685–1750) So du willt, Herr Jacob Surzyn, bass Margaret Burk, conductor Ich harre des Herrn Meine Seele wartet Tyrese Byrd, tenor David Hahn, conductor Israel hoffe auf dem Herrn Julian Goods, conductor Nach dir, Herr, verlanget mich, BWV 150 Johann Sebastian Bach Sinfonia Nach dir, Herr, verlanget mich Doch bin und bleibe ich vergnügt Maia Aramburú, soprano Katherine Rohwer, conductor Leite mich in deiner Wahrheit Zedern müssen von den Winden Eliana Barwinski, alto; Jacob Carroll, tenor; Jacob Surzyn, bass Bryan Anthony Ijames, conductor Meine Augen sehen stets Meine Tage in dem Leide Maia Aramburu, soprano; Eliana Barwinski, mezzo-soprano Jacob Carroll, tenor; Julian Goods, bass Benjamin Gaughran, conductor THe use of all cameras and recording devices is strictly prohibited. Please turn off all cell phones and pagers or set ringers to silent mode. Nun komm, der Heiden Heiland, BWV 61 Johann Sebastian Bach Nun komm, der Heiden Heiland Der Heiland ist gekommen Tyrese Byrd, tenor Komm, Jesu, komm zu deiner Kirche Jacob Carroll, tenor Siehe, ich stehe vor der Tür Jacob Surzyn, bass Öffne dich, mein ganzes Herze Cecilia Kowara, soprano Amen, Amen, komm du schöne Freudenkrone Joseph Kemper, conductor BACH, AUS DER TIEFEN RUFE ICH ZU DIR, BWV 131 In July 1707, 22-year-old Johann Sebastian Bach began his short tenure as organist of the Bla- siuskirche in Mühlhausen, one of two major churches in the free imperial city. -
Bach Cantatas, Vol. 21
Johann Sebastian Bach (1685-1750) COMPLETE CANTATAS. L'INTEGRALE DES CANTATES DASKANTATENWERK VOLUME 21 Sandrine Piau Johannette Zomer (BWV 195), Caroline Starn (BWV 191) soprano Bogna Bartosz Annette Markert (BWV 195) alto James Gilchrist (BWV 100, 195, 140, 97), Paul Agnew (BWV34, 191) Christoph Pregardien (BWV 177), Jiirg Diirmiiller (BWV 143) tenor Klaus Mertens bass THE AMSTERDAM BAROQUE ORCHESTRA & CHOIR TON KOOPMAN COMPACT DISC 1 64:58 Was Gott tut, das ist wohlgetan (III) BWV100 19:46 t. n5-~('ifi~d occasion - Oboe Bestimmung - Sans destination T"x: 5.=:lei Rodigast. 1674 S"'''g>_ .-hoe damore. rra,'erso, homs, timpan~ bassoon, basso continuo Sandrine Piau, soprano - Bogna Bartosz, alto - James Gilchrist, tenor - Klaus Mertens, bass Chorale [Versus I]: "Was Gott tut, das ist wohlgetan, es bleibt grerecht scin Wille" 4:22 Aria (Duet: A. T) [Versus 2]: "Was Gott tut, das ist wohlgetan, er wird mich nicht betriiben" 2:36 .~a (S) [Versus 3]: "Was Gott tut, das ist wohlgetan, erwird mich wohl bedenken" 4:15 .1 _~a (B) [Versus 4]: "Was Gott tut, das ist wohlgetan, er ist mein Licht, me in Leben" 3:24 5 _~a (A) [Versus 5]: "Was Gott tut, das ist wohlgetan, muG ich den Kelch gleich schmecken" 3:26 6 Chorale [Versus ultimus]: "Was Gott tut, das ist wohlgetan, darbei will ich verbleiben" 1:43 Bekennen will ich seinen Namen BWV200 4:20 Aria. probably from a cantata Unspecified occasion - Ohoe Bcstimmung - Sans destination Text: author unknown 2 violins, basso continuo Bogna Bartosz, alto 7 Aria (Alto): "Bckennen will ich seinen Namen" 4:20 Ich ruf zu dir, Herr Jesu Christ BWV 177 23:14 Dominica 4 post trinitatis At the 4th Sunday after Trinity - Am 4. -
Download Booklet
BIS-SACD-1551 Cantatas:booklet 19/12/06 09:03 Page 2 BACH, Johann Sebastian (1685-1750) Cantatas 34 · Leipzig 1725 Wie schön leuchtet der Morgenstern, BWV 1 22'23 Kantate zum Fest Mariae Verkündigung (25. März 1725) Text: [1, 6] Philipp Nicolai 1599; [2-5] anon. Corno I, II, Oboe da caccia I, II, Violino concertato I, II, Violino I, II, Viola, Soprano, Alto, Tenore, Basso, Continuo 1 1. [Chorus]. Wie schön leuchtet der Morgenstern… 8'19 2 2. Recitativo (Tenore). Du wahrer Gottes und Marien Sohn … 0'58 3 3. Aria (Soprano). Erfüllet, ihr himmlischen göttlichen Flammen … 4'14 4 4. Recitativo (Basso). Ein ird’scher Glanz, ein leiblich Licht… 0'56 5 5. Aria (Tenore). Unser Mund und Ton der Saiten … 6'24 6 6. Choral. Wie bin ich doch so herzlich froh … 1'18 Erhalt uns, Herr, bei deinem Wort, BWV 126 17'04 Kantate zum Sonntag Sexagesimae (4. Februar 1725) Text: [1, 3] Martin Luther 1542; [2, 4, 5] anon.; [6] Martin Luther 1529/Johann Walter 1566 Tromba, Oboe I, II, Violino I, II, Viola, Soprano, Alto, Tenore, Basso, Continuo, Organo 7 1. [Chorus]. Erhalt uns, Herr, bei deinem Wort … 2'44 8 2. Aria (Tenore). Sende deine Macht von oben … 4'44 9 3. Recitativo [& Choral] (Alto, Tenore). Der Menschen Gunst … 1'56 10 4. Aria (Basso). Stürze zu Boden, schwülstige Stolze! … 4'50 11 5. Recitativo (Tenore). So wird dein Wort und Wahrheit offenbar … 0'52 12 6. Choral. Verleih uns Frieden gnädiglich … 1'45 2 BIS-SACD-1551 Cantatas:booklet 19/12/06 09:03 Page 3 Herr Jesu Christ, wahr’ Mensch und Gott, BWV 127 19'21 Kantate zum Sonntag Estomihi (11. -
Anmerkungen Einleitung
),- 7dc[hakd][d ;_db[_jkd] 1 Erdmann Neumeister hatte in Leipzig Poetik-Vorlesungen gehalten, die er Hu- nold zur Verfügung stellte, da er sie als Pfarrer nicht selbst publizieren wollte. Hunold bringt diese Poetik unter seinem Pseudonym Menantes 1707 erstmals heraus. Menan- tes: Die Allerneueste Art, zur Reinen und Galanten Poesie zu gelangen. Allen Edlen und die- ser Wissenschafft geneigten Gemühtern, zum vollkommenen Unterricht, mit überaus deutlichen Regeln und angenehmen Exempeln ans Licht gestellet. Hamburg 1728/1707. Siehe das ge- samte Kapitel XIX. Von der Opera. S. 394–414, hier S. 412. Zur Würdigung und Analy- se dieser Poetik siehe Viswanathan, Ute-Maria Suessmuth: Die Poetik Erdmann Neu- meisters und ihre Beziehung zur barocken und galanten Dichtungslehre. University of Pittsburgh 1989, S. 86f. Im Folgenden werden die Quellentexte bei der Erstzitation aus- führlich mit bibliographischen Angaben versehen, danach gibt es Kurztitel. 2 Neumeister hat das Libretto von Thomas Corneille zur Oper Bellerophon Paris 1679 übersetzt. Diese Übersetzung haben Hunold und Barthold Feind rezipiert, die beide zwischen 1702 und 1706 in Hamburg in derselben Wohnung lebten. Zu dieser Zeit war Hunold im Besitz von Neumeisters Manuskript. Vgl. Viswanathan, 1989, S. 92f und FN 108, S. 144. Feind arbeitete Bellerophon um zu einer Huldigungsoper an- lässlich der Hochzeit des preußischen Königs Friedrichs I. mit der Mecklenburgischen Prinzessin Sophie Louise. D-Hs 124 in MS 639/3:7. Vgl. Marx, Hans Joachim; Schrö- der, Dorothea: Die Hamburger Gänsemarkt-Oper. Katalog der Textbücher (1678– 1748). Laaber 1995, S. 80. 3 Vgl. Martens, Wolfgang: Die Botschaft der Tugend. Die Aufklärung im Spiegel der deutschen Moralischen Wochenschriften. -
Johann Kuhnau Complete Sacred Works V Opella Musica · Camerata Lipsiensis Gregor Meyer
Johann Kuhnau Complete Sacred Works V Opella Musica · camerata lipsiensis Gregor Meyer cpo 555 260_2 Booklettest.indd 1 04.11.2019 08:46:14 Gregor Meyer (© Jens Gerber) cpo 555 260_2 Booklettest.indd 2 04.11.2019 08:46:14 Johann Kuhnau (1660-1722) Die Geistlichen Werke Vol. 5 Complete Sacred Works Vol. 5 Gott sei mir gnädig nach deiner Güte 11'26 [SATB, 2 Vl, 2 Va, Fg, Bc] 1 Gott, sei mir gnädig nach deiner Güte 2'12 2 Wasche mich wohl von meiner Missetat 1'19 3 Denn ich erkenne meine Missetat 0'22 4 An dir allein hab ich gesündiget 2'08 5 Siehe, ich bin aus sündlichem Samen gezeuget 2'40 6 Lass mich hören Freud und Wonne 2'48 Ich habe Lust abzuscheiden [SATB, Ob, Tr, 2 Vl, Va, Fg, Bc] 15'49 7 Ich habe Lust abzuscheiden 3'25 8 Wie drücket mich des kranken Leibes Bürde! 2'00 9 Es ist genug 0'44 10 Gesetzt, ich bin kein alter Simeon 0'48 11 Es ist genug 1'59 cpo 555 260_2 Booklettest.indd 3 04.11.2019 08:46:15 12 Selig sind die Toten 0'49 13 Wie lieblich klingt ihr Sterbe-Glocken 4'04 14 Mit Fried und Freud ich fahr dahin 2'03 Erschrick, mein Herz, vor dir [SATB, 2 Vl, Va, Fg, Bc] 16'26 15 Sonata 1'01 16 Erschrick, mein Herz, vor dir 1'45 17 Ach, ich bin unrein unrein, krank und matt 3'03 18 Doch g’nug, dass mich die Krankheit nicht in Verzweiflung stürzt 1'43 19 Lieber Meister, hilf mir Armen 2'45 20 Gottlob! 1'16 21 Schnöder Undank 1'31 22 Ich aber kehre mit dem Samariter um 1'32 23 Gott, mein Arzt, mein wahres Leben 1'52 Weicht, ihr Sorgen, aus dem Herzen [S, 2 Vl, Va, Bc] 12'44 24 Weicht, ihr Sorgen, aus dem Herzen 2'43 25 Ich bleib -
74. Greifswalder Bachwoche – Herzlich Willkommen! FR
Vorwort „Bachtage digital“? – Das hätten wir alle uns bis vor kurzem nicht träumen lassen. Die Greifswalder Bachwoche lebt von der Gemeinschaft, der Bachwochenfamilie, den Mitsingeprojekten... und der gemeinsamen Begeisterung für die Musik von Johann Sebastian Bach. MO Nun ist alles anders, gleichwohl: Wir lassen uns nicht unterkriegen und sagen mit Psalm 73 „Dennoch...“! Das geplante Programm ›paradiesisch‹ wird auf das kommende Jahr verschoben. In diesem Jahr stellen wir stattdessen am 13. und 14. Juni ein verkürztes Programm mit digitalen Angeboten ins Netz, um Sie an der Musik Bachs und den DI gewohnten Formaten teilhaben zu lassen – von der Clavichordmusik bis zu ›Bach zur Nacht‹, von Orgel- und Kammermusik bis zum Festgottesdienst am Sonntagmorgen. Die Angebote der 74. Bachwoche werden vorproduziert und können dann auf der Website der Greifswalder Bachwoche www.greifswalder-bachwoche.de am 13. Juni ab MI 14 Uhr verfolgt werden. Lediglich der Bachwochengottesdienst am Sonntag, 14. Juni, 10 Uhr, wird auch live zu erleben sein. Unter Corona-Bedingungen dürfen bis zu 150 Personen im Dom dem Gottesdienst folgen. Weitere 150 Besucherinnen und Besucher können den DO Gottesdienst per Videoübertragung auf der Domwiese erleben. Und für alle auswärtigen Bachwochen-Freunde gibt es eine vorproduzierte Fassung des Gottesdienstes im Netz. Auf diese Weise wird die geistliche Morgenmusik auch zum Herzstück der 74. Greifswalder Bachwoche – herzlich willkommen! FR LKMD Prof. Frank Dittmer Prof. Dr. Matthias Schneider LKMD Hans-Jürgen Wulf SA SO 3 Veranstalter Trägerin der Greifswalder Bachwoche ist die Evangelisch- MO Lutherische Kirche in Norddeutschland in Kooperation mit der Universität Greifswald sowie im Zusammenwirken mit dem Land Mecklenburg-Vorpommern, der Universitäts- und Hansestadt DI Greifswald und dem Pommerschen Evangelischen Kirchenkreis als Unterstützer. -
The End Is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140
The End is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140 Master's Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of Music Dr. Eric Chafe, Advisor In Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in Musicology by Hannah Spencer May 2015 ABSTRACT The End is Nigh: Reflections of Philipp Nicolai's Eschatology in BWV 1 and BWV 140 A thesis presented to Department of Music Graduate School of Arts and Sciences Brandeis University Waltham, Massachusetts By Hannah Spencer In his mission to create a better repertoire of "well-regulated church music to the Glory of God," J.S. Bach utilized every aspect of his craft. Aside from the rich texts penned by his anonymous librettist, Bach intentionally utilized specific musical gestures to intertwine the Gospel into each layer of his compositions. In the case of BWV 1 and BWV 140 , Bach makes compositional choices that allow him to depict the eschatological viewpoint of Phillip Nicolai, the Lutheran theologian who penned the chorales used as the basis of these chorale cantatas. By analyzing Bach's use of such devices as large-scale harmonic patterns, melodic motives, and the structural use of chiasm, the depiction of motion between the realms of Heaven and Earth becomes clear. More than simply "church music," Bach's cantatas are musical sermons of intricate detail. ii TABLE OF CONTENTS Abstract..........................................................................................................................................ii -
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. -
Always Advent
Always Advent Festival of Hymns July 13, 2009 WTPTRTEIM NEN U RA HU an Can UP niR an URN Ecar in Bertrtin Paw aaven The worship theme for LSM 2009 has been “Always Advent.” Throughout ou together, we have explored the ways in which the themes of the Advert season themes of the Church’s life in all times and places. Tonight's hymn festival hieh connection, bringing together music and texts both ancient and new. We will sh penned by Martin Luther, C.S. Lewis, Charles Wesley, Susan Briehl, an, Farjeon. We will sing and hear tunes from Sweden, Latvia, France, italy, | Appalachia, and Ireland, written or arranged by musicians such as Praetorius, J.S. Bach, Philipp Nicolai, Paul Bouman, and André Thomas. A hymn festival falls somewhere on the spectrum between worship serv performance; to that end, tonight’s program will proceed without interruption. Follo the closing hymn, you are invited to applaud in appreciation of the many Peet) wi shared their gifts with us this evening. 2 GATHERING Prelude The Kyng’s Pavan The Emperor’s Pavan & Gallyard Collegium Recorder Consort Wake, Awake arr. Jeffrey Hon LSM Handbell Choir Wachet Auf (Wake, Awake) Johann Ludwig Kreb Christiaan Teeuwsen, organ; Paul Morton, trumpet Introit The Lord Shall Come and Not Be Slow Zebulon Hig! The Lord shall come and not be slow; his light is soon appearing. Prepare, you sinners here below who are these tidings hearing: Arise, O sleepers, trim your lamps! Their flames, so swiftly burning, reveal the path to hope and peace — the dawn for which you’re yearning, Come forth, you weary, meek, and poor! Forget your strife and labor. -
I Know My Faith Is Founded” (Lutheran Service Book #587)
Proper 22/20th Sunday after Pentecost (Series C) “I Know My Faith Is Founded” (Lutheran Service Book #587) After Jesus says some words about stumbling and sinning and the need to forgive someone who sins and is repentant – all recorded at the beginning of Luke 17, his followers say “Increase our faith!” (Luke 17:5). The exclamation point is right there in the NRSV, so these words are a command, or an urgent plea. The disciples say them in response to the words about stumbling and sinning, apparently understanding that they are not strong enough to resist opportunities to stumble or temptations to sin. Erdmann Neumeister, the late 17th and early 18th century poet, puts all that in the person of Satan at the beginning of stanza two of his chorale, “I Know My Faith Is Founded.” But before we get there, we must linger a bit with the words of stanza one. Here the singer makes a bold statement of faith, sounding like Peter in some of his rash moments recounted in the Gospels. “I know . unmoved I stand . my faith shall rest secure.” These are bold words that we sing. Then stanza two begins, and things shift quickly. Increase my faith, dear Savior, for Satan seeks by night and day to rob me of this treasure and take my hope of bliss away. Neumeister puts into Satan, who Luther named “the ancient foe,” all the things that trouble our faith. With all that we encounter, whether it’s the temptation to trust in our own reason and strength, or the evil we see and hear in our world, we know we must echo the Lukan disciples and cry “increase my faith!” This week, in the news, we saw and heard about stabbings at a mall in Minnesota with nine people injured, and about bombs in New Jersey and New York injuring 29, and about a cease fire unravelling in Syria.