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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. -
Calmus Ensemble HALLELUJAH3
Calmus Ensemble Anja Pöche – Soprano Maria Kalmbach – Alto Friedrich Bracks – Tenor Ludwig Böhme – Baritone Manuel Helmeke – Bass HALLELUJAH3 Johann Sebastian Bach - Salomone Rossi – Leonard Cohen An exciting combination! And yet so obvious, because all three gave us one thing above all: songs! Spiritual songs full of passion, full of love and exultation, full of sadness and doubt. Songs full of spirituality and devotion that we can celebrate three times: Hallelujah1 The Psalms: the biblical origin, the songs of Solomon and David, originated over 2000 years ago. We sing them in settings by the Renaissance master Salomone Rossi, from his “Ha shirim asher li Shelomoh” (1623), the first collection of polyphonic synagogue music that has been written down in the ghetto in Mantua/Italy. Hallelujah2 Songs by Johann Sebastian Bach and Paul Gerhardt: They made faith more humane and are not missing in any hymn book today. Gerhardt's poetry and texts accompanies many people throughout their lives and in this program we’re going to sing it in artistic choral movements by Johann Sebastian Bach. Hallelujah3 Songs by Leonard Cohen: Of course, his famous “Hallelujah” should not be missing. But there is a lot more to discover with this great songwriter and poet. Coming from a Jewish family, faith and love were the great subjects of life for him. His songs are non-denominational, all-encompassing - and touching. Leonard Cohen Here it is (arr. Juan Garcia, *1976) 1934-2016 *** Johann Sebastian Bach Die güldne Sonne voll Freud und Wonne 1685-1750/ Movements: Johann Georg Ebeling (1637-1676), Paul Gerhardt Johann Sebastian Bach (1685-1750 ), from: Schemelli’s Song Book 1607-1676 Paul Gerhardt Salomone Rossi Psalm 146 (Haleluyah. -
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 Translation of German Pietist Imagery Into Anglo-American Cultures
Copyright by Ingrid Goggan Lelos 2009 The Dissertation Committee for Ingrid Goggan Lelos Certifies that this is the approved version of the following dissertation: The Spirit in the Flesh: The Translation of German Pietist Imagery into Anglo-American Cultures Committee: Katherine Arens, Supervisor Julie Sievers, Co-Supervisor Sandy Straubhaar Janet Swaffar Marjorie Woods The Spirit in the Flesh: The Translation of German Pietist Imagery into Anglo-American Cultures by Ingrid Goggan Lelos, B.A.; M.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2009 Dedication for my parents, who inspired intellectual curiosity, for my husband, who nurtured my curiositities, and for my children, who daily renew my curiosities Acknowledgements I would like to express my gratitude to so many who made this project possible. First, I must thank Katie Arens, who always believed in me and faithfully guided me through this journey across centuries and great geographic expanses. It is truly rare to find a dissertation advisor with the expertise and interest to direct a project that begins in medieval Europe and ends in antebellum America. Without her belief in the study of hymns as literature and the convergence of religious and secular discourses this project and its contributions to scholarship would have remained but vague, unarticulated musings. Without Julie Sievers, this project would not have its sharpness of focus or foreground so clearly its scholarly merits, which she so graciously identified. -
Introduction
INTRODUCTION Carl Philipp Emanuel Bach’s Passion according to St. Maria, was asked by the church authorities in a question- John, H 793 (BR-CPEB D 7.), performed during Lent naire about the sources of the poetry in her late husband’s 1780, was his twelfth Passion and his third setting of John’s music. Question 9 and her answer read: Passion narrative. His estate catalogue (NV 1790, p. 60) [Question] 9. Whether or not he had provided the poetry for lists the dates of composition as 1779–80: “Paßions Musik the music and how he did this? nach dem Evangelisten Johannes. H. 1779 und 1780. Mit [Answer] 9. He received some from good friends, and some Hörnern, Hoboen und Fagotts.” Four years earlier, in 177, were taken from printed books. For installation cantatas the Bach had used the St. John Passion by Gottfried August poet, as far as I know, was sometimes paid by the respective Homilius, HoWV I., for much of the biblical narra- church or the pastor; but this was not always the case. In tive and two of the chorales, but in his last three settings these instances the text was often submitted in writing. In of the St. John Passion (1780, 178, and 1788), Bach re- short, there is no set procedure in this respect.1 turned to Georg Philipp Telemann’s 17 St. John Passion, TVWV 5:30, which he had used as the basis for his first Naturally, some of the choruses can be traced to Psalms or setting of 177. But Bach rarely reused any of the arias, du- other biblical texts, and in his later years Bach also drew ets, or choruses in his Passions, and so the overall impres- more frequently on his songs as the basis for both arias sion is that each of his twenty-one Passions is a separate and choruses. -
Bibliografie
Veröffentlichungen: Prof. Dr. Inge Mager 1) Georg Calixts theologische Ethik und ihre Nachwirkungen, SKGNS 19, Göttingen 1969 2) Georg Calixt, Werke in Auswahl, Bd. 3: Ethische Schriften, Göttingen 1970 3) Theologische Promotionen an der Universität Helmstedt im ersten Jahrhundert des Bestehens, JGNKG 69, 1971, 83–102 4) Georg Calixt, Werke in Auswahl, Bd. 4: Schriften zur Eschatologie, Göttingen 1972 5) Conrad Hornejus, NDB 9, 1972, 637f. 6) Lutherische Theologie und aristotelische Philosophie an der Universität Helmstedt im 16. Jahrhundert. Zur Vorgeschichte des Hofmannschen Streites im Jahre 1598, JGNKG 73, 1975, 83–98 7) Bibliographie zur Geschichte der Universität Helmstedt, JGNKG 74, 1976, 237–242 8) Reformatorische Theologie und Reformationsverständnis an der Universität Helmstedt im 16. und 17. Jahrhundert, JGNKG 74, 1976, 11–33 9) Timotheus Kirchner, NDB 11, 1977, 664f. 10) Das Corpus Doctrinae der Stadt Braunschweig im Gefüge der übrigen niedersächsischen Lehrschriftensammlungen, in: Die Reformation in der Stadt Braunschweig. Festschrift 1528–1978, Braunschweig 1978, 111–122.139–143 11) Georg Calixt, Werke in Auswahl, Bd. 1: Einleitung in die Theologie, Göttingen 1978 12) Die Beziehung Herzog Augusts von Braunschweig–Wolfenbüttel zu den Theologen Georg Calixt und Johann Valentin Andreae, in: Pietismus und Neuzeit 6, Göttingen 1980, 76–98 13) Calixtus redivivus oder Spaltung und Versöhnung. Das Hauptwerk des nordfriesischen Theologen Heinrich Hansen und die Gründung der Hochkirchlichen Vereinigung im Jahre 1918, Nordfries. Jb., N.F. 16, 1980, 127–139 14) Aufnahme und Ablehnung des Konkordienbuches in Nord–, Mittel– und Ostdeutschland, in: Bekenntnis und Einheit der Kirche, hrsg. v. M.Brecht u. R.Schwarz, Stuttgart 1980, 271–302 15) Brüderlichkeit und Einheit. -
Sofia Gubaidulina and Wolfgang Rihm
THEOLOGY OF BEAUTY Rocznik Teologii Katolickiej, tom XVII/1, rok 2018 DOI: 10.15290/rtk.2018.17.1.12 0000-0001-6701-1378 Joanna Cieślik-Klauza Uniwersytet Muzyczny Fryderyka Chopina Passion Music at the Turn of the XX and XXI Centuries, Part I: Sofia Gubaidulina and Wolfgang Rihm The great conductor and scholar of the works of Bach, Helmuth Rilling, com- missioned his colleague composers from different countries to write works on the Passion of Christ inspired by the four Gospels. This project known as Passion 2000 was realized on the 250th anniversary of Bach’s death. As part of this valuable initiative and tribute to the Bach, the Russian composer Sofia Gubaidulina, the German composer Wolfgang Rihm, the Chinese composer Tan Dun, and the Argentinian composer Osvaldo Goliovo created four considerable works that completely differ stylistically and provide new perspectives onPas - sion settings. This article presents the following two European Passions from a historical perspective: the St. John Passion by Sofia Gubaidulina and the Deus Passus by Wolfgang Rihm. These composers’ perspectives of the Passion genre expand the traditional framework of this genre as they present the events of the Passion within contemporary contexts and combine musical styles from different historical periods. Key words: Passion, Wolfgang Rihm, Sofia Gubaidulina, contemporary sacred music, St. John Passion, Deus Passus. One cannot remain indifferent to the topic of the Passion. Every year for centuries, cultures and traditions have recalled the revelation of the mystery of the cross, the sorrow of the Mother of God, and the sacrifice of Jesus Christ. This teaching arises from the moment that is the most important to Christians: the Death and Resurrection of 184 Joanna Cieślik-Klauza Christ. -
SPRING 2017 3 Indicated, I Am Interested in the Normative Claims That My Research Raises
Seminary Ridge Review is published twice per year by the Seminary Ridge Press at Lutheran Theological Seminary at Gettysburg. SEMINARY RIDGE REVIEW ISSN 1526-0674 SPRING, 2017 I VOLUME 19, NUMBER 2 © 2017 by Lutheran Theological Seminary at Gettysburg. Subscriptions are free to libraries of theological and divinity schools and to Lutheran Theological Seminary at Gettysburg alumni/æ. Individual copies are available for $9 per issue (includes domestic postage). Contact: Seminary Ridge Press Lutheran Theological Seminary at Gettysburg 61 Seminary Ridge Gettysburg, PA 17325 www.seminaryridgereview.org Seminary Ridge Review is a scholarly journal offering perspectives which highlight the history and theology of the Lutheran Theological Seminary at Gettysburg, eastern Lutheranism and issues that emerge in the cross-currents of theological and cultural debates. Editor: The Rev. Dr. Brooks Schramm [email protected] Managing Editor: The Rev. John Spangler [email protected] Book Review Editor: The Rev. Dr. Maria Erling [email protected] Design & Production: Katy Giebenhain [email protected] Printed by The Sheridan Press in Hanover, Pennsylvania. Typeset by Phil Wolfe Graphic Design. On the cover: A plaster cast of Sarah Hempel Irani’s “St. Joseph, the Carpenter” sits at the Griffin Art Center where she has her studio in Frederick, Maryland. The original marble sculpture for which the cast was made is located at Our Lady of Mercy Catholic Church in Potomac, Maryland. Reproduced with permission of the artist. Visit www.hempelstudios.com. CONTENTS -
The Passion-Hymns of Iceland
THE PASSION - HYMNS OF ICELAND BE ING T RANSLATIO NS FROM THE PASSI ON HYMNS OF HALLG RIM PETUR SSON AND FROM TH E H YMNS O F THE M O DE RN IC ELAND IC H YMN B O O K TOGETH ER W ITH A N I NT R ODUCT I ON c V E NN P I L C H E R . , FOREWORD BY TH E RI GHT R EV . M L D D. c . E H G. O U , . B IQ H O I‘ OF DUR HA M ’ L O N D O N ! R O B E R T S C O T T R O ! B U R G H E H O U S E w E R N S E R o E . C . P A T O T R , M C M ! I I I E MY M OTH R , WHO FIRST TAU GHT ME THE STO RY F TH C R OSS O E , AND I NTERESTE D ME I N TH E PEOPLE OF I CELAN D . FO R EWOR D ’ P assion - H mns o el d MY friend Mr . Pilcher s y f I c mz finds at least one deeply interested welc omer in myself. From early youth till now the great d its northern islan , with natural wonders , its population of hardy and educ ated peasants and i s c fishermen , and t prac ti al retention , through a s its c c thou and years , of an ient spee h , has had for me a pec uliar fasc ination . -
The Three Doctrines of the 1933 Methodist Hymn Book
The Three Doctrines of the 1933 Methodist Hymn Book. David Rumsey Conservatorium of Music, Sydney Australia. In 1933 the Methodist Church in England produced a new Hymn-Book. A version of it was also prepared for use in Australasia and New Zealand which appeared in 1935. Identification with Australia and New Zealand was almost entirely through provision of a supplement of words (Hymn Nos. 985 to 1035). These publications were products of the unification of Methodism that commenced in 1902 (Australia), 1907 (Britain) and concluded in 19321. The 1933 Hymnal was to all intents and purposes the last publication of its kind compiled and used extensively by the Church for which it was intended2. It represented two centuries of stylistic development in a distinctive medium that had its own rules and purposes, a kind of Gebrauchsmusik. Since John Wesley’s first hymnal of 1737 (compiled in North America) Methodist Hymnody had shown a continuous growth and evolution for almost two centuries. Words and music were selected, adapted, created and tested together. Various original pairings survived and still appeared together in the 1933 book. Sometimes preferred alternate tunes had been found that better suited the symbol and content of the texts, or were superior expressions of the developing ethos of Methodism. A broadly- based but identifiable stylistic trend was established and cultivated over these two centuries. It came to reflect the social preoccupations, doctrines and theology of the Methodist Church. These hymns also made demands on the performing skills, and revealed something of the musical tastes of Methodist choirs and congregations. -
Singing the Faith—Part I Martin Luther’S Love of Music
SLIVIiNnG THgE LiUnTHEgRANtMhUSeICAFL HERaITAiGtE h A Study Guide by Daniel Zager 2 SLIVIiNnG THgE LiUnTHEgRANtMhUSeICAFL HERaITAiGtE h A Study Guide by Daniel Zager ©2008 The Good Shepherd Institute Concordia Theological Seminary 6600 North Clinton Street Fort Wayne, Indiana 46825 3 Contents Singing the Faith—Part I Martin Luther’s Love of Music . 4 Luther’s Musical Discernment . 4 Luther and Popular Music: Myth and Fact . 5 Luther’s Views on Music in Worship . 6 Singing the News . 7 Singing the Good News . 7 Singing the Faith—Part II Martin Schalling (1532–1608) . 11 Philipp Nicolai (1556–1608) . 12 Paul Gerhardt (1607–1676) . 14 Melodies for Gerhardt’s Hymns . 16 Singing the Faith—Part III Luther and Bach . 17 Bach’s Organ Preludes on Hymns . 17 Bach’s Cantatas . 18 Cantata BWV 80: Ein feste Burg ist unser Gott (“ A Mighty Fortress Is Our God ”) . 19 After Bach . 20 Felix Mendelssohn Bartholdy (1809–1847) . 21 Friedrich Layriz (1808–1859) . 22 Singing the Faith—Part IV Lutheran Hymns of the Twentieth and Twenty-first Centuries . 23 Martin H. Franzmann (1907–1976) . 23 Jaroslav J. Vajda (b. 1919) . 24 Herman G . Stuempfle Jr. (1923–2007) . 25 Stephen P. Starke (b. 1955) . 25 Hymn Tunes . 26 Hymn Festivals . 27 4 Foreword This study guide is intended primarily for parish pastors and musicians using the DVD Singing the Faith: Living the Lutheran Musical Heritage as a teaching resource in a parish educational setting. The intent of the guide is to provide supplemental background material that will complement the teaching and music contained on the DVD. -
Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
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