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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. -
Materialheft Schlussgottesdienst Die Biblische Grundlage: Jesaja 51,1–5
schaut hin – blickt durch – geht los Schlussgottesdienst 3. Ökumenischer Kirchentag Materialheft zum 16. Mai 2021 Impressum Alle Rechte vorbehalten © 2021 3. Ökumenischer Kirchentag Frankfurt 2021 e. V. Verantwortlich: Arnd Schomerus Redaktion: Ilse Müller, Julius Radtke, Arnd Schomerus Layout und Satz: Stephan Gärtner Inhaltsverzeichnis Einführung/Vorwort 4 Die biblische Grundlage: Jesaja 51,1–5 5 Exegetische Skizze 7 Ablauf des Schlussgottesdienstes 16 Leporello 17 Gebet und Fürbitten aus dem Gottesdienst 22 Kollekte 23 Anregungen zum Mitmachen 24 Anhang 32 Einführung/Vorwort Kirchen-, Katholikentage und Ökumenische Kirchentage sind Feste der Gemeinschaft und Begegnung. Besonders bei den Großgottesdiensten ist das immer wieder deutlich zu spüren. Die Corona-Pandemie hat unsere Planungen in diesem Jahr durcheinandergebracht. Wir wollen trotzdem diskutieren, uns digital begegnen und auch Gottesdienste feiern. Das ist wichtig – persönlich, füreinander und für unsere Gesellschaft. Der Schlussgottesdienst des 3. Ökumenische Kirchentages wird vor Ort in Frankfurt am Main auf einer Bühne an der „Weseler Werft“ gefeiert werden. Gleichzeitig wird dieser Gottesdienst live im ZDF übertragen und ein Mitfeiern ist bundesweit möglich. Dieses Mitfeiern wollen wir durch dieses Materialheft unterstützen. Sie finden den Ablauf des Gottesdienstes, die Lieder, eine Druckvorlage für einen „Gottesdienstzettel“ wie auch eine „exegetische Skizze“ für den dem Schlussgottesdienst zugrundeliegenden Bibeltext Jesaja 51,1–5. Darüber hinaus sind auch Ideen beschrieben, wie in einer Kirchengemeinde ein gemeinsames Mitfeiern des Schlussgottesdienstes eingebettet werden kann. „Schaut hin – blickt durch – geht los“. Wir freuen uns, wenn viele am 16. Mai 2021, von 10.00–11.00 Uhr dabei sind! Arnd Schomerus Kirchentagspastor Hinweise zu Aufführungsrechten Bitte beachten Sie die rechtlichen Rahmenbedingungen für Aufführungsrechte, die für Ihre Kirche gelten. -
"... Und Steure Deiner Feinde Mord" : Gewalt Im Kirchenlied
IASL 2015; 40(1): 1–20 Martina Wagner-Egelhaaf „… und steure deiner Feinde Mord“ Gewalt im Kirchenlied Abstract: This essay looks at moments of violence in Christian hymns. It analyzes chants used in the early modern struggle between Catholics and Protestants and in missionary movements which still can be found in contemporary hymnbooks. The article shows that the chants not only direct aggression against an outer enemy but also against the fiend within. As the German word ‘Gewalt’ means both ‘violence’ and ‘power’, the hymns oscillate between both meanings. The ‘Gewalt’ being praised in the hymns often self-reflectively addresses the chants’ own violence and/or power as it is illustrated by a brief look at Heinrich von Kleist’s novella Die heilige Cäcilie oder die Gewalt der Musik. DOI 10.1515/iasl-2015-0001 Kirchenlieder mit Gewalt in Verbindung zu bringen, liegt auf den ersten Blick nicht unbedingt nahe, dient das Kirchenlied doch in erster Linie der gottesdienst- lichen Erbauung und dem Lob Gottes. Und doch gibt es in den Gesangbüchern, die insgesamt ziemlich politisch korrekt geworden sind,1 bis heute Liedtexte, in denen es keineswegs zimperlich zugeht. Dies ist umso mehr in historischen Gesangbüchern der Fall. Es ist ein Leichtes, hier Beispiele zu präsentieren, bei denen man sich fragt, wie sie gesungen werden konnten, ohne dass sich dabei das christliche Gewissen regte. Im Fokus des vorliegenden Beitrags steht jedoch das, was tatsächlich in den Gesangbüchern stehen geblieben ist, was gewisser- maßen die Gewalt-Zensur überstanden hat und vielleicht doch unter dem Vor- zeichen einer gepflegten, impliziten, subtilen, in ihrer Ambiguität vielleicht den- noch wirkmächtigen Gewaltförmigkeit diskutiert werden kann. -
SEDULIUS, the PASCHAL SONG and HYMNS Writings from the Greco-Roman World
SEDULIUS, THE PASCHAL SONG AND HYMNS Writings from the Greco-Roman World David Konstan and Johan C. ! om, General Editors Editorial Board Brian E. Daley Erich S. Gruen Wendy Mayer Margaret M. Mitchell Teresa Morgan Ilaria L. E. Ramelli Michael J. Roberts Karin Schlapbach James C. VanderKam Number 35 SEDULIUS, THE PASCHAL SONG AND HYMNS Volume Editor Michael J. Roberts SEDULIUS, THE PASCHAL SONG AND HYMNS Translated with an Introduction and Notes by Carl P. E. Springer Society of Biblical Literature Atlanta SEDULIUS, THE PASCHAL SONG AND HYMNS Copyright © 2013 by the Society of Biblical Literature All rights reserved. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by means of any information storage or retrieval system, except as may be expressly permit- ted by the 1976 Copyright Act or in writing from the publisher. Requests for permission should be addressed in writing to the Rights and Permissions O! ce, Society of Biblical Literature, 825 Houston Mill Road, Atlanta, GA 30329 USA. Library of Congress Cataloging-in-Publication Data Sedulius, active 5th century. The Paschal song and hymns / Sedulius ; translated with an introduction >and notes by Carl P. E. Springer. p. cm. — (Society of Biblical Literature. Writings from the Greco-Roman world ; volume 35) Text in Latin and English translation on facing pages; introduction and >notes in English. Includes bibliographical references and index. ISBN 978-1-58983-743-0 (paper binding : alk. paper) — ISBN 978-1-58983-744-7 (electronic format) — ISBN 978-1-58983-768-3 (hardcover binding : alk. -
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. -
Universiv Microtlms International 300 N
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f 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 through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete. -
JE Gardiner (SDG 2-CD)
For the Fifth Sunday after Easter (Rogate) Annenkirche, Dresden To Bach, frustrated and disgruntled in Leipzig, Dresden was a sort of Shangri-La. It was here that he had been crowned unopposed keyboard champion in 1717, and it was here that his Missa (the first two movements of what we know as the B minor Mass) was first performed in 1733. To see how music functions when it is properly valued and organised, he told the Leipzig Town Council, ‘one need only go to Dresden and see how the musicians are paid... relieved of all concern for their living, free from chagrin...’. The multiple layers of the city’s history seem difficult now for the foreign visitor to disentangle. Vestiges of the great eighteenth-century cultural metropolis are there for all to see in the rebuilt Zwinger, and the clean-up operation is gradually ridding the city of evidence of its gruesome 1945 bombing. Even that Baroque marvel the Frauenkirche, constructed like some celestial theatre, is on its way to being rebuilt [its glorious completion in October 2005 celebrated by the joint forces of the Monteverdi Choir and the Dresden Staatskapelle in June 2007]. The functional 1950s shoebox housing of the GDR era is still much in evidence, as are the former army barracks of the departed Russians. We were due to perform in the grey-stoned and severe Annenkirche, a rare survivor of the night of horror thanks to its robust steel roof. We were packed like sardines onto the tiny stage area against the hard-surfaced back wall for two successive concerts that opened this year’s Dresdner Musikfestspiele. -
Gotteslob Österreich
TEXTE DER LITURGISCHEN KOMMISSION FÜR ÖSTERREICH 18 GOTTESLOB ÖSTERREICH KONKORDANZ DER AUSGABEN DES GOTTESLOB MIT DIÖZESANEN EIGENTEILEN UND ERGÄNZUNGSHEFTEN IN ÖSTERREICH 1975 – 2013 2013 / Herausgegeben von der Liturgischen Kommission für Österreich. Liturgische Kommission für Österreich im Österreichischen Liturgischen Institut, Erzabtei St. Peter, Eigenverlag, A-5020 Salzburg. Umschlaggrafik: Dreifaltigkeitssymbol, Grafik von Monika Bartholomé, Köln, © KBA Stuttgart. Herstellung: Samson Druck Gesellschaft m. b. H. ◆ A-5581 St. Margarethen 171 GOTTESLOB ÖSTERREICH KONKORDANZ DER AUSGABEN DES GOTTESLOB MIT DIÖZESANEN EIGENTEILEN UND ERGÄNZUNGSHEFTEN IN ÖSTERREICH 1997 – 2013 Zusammengestellt im Auftrag der Liturgischen Kommission für Österreich und der Österreichischen Kirchenmusikkommission Salzburg 2013 Inhalt Zum Geleit 3 Erläuterung zum Gebrauch / Abkürzungsverzeichnis 5 Konkordanz zu den Liedern und Gesängen im Gotteslob 2013 7 Anhang der nicht ins Gotteslob übernommenen Lieder und Gesänge 49 Weiterführende Beiträge und Hinweise 62 „... damit ihr Gottes Melodie aufnehmt“ (Ignatius von Antiochien) Zum Geleit Mit dem 1. Dezember 2013, dem Ersten Adventsonntag, ersetzt ein neues Gotteslob das bisherige als Rollenbuch der Gottesdienstversammlung. In den fast vier Jahrzehnten seit der Einführung des Gotteslob 1975 – es war damals das erste länderübergreifende deutschsprachige Gebet- und Gesangbuch – hat sich vie- les verändert: Das liturgische Recht wurde fortgeschrieben, neue Ritualefaszikel (u.a. Die Feier der Trauung; Feier der