The Passions of Christ: a PASSION for LIVING

Total Page:16

File Type:pdf, Size:1020Kb

The Passions of Christ: a PASSION for LIVING The Passions of Christ: A PASSION FOR LIVING Luke 24:1-12 Easter means our faith is not futile, our failures are not fatal, and our death is not final. A sermon preached by Dr. William O. (Bud) Reeves First United Methodist Church Hot Springs, Arkansas April 24, 2011 There‟s a cute story about a mother who had been trying to teach her young son the proper Easter greeting. She explained the Easter story. Then she would say, “Christ is risen!” To which the boy would reply, “Christ is risen indeed!” He was going to try that on his dad first thing Easter morning. As soon as he heard his dad stirring, he ran down the hall to deliver his greeting, but he was so excited he got confused and said, “Daddy! Daddy! Uh… God‟s back!”1 That‟s really the Good News we share today, isn‟t it? God‟s back! Back from the dead—alive! Back from the battle with evil—victorious! God‟s back—that‟s why we‟re here today. The death and resurrection of Christ is perhaps the most famous story ever told, the most important event in the history of the world. If you know the reason you are here this morning, you know that is the reason you‟re here. Christ died, and Christ rose from the dead. Unfortunately, the story is not that familiar to everyone. To many people in our culture today, Easter is all about the bunny, new clothes, and family get-togethers. Even if it‟s a day everybody goes to church, many people are not sure exactly why. And to those who have heard the story a thousand times, it can become so familiar that it is not thrilling any more. The wonder and the joy and the fear of that first Easter morning can be lost to us through years of repetition. Try to imagine yourself walking with the women to the tomb 2,000 years ago. The gray, misty dawn, the quietness of the city, the calm, cool air—the atmosphere is one of sadness and despair and heartbreak that Jesus is dead. Then as we approach the tomb, we see that the stone over the mouth of the tomb has been rolled away—a relief, because we were going to have to move it, but what was going on? Had somebody desecrated the grave of Jesus? We look in and—good Lord!—there‟s no body! We saw them lay Jesus right there, and now he‟s gone! The linen cloths are still there. This is so weird. Then suddenly the little tomb is awash in light, and two men stand there. We hit the floor and cover our faces. They say to us, “Why do you look for the living among the dead? He is not here, but has risen. Remember how he told you, while he was still in Galilee, that the Son of Man must be handed over to sinners, and be crucified, and on the third day rise again.”2 Yeah, we remember, but we‟re not going to hang around to discuss it! So away we run, all the way back into the city, where we tell the disciples what we saw. But just like a bunch of men, they pay no attention. Except Peter, who runs back to the tomb and looks in for himself. He sees the cloths that wrapped the body of Jesus, but no Jesus. So he comes back to where we are still waiting, amazed, perplexed, confused at what this might mean. So what does it mean, this story of Easter? What does this Easter Gospel mean for us as we live 2,000 years after the fact? I‟d like to borrow a line from Max Lucado‟s book, Six Hours One Friday, and say that Easter means your faith is not futile, your failures are not fatal, and your death is not final.3 Your faith is not futile because it‟s true. To the skeptical mind, the Easter faith is preposterous. We believe in a man whom we claim is God, who was executed as a criminal two millennia ago in an obscure part of the Roman Empire. We believe that God raised him back to life, and that by believing in him, we will find meaning in life now and life eternal in heaven when we die. Either that is the most ludicrous pipe dream ever to float through the human brain, or it is the greatest plan of salvation ever preached. Even Paul admits, “For if the dead are not raised, then Christ has not been raised. If Christ has not been raised, your faith is futile and you are still in your sins. Then those also who have died in Christ have perished. If for this life only we have hoped in Christ, we are of all people most to be pitied.”4 Is that it? Are we fools under a theological delusion? Paul quickly adds, “But in fact Christ has been raised from the dead, the first fruits of those who have died.”5 But in fact—it is all true. But in fact—Jesus is alive. But in fact—our faith is not futile. If it‟s false, it‟s foolish. If it‟s true, it is the foundation for a life that is powerful and positive and productive forever. Dr. E. Stanley Jones, the great Methodist missionary and evangelist, stood in the pulpit when he was 83 years old and made a remarkable statement. He said, “The next ten years are going to be the greatest I have ever had!” The congregation looked at the feeble old man before them and wondered how that could be. Then, with a twinkle in his eye, E. Stanley Jones said, “I didn‟t say where they were going to be, but „here‟ or „there,‟ they will be the greatest with Christ.” Life lived with faith in the risen Lord is not a life of futility and defeat; it is a life of purpose and victory. It is the greatest life there is! Easter means your failures are not fatal. Easter is all about overcoming the apparent fiascoes of life by the power of God and turning them into occasions for celebration. Look at our Lord. Was anybody ever more utterly defeated and destroyed than he was? He was betrayed and deserted by his closest friends, convicted in a travesty of justice, beaten within an inch of his life, and then subjected to the cruelest form of execution ever devised by an evil power. His enemies took great pleasure in mocking him to his face and spitting on him as he hung dying on the cross. Then he died and was laid in a borrowed tomb. It appeared his failure was fatal. But then Easter came, and Jesus burst the bonds of death itself to live again. He rose up and walked out and appeared to his disciples. Then he ascended into glory at the right hand of the Father in heaven. His “failure” was not fatal; it was the gift of life to everyone who followed him. Think about Peter, the disciple who vowed at the Last Supper never to leave or forsake his Lord, even to go to death with him. Before the night was over, Peter had denied knowing Jesus three times. He was an utter failure. But then came Easter, and Peter was the one who ran to the tomb when the women came in with this outlandish report. He was the first disciple to see the empty tomb, the folded linen grave clothes, and Jesus nowhere to be found. In time he was reconciled to Jesus and became a great leader in the early church. His failure was not fatal, either. So how can you consider yourself a failure if you are a follower of Christ? Yes, we mess up. Yes, we betray, deny, and desert our Christ. Yes, we are victims and perpetrators of every kind of evil known to human kind. And yes, we suffer the blows of life that sure seem like failures—death, illness, divorce, job loss, addiction, and so forth. But we are an Easter people. We follow a living Lord. We believe in the redeeming power of God. Our failures are not fatal; they are opportunities to learn and grow into the likeness of Christ. Easter means that our death is not final. Jesus was not held by the prison of death, and in his resurrection, he paves the way for those who believe in him to inherit eternal life. Because he died and rose again, so can we. Paul says, “For since death came through a human being, the resurrection of the dead has also come through a human being; for as all die in Adam, so all will be made alive in Christ.”6 Jesus has been through the door, and now he stands at the door and holds it open and lets us get a glimpse of what is on the other side—and it‟s all glory! So when someone we love dies, or our own time to die comes, we know what is going on. The perishable is putting on imperishability; the mortal is putting on immortality; this physical body is putting on a spiritual body; and death is being swallowed up in victory! “Thanks be to God, who gives us this victory in Jesus Christ!”7 Death is not the final word of life. That is our hope. Dr. Gary Habermas is a university professor who is considered one of the world‟s authorities on the resurrection.
Recommended publications
  • Introduction
    INTRODUCTION During Lent , Carl Philipp Emanuel Bach performed It is difficult to explain why Bach chose to borrow other his first setting of the Passion according to St. John. Had composers’ music rather than always write his own. After he continued the rotation from Georg Philipp Telemann’s performing his first Passion in , a work based in part time, Bach’s first Passion would have been a setting based and almost on the scale of his father’s St. Matthew Passion, on St. John’s Gospel. In Lent , before Bach arrived in BWV , C. P. E. Bach must have become discouraged or Hamburg, Georg Michael Telemann presented his grand- disillusioned with the Hamburg church authorities. Per- father’s St. Luke Passion of . It is not clear why Bach haps one of the pastors told him this work was too long decided to present a St. Matthew Passion in , skip- and elaborate for the services. In December , Bach ping St. John in the sequence. (e entries in Bach’s estate wrote a letter in which he said: “Hamburg is no place for catalogue indicate that he began assembling his Passions a fine musician to stay. (ere is no taste here. Mostly in the year preceding the season of Lent, so that the St. queer stuff and no pleasure in the noble simplicity.” As John Passion is dated –. While the title page of the early as January Bach mentioned that a pair of the libretto to Telemann’s St. John Passion of states “ein- church elders “said politely but pointedly (it was their gerichtet von G.
    [Show full text]
  • EASTER Year A
    THE FIFTH SUNDAY OF EASTER Year A Seasonal Greeting Celebrant Alleluia! Christ is risen! People The Lord is risen indeed! Alleluia! Collect of the Day Almighty God, whom truly to know is everlasting life: Grant us so perfectly to know your Son Jesus Christ to be the way, the truth, and the life, that we may steadfastly follow his steps in the way that leads to eternal glory; through Jesus Christ your Son our Lord, who lives and reigns with you, in the unity of the Holy Spirit, one God, for ever and ever. Amen. First Reading Acts 17:1-15 Now when they had passed through Amphipolis and Apollonia, they came to Thessalonica, where there was a synagogue of the Jews. 2 And Paul went in, as was his custom, and on three Sabbath days he reasoned with them from the Scriptures, 3 explaining and proving that it was necessary for the Christ to suffer and to rise from the dead, and saying, “This Jesus, whom I proclaim to you, is the Christ.” 4 And some of them were persuaded and joined Paul and Silas, as did a great many of the devout Greeks and not a few of the leading women. 5 But the Jews were jealous, and taking some wicked men of the rabble, they formed a mob, set the city in an uproar, and attacked the house of Jason, seeking to bring them out to the crowd. 6 And when they could not find them, they dragged Jason and some of the brothers before the city authorities, shouting, “These men who have turned the world upside down have come here also, 7 and Jason has received them, and they are all acting against the decrees of Caesar, saying that there is an- other king, Jesus.” 8 And the people and the city authorities were disturbed when they heard these things.
    [Show full text]
  • Valer Sabadus
    J. S. Bach G. Ph. Telemann Arias Valer Sabadus Kammerorchester Basel Arias Johann Sebastian Bach (1685–1750) Bach 1 “Ich habe genug” 6:50 11 “Et exsultavit spiritus meus” 2:12 from the cantata / aus der Kantate Ich habe genug, BWV 82:a from Magnificat in D Major, BWV 243 (version for soprano / Fassung für Sopran) aus dem Magnificat D-Dur, BWV 243 Georg Philipp Telemann (1681–1767) Telemann 2 “Wo ist das Ende meiner Plagen… 6:20 12 “Mein Feind frohlockt ob meinem Schmerz… 4:36 Zeige dich, geliebter Schatten” (Honoricus) Eifersucht, du Kind der Höllen” (Zemir) from the / aus dem Singspiel Sieg der Schönheit, TWV 21:10 from the / aus dem Singspiel Miriways, TWV 21:24 Bach Valer Sabadus, countertenor / Countertenor Concerto in E Major for Violin, Strings and Basso continuo, BWV 1042 Konzert E-Dur für Violine, Streicher und Basso continuo, BWV 1042 Julia Schröder, violin and direction / Violine und Leitung 3 I. Allegro 6:50 Kammerorchester Basel 4 II. Adagio 5:28 5 III. Allegro assai 2:31 Bach 6 “Laudamus te” 4:16 Aria from the Mass in B Minor, BWV 232 Arie aus der Messe in h-Moll, BWV 232 Telemann 7 “Ich fliehe Dich, vergallte Liebeslust... 3:26 Lass in Augen Feuer blitzen” (Honoricus) from the / aus dem Singspiel Sieg der Schönheit Bach 8 “Vergnügte Ruh’, beliebte Seelenlust” 6:31 from the cantata / aus der Kantate Vergnügte Ruh’, beliebte Seelenlust, BWV 170 Bach 9 “Schlafe mein Liebster” (Wollust) 8:38 from the cantata / aus der Kantate Lasst uns sorgen, lasst uns wachen, BWV 213 Telemann 10 “Hò disarmato il fianco” (Bertaridus) 3:19 from the opera / aus der Oper Flavius Bertaridus, TWV 21:27 Bach and Telemann The first of these works was Sieg der Schönheit.
    [Show full text]
  • Graduate-Dissertations-21
    Ph.D. Dissertations in Musicology University of North Carolina at Chapel Hill Department of Music 1939 – 2021 Table of Contents Dissertations before 1950 1939 1949 Dissertations from 1950 - 1959 1950 1952 1953 1955 1956 1958 1959 Dissertations from 1960 - 1969 1960 1961 1962 1964 1965 1966 1967 1968 1969 Dissertations from 1970 - 1979 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 Dissertations from 1980 - 1989 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 Dissertations from 1990 - 1999 1990 1991 1992 1994 1995 1996 1998 1999 Dissertations from 2000 - 2009 2000 2001 2002 2003 2005 2006 2007 2008 2009 Dissertations since 2010 2010 2013 2014 2015 2016 2018 2019 Dissertations since 2020 2020 2021 1939 Peter Sijer Hansen The Life and Works of Dominico Phinot (ca. 1510-ca. 1555) (under the direction of Glen Haydon) 1949 Willis Cowan Gates The Literature for Unaccompanied Solo Violin (under the direction of Glen Haydon) Gwynn Spencer McPeek The Windsor Manuscript, British Museum, Egerton 3307 (under the direction of Glen Haydon) Wilton Elman Mason The Lute Music of Sylvius Leopold Weiss (under the direction of Glen Haydon) 1950 Delbert Meacham Beswick The Problem of Tonality in Seventeenth-Century Music (under the direction of Glen Haydon) 1952 Allen McCain Garrett The Works of William Billings (under the direction of Glen Haydon) Herbert Stanton Livingston The Italian Overture from A. Scarlatti to Mozart (under the direction of Glen Haydon) 1953 Almonte Charles Howell, Jr. The French Organ Mass in the Sixteenth and Seventeenth Centuries (under the direction of Jan Philip Schinhan) 1955 George E.
    [Show full text]
  • Tafelmusik Unveils 2020/21 Season: Passions of the Soul
    Tafelmusik unveils 2020/21 Season Passions of the Soul Toronto, February 19, 2020… Today Music Director Elisa Citterio unveiled Tafelmusik Baroque Orchestra’s 2020/21 season, Passions of the Soul, inviting audiences to experience the range of feelings music can inspire. For her third season, Citterio has curated a selection of music that spans more than four centuries — from early baroque to contemporary composers — with the ultimate goal of touching the heart of the listener. Detailed information about the 2020/21 season is below, and high resolution images are available in Tafelmusik’s Media Room. A trailer for the 2020/21 season can be viewed here, and subscriptions are now on sale at tafelmusik.org. Highlights of the 2020/21 season include Birth of a Symphony, a new multimedia creation by double bassist, conductor, and composer Vanni Moretto Beethoven 250 celebration with keyboard virtuoso Kristian Bezuidenhout Tafelmusik debuts by guest conductor Rinaldo Alessandrini; cornettist Doron Sherwin; harpist Masumi Nagasawa; flutist Emi Ferguson; soprano Emöke Barath; countertenor Christopher Lowrey, and bass Philippe Sly. Bach Christmas Oratorio and Brandenburg Concertos New studio recording with oboist and guest director Alfredo Bernardini and the release of a live recording, A Handel Celebration New commissions by contemporary composers Tours across Ontario, Eastern Canada, and the United States Launch of Saturday Mini Matinees series Return of Close Encounters and Haus Musik series “We’ve created a season that spans a variety of exceptional sounds. Our aim is to elicit emotions and offer an experience of intimate joy that leaves room for other feelings as well,” said Citterio.
    [Show full text]
  • Georg Philipp Telemann (1681 – 1767) - Complete Works / Sämtliche Werke 2015
    Georg Philipp Telemann (1681 - 1767) Sämtliche Werke / Complete works 2015 MP3-Format Details Georg Philipp Telemann (1681 – 1767) - Complete works / Sämtliche Werke 2015 - Total time / Gesamtspielzeit 216:55:26 ( 9 d ) Telemann war wohl der produktivste Komponist aller Zeiten. Leider wird sein umfangreiches Schaffen noch nicht ausreichend gewürdigt. Die Zusammenstellung der Werke von Telemann enthält ca. 95 % aller weltweiten professionellen Aufnahmen der Telemann-Werke von 1950 - 2015. Eine vollständige Zusammenstellung aller Werke von G. Ph. Telemann ist noch lange nicht nicht möglich - es wird noch 20 bis 40 Jahre dauern, bis von allen Werken, die zum grossen Teil noch nicht wiedergefunden wurden, professionelle Aufnahmen vorhanden sind. Aufnahmen zu Telemanns instrumentalen Werken existieren fast lückenlos, professionelle Aufnahmen seiner vokalen Werke existieren ca. nur zu 10 %. Telemann was probably the most prolific composer of all time. Unfortunately, his extensive work is not yet sufficiently appreciated. The compilation of the works of Telemann contains about 95% of all global professional recordings of Telemann works from 1950 to 2015. A complete set of works by G. Ph Telemann is still far impossible - it will take 20 to 40 years, until available professional recordings to all works, which have not yet recovered to a large extent. Recordings to Telemann's instrumental works exist almost completely, professional recording of his vocal works exist only to approximately 10%. Die Struktur dieses Verzeichnisses gleicht der Ordner-Struktur
    [Show full text]
  • Florilegium.Org.Uk 2 Floribachtelemannbooklet 03-09-2008 10:13 Pagina 3
    FloriBachTelemannBooklet 03-09-2008 10:13 Pagina 1 CHANNEL CLASSICS CCS SA 27208 Bach&TelemannLucy Crowe soprano Cantata Concerto in a major Non sa che sia dolore from Tafelmusik Part i bwv209 Triple Concerto in a minor bwv1044 FloriBachTelemannBooklet 03-09-2008 10:13 Pagina 2 Ashley Solomon baroque flute – Martin Wenner, 2005 after Palanca, 1720 Rodolfo Richter violin – Andrea Guarnieri, 1674 Graham Cracknell violin – Joseph Gagliano, 1760 Nicolette Moonen violin – Matthias Albanus, 1643 Catherine Martin violin – Carlo Antonio Testore, 1745 Hannah Tibell violin – Brothers Amati, 1618 Trevor Jones viola – Rowland Ross after Stradivarius, 1977 Jennifer Morsches cello – Tyrolean, anon, c.1800 Judith Evans bass – Italian, c.1700 James Johnstone harpsichord – Bruce Kennedy, 1999 after Michael Mietke, 1702/04 for more information: www.florilegium.org.uk 2 FloriBachTelemannBooklet 03-09-2008 10:13 Pagina 3 photo: Amit Lennon 3 FloriBachTelemannBooklet 03-09-2008 10:13 Pagina 4 Florilegium Artistic Director Ashley Solomon Regular performances in some of the world’s most prestigious venues have confirmed Florilegium’s status as one of Britain’s most outstanding period instrument ensembles. Following a recent performance at London’s Wigmore Hall, The Times newspaper wrote: “Florilegium climbed the heights of dancing bliss and left the Wigmore sighing with pleasure. They have become an indispensable feature on the early music landscape”. Since Florilegium’s formation in 1991, they have established a reputation for stylish and exciting interpretations of music from the baroque era to the early romantic revolution. Among the numerous residencies Florilegium held the coveted post of Ensemble-in- Residence at London’s Wigmore Hall, a position they enjoyed from 1998 to 2000, performing several series of concerts each year and becoming actively involved in the Hall’s education work.
    [Show full text]
  • Program Notes
    PROGRAM NOTES Georg Philipp Telemann - Selections from Tafelmusik II Georg Philipp Telemann Born March 14, 1681, Magdeburg, Germany. Died June 25, 1767, Hamburg, Germany. Composition History Telemann published his Musique de table, or Tafelmusik, in 1733. The selections from the second volume performed at this week’s concerts call for solo oboe and trumpet, with bassoon, harpsichord, and strings (with solo parts for two violins and cello). Performance time is approximately twenty minutes. Performance History These are the Chicago Symphony’s first performances of music from Tafelmusik II. The Orchestra’s only previous performances of music from Telemann’s Tafelmusik (a suite from the third volume) were given on subscription concerts at Orchestra Hall on November 15, 17, and 20, 2007, with Nicholas Kraemer conducting. Selections from Tafelmusik II During his lifetime, Georg Philipp Telemann was considered the greatest German composer of the time. Neither J. S. Bach nor Handel could compete with the extent of his fame. When his vast Musique de table collection—or Tafelmusik— was published in 1733, the subscription list included not only wealthy merchants in Hamburg (where Telemann reigned as the leading composer for nearly half a century), but nobility from throughout Europe and music lovers from as far away as London, Copenhagen, Cadiz, and Riga. Fifty-two of the 206 advance subscriptions came from abroad, an astonishing feat in an era when most people rarely ventured far from their birthplace or followed the news in other countries. Handel himself placed an order from London. (Bach ordered a different collection of Telemann’s music five years later.) Telemann was a friend of both Handel, with whom he corresponded into his old age, and Bach, and even was godfather to the Bach son who took one of his names, Carl Philipp Emmanuel.
    [Show full text]
  • Review of Georg Philipp Telemann, Ein Feste Burg, Carus Records, 2005
    Marshall University Marshall Digital Scholar Music Faculty Research School of Music 9-2005 Review of Georg Philipp Telemann, Ein feste Burg, Carus Records, 2005 Vicki Stroeher Follow this and additional works at: https://mds.marshall.edu/music_faculty Part of the Musicology Commons Compact Disc Reviews David Castleberry, editor <[email protected] Georg PhilippPhilipp Telemann,Telemann, sacred vocal style and his experience as clarity and cleanness of the ensemble Ein teste teste Burg: Burg: Vokal- Vokal- und Instru- und Instru a composer of dramatic works. Both of and soli performances. Then, there is mental musik. musik. Reinhold Reinhold Friedrich, Friedrich, Vo- tbe Vopsalm settings featured here are set that sound: light, crisp, and translucent, calensemble Rastatt, Les Favorites, as cantatas, with soli interspersed among The voices of the Vocalensemble Rastatt Holger Speck,Speck, conductor. conductor. the choruses. Telemann's sense of the are young and unforced, yet full-bodied; Recorded 5-105-10 October October 2004, 2004, Alt- Alt dramatic shines through, exemplified best their diction and tuning are impeccable, katholische Auferstehungskirche, Auferstehungskirche, in the final chorus Die Furcht des Herrn The soloists, soprano Ruth Ziesak and Karlsruhe.Karlsruhe. [The fearofthe Lord is the source of wis- alto Arnon Zlotnik in particular, pos 2005 Carus-Verlag, Carus 83.166, dom] of Psalm 111 which begins in minor, sess the gem-like quality that defines the 74'32"74'32" almost like an Actus Tragicus, then turns choral singing, as well. Les Favorites, to a sprightly dance in major, complete likewise, shows impeccable tuning, eorg Philipp Telemann with trumpet and drums to underscore the and its performances are controlled and (1681-1767) found his niche notion of everlasting praise.
    [Show full text]
  • Donner-Ode TVWV 6:3
    Georg Philipp TELEMANN Donner-Ode TVWV 6:3 für Soli (SATBB), Chor (SATB) 2 Traversflöten, 2 Oboen (Oboe d’amore, Oboe), Fagott฀ Horn, 3 Trompeten, Pauken 2 Violinen, Viola, Violoncello und Basso continuo for soli (SATBB), choir (SATB) 2 transverse flutes, 2 oboes (oboe d’amore, oboe), bassoon฀ horn, 3 trumpets, timpani 2 violins, viola, violoncello and basso continuo herausgegeben von/edited by Silja Reidemeister Telemann-Archiv · Stuttgarter Ausgaben Urtext Partitur/Full score C Carus 39.142 Inhalt Vorwort III Foreword VI Erster Teil 1. Chor (SATB) 1 Wie ist dein Name so groß 2. Arie (Soprano) 26 Bringt her, ihr Helden aus göttlichen Samen 3. Arie (Alto) 31 Fallt vor ihm hin 4. Arie (Tenore) 34 Die Stimme Gottes erschüttert die Meere 5. Arie (Basso I) 38 Die Stimme Gottes zerschmettert die Zedern 6. Arie (Basso II) 42 Sie stürzt die stolzen Gebirge zusammen 7. Duett (Basso I, Basso II) 46 Es donnert, dass er verherrlichet werde 8. Chor 1 Wie ist dein Name so groß Zweiter Teil 9. Chor 55 Mein Herz ist voll, vom Geiste Gottes erhoben 10. Arie (Soprano) 64 Schönster von allen Geschlechten 11. Arie (Basso I o II) 72 Gürt an dein Schwert 12. Arie (Basso I o II) 78 Scharf sind deine Geschosse 13. Chor 55 Dein Zepter ist ein richtig Zepter 14. Arie (Tenore) 84 Deines Namens, des herrlichen 15. Choral 89 Dein Nam ist zuckersüß Honig Kritischer Bericht 90 Zu diesem Werk liegt folgendes Aufführungsmaterial vor: Partitur (Carus 39.142), Klavierauszug (Carus 39.142/03), Chorpartitur (Carus 39.142/05), komplettes Orchestermaterial (Carus 39.142/19).
    [Show full text]
  • View List (.Pdf)
    Symphony Society of New York Stadium Concert New York Philharmonic Commission New York Philharmonic 150th Anniversary Commission World Premieres New York Philharmonic Messages for the Millennium Commission as of November 30, 2020 NY PHIL Biennial NY PHIL Biennial Commission Joint Commission Members of / musicians from the New York Philharmonic Click to jump to decade 1842-99 | 1900-09 | 1910-19 | 1920-29 | 1930-39 | 1940-49 | 1950-59 1960-69 | 1970-79 | 1980-89 | 1990-99 | 2000-09 | 2010-19 | 2020 Composer Work Date Conductor 1842 – 1899 Loder Concert Overture, Marmion 17-Jan 1846 Loder Bristow Concert Overture, Op. 3 9-Jan 1847 Timm Bristow Symphony No. 4, Arcadian 14-Feb 1874 Bergmann Liszt Symphonic Poem No. 2, Tasso: lamento e trionfo 24-Mar 1877 L.Damrosch Tchaikovsky Piano Concerto No. 2 12-Nov 1881 Thomas R. Strauss Symphony in F minor, Op. 12 13-Dec 1884 Thomas Stanford Symphony No. 3 in F minor, Op. 28 (Irish) 28-Jan 1888 W.Damrosch Lalo Arlequin 28-Nov 1892 W.Damrosch Beach Scena and Aria from Mary Stuart 2-Dec 1892 W.Damrosch Dvořák Symphony No. 9, From the New World (formerly No. 5) 16-Dec 1893 Seidl Herbert Cello Concerto No. 2 9-Mar 1894 Seidl Damrosch Scarlet letter, The 04-Jan 1895 W.Damrosch 1900 – 1909 Hadley Symphony No. 2, The Four Seasons 21-Dec 1901 Paur Burmeister Dramatic Tone Poem, The Sisters 10-Jan 1902 Paur Rezniček Donna Dianna 23-Nov 1907 W.Damrosch Lyapunov Concerto for Piano and Orchestra 7-Dec 1907 W.Damrosch Hofmann Concerto for Pianoforte No.
    [Show full text]
  • A Conductor's Guide to the Magnificat in C, Twv 9:17 By
    A CONDUCTOR’S GUIDE TO THE MAGNIFICAT IN C, TWV 9:17 BY GEORG PHILIPP TELEMANN BY DAEKWANG KIM DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Choral Music in the Graduate College of the University of Illinois at Urbana-Champaign, 2017 Urbana, Illinois Doctoral Committee: Professor Andrew Megill, Chair, Director of Research Teaching Assistant Professor Andrea Solya Associate Professor Barrington Coleman Assistant Professor Christopher Macklin ABSTRACT The purpose of this study is to investigate Georg Philipp Telemann’s Magnificat in C (TWV 9:17) and to create a guide for performance of the composition. The liner notes for the recording from 1964, acknowledge that “The Latin Magnificat in C is the more extended and elaborately scored of Telemann’s settings,” yet the work remains virtually unknown today. Thus, my thesis will shed light on this little-known work, while also preparing conductors and musicians to perform this rewarding piece. Along with Johann Sebastian Bach (1685–1750) and George Frideric Handel (1685– 1759), Telemann was one of the leading German composers and instrumentalists in the first half of the 18th century. He is regarded as a significant link between the late-Baroque and early- Classical styles, representing the galant style and the pre-classical style in Germany. He was also probably the first composer to write a viola concerto, which is the concerto in G major (TWV 51:G9). This study will be comprised of three major sections. First, I will present Telemann’s background information: his biographical information (Chapter One), his compositional style with special attention to the choral compositions (Chapter Two), and historical background and liturgical use of the Magnificat (Chapter Three).
    [Show full text]