DOCSLIB.ORG

Downloadbooklet 36.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Downloadbooklet 36.Indd CORO The Sixteen Edition CORO The Sixteen Edition Other Sixteen Edition recordings available on Coro Heinrich Schütz Teixeira Te Deum Victoria Requiem 1605 cor16009 NEW RECORDING corsacd16033 A multi-award Priest, scholar and Musikalische winning recording of singer, this remarkable this exuberant piece. Spaniard epitomised the Exequien emotion and fervour "A real eye-opener that of Renaissance Europe. demands to be heard." Victoria's lavish Requiem of 1605 became his most cramophone D EUTSCHES famous and revered work. M AGNIFICAT H ERR , NUN LÄSSEST The Flower of All Virginity Allegri Miserere DU DEINEN D IENER Eton Choirbook Volume IV cor16018 cor16014 Kellyk, Nesbett, "Christophers draws V ATER UNSER , DER Fayrfax, Browne brilliant performances DU BIST IM H IMMEL "Vibrant from his singers, both performances... technically assured and with undiminished vividly impassioned." The Sixteen enthusiasm and the guardian imagination." The Symphony of Harmony and Invention THE VOICES OF gramophone HARRY CHRISTOPHERS To find out more about The Sixteen, concerts, tours, and to buy CDs, visit www.thesixteen.com cor16036 Because you are reading this, I can presume, almost without Heinrich Schütz German Requiem Mass'. The two sections, doubt, that I am speaking to the initiated. You obviously each introduced by a plainchant intonation of 1585-1672 a biblical text, represent the Kyrie and Gloria enjoy the music of Schütz; so, if that is truly the case, please of the Latin Mass. The work is structured spread the word. It has always amazed and confounded me as an alternation of biblical quotations and that, over the years, I have had great difficulty in persuading he works of Heinrich Schütz (1585-1672), verses from Lutheran hymnody, many of recording companies and concert promoters to programme 'the father of German music', fall into the latter breathing the world-weariness of three clearly identifiable periods. All the Schütz. There is no rhyme nor reason for this; Schütz T a land torn apart by war. No instruments music on this CD derives from the middle and other than basso continuo are prescribed: not personifies the early baroque - he is quite simply the great late periods, dating from the mid-1630s to the because they would have been out of place, master. His musical output was considerable, principally end of the composer's life. but because they were not available. These choral but often with the addition of instruments, carefully The cataclysmic event in Central European texts had been engraved on the prince's coffin annotated in his prefaces to the scores. His Psalms of David history in the first half of the 17th century in advance. Keen not to miss his own funeral are exceptional and one day, I hope, we will commit these to disc. was the Thirty Years War (1618-48). Elector music, Heinrich Posthumus took part in Johann Georg I of Saxony had hoped by a performances of it during his lifetime, so that Here, however, you have one of his finest and most complete works, the Musikalische posture of neutrality to spare his territory from although the work is written to be performed Exequien; consisting of three contrasting movements, it depicts Schütz’s superb vocal the ravages of war. In the event, he invited the by six singers and/or a vocal ensemble writing and harmonic inventiveness. The first is very similar to an extended verse-anthem, wrath of both warring parties, and Saxony SSATTB, in two places an additional bass part the second a Gabrieli-esque double choir movement, but it is the third and final section became a scene of continual devastation over a is entered in the alto partbook. The prince, it which has always delighted me. Three voices, representing two seraphs and the blessed period of twenty years. Schütz' middle period transpires, was a keen singer and Schütz added is one of minimalism, brought about by the these parts specially for him. Part II 7, the spirit of the departed, float in imitation over a setting of the Nunc dimittis sung by the complete breakdown of music at the Court in motet Herr, wenn ich nur dich habe, is a setting main choir doubled by cornetts and sagbutts. Schütz asks for as many trios as are available Dresden and throughout Protestant Saxony. of the text chosen by the prince for the funeral to be placed in the surrounding galleries; I placed three groups around the magnificent The Musikalische Exequien 6-8 (meaning sermon. It is from Psalm 73 and was sung at interior of St Augustine’s Kilburn with the main body of singers and brass in the centre. 'Funeral Music') is an unmistakable product the service by the choir of the local grammar Its resulting majesty and promise of hope is for you to witness in a spirit of exultation. of these war years. It was first performed school. That it is written for double choir at the funeral of the aristocrat Heinrich in eight parts [SATB/SATB] indicates the Posthumus Reuß in Gera (Saxony) in February expectation of musical education at that time. 1636. While Part I was composed during Part III 8 was sung at the act of interment. the Prince's lifetime, Parts II and III were While the main body of singers perform the probably composed just before the funeral 'Nunc dimittis': Herr, nun lässest du deinen itself, the texts having been chosen in advance Diener in Frieden fahren, one or more trios by the prince. Part I 6 is described by the representing angels (2 sopranos) and the soul composer as an 'anthem in the form of a of the departed (baritone) symbolise the 3 ascent into heaven, singing the words Selig to lighten the Gentiles'. hark back to similar devices found in much the advent of 'the kingdom, the power and sind die Toten, die in dem Herren sterben The two vocal settings for six-part earlier works, but here they give way to more the glory', and throughout the invocation (Blessed are the dead that die in the Lord), in ensemble pose something of a mystery 2+4. modern and fragmented vocal lines, ending 'Vater' is interjected as an emotionally unifying a spine-chilling intermingling of texts. The set of published parts tells us that they with a robust section in triple time to mark leitmotif. There is a valedictory note about most were written on the death of Elector Johann © Copyright Derek McCulloch of the music here presented. The Deutsches Georg I of Saxony in October 1656, and Magnificat 1 is the last work Schütz wrote published a year later. Schütz will have shed (1671), being described in one manuscript few tears over his demise, and the reason for source as his 'finale and swansong'. Nothing two similar choral settings [SSATTB] remains about the work betrays the composer's age. obscure. The missing 1st soprano part has had THE SIXTEEN The Symphony of It is a mature but vigorous setting of the text, to be reconstructed. For the period of Court Harmony and Invention again for two choirs [SATB/SATB] and basso mourning 'musical instruments and organs' continuo, with moments of utter melodic were silenced throughout Saxony, though the SOPRANO VIOLIN beauty. use of a discreet chamber organ to accompany Lisa Beckley, Libby Crabtree, Ruth Dean, David Woodcock, Miranda Fulleylove Apart from the final movement of the the voices seems to have been tacitly implied. Sally Dunkley, Rebecca Outram Musikalische Exequien Schütz composed at At all events a basso continuo line was Carolyn Sampson CELLO least three further German settings of the included in the printed parts. In both settings Jane Coe 'Nunc dimittis'. The solo setting for bass with a sombre opening gives way to agitation at ALTO 3 2 violins and continuo was included in the the word 'fahren' and the text declamation Andrew Giles, Michael Lees, CORNETT Symphoniae Sacrae II of 1647, a collection becomes characteristically syllabic, with Diana Moore*, Christopher Royall, Jeremy West, David Staff of solo motets with obligato instruments, frequent use of repeated notes, and the six Caroline Trevor, Robin Tyson* SAGBUTT normally 2 violins 'or the like'. In fact this parts are consistently arranged into answering Adam Woolf, Paul Nieman, particular work dates back to 1635 and was groups of three or four voices. TENOR dedicated to Schütz' friend and early mentor Anglican composers have not lavished James Gilchrist, Nicolas Robertson, Stephen Saunders Christoph Cornett shortly before his death much attention upon the Lord's Prayer. David Roy, Matthew Vine THEORBO in that year. As with all the 'Nunc dimittis' Schütz, however, composed two settings. The BASS Robin Jeffrey, David Miller settings, a lengthy melisma on the word more substantial of them 5 derives from 'fahren' (meaning to 'travel', rather than simply Symphoniae Sacrae III, published in 1650 as Jonathan Arnold*, Simon Birchall, HARP to 'depart' as in the Authorised Version) paints an update of the Psalms of David of 1619. Jonathan Brown*, Robert Evans, Siobhàn Armstrong the picture of a twisting and unpredictable The formal instrumentation again comprises Timothy Jones, Robert Macdonald, journey before rest is finally achieved. The 2 violins 'or the like', but further optional Michael McCarthy, Francis Steele* ORGAN violins partly imitate and partly intensify the 'compliments' of voices and/or instruments Paul Nicholson vocal line, and all break into joyous triple are included. The striking opening chordal *Musikalishe Exequien notation at the concluding promise of 'a light progressions on the word 'Vater' (Father) (Canticum B. Simeonis) only 4 5 Heinrich Schütz 1 Deutsches Magnificat SWV 494 Meine Seele erhebt den Herren, und mein My soul doth magnify the Lord, and my spirit Musikalische Exequien Geist freuet sich Gottes, meines Heliandes.
Load more

Recommended publications
  • 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).
    [Show full text]
  • Dichtung Und Musik Im Umkreis Der Kürbishütte Frank & Timme
    GREIFSWALDER BEITRÄGE ZUR MUSIKWISSENSCHAFT 22 Dichtung und Musik im Umkreis der Kürbishütte Königsberger Poeten und Komponisten des 17. Jahrhunderts Peter Tenhaef / Axel E. Walter (Hg.) Frank & Timme Verlag für wissenschaftliche Literatur Peter Tenhaef / Axel E. Walter (Hg.) Dichtung und Musik im Umkreis der Kürbishütte Greifswalder Beiträge zur Musikwissenschaft, Band 22 Herausgegeben von Martin Loeser, Ekkehard Ochs, Peter Tenhaef, Walter Werbeck, Lutz Winkler Peter Tenhaef / Axel E. Walter (Hg.) Dichtung und Musik im Umkreis der Kürbishütte Königsberger Poeten und Komponisten des 17. Jahrhunderts Verlag für wissenschaftliche Literatur Umschlagabbildung: Titelblatt Heinrich Albert, Musicalische Kürbs-Hütte, Königsberg 1645 ISBN 978-3-7329-0307-8 ISSN 0946-0942 © Frank & Timme GmbH Verlag für wissenschaftliche Literatur Berlin 2016. Alle Rechte vorbehalten. Das Werk einschließlich aller Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechts- gesetzes ist ohne Zustimmung des Verlags unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. Herstellung durch Frank & Timme GmbH, Wittelsbacherstraße 27a, 10707 Berlin. Printed in Germany. Gedruckt auf säurefreiem, alterungsbeständigem Papier. www.frank-timme.de Inhaltsverzeichnis Vorwort 7 Fréderíque Renno Peter Hagius – Königsberger Poet und Lehrer Simon Dachs 11 Sigita Barniškienė Isotopien in den Hochzeitsgedichten von Simon Dach 33 MĆra Grudule Simon Dachs Rezeption in der lettischen Kultur – Vom Kirchenlied bis zur sozialen Satire 45 Wladimir Gilmanov Das Geheimnis des Anagramms in der „verborgenen Theologie“ der Barockdichtung (am Beispiel des Königsberger Dichterkreises) 57 Axel E. Walter Christoph Wilkau – „ein unbekannter Auctor“ aus dem Umfeld der Kürbishütte. Mit einer Edition unbekannter Gedichte Simon Dachs 75 Jörg Robert Königsberger Genealogien.
    [Show full text]
  • FEST05 Lutheran Vespers.Indd
    the artists programme thursday august 3 at 1:00 pm | christ church cathedral Madeline Lucy Smith lutheran vespers: soprano songs for troubled times Shane Hanson countertenor Samuel Scheidt (1587-1654): Erik Kallo Tulerunt Dominum countertenor / tenor Taka Shimojima tenor Heinrich Schütz (1585-1672): Die mit Tränen säen Ian Bannerman tenor Johann Rudolph Ahle (1625-1673): O lux beata Trinitas Jacob Gramit bass with Johann Rudolph Ahle: Magnificat à 7 Ellen Marple Heinrich Schütz: Jeremy Berkman Herr nun lässest du deinen Diener Nathan Wilkes Alexander J. Fisher sackbuts Hans Leo Hassler (1564-1612): Pater Noster Christopher Bagan Johann Christoph Bach (1642-1703): organ Der Gerechte ob er gleich Johann Michael Bach (1648-1694): Ich weiß, daß mein Erlöser lebt Johann Hermann Schein (1586-1630): Da pacem Domine Andrea Gabrieli (1532-1585): Benedicam Dominum Pre-concert chat with host Matthew White at 12:15: Jacob Gramit THE UNAUTHORISED USE OF ANY VIDEO OR AUDIO RECORDING DEVICE IS STRICTLY PROHIBITED earlymusic.bc.ca Text Insert - Lutheran Vespers: Songs for Troubled Times Vancouver Bach Festival 2017 1 programme notes Between 1618 and 1648, Europe and Germany in particular were ravaged by the Thirty Years’ War. Following the Peace of Westphalia, the immediate conflicts were stayed, but the feelings of uncertainly remained, as they often do in the aftermath of a political upheaval. In the Lutheran church, the music for the evening Vespers service reflected this, praying for safety as the light of day turned into the uncertainty and potential danger of night. In a concert rather than a liturgical context, today’s programme samples music that could have been found in the context of that service.
    [Show full text]
  • Magnificat JS Bach
    Whitehall Choir London Baroque Sinfonia Magnificat JS Bach Conductor Paul Spicer SOPRANO Alice Privett MEZZO-SOPRANO Olivia Warburton TENOR Bradley Smith BASS Sam Queen 24 November 2014, 7. 30pm St John’s Smith Square, London SW1P 3HA In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt. Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert the restaurant is open for licensed refreshments. Box Office Tel: 020 7222 1061 www.sjss.org.uk/ St John’s Smith Square Charitable Trust, registered charity no: 1045390. Registered in England. Company no: 3028678. ACKNOWLEDGEMENTS The Choir is very grateful for the support it continues to receive from the Department for Business, Innovation and Skills (BIS). The Choir would like to thank Philip Pratley, the Concert Manager, and all tonight’s volunteer helpers. We are grateful to Hertfordshire Libraries’ Performing Arts service for the supply of hire music used in this concert. The image on the front of the programme is from a photograph taken by choir member Ruth Eastman of the Madonna fresco in the Papal Palace in Avignon. WHITEHALL CHOIR - FORTHCOMING EVENTS (For further details visit www.whitehallchoir.org.uk.) Tuesday, 16
    [Show full text]
  • 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.
    [Show full text]
  • ISBN 978-3-7995-0510-9 Musik In
    Sonderdruck aus: Michael Fischer, Norbert Haag, Gabriele Haug-Moritz (Hgg.) MUSIK IN NEUZEITLICHEN KONFESSIONS KULTUREN (16. BIS 19. JAHRHUNDERT) Räume – Medien – Funktionen Jan Thorbecke Verlag 005109_sonderdruck.indd5109_sonderdruck.indd 1 227.01.147.01.14 111:471:47 Gedruckt mit Unterstützung der Geisteswissenschaftlichen Fakultät und des Vizerektorats für Forschung und Nachwuchsförderung der Karl-Franzens-Universität Graz Gedruckt mit Unterstützung des Deutschen Volksliedarchivs in Freiburg Gedruckt mit Unterstützung des Evangelischen Oberkirchenrats Stuttgart sowie des Vereins für württembergische Kirchengeschichte. Für die Schwabenverlag AG ist Nachhaltigkeit ein wichtiger Maßstab ihres Handelns. Wir achten daher auf den Einsatz umweltschonender Ressourcen und Materialien. Dieses Buch wurde auf FSC®-zertifiziertem Papier gedruckt. FSC (Forest Stewardship Council®) ist eine nicht staatliche, gemeinnützige Organisation, die sich für eine ökologische und sozial verantwortliche Nutzung der Wälder unserer Erde einsetzt. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen National- bibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.d-nb.de abrufbar. Alle Rechte vorbehalten © 2014 Jan Thorbecke Verlag der Schwabenverlag AG, Ostfildern www.thorbecke.de Umschlaggestaltung: Finken & Bumiller, Stuttgart Umschlagabbildung: Stahlstich Eine feste Burg ist unser Gott von H. Gugeler (Gesangbuch für die evangelische Kirche in Württemberg,
    [Show full text]
  • Concordia Theological Quarterly
    CONCORDIA THEOLOGICAL QUARTERLY Volume 84:1–2 January/April 2020 Table of Contents Christology as Basis for Lutheran Theology Aaron M. Moldenhauer ................................................................................... 3 Double Truth? Daniel Hofmann and the Discussion on the Relation of Theology and Philosophy Roland F. Ziegler ............................................................................................ 23 Illumination, Healing, and Redirection: A Lutheran Philosophy of Reason Angus Menuge ................................................................................................ 39 The Challenge of Karl Barth’s Doctrine of the Word of God Jack D. Kilcrease ............................................................................................. 59 Luther on the Fulfillment of the Law: Five Theses for Contemporary Luther Studies Brian T. German ............................................................................................. 83 Fellowship in Its Necessary Context: The Doctrine of the Church and the Overseas Theses of 1961 Jonathan G. Lange ........................................................................................ 101 Praying the Psalms with Jesus and His Body Thomas M. Winger ...................................................................................... 119 Contraception: An Embryo’s Point of View Donna J. Harrison ........................................................................................ 137 Theological Observer ................................................................................................
    [Show full text]
  • Vox Luminis Lionel Meunier, Founder and Artistic Director THU / OCT 11 / 7:30 PM
    Vox Luminis Lionel Meunier, Founder and Artistic Director THU / OCT 11 / 7:30 PM Zsuzsi Tóth SOPRANO Stefanie True SOPRANO Caroline Weynants SOPRANO Victoria Cassano SOPRANO Alexander Chance ALTO Jan Kullmann ALTO Robert Buckland TENOR Philippe Froeliger TENOR Olivier Berten TENOR David Lee TENOR Sebastian Myrus BASS Lionel Meunier BASS & ARTISTIC DIRECTOR Anthony Romaniuk ORGAN Ricardo Rodríguez Miranda VIOLA DA GAMBA PERFORMANCES MAGAZINE 8 ABOUT THE PROGRAM PROGRAM Martin Luther (1483-1546) “Music for farewell” Mit Fried und Freud ich fahr dahin The hymn Mit Fried und Freud ich fahr dahin (“In peace and joy Martin Luther (1483-1546) I now depart”) by Martin Luther is a paraphrase in German of Mit Fried und Freud ich fahr dahin (verses 1 & 4) the Latin “Nunc dimitis,” which is the canticle of Simeon. Luther created the text and melody in 1524, and it was first published in the same year. It has been used for funerals and appears in Schütz’ Heinrich Schütz (1585-1672) Musikalische Exequien and Bach’s chorale cantata Mit Fried und Musikalische Exequien, "Funeral Mass", Op. 7 Freud ich fahr dahin, BWV 125. Concert in Form einer teutschen Begräbnis-Missa SWV 279 Heinrich Schütz (1585-1672) Motette: Herr, wenn ich nur Musikalische Exequien, “Funeral Mass”, Op. 7 dich habe SWV 280 Heinrich Schütz, the greatest German composer of the 17th Canticum B. Simeonis: Herr, nun lässest du century, belonged to a prominent bourgeois family. Facile in deinen Diener in Friede fahren SWV 281 many languages, Schütz also showed an early gift for music. The Landgrave Moritz, who was a distinguished musical amateur, INTERMISSION heard him sing in 1598, and was so impressed that he invited him to his court in Kassel, where Schütz would attend the Collegium Mauritianum, a school for local nobles.
    [Show full text]
  • Christian Education in the Seventh-Day Adventist Church in Remo, Ogun State, Nigeria, 1959-2004
    CHRISTIAN EDUCATION IN THE SEVENTH-DAY ADVENTIST CHURCH IN REMO, OGUN STATE, NIGERIA, 1959-2004 BY ADESEGUN, ABIODUN AYODEJI B.A. (Andrews), M.A. (Ibadan) MATRIC NO 40172 A THESIS IN THE DEPARTMENT OF RELIGIOUS STUDIES, SUBMITTED TO THE FACULTY OF ARTS IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY, UNIVERSITY OF IBADAN, IBADAN, NIGERIA FEBRUARY, 2009 DEDICATION To the glory of God, and to my darling wife, Mrs.Olubusola Iretiola Adesegun, Chief Nursing Officer, Olabisi Onabanjo University Teaching Hospital, Sagamu, a pearl of inestimable value. ii CERTIFICATION I certify that this work was carried out by Mr. Abiodun Ayodeji ADESEGUN, under my direct supervision in the Department of Religious Studies, Faculty of Arts, University of Ibadan, Ibadan in Partial Fulfillment for the award of the degree of Doctor of Philosophy in Religious Studies …………………………… …………………………… Date Supervisor ‘Deji Ayegboyin B.A. Hons, (Legon), M.A. (Ibadan), Ph.D (Ibadan) iii ACKNOWLEDGMENTS I wish to express my profound gratitude to the triune God who gave me the grace, health and the means of sustenance with which I was able to undertake doctoral studies. He has intervened in my life in positive ways in years past and He has shown Himself as a reliable and present help in time of need. I am grateful and deeply indebted to my supervisor, Dr. ‘Deji Ayegboyin, an erudite intellectual and a humble and loving son of Africa who through sound scholarship, patience, and experience guided me through. In spite of his loaded academic schedule, he treated me and my colleagues in a thorough and personal way.
    [Show full text]
  • May 2 Order of Worship
    FIRST BAPTIST CHURCH Historic | Liturgical | Vibrant FIFTH SUNDAY OF EASTERTIDE May 2, 2021 at 11:00 am WE GATHER TO PRAISE GOD Music Notes CHIMING OF THE HOUR Much of the music used in today’s worship service will be excerpts from “Der WELCOME Rev. Katie Callaway & Rev. John Callaway Himmel lacht! Die Erde jubilieret” (Heaven Laughs! Earth Exults) by INVOCATION Johann Sebastian Bach. This work is Bach’s 31st PRELUDE - “Sonata” from Cantata No. 31 by Johann Sebastian Bach church cantata and was North Carolina Baroque Orchestra written for the first day of the Easter season. It was first performed in CALL TO WORSHIP - Psalm 22:25-31 Ellen Davis, Lay Reader Weimar, Germany, on April 21, 1715 and later HYMN - “Christ Is Risen, Shout Hosanna” Tune: HYMN TO JOY reworked for performances in Leipzig. The work is scored for five Christ is risen! Shout hosanna! part choir, large Celebrate this day of days! orchestra, and soprano, tenor, and bass soloists. Christ is risen! Hush in wonder: All creation is amazed. In the desert all surrounding, Guest Musicians See, a spreading tree has grown. Healing leaves of grace abounding Today we welcome the Bring a taste of love unknown. choir of Wake Forest University from Winston Salem, NC. They are Christ is risen! Raise your spirits under the direction of Dr. From the caverns of despair. Christopher Gilliam and Walk with gladness in the morning. accompanied by the North See what love can do and dare. Carolina Baroque Orchestra. The choral Drink the wine of resurrection, program at Wake Not a servant, but a friend.
    [Show full text]
  • Musicalische Exequien
    BERNVOCAL Leitung: Fritz Krämer bernvocal.ch Heinrich Schütz (1 585–1 672) Musicalische Exequien PROGRAMM Fr 1 3.1 1 .201 5 20.00 Bern, Nydeggkirche Sa 1 4.1 1 .201 5 20.00 Biel, Stadtkirche So 1 5.1 1 .201 5 1 7.00 Fribourg, Couvent des Capucins PRO G RAM M Herr, nun lässest du deinen Diener in Frieden fahren SWV 432 LUKAS 2, 29–32 Das ist je gewisslich wahr SWV 277 1 . TIMOTHEUS 1 , 1 5 Unser Wandel ist im Himmel SWV 390 PHILIPPER 3, 20–21 Herzlich lieb hab ich dich, o Herr SWV 387 [MARTIN SCHALLING] Gutes und Barmherzigkeit werden mir folgen SWV 95 PSALM 23, 6 Michael Praetorius (1 571 –1 621 ): Ballet (aus Terpsichore) Musicalische Exequien I. Konzert in Form einer deutschen Begräbnis-Missa SWV 279 Nacket bin ich von Mutterleibe kommen HIOB 1 , 21 Nacket werde ich wiederum dahin fahren HIOB 1 , 21 Herr Gott, Vater im Himmel [KYRIE I] Christus ist mein Leben PHILIPPER 1 , 21 ; JOHANNES 1 , 29 Jesu Christe, Gottes Sohn [CHRISTE] Leben wir, so leben wir dem Herren RÖMER 1 4, 8 Herr Gott, heiliger Geist [KYRIE II] Also hat Gott die Welt geliebt JOHANNES 3, 1 6 Auf dass alle, die an ihn gläuben JOHANNES 3, 1 6 Er sprach zu seinem lieben Sohn [MARTIN LUTHER 1 523] Das Blut Jesu Christi 1 . JOHANNES 1 , 7 Durch ihn ist uns vergeben [LUDWIG HELMBOLD 1 575] Unser Wandel ist im Himmel PHILIPPER 3, 20–21 Es ist allhier ein Jammertal [JOHANN LEON 1 592–98] Wenn eure Sünde gleich blutrot wäre JESAJA 1 , 1 8 Sein Wort, sein Tauf, sein Nachtmahl [LUDWIG HEMBOLD 1 575] Gehe hin, mein Volk JESAJA 26, 20 Der Gerechten Seelen sind in Gottes Hand WEISHEIT 3, 1 –3 Herr, wenn ich nur dich habe PSALM 73, 25 Wenn mir gleich Leib und Seele verschmacht PSALM 73, 26 Er ist das Heil und selig Licht [MARTIN LUTHER 1 524] Unser Leben währet siebenzig Jahr PSALM 90, 1 0 Ach, wie elend [JOHANNES GIGAS 1 566] Ich weiss, dass mein Erlöser lebt HIOB 1 9, 25–26 Weil du vom Tod erstanden bist [NIKOLAUS HERMAN 1 560] Herr, ich lasse dich nicht 1 .
    [Show full text]
  • T. Koopman & Amsterdam Baroque Orchestra & Choir (Erato/Antoine Marchand, 3-CD)
    .. Nikolaikirche.leipzig. Photo, Thierry Cohen. Johann Sebastian Bach(1685-1750) COMPLETECANTATAS.L'INTEGRALEDESCANTATES DASKANTATENWERK VOLUME 10 Caroline Starn soprano MichaelChance alto PaulAgnew tenor KlausMertens bass The Amsterdam Baroque Orchestra & Choir TON KOOPMAN Pagel COMPACT DISC 1 76'52 Seite "Preise, Jerusalem, den Herrn" BWV119 22'41 Serviceafter the electionofthe leipzigCityCouncil,'7z3 Officeapres leselectionsdu Conseilde leipzig,'7z3 Gottesdienstanla&lichderleipzigerRatswahl,17Z3 Text:authorunknown soli, choir, oboe, oboes do caccia, recorders, trumpets, bassoon, timpani, violins, violas, cellos, basso continuo Chorus: "Preise, Jerusalem, den Herrn" 5'04 [43] Recitative (Tenor): "Gesegnet Land!" ,,6 [43] 3 Aria (Tenor): "Wohl dir, du Volk der Linden" 4"4 [43] 4 Recitative (Bass): "So herrlich stehst du, liebe Stadt!" 138 [45] s Aria (Alto): "Die Obrigkeit ist Gottes Gabe" 2'38 [45] 6 Recitative (Soprano): "Nun! wir erkennen es und bringen dir" 0'45 [45] 7 Chorus: "Der Herr hat Guts an uns getan" 5'33 [47] 8 Recitative (Alto): "Zuletzt!" 0'32 [47] 9 Chorale:"Hilf deinem Volk, Herr Jesu Christ" 0'58 [47] "Ein Herz, das seinen Jesum Iebend weiB" BWV134 25'16 EasterTuesday'mardide Paques. 3-Ostertag Text:authorunknown soli, choir, oboes, bassoon, violins, violas, cellos, basso continuo 10 Recitative (Tenor, Alto): "Ein Herz, das seinen Jesum lebend weiB" 0'4' [47] 11 Aria (Tenor): "Auf.Glaubige, singet die lieblichen Lieder" 5'42 [49] 12 Recitative (dialogue: Tenor, Alto): "Wohl dir, Gott hat an dich gedacht" 2'08 [49]
    [Show full text]