DOCSLIB.ORG

Hieronymus PRAETORIUS 8’51 Deutsches Magnifi Die Sakramente Die Deutsche Messe Deutsche (1585-1672) CD II Cat 5’00

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Hieronymus PRAETORIUS 8’51 Deutsches Magnifi Die Sakramente Die Deutsche Messe Deutsche (1585-1672) CD II Cat 5’00 MENU — TRACKLIST P. 4 ENGLISH P. 12 FRANÇAIS P. 46 DEUTSCH P. 80 SUNG TEXTS P. 116 2 Recordings: Gedinne, église Notre-Dame, May 2016 (Voices with great organ) Stavelot, Espace culturel des Capucins, August 2016 (Voices a capella or with positive organ) Ciboure, église Saint-Vincent (Organworks) Artistic direction, recording & editing: Jérôme Lejeune EIN FESTE BURG IST UNSER GOTT LUTHER AND THE MUSIC OF THE REFORMATION __ 3 VOX LUMINIS Lionel MEUNIER: artistic direction Victoria Cassano, Amélie Renglet, Zsuzsi Tóth, Stefanie True Caroline Weynants & Kristen Witmer: sopranos Barnabás Hegyi & Jan Kullmann: countertenors Olivier Berten, Robert Buckland, Philippe Froeliger & Pieter De Moor: tenors Matthias Lutze, Lionel Meunier & Sebastian Myrus: basses Bart JACOBS: organ CD I Das Kirchenjahr TEXTS 1. Praeambulum in d *** 3’07 Heinrich SCHEIDEMANN (c. 1595-1663) DE SUNG Advent 2. Nun komm der Heiden Heiland * 4’29 Michael ALTENBURG FR ZT ‒ ST ‒ BH ‒ OB ‒ RB ‒ ML (Solo) (1584-1640) CW ‒ VC ‒ JK ‒ PF ‒ SM ‒ LM (Tutti) Weihnacht 3. Freude, Freude, große Freude * 6’02 Andreas MENU EN HAMMERSCHMIDT 4 ZT ‒ ST ‒ JK ‒ PF ‒ RB ‒ LM (Solo) (c. 1611-1675) CW ‒ VC ‒ BH ‒ OB ‒ SM ‒ ML (Tutti) 4. Puer natus in Bethlehem *** 4’22 Paul SIEFERT (1586-1666) 5. Es ist ein Ros’ entsprungen * 2’41 Michael PRAETORIUS PF (Solo) (1571-1621) ZT ‒ JK ‒ PF ‒ SM Neujahr 6. Das alte Jahr vergangen ist * 5’51 Samuel SCHEIDT Chorus I: ZT ‒ JK ‒ PF ‒ LM (1587-1654) Chorus II: CW ‒ BH ‒ OB ‒ ML 7. O Jesulein, mein Jesulein * 2’44 Johann Hermann SCHEIN ZT & CW (1586-1630) Canticum Simeonis 8. Herre, nun lässt du deinen Diener 3’02 Michael PRAETORIUS in Frieden fahren * (1571-1621) ZT ‒ ST ‒ VC ‒ JK ‒ PF ‒ SM ‒ LM Passion 9. Lass mich dein sein und bleiben *** 2’20 Delphin STRUNGK (c. 1601-1694) 10. O Mensch, bewein dein Sünde groß ** 2’53 Caspar OTHMAYR ZT ‒ KW ‒ VC‒ BH ‒ OB ‒ PF ‒ SM ‒ LM (1515-1553) 5 Auferstehung 11. Christ lag in Todesbanden * 4’46 Samuel SCHEIDT Chorus I: ZT ‒ BH ‒ PF ‒ SM (1587-1654) Chorus II: VC ‒ JK ‒ OB ‒ LM 12. Christ ist erstanden *** 1’45 Samuel SCHEIDT Chorus I: ZT ‒ BH ‒ PF ‒SM (1587-1654) Chorus II: VC ‒ JK ‒ RB ‒ LM Himmelfahrt 13. Ascendo ad patrem meum * 3’39 Samuel SCHEIDT Chorus I: ZT ‒ BH ‒ PF ‒ SM (1587-1654) Chorus II: VC ‒ JK ‒ RB ‒ LM Pfi ngsfest 14. Veni Sancte Spiritus * 7’53 Th omas SELLE Chorus I: ZT ‒ ST ‒ BH ‒ SM (1599-1663) Chorus II: CW ‒ VC ‒ OB ‒ LM Chorus III: JK ‒ PF ‒ RB ‒ ML Trinitatis 15. Der du bist drei in Einigkeit 3’01 Bartholomäeus GESIUS VC ‒ KW ‒ BH 6 (1555 / 1562-1613) Ein feste Burg ist unser Gott 16. Ein feste Burg ist unser Gott * 1’10 Melchior FRANCK ZT ‒ ST ‒ CW ‒ VC ‒ BH ‒ JK ‒ OB ‒ RB ‒ PF ‒ SM ‒ LM (c. 1579-1639) 17. Ein feste Burg ist unser Gott (Fantasie) *** 11’05 Michael PRAETORIUS (1571-1621) Basso ad organum: * Bart Jacobs: Th omas organ (Gedinne, église Notre-Dame de la Nativité) ** Haru Kitamika: positive organ (Étienne Debaisieux) Organ works: *** Bart Jacobs :Th omas organ (Ciboure, église Saint-Vincent) CD II Deutsches Magnifi cat 1. Meine Seele erhebt den Herren * 7’23 Heinrich SCHÜTZ Chorus I: ZT ‒ BH ‒ OB ‒ SM (1585-1672) Chorus II: ST ‒ JK ‒ RB ‒ LM Deutsche Messe Missa super Christ unser Herr * Christoph BERNHARD Chorus I: ZT & AR ‒ ST & VC ‒ BH (1628-1692) Chorus II: JK ‒ OB & PF ‒ SM & LM 2. Kyrie 3’03 3. Gloria 5’00 7 Die Sakramente 4. Christ unser Herr zum Jordan kam 8’51 Hieronymus PRAETORIUS (Fantaisie) *** (1560-1629) 5. Aus tiefer Not ** 3’33 Heinrich SCHÜTZ ZT & KW ‒ VC & BH ‒ OB & PF ‒ SM & LM (1585-1672) 6. Jesus Christus unser Heiland *** 5’08 Johann STEFFENS (1560-1616) Deutsche Passion Die deutsche Passion nach Johannes ** Joachim a BURCK Evangelist: ZT ‒ JK ‒ PF ‒ LM (1546-1610) Colloquentes: KW ‒ BH ‒ OB ‒ SM 7. Erster Teil 4’53 8. Zweiter Teil 6’06 9. Dritter Teil 6’43 10. Da Jesus an dem Kreuze stund *** 1’17 Samuel SCHEIDT (1587-1654) Das Domga 11. Dies sind die heiligen zehn Gebot (v. 1) ** 2’21 Johann Hermann SCHEIN ZT & KW (1586-1630) 8 12. Dies sind die heiligen zehn Gebot (v. 12) 0’39 Martin LUTHER ZT ‒ KW ‒ VC‒ OB ‒ PF ‒ SM (1483-1546) 13. Wir glauben all an einen Gott ** 3’15 Johann WALTER ZT ‒ VC ‒ PF ‒ OB ‒ SM ‒ LM (1496-1570) 14. Vater unser der du bist im Himmel ** 3’18 Balthasar RESINARIUS ZT & KW ‒ VC & BH ‒ OB & PF ‒ SM & LM (c. 1485-1544) Deutsches Requiem 15. Die mit Tränen säen * 3’43 Th omas SELLE Chorus I: ZT ‒ BH ‒ PDM ‒ OB ‒ SM (1599-1663) Chorus II: ST ‒ JK ‒ PF ‒ RB ‒ LM 16. Wie lieblich sind deine Wohnungen * 3’09 Andreas HAMMERSCHMIDT Chorus I: ZT & AR ‒ ST & VC ‒ BH (c. 1611-1675) Chorus II: JK ‒ OB & PF ‒ SM & LM TEXTS 17. Selig sind die Toten * 4’15 Heinrich SCHÜTZ Chorus I: ZT ‒ ST ‒ JK ‒ PF ‒ RB ‒ ML (1585-1672) DE SUNG Chorus II: CW ‒ VC ‒ BH ‒ OB ‒ SM ‒ LM FR In memoriam Martin Luther 18. Ich ruf zu dir, Herr Jesu Christ *** 1’19 Samuel SCHEIDT (1587-1654) 19. Mein himmlischer Vater ** 5’29 Caspar OTHMAYR ZT ‒ BH ‒ PF ‒ OB & SM ‒ LM (1515-1553) MENU EN 9 Basso ad organum: * Bart Jacobs: Th omas-organ (Gedinne, église Notre-Dame de la Nativité) ** Haru Kitamika: positive organ (Étienne Debaisieux) Organ works: *** Bart Jacobs: Th omas-organ (Ciboure, église Saint-Vincent) 10 11 12 MENU FR DE SUNG TEXTS REFORMATION THE OF THE MUSIC ANDLUTHER Song is prayer redoubled Martin Luther Th e man whom music historians would come to consider as the most important composer that Germany was to give to the Protestant rite was born in Eisenach on 21 March, the fi rst day of spring, 1685. Louis XIV signed the Edict of Fontainebleau a few months later on 18 October; this abolished the Edict of Nantes that Henri IV had promulgated in 1598 and curtailed the freedoms that the Huguenots had earlier been granted. Th is, although a coincidence, is highly signifi cant in that the resulting exodus of French Protestants to Germany was to play a considerable role in Johann Sebastian Bach’s musical development. Our choice of such an observation as the starting point for this essay is not, however, coincidental. After having steadfastly proclaimed his convictions before the Diet of Worms in April 1521, Martin Luther knew that he would be prosecuted and that anyone who might agree to protect him would also be condemned. Th e safe-conduct that Emperor Charles V had granted him so that he might come to Worms was only valid for a short time and was in any case invalidated by the publication of the Edict that 13 transformed the Diet’s deliberations into law. Frederick the Wise, the Elector of Saxony, then gave Luther sanctuary in his castle in Wartburg under cover of Luther’s supposed kidnapping; the castle happens to stand on a hill that directly overlooks the town of Eisenach! Luther made good use of his time there by writing several important works and by beginning his German translation of the New Testament. Th uringia and a large part of central and northern Germany had become for the most part Protestant by the time that Johann Sebastian Bach was born a little more than one hundred and fi fty years later. Th e horrors of the Th irty Years’ War were, however, still very much in people’s minds. A primary cause of the war had been religious tension and, although the Treaty of Westphalia had eff ectively ended it, the war had involved almost every country in Europe and its chief battleground had been central Germany itself. Th e memory of its horrors was not to be erased in a few short years: even though religious faith was clearly one of the main remedies for the suff ering the war had caused, the music that accompanied it presents us with a tender and moving image of this faith even today. Luther may not have realised the strength of that music at that time, but he did well to make sure that song would play a leading part in the organisation of the various religious services and in Protestant spiritual life in general. Luther and the Reformation Born in Eisleben in Th uringia in 1483, Martin Luther could have easily enjoyed a peaceful life, one divided between monastic life (he had entered an Augustinian monastery in 1505) and a university career. Th is, however, was not to be. A period spent in Rome in 1510 perhaps provided the foundation for all his doubts about the Catholic church and its conception of faith and its behaviour, given that the 14 church presented itself in the world as if it were a political and economical power. Th e Reformation had its origins in the university of Wittenberg, founded by Frederick the Wise, Elector of Saxony, at the beginning of the 16th century and where Luther was a professor. Luther was not alone there, for he had been joined by various colleagues who would also come to play important roles in the spreading of the Reformation; these included Philipp Melanchthon and Georg Burckardt, alias Spalatin, an advisor to Frederick the Wise. Luther attacked the Church on several points: he fi rst discussed the very basics of the Christian faith, stating that the Church should return to the Bible, its fundamental source, and cleanse it of all the interpretations that had accrued to it over the centuries.
Load more

Recommended publications
  • Document Cover Page
    A Conductor’s Guide and a New Edition of Christoph Graupner's Wo Gehet Jesus Hin?, GWV 1119/39 Item Type text; Electronic Dissertation Authors Seal, Kevin Michael Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction, presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 09/10/2021 06:03:50 Link to Item http://hdl.handle.net/10150/645781 A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN?, GWV 1119/39 by Kevin M. Seal __________________________ Copyright © Kevin M. Seal 2020 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2020 2 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Doctor of Musical Arts Document Committee, we certify that we have read the document prepared by: Kevin Michael Seal titled: A CONDUCTOR'S GUIDE AND A NEW EDITION OF CHRISTOPH GRAUPNER'S WO GEHET JESUS HIN, GWV 1119/39 and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 7, 2020 Bruce Chamberlain _________________________________________________________________ Date: ____________Aug 3, 2020 John T Brobeck _________________________________________________________________ Date: ____________Aug 7, 2020 Rex A. Woods Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.
    [Show full text]
  • Program-For-Website.Pdf
    Buon Natale Laudate Singers & Baroque Chamber Orchestra Lars Kaario, Conductor Livestream December 13, 2020 * Pre-Concert Music – see next page for detail Magnificat, RV610 Antonio Vivaldi 1678-1741 1. Magnificat Chorus 2. Et exultavit Soprano, alto, tenor & chorus Soloists – Elizabeth, Monica, Kilian 3. Et misericordia eius Chorus 4. Fecit potentiam Chorus 5. Deposuit potentes Chorus 6. Esurientes Soprano duet – Laurel & Elizabeth 7. Suscepit Israel Chorus 8. Sicut locutus est Chorus 9. Gloria Patri Chorus Soprano: Laurel Curley, Laura Kaario, Elizabeth Petersen Alto: Alana Davies, Monica Teng Tenor: Kilian Benson, Nathan Kaleta Bass: Alec Faris, Preston Lee 20-MINUTE INTERLUDE see next page for detail Gloria in D major, RV589 Antonio Vivaldi 1678-1741 1. Gloria in excelsis Chorus 2. Et in terra pax Chorus 3. Laudamus te Soprano duet – Cassie & Isabella 4. Gratias agimus tibi Chorus 5. Propter magnam gloriam tuam Chorus 6. Domine Deus Soprano aria – Cassie 7. Domine Fili unigenite Chorus 8. Domine Deus, Agnus Dei Alto (Jessica) and Chorus 9. Qui tollis peccata mundi Chorus 10. Qui sedes ad dexteram Patris Alto aria – Maria 11. Quoniam tu solus sanctus Chorus 12. Cum Sancto Spiritu Chorus Soprano: Cassie Karvonen, Isabella Kershaw Alto: Jessica De Gaust, Maria Golas Tenor: Kilian Benson, Nathan Kaleta Bass: Nick Ainsworth, Andrew Wilson Instrumentalists Nancy DiNovo, violin Andrea Siradze, violin Sarah Kwok, viola Brian Mix, cello Marea Chernoff, oboe Mark D’Angelo, trumpet Michael Molnar, organ *Post-Concert Music – see next page for detail 2 Please enjoy music from our previous recordings before the concert begins, during the 20-minute interlude while the venue’s air is exchanged for musicians’ safety, and at the end of the concert.
    [Show full text]
  • A BAROQUE CHRISTMAS Australian Chamber Choir Directed by Douglas Lawrence OAM Elizabeth Anderson — Organ
    A BAROQUE CHRISTMAS Australian Chamber Choir Directed by Douglas Lawrence OAM Elizabeth Anderson — organ St Mary’s Cathedral Crypt Sydney Sat 24 November 2:30pm Church of the Resurrection Macedon Sat 1 December 3:00pm St Mary of the Angels Geelong Sun 2 December 3:00pm St Andrew’s Brighton Sun 8 December 3:00pm Our Lady of Mount Carmel Middle Park Sun 9 December 3:00pm PROGRAM NOTES HALLELUJA, FREUET EUCH IHR CHRISTEN ALLE ALLELUIA, REJOICE YOU CHRISTIANS ALL — Andreas Hammerschmidt Born in Brüx, Germany (now Most, Czech Republic), December 1611; died in Zittau, Germany, 29 October 1675. German-American musicologist Manfred Bukofzer (Music in the Baroque Era, 1947) accused Hammerschmidt of having ‘watered down the achievements of Schütz for the multitude.’ Yet this composer gained much more respect in his own time – including from Schütz himself, who wrote an enthusiastic preface to one of Hammerschmidt’s half-dozen sacred music publications – than Bukofzer’s rather haughty verdict on him would lead one to suppose. Hammerschmidt served as organist in the main Lutheran church of Zittau, near the Polish border, from 1639 until 1671, when his health broke down. (His tombstone calls him ‘the Orpheus of Zittau.’) Despite his organ-playing role, he left no original pieces for his instrument, preferring to concentrate on choral repertoire. The lively, succinct motet in today’s concert, dating from 1646, sets a text by 17th century German poet, Christian Kiemann. With verses sung by a trio of menʼs voices and an SATB reprise, in recent years this has become easily his most popular composition.
    [Show full text]
  • For the Degree of MASTER of MUSIC by Richard Highfill, B. Mus. Memphis, Texas August, 1952
    /V$1 THE HISTORY OF THE TROMBONE FROM THE RENAISSANCE TO THE EARLY ROdANTIC PERIOD THESIS Presented to the Graduate Counci. of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC by 211818 Richard Highfill, B. Mus. Memphis, Texas August, 1952 211818 PREFACE The purpose of this thesis is to show the development of the trombone, in form and music, and its use in the orches- tra through the times of Beethoven and Schubert. Since very little material has been presented concerning the history of the trombone, it is hoped that the illustrations and explana- tions contained herein will be a contribution toward a repre- sentation of music from different composers and periods. The music covered gives a picture of the use of the trombone from the Renaissance through to the beginning of the Romantic Period. The results of this study are presented in three main sections: (1) The history of the trombone in the Renais- sance; (2) The history of the trombone in the Baroque; (3) The history of the trombone in the Classical Period, and up to the time of Schubert. In the first section, the trombone is described in its original form and illustrations show its use in the music of the Renaissance. The use of the trombone in the Baroque era, and its place in the various forms of sacred and secular music are presented in the second section. The third section is concerned mainly with the further development of the trombone in orchestral literature, iii culminating with the introduction and establishment of the instrument in the symphony.
    [Show full text]
  • Programm Herbst / Autumn 2021
    Programm Herbst / Autumn 2021 – Excellence in Choral Music Contents · INHALTSVERZEICHNIS Große Werke in kleiner Besetzung 4 Carus-Verlag GmbH & Co. KG Great choral works in small scorings Sielminger Straße 51 70771 Leinfelden-Echterdingen, Germany Chor & Orgel 5 Tel.: +49 (0)711 797 330-0 Choir & Organ Fax: +49 (0)711 797 330-29 [email protected] Urtext-Ausgaben 7 www.carus-verlag.com Urtext Editions Kontakt / Contact Chormusik 18 Kundenservice und Bestellungen Choral music Customer service and orders Cornelia Sigel (Teamleitung), Karen Priebe, Ulla Sachse, Gisela Kinder- und Jugendchor 20 Schlecht, Susanne Weiler Children's and youth choir Tel. / : +49 (0)711 797 330-0 [email protected] Orgel 22 Organ Vertrieb / Sales Marit Ketelsen (in Elternzeit bis September 2021)) Gesamt- und Auswahlausgaben 25 Iris Pfeiffer (Leitung kommissarisch) Complete editions and Selected Works Tel.: +49 (0)711 797 330-13 [email protected] Musikbücher 26 Karen Priebe CD 28 Tel.: +49 (0)711 797 330-12 [email protected] Carus Choir Coach 29 Dr. Reiner Leister Tel.: +49 (0)711 797 330-214 [email protected] Kommunikation / Communication Marion Beyer Tel.: +49 (0)711-797 330-237 Die Auslieferung unserer digitalen No- [email protected] tenausgaben sowie der Übehilfen Ca- rus Choir Coach (digital) erfolgt über Presse / Press die offizielle Datenplattform der Mu- Miriam Wolf sikverlagsbranche IDNV / AODP. Tel.: +49 (0)711-797 330-217 Mehr Infos zu diesem Angebot finden [email protected] Sie unter www.idnv.net. Für Fragen zum Verkauf der digitalen Notenaus- gaben von Carus kontaktieren Sie bit- Preisänderungen, Irrtum und te die Kolleg*innen im Vertrieb.
    [Show full text]
  • INHALT DES ZWEITEN BANDES Nr
    INHALT DES ZWEITEN BANDES Nr. 121-200 r. ~ ~~ t t Nr, Texte..r~h.n.g .;,ummcnzanl Komponist Advent 121. Gelobet sei Israels Gott . 4 . johann Crüger 122. Hod!gelobet seist du jesu Christe Gom Sohn 2 . Ernst Pepping 123. Vom Olberge zeucht daher ·..... 4 . Joachim a Burck 124. Aus hartem Weh die Menschheit klagt 2-4. Ernst Pepping 125. Gott heilger Schöpfer aller Stern 3 Guillaume Dufay 126. Gelobet sei der König groß . 4 Michael Praetorius 127. Und unser lieben Frauen ... 3 . Ernst Pepping 128. Maria durch ein Dornwald ging 6 Heinrich Kaminski Weibnachren 129. In dulci iubilo ...... 8 Leonhard Schröter 130. Hört zu und seid getrost nun . 4 Leonhard Schröter 131. Christum wir sollen loben schon 4 . Ernst Pepping 132. Christe redemptor omnium . 4 Giov. P. da Palestrina Christe Erlöser aller Welt . 133. Hört zu ihr lieben Leute . 5 Michael Praetorius IH. Universi populi . 4 Michael Praetorius Fröhlich seid all Christenleut 135. In Bethlchem ein Kindelein . 4 Michael Praetorius 136. Ein Kind geborn zu Bethlehem 2~. Michael Practorius Puer natus in Bethlehem . 137. Uns ist ein Kind geboren . 6 . johann Stobäus 138. Aus des Vaters Herz ist gboren 4 . Kurt H essenberg ll9. Zu Bethlehem geboren . 3-4 . Ernst Pcpping Neujahr 140. jesu du zartes Kindelein . 5 Melchior Franck 141. Nun wollen wir das alte Jahr mit Lob und Dank vollenden 5 johann Staden Epiphanias 142. Nun liebe See! nun ist es Zeit . 6 johann Eccard 143. Gott Vater uns sein Sohn fürstellt 3 Adam Gumpelzhaimer Passion 1«. 0 du armer Judas . 6 . Arnold von Bruck 145. Da jesus an dem Kreuze stund .
    [Show full text]
  • Routes to the Düben Collection the Acquisition of Music by Gustav Düben and His Sons
    Prejeto / received: 6. 5. 2015. Odobreno / accepted: 18. 6. 2015 ROUTES TO THE DÜBEN COLLECTION THE ACQUISITION OF MUSIC BY GUSTAV DÜBEN AND HIS SONS LARS BERGLUND Uppsala University Izvleček: Razprava opisuje, na kakšne načine so Abstract: The article describes the practices of prihajale muzikalije v Dübnovo zbirko. Glasbo acquisition of music behind the Düben Collec- so zanjo prepisovali iz tiskov, so pa tudi iz ra- tion. Music was copied into manuscripts from znih predelov Evrope pridobivali cele skupine prints, but was also obtained in the form of rokopisnih prepisov. Zdi se,da so bila tesna groups of manuscripts from different regions of osebna prijateljstva in zasebne mreže pri tem Europe. Close personal contacts and networks pomembnejše kot uradne tržne poti. seem to have been more important than tradi- tional trade routes. Ključne besede: Dübnova zbirka, 17. stoletje, Keywords: Düben Collection, seventeenth cen- glasba na Švedskem, razširjanje glasbe, zbirke. tury, music in Sweden, dissemination, music collections. Musical-cultural interchange and the transfer of music and musical cultures constitute in effect an exchange of knowledge, skills and values. In early modern Europe music travelled across the continent, being adopted, imitated and integrated in local contexts, often in cross-fertilization with local practices. Encounters with new and foreign sounds could be uncritically embraced – or resisted and rejected – but they always led to some kind of transformation of attitudes to listening, playing, composing or otherwise inter- acting with music. Even though transnational and transcultural interchange effectively entailed mental transformations of this kind, cultural transfer had in some way or other to be mediated by material means – by the transfer of material objects such as music prints or manuscripts, instruments or educational treatises: a transfer basically carried out by humans, who might be migratory musicians, postal carriers, shippers or couriers.
    [Show full text]
  • Katalog Zur Ausstellung
    Katalog zur Ausstellung Luthers Lieder - Sprachkunst und Musik von der Reformation bis heute im Buchmuseum und an der Galerie am Lesesaal der Sächsischen Landesbibliothek - Staats- und Uni- versitätsbibliothek vom 23.09.2012 - 08.01.2013 ����������������������������� ������������������������������������������ Luthers Lieder - Musik und Sprachkunst von der Reformation bis heute Inhalt Inhalt Einführung 12. Neue Gesangbücher und Liederhefte 1. Ordnungen und Lieder zum Gottesdienst 13. In vielen Sprachen 2. Psalmlieder 14. Ökumenische Gesangbücher - gemeinsam mit anderen Konfessionen singen 3. Katechismuslieder 15. Gesangbücher aus Russland 4. Advents- und Weihnachtslieder 16. Blindengesangbuch/Kindergesangbücher 5. Trostlieder und Gesänge für den Oster- und Pfingstkreis 17. Gesangbücher aus Ostasien 6. Lieder der Reformationszeit 18. Luthers Lieder interpretiert 7. Berühmte Vertonungen Zeittafel 8. Stätten der Reformation Register der Personen, Lieder und Gesangbücher 9. Luthervertonungen in zeitgenössischen Drucken und Tonaufnahmen Literaturverzeichnis 10. Deutsche Gesangbücher ab 1850 Impressum 11. Deutsche Gesangbücher ab 1950 ����������������������������� ������������������������������������������ 2 Luthers Lieder - Musik und Sprachkunst von der Reformation bis heute Einführung Einführung zunächst die Trivialschule in Mansfeld und danach Tagzeitenliturgie die 150 Psalmen aus dem Alten die Magdeburger Domschule. Von 1497 bis 1501 Testament, die ihn im Liederjahr 1523/24 zu sieben war er Schüler der Pfarrschule St. Georg in Eisenach.
    [Show full text]
  • In Dulci Jubilo
    presents The Golden Age In Dulci Jubilo Christmas Music from 17th Century Germany with Anthony Smith and Samuel Giddy, organs Julie Watson and Alex Ross, trumpets Michael Bailey and Simon Hukin, trombones Conducted by Peter Young Wesley Uniting Church, National Circuit, Forrest 3.00 pm Sunday, November 27, 2016 The Golden Age In Dulci Jubilo Michael Praetorius (1571 – 1621) Wachet auf à 2 Wachet auf à 4 Psallite unigenito à 4 Samuel Scheidt (1587 – 1654) Puer natus in Bethlehem à 8 Giovanni Gabrieli (c. 1554/1557 – 1612) Canzon: La spiritata à 4 (for brass) Michael Praetorius Vom Himmel hoch à 2 Vom Himmel hoch à 4 Quem pastores laudavere Uns ist ein Kindlein Andreas Hammerschmidt (1612 – 1675) Freuet euch ihr Christen alle INTERVAL Michael Praetorius Puer natus in Bethlehem Samuel Scheidt (arr. JS Bach) O Jesulein süss (BWV 493) Michael Praetorius In dulci jubilo à 2 In dulci jubilo à 4 Resonet in laudibus à 7 Es ist ein Ros’ entsprungen Courantes 188, 189, 203, 204 from Terpsichore (1612) (for brass) Puer nobis nascitur à 4 Heinrich Schütz (1585 – 1672) Hodie Christus natus est (SWV 456) Michael Praetorius Wie schön leuchtet à 9 Samuel Scheidt In dulci jubilo à 8 The Golden Age: In Dulci Jubilo PROGRAM NOTES Michael Schultheis was born in February 1571 and claimed Luther as his spiritual grandfather, as his father had been a pupil. Having Latinised his name to Praetorius, he died in his 50th year (according to one source, on his 50th birthday) having published a truly fantastic number of works, the vast majority of which were settings of traditional chorale melodies for every possible combination from 2 to 20 parts.
    [Show full text]
  • Es Erhub Sich Ein Streit Im Himmel Festmusik Der Hansestädte Zum Michaelistag
    Schirmherr: Jan Lindenau, Bürgermeister der Hansestadt Lübeck und Vormann der Hanse Es erhub sich ein Streit im Himmel Festmusik der Hansestädte zum Michaelistag In Kooperation mit Die Debüt-Tournee des Grußwort Europäischen Hanse-Ensembles Dienstag, 29. September 2020, 18 und 20 Uhr Das gemeinsame Musizieren ist für viele ein fester Lübeck, Dom zu Lübeck Bestandteil ihres Alltags. Musik ist nicht nur für das per­ sönliche Wohlbefinden äußerst wichtig, sondern sie ver­ bindet Menschen – auch über Grenzen hinweg. Mittwoch, 30. September 2020, 19 Uhr Hamburg, Hauptkirche St. Nikolai Der Städtebund DIE HANSE hat sich die Aufgabe gestellt, auf der Grundlage des grenzüberschreitenden Hanse­ Donnerstag, 1. Oktober 2020, 18 und 20 Uhr gedankens und der gemeinsamen geschichtlichen Er­ Bremen, Kulturkirche St. Stephani fahrungen den Geist der europäischen Hansestädte und Gemeinden wiederzubeleben, das Eigenbewusstsein der Hansestädte und Gemein­ den zu fördern und die Zusammenarbeit zwischen ihnen zu entwickeln. Die mittel­ Sie können das heutige Konzert und eine Reportage über das alterliche Hanse hat nicht nur Handel und Politik im Norden Europas über mehre­ Projekt am 19. Oktober 2020 ab 20 Uhr auf NDR Kultur hören. re Jahrhunderte geprägt, sie hatte auch maßgeblichen Einfluss auf das kulturelle Zusammenleben und nicht zuletzt die Musik der damaligen Zeit. Das Europäische Hanse­Ensemble widmet sich diesem spannenden Kapitel europäischer Musik­ geschichte und lässt in seinen Konzerten das musikalische Erbe der Hansezeit wie­ der lebendig werden. Und genau wie damals spielt auch heute der grenzüberschreitende Austausch eine wesentliche Rolle: Bestehend aus internationalen Nachwuchsmusiker:innen formiert sich das Europäische Hanse­Ensemble jedes Jahr neu. Auf der diesjährigen Konzert­ reise trägt das Ensemble die „Festmusik der Hansestädte zum Michaelistag“ in ver­ schiedene Hansestädte und feiert so klangvoll das gemeinsame Kultur erbe.
    [Show full text]
  • Patriotic Purification Stephen Rose
    Patriotic purification Stephen Rose Patriotic purification: cleansing Italian secular vocal music in Thuringia, 1575–1600 Stephen Rose In sixteenth-century Europe, the dominance of Italian culture caused a variety of responses in territories north of the Alps. Lands such as Poland with strong religious or dynastic ties to Italian states were keen to emulate their culture. In other territories such as France, the import of Italian cultural practices prompted patriotic resistance. To understand how cultural goods were transferred and appropriated in the early modern period, it is necessary to study the forces that attracted north Europeans to Italian culture and also the processes whereby Italianisation was resisted. In each place or institution where they were appropriated, Italian cultural practices acquired a different set of meanings. This article aims to expose the complex mixture of attraction, resistance and appropriation involved in the reception of Italian secular song in the central German territory of Thuringia, particularly in schools and churches between 1575 and 1600. In German-speaking lands the appropriation of Italian culture was led by social elites who used it as a mark of their distinction. Aristocrats cultivated Italian art and music to show their cultural prestige. In Saxony, Electors Moritz (ruled 1541–53) and August (ruled 1553–86) remodelled the Dresden court palace in Italian style, adding sgraffito decoration and frescos by the three Tola brothers. From 1549 the Dresden court ensemble included Italian instrumentalists such as Antonio Scandello, Cerbonio Besozzi and Matteo Besozzi, while the three Tola brothers were also active there as singers.1 Munich too became a centre for Italian culture under Albrecht V I would like to thank the music curators at the British Library, particularly Nicolas Bell, for alerting me to their acquisition of the 1576 and 1580 Cantiones suavissimae.
    [Show full text]
  • Music and Confession in Heidelberg, 1556– 1618
    Music and Confession in Heidelberg, 1556– 1618 Matthew Alan Laube Royal Holloway, University of London Submitted for the Degree of Doctor of Philosophy Acknowledgements I wish to thank my supervisor, Stephen Rose, for his constant encouragement and critical eye over the course of many drafts. In the UK, Christian Leitmeir, Howard Hotson, Helen Deeming, Iain Fenlon, Katharine Ellis, Paul Harper-Scott and Robin Leaver all provided helpful information and feedback on my work. Joachim Kremer, Peter Wollny and Eike Wolgast provided valuable support and assistance with archives and sources during my time in Germany. I wish also to thank the staff of libraries and archives in the UK and Europe: the British Library, Cambridge University Library, the Bodleian Library, the Library of St John’s College, Oxford, National Library of Scotland, Glasgow University Library, Aberdeen University Library, the Universitätsbibliothek and Universitätsarchiv Heidelberg, Generallandesarchiv Karlsruhe, Geheimes Hausarchiv and Bayerisches Staatsarchiv München, Staatsbibliothek Berlin, Theologisches Seminar Herborn, Bibliotheca Bipontina Zweibrücken, Universitätsbibliothek Leipzig, Bach-Archiv Leipzig, Uppsala University Library and Bibliotheca Apostolica Vaticana. For their help with tricky German and Latin translation, thanks go to Annika Forkert, Peter Sjökvist and Mattias Lundberg. Fellow post-graduate students Ester Lebedinski, Clare Brady and Harriette Peel proofread and provided feedback through the entire process. Lastly, my greatest measure of gratitude goes to my wife, Elizabeth, who has been proud since day one. Declaration of Authorship I, Matthew Laube, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated.
    [Show full text]