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Andreas Friederich Ursinus ANDREAS FRIEDERICH URSINUS 43 CHORÄLE FÜR ORGEL 43 KORALER FOR ORGEL København 2017 København HERAUSGEGEBEN VON UDGIVET AF KONRAD KÜSTER DCM_026_orgelkoraler.indd i 07/06/17 12.35 Andreas Friederich Ursinus: 43 Choräle für Orgel. Herausgegeben von Konrad Küster. DCM 026 ISMN 979-0-9001843-1-3 Dänische Übersetzung Axel Teich Geertinger Umschlaggestaltung Willerup & Layout Hans Mathiasen © 2017 Dansk Center for Musikudgivelse (DCM), Det Kgl. Bibliotek, København ii DCM_026_orgelkoraler.indd ii 07/06/17 12.35 INHALT INDHOLD Vorwort v 21. Schmücke dich, o liebe Seele 25 22. Es glänzet der Christen inwendiges Leben 26 Forord vii 23. Erleucht mich, Herr, mein Licht 27 Einleitung ix 24. Wie schön leuchtet der Morgenstern 28 26. Ach, wundergroßer Siegesheld 30 Indledning xxxv 27. Mein Gott, du weißt am allerbesten 32 28. Zeuch meinen Geist 33 43 CHORÄLE FÜR ORGEL 29. Mein Jesu, der du mich aus Lieb 34 1. Ein Kindelein so löbelich 2 30. Der lieben Sonnen Licht und Pracht 35 2. Lasst uns alle fröhlich sein 3 31. Nun sich der Tag geendet hat 36 3. Gottes Sohn ist kommen 3 32. Herzlich tut mich verlangen 36 4. Warum willt du draußen stehen 4 33. Gott ist die wahre Liebe 38 5. Wie soll ich dich empfangen 6 34. Christum wir sollen loben schon 39 6. Ermuntre dich, mein schwacher Geist 7 35. Herr Jesu Christ, wahr Mensch und Gott 40 7. Wir Christenleut 8 36. Erschienen ist der herrliche Tag 40 8. Kommst du nun, Jesu, vom Himmel 10 37. Nur frisch heran 42 9. Preis, Lob, Ehr, Ruhm, Dank, Kraft und Macht 11 38. Zerfl ieß, mein Geist, in Jesu Blut und Wunden 43 10. Ein Lämmlein geht und trägt die Schuld 12 39. Entfernet euch, ihr matten Kräfte 44 11. Christus, der uns selig macht 13 40. O Durchbrecher aller Bande 45 12. Jesus Christus, unser Heiland, der den Tod 14 41. Alle Menschen müssen sterben 46 13. Komm, Gott Schöpfer, heilger Geist 15 42. Christe du Lamm Gottes 47 14. Was Gott tut, das ist wohlgetan 16 43. Erbarm dich mein, o Herre Gott 48 15. Christ unser Herr zum Jordan kam 18 44. Gott des Himmels und der Erden 50 16. Wo soll ich fl iehen hin 19 17. Vater unser im Himmelreich 20 Abkürzungen 52 18. Gott der Vater wohn uns bei 21 19. Die Tugend wird durchs Kreuz geübet 22 Kritischer Bericht 53 20. Jesu, meine Freude 24 DCM 026 iii DCM_026_orgelkoraler.indd iii 07/06/17 12.35 iv DCM 026 DCM_026_orgelkoraler.indd iv 07/06/17 12.35 VORWORT Dass es Andreas Friederich Ursinus’ Orgelchoräle gibt, ist eigentlich seit langem be- Elemente in die gesamte Kultur- und Lebensauffassung. In der alten Propstei Ton- kannt. Trotzdem glichen die Vorbereitungen dieser Edition einem Weg auf ein unbe- dern, die die heutige dänisch-deutsche Grenze überspannte, wurde dieser Wandel kanntes Terrain. Denn es ging nicht nur einfach um das Erschließen von Musik; eine besonders prominent durch Menschen wie Propst Johann Hermann Schrader sowie weitaus größere Herausforderung war es, zugleich einen Komponisten eingehend die Pastoren Hans Adolph Brorson und Enevold Ewald vertreten. Die Entwicklungen kennen zu lernen, für den nur elementare biographische Daten greifbar waren. Erst haben das kirchliche Leben Schleswig-Holsteins für Generationen geprägt; in Däne- daraufhin wird deutlich, in welchem Kontext Ursinus diese Kompositionen geschaf- mark reichen die Folgen bis ins 21. Jahrhundert. In ihnen waren die Kirchenlieder fen hat. Im Ergebnis wirft Ursinus’ individueller Ansatz Licht auf einen sehr viel grö- ein zentraler Baustein; gerade um deren orgelmusikalische Behandlung geht es in ßeren musikalischen und geistesgeschichtlichen Kontext. der Werksammlung, die hier präsentiert wird. Damit ist die herausragende Stellung Ursinus (1699–1781) war Organist in Tønder (Tondern); sein berufl iches Leben Ursinus’ und seiner Choralbearbeitungen äußerlich umrissen: als relativ späte nord- stand also im Zeichen der Rahmenbedingungen, die durch die norddeutsch-däni- deutsch-dänische Orgelkunst innerhalb des sich formierenden „Tønder Pietisme“. sche Organistenkunst des 17. Jahrhunderts geschaffen worden waren. Rechnerisch Auf dem faszinierenden Weg, der hier zu beschreiten war, haben mich zahlrei- eine Generation jünger als Nicolaus Bruhns (1665–1697), repräsentiert er jedoch che Menschen begleitet, denen ich für diese Kooperation herzlich danken möchte: eine andere Stilwelt als die Musiker, die traditionell als Repräsentanten dieser Kul- Elsemarie Dam-Jensen (Museum Sønderjylland/Kulturhistorie Tønder), Sven Rune turform gesehen werden. Obendrein ist er einer von nur ganz wenigen Organisten Havsteen (Københavns Universitet, Det Teologiske Fakultet), Hans Christian Hein jener Zeit, von denen sich überhaupt Kompositionen erhalten haben. Noch dürftiger (Løgumkloster Kirkemusikskole) und Landeskirchenmusikdirektor Hans-Jürgen ist die Überlieferung, wenn man sich in seinem engeren Wirkungsraum umsieht: an Wulf (Hamburg) sowie die Organisten Christian Blom Hansen (Varde) und Steen der Nordsee, nicht also in den traditionellen Orgel-Metropolen wie Hamburg, Lü- Wrensted Jensen (Tønder). Besonders danke ich Axel Teich Geertinger und Peter beck oder Kopenhagen. Hauge für die umfassende Betreuung des Projekts auf dessen letzter Strecke: für die Zu diesen Details, die Ursinus in eine eigentümliche musikhistorische Position vielen großen und kleinen Unternehmungen bei der Endvorbereitung des vorliegen- rücken, treten solche der allgemeinen Kulturgeschichte. Denn er begleitete in Tøn- den Bandes. der eine Entwicklung, die für die Kirchen- und Liturgiegeschichte Dänemarks und Konrad Küster Schleswig-Holsteins von grundlegender Bedeutung war: die Integration pietistischer DCM 026 v DCM_026_orgelkoraler.indd v 07/06/17 12.35 vi DCM 026 DCM_026_orgelkoraler.indd vi 07/06/17 12.35 FORORD Eksistensen af Andreas Friederich Ursinus’ orgelkoraler har egentlig været kendt provst Johann Hermann Schrader og præsterne Hans Adolph Brorson og Enevold længe. Alligevel har forberedelserne til den foreliggende udgave lignet en vej ind i Ewald. Udviklingen prægede det kirkelige liv i Slesvig-Holsten i fl ere generationer; i ukendt terræn. Det handlede ikke blot om det kritiske arbejde med musikken; en Danmark kan følgerne spores helt frem til det 21. århundrede. Salmer var et centralt langt større udfordring var det at lære en komponist at kende, om hvem kun de mest element i den forbindelse, og det er netop salmernes orgelmusikalske behandling, basale biografi ske data var tilgængelige. Først da bliver det tydeligt, i hvilken kon- som den foreliggende samling handler om. Dermed er konturerne af Ursinus’ og tekst Ursinus skabte disse kompositioner. Som et resultat kaster Ursinus’ tilgang til hans koralbearbejdelsers særlige position skitseret: som relativ sen nordtysk-dansk stoffet lys på en meget større musikalsk og åndshistorisk kontekst. orgelkunst inden for den spirende ”Tønder-pietisme”. Ursinus (1699-1781) var organist i Tønder; hans professionelle liv udspillede sig Talrige personer har ledsaget mig på den fascinerende vej, og jeg ønsker at tak- således inden for de rammer, som var skabt af det 17. århundredes nordtysk-danske ke dem hjerteligt for deres samarbejde: Elsemarie Dam-Jensen (Museum Sønder- organistkunst. Rent kronologisk tilhører han generationen efter Nicolaus Bruhns jylland/Kulturhistorie Tønder), Sven Rune Havsteen (Københavns Universitet, Det (1665-1697), men repræsenterer ikke desto mindre en anden stilverden end de musi- Teologiske Fakultet), Hans Christian Hein (Løgumkloster Kirkemusikskole) og Lan- kere, der traditionelt regnes for denne kulturforms repræsentanter. Ydermere er han deskirchenmusikdirektor Hans-Jürgen Wulf (Hamburg) såvel som organisterne en af de ganske få organister fra perioden, fra hvem der overhovedet er overleveret Christian Blom Hansen (Varde) og Steen Wrensted Jensen (Tønder). En særlig tak kompositioner. Endnu mere sparsom er overleveringen, når man fokuserer på hans skylder jeg Axel Teich Geertinger og Peter Hauge for den omfattende bistand i for- nærmere omgivelser: ved Vesterhavet, altså uden for de traditionelle orgelmetropo- bindelse med projektets sidste faser – for de mange små og store indsatser ved den ler så som Hamburg, Lübeck eller København. endelige forberedelse af det foreliggende bind. Til disse omstændigheder, som sætter Ursinus i en særegen historisk position, Konrad Küster kommer almene, kulturhistoriske aspekter; for i Tønder han fulgte en udvikling, som var af fundamental betydning for kirke- og liturgihistorien i Danmark og Slesvig- Holsten: integrationen af pietistiske elementer i hele kultur- og livsopfattelsen. I det gamle provsti Tønder, som strakte sig hen over den nuværende dansk-tyske græn- se, blev denne proces særligt fremtrædende repræsenteret gennem personer som DCM 026 vii DCM_026_orgelkoraler.indd vii 07/06/17 12.35 viii DCM 026 DCM_026_orgelkoraler.indd viii 07/06/17 12.35 EINLEITUNG I. TØNDER – TONDERN: EIN LITURGISCHES PROFIL sen gründete seine Arbeit auf eine immense Kenntnis lokalhistorischer Original- Andreas Friederich Ursinus war zwischen 1725 und seinem Tod 1781 Organist in quellen; dies veränderte nicht zuletzt den Blick darauf, unter welchen Bedingungen Tønder (Tondern). Er war der Kirchenmusiker neben zwei Theologen, die für die die dichterischen Anfänge Brorsons zu bewerten sind3 – vor allem also für die Zeit, Entwicklung des Pietismus sowohl in Dänemark als auch in Schleswig-Holstein in der Ursinus nach Tønder berufen wurde. Lücken, die die Quellensituation ließ, traditionell in einer Schlüsselstellung gesehen werden: Johann Hermann Schrader füllte Hejselbjerg Paulsen mit weit reichenden Hypothesen. Manche von ihnen
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