DOCSLIB.ORG

Crossaccent Is Published Three Times Per PRE LUDE Year by the Association of Lutheran Church Musicians

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Crossaccent Is Published Three Times Per PRE LUDE Year by the Association of Lutheran Church Musicians CROSS ACCENT VOL 25, NO 1 | SPRING 2017 JOURNAL OF THE ASSOCIATION OF LUTHERAN CHURCH MUSICIANS CrossAccent is published three times per PRE LUDE year by the Association of Lutheran Church Musicians. Subscription is included with 2 Editorial Comment—Jennifer Phelps Ollikainen membership in ALCM. Libraries may subscribe at $60 per year by contacting the Business Office. Copyright © 2017 Association of Lutheran Church Musicians. TAKE NOTE The views expressed on the pages of the journal 3 ALCM Names New Executive Director—and a Greeting are those of the authors and do not reflect official positions of the editorial board of the from James Rindelaub journal or of the Association of Lutheran Church Musicians. This periodical is indexed in the ATLA Religion Database®, a product of the American COUNTER POINT Theological Library Association, 300 S. Wacker Music in the Service of the Gospel: Discerning the Church Dr., Suite 2100, Chicago, IL 60606, USA. Musician’s Vocation through the Life and Work of Paul Manz e-mail: [email protected], www.atla.com. 5 ISSN 2151–1772 —Paul Westermeyer Editor: Jennifer Phelps Ollikainen Music Editor: Lara West Doctor, Lawyer, Poet, Mayor … and Cantor? Early Lutheran Book Editor: Paul Grime Church Musicians and Vocation—Chad Fothergill Copy Editor: Anne-Marie Bogdan 14 Graphic Design: Kathryn Hillert Brewer Editorial Office Communal Singing: More !an Meets the Ear— Jennifer Phelps Ollikainen, Editor 29 Lorraine Brugh 1127 Magazine Road Green Lane, PA 18054 [email protected] Editorial Board THANK YOU Kent Burreson Paul Friesen-Carper 26 !ank You to Our Donors Joseph Herl Nancy Raabe Stephen Rosebrock Advertising Office BOOK REVIEWS Cheryl Dieter, Advertising Coordinator Lifting Hearts to the Lord: Worship with John Calvin in 810 Freeman St. by Karin Maag —Frank C. Senn Valparaiso, IN 46383 37 Sixteenth-Century Geneva 800.624.2526 219.548.2526 [email protected] Singing the Church’s Song: Essays & Occasional Writings on Church Music by Carl Schalk—James Freese ALCM Business Office 39 Cheryl Dieter, Business Manager Association of Lutheran Church Musicians 810 Freeman St. Valparaiso, IN 46383 SOUNDFEST 800.624.2526 New Music 219.548.2526 40 offi[email protected] www.ALCM.org POST LUDE The Association of Lutheran Church Musicians is a service and professional organization that 48 From the ALCM President—Julie Grindle works to strengthen the practice of worship and church music of all North American Lutherans. The Ambassadors ( 1533). National Gallery, London. Membership is open to any person or institution Cover art: Hans Holbein the Younger, whose interests are in harmony with the Associa- tion’s goals. Address all change of address, ALCM OFFICERS subscriptions, and business correspondence to President: Julie Grindle Region 1 (Northeast) President: Jennifer Baker-Trinity the ALCM Business Office. Past President: Anne Krentz Organ Region 2 (Southeast) President: Ryan Hostler Secretary/Treasurer: Kevin Barger Region 3 (Midwest) President: Linda Martin Directors at Large: Jeffrey Blersch, Michael Krentz Region 4 (West) President: William Kuhn Spring 2017 CrossAccent 1 L PRE LUDE !e Rev. Dr. Jennifer Phelps Ollikainen "ditor# CrossAccent artin Luther wrote, “the gift of lan- Finally, Lorraine Brugh presents an informal guage combined with the gift of song study of the Kantorei, a select choir at Valparai- M was only given to [human beings] to let so University with the vocation of leading sacred them know that they should praise God with song in the assembly. Over the course of a se- both word and music, namely, by proclaiming mester, Brugh observes the impact of intentional [the word of God] through music and by pro- re%ection about body awareness and stress levels viding sweet melodies with words.” 1 before and after rehearsals. !e study reminds With this $rst issue of CrossAccent in 2017, us all that participation in the musical leader- the editorial board decided to turn away from ship of the assembly yields spiritual and physical thematic issues. And yet, with no intentionality, bene$ts and builds community. Our vocation as a theme emerges in this Reformation celebration servants of the proclamation of the word in mu- year. !e three Counterpoint articles in this is- sic is strengthened by these intentions. sue center on the vocation of the cantor in the !is unexpected theme of the vocation of church who proclaims the word of God through the church musician is most certainly Spirit led. the leadership of the worshipping assembly’s !e plenary sessions at ALCM’s 2017 biennial song. conference, “RISE: Remember Well the Future,” Paul Westermeyer shares his address from will further explore the changing role of cantor the Manz Tage of October 2016 at Mount Ol- in our times as we simultaneously celebrate the ive Lutheran Church in Minneapolis, MN. He treasures of the last 500 years of Reformation explores the gifts of Paul Manz—a celebrated history and look to the future and God’s cov- organist, composer, and church musician—as a enant of faithfulness in all of what is yet to be. prime example of a church musician who shared music with humility and gratitude in service of Note the gospel. Breaking the paradigms of perfor- &( )artin *uther# +/reface to 3eorg 4hau8s mance and pride, Manz’s craft leads the way in Symphoniae iucundae,” in Luther’s Works, 9merican de$ning the role of the cantor in our time. ed(# vol( ;<# Liturgy and Hymns, ed( =lrich >( Looking back in history, Chad Fothergill *eupold @/hiladelphiaQ Xortress /ress# &Z\;^# <_<( presents descriptions of the many vocations of church cantors from Reformation times. !ese cantors were multifaceted and variously gift- ed leaders—not only in the congregations they served but in the whole community. !is explo- ration undergirds Fothergill’s upcoming address at the ALCM biennial conference this summer Hymnal Abbreviations: in Minneapolis. ELW: Evangelical Lutheran Worship LSB: Lutheran Service Book CW: Christian Worship 2 Spring 2017 CrossAccent www.alcm.org TAKE NOTE ALCM Names New Executive Director he ALCM board of directors named James Rindelaub as the association’s new T executive director. Rindelaub is a life- long Lutheran with church music degrees from St. Olaf College (North$eld, MN) and West- minster Choir College (Princeton, NJ). He has served as organist/music director at Saint Mark’s Evangelical Lutheran, Jacksonville, FL; Grace Lutheran, Phillipsburg, NJ; Faith Evangeli- cal Lutheran, Glen Ellyn, IL; and First United Lutheran, Dallas, TX. Currently he serves at As- cension Lutheran, Indian Harbour Beach, FL. Rindelaub was the founding director of Jacksonville’s Community Bach Vespers Cho- rus and Chamber Orchestra. He served on the ALCM national board as Region II president and was the organization’s 2003 National Con- ference chair (the conference was held in San Diego, CA). He has held various oces for lo- cal American Guild of Organists and Choristers Guild chapters. A deacon in the Evangelical Lu- theran Church in America, Rindelaub chaired synodical worship committees in Florida and Illinois. He has been the executive director of Choristers Guild since January 2004 and will assume the role of ALCM’s executive director on He writes: April 24, 2017. Rindelaub resides in Satellite Beach, FL, Dear ALCM friends, with his wife, Stephanie. !ey have three grown !ank you for all you have meant to me over sons living in New York, California, and Florida. the years. I was a young adult when I came into contact with all of you at the constituting con- vention of ALCM at St. Olaf. Over the years, the modeling and nurturing of ALCM members taught me how to be a Lutheran church musi- cian, to coordinate conferences, and to provide leadership to nonpro$t organizations. Anything Spring 2017 CrossAccent 3 L TAKE NOTE I have ever done professionally I owe to your Education. ALCM has a great history of guidance. In my new role as executive director, national and regional conferences. We can ex- my next goal is to repay your kindness by helping pand our reach and impact with webinars. In my our organization grow and %ourish. service with Choristers Guild, I have seen that I have three primary goals as I begin my webinars are very successful as an easy way to work with ALCM: get a quick burst of inspiration without the ex- Membership. !ere are over 16,000 Lu- pense of a continuing education trip. I’d like us theran churches in the United States and our to present four webinars during the 2017–2018 current membership represents only 10 per- program year. cent of those congregations. I will be calling Fundraising. I believe that nurturing and our musician colleagues who haven’t renewed equipping musicians to serve and lead the their memberships or have never been members church’s song is a mission worthy of one’s char- in order to encourage them to (re)join ALCM. itable giving priorities. !erefore I will be I want them to experience the personal growth identifying potential major donors and culti- and satisfaction I have enjoyed through ALCM vating relationships to strengthen our $nancial membership. resources, which are vital to the future of our organization. My home base will be Satellite Beach, FL. !ree miles away, we have our wonderful Ascen- sion Lutheran Church family where I serve as the Sunday morning organist and choir director. I will be on the road whenever an opportunity exists to make a signi$cant ALCM connection. Please include me in your prayers, as I am praying for you. We have a wonderful organiza- tion of members, a gifted board to lead it, and an amazing business manager, Cheryl Dieter, han- dling all our important tasks. It is an honor and joy to dedicate my time and talent to the work of strengthening our organization and the connec- VRXQG INSPIRATION tions that make it sing.
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]
  • A Theology of Creation Lived out in Christian Hymnody
    Concordia Seminary - Saint Louis Scholarly Resources from Concordia Seminary Doctor of Philosophy Dissertation Concordia Seminary Scholarship 5-1-2014 A Theology of Creation Lived Out in Christian Hymnody Beth Hoeltke Concordia Seminary, St. Louis, [email protected] Follow this and additional works at: https://scholar.csl.edu/phd Part of the Christianity Commons, Liturgy and Worship Commons, and the Religious Thought, Theology and Philosophy of Religion Commons Recommended Citation Hoeltke, Beth, "A Theology of Creation Lived Out in Christian Hymnody" (2014). Doctor of Philosophy Dissertation. 58. https://scholar.csl.edu/phd/58 This Dissertation is brought to you for free and open access by the Concordia Seminary Scholarship at Scholarly Resources from Concordia Seminary. It has been accepted for inclusion in Doctor of Philosophy Dissertation by an authorized administrator of Scholarly Resources from Concordia Seminary. For more information, please contact [email protected]. A THEOLOGY OF CREATION LIVED OUT IN CHRISTIAN HYMNODY A Dissertation Presented to the Faculty of Concordia Seminary, St. Louis, Department of Doctrinal Theology in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Beth June Hoeltke May 2014 Approved by Dr. Charles Arand Advisor Dr. Kent Burreson Reader Dr. Erik Herrmann Reader © 2014 by Beth June Hoeltke. All rights reserved. Dedicated in loving memory of my parents William and June Hoeltke Life is Precious. Give it over to God, our Creator, and trust in Him alone. CONTENTS ACKNOWLEDGEMENTS
    [Show full text]
  • Reclams Buch Der Deutschen Gedichte
    1 Reclams Buch der deutschen Gedichte Vom Mittelalter bis ins 21. Jahrhundert Ausgewählt und herausgegeben von Heinrich Detering Reclam 2 3 Reclams Buch der deutschen Gedichte Band i 4 4., durchgesehene und erweiterte Auflage Alle Rechte vorbehalten © 2007, 2017 Philipp Reclam jun. GmbH & Co. KG, Stuttgart Gestaltung bis S. 851: Friedrich Forssman, Kassel Gestaltung des Schubers: Rosa Loy, Leipzig Satz: Reclam, Ditzingen Druck und buchbinderische Verarbeitung: GGP Media GmbH, Pößneck Printed in Germany 2017 reclam ist eine eingetragene Marke der Philipp Reclam jun. GmbH & Co. KG, Stuttgart isbn 978-3-15-011090-4 www.reclam.de Inhalt 5 Vorwort 9 [Merseburger Zaubersprüche] 19 • [Lorscher Bienensegen] 19 • Notker iii. von St. Gallen 20 • Der von Kürenberg 20 • Albrecht von Johansdorf 21 • Dietmar von Aist 23 • Friedrich von Hausen 24 • Heinrich von Morungen 25 • Heinrich von Veldeke 28 • [Du bist mîn, ich bin dîn] 29 • Hartmann von Aue 30 • Reinmar 30 • Walther von der Vogelweide 34 • Wolfram von Eschenbach 46 • Der Tannhäuser 48 • Neidhart 52 • Ulrich von Lichtenstein 55 • Mechthild von Magdeburg 57 • Konrad von Würzburg 59 • Frauenlob 61 • Johannes Hadloub 62 • Mönch von Salzburg 63 • Oswald von Wolkenstein 65 • Hans Rosenplüt 71 • Martin Luther 71 • Ulrich von Hutten 74 • Hans Sachs 77 • Philipp Nicolai 79 • Georg Rodolf Weckherlin 81 • Martin Opitz 83 • Simon Dach 85 • Johann Rist 91 • Friedrich Spee von Lan- genfeld 93 • Paul Gerhardt 96 • Paul Fleming 104 • Johann Klaj 110 • Andreas Gryphius 111 • Christian Hoffmann von Hoffmannswaldau
    [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]
  • Ein „Weiber-Freund"?
    L'Homme Ζ. F. G. 13,2(2002) Ein „Weiber-Freund"? Entstehung und Rezeption von Wilhelm Ignatius Schütz „Ehren=Preiß des hochlöblichen Frauen=Zimmers" (1663), einem Beitrag zur Querelle des femmes Marion Kintzinger Mit seiner Schrift „Ehren=Preiß des hochlöblichen Frauen=Zimmers" trat der gelehrte Jurist Wilhelm Ignatius Schütz 1663 als vehementer Verteidiger des weiblichen Ge- schlechtes an die Öffentlichkeit. Entschieden setzte er sich für die These ein, dass der Verstand des weiblichen Geschlechtes dem des männlichen von Natur aus gleich, auch „zu Verrichtung tugendsamer Werck/ un(d) Thaten ebenmässig qualificirt, und geschickt sei".1 Seine Schrift wurde zu einem Erfolg.2 Hinter dem Pseudonym Poliandin verborgen, aber umso heftiger, attackierte ihn drei Jahre später der junge Literat Johann Gorgias. Entschieden verneinte er das aufgestellte Egalitätspostulat.3 Trotz zunächst breiter Rezeption, sogar durch Sigmund von Birken in einem Schäfer- gespräch über den „Ehrenpreis",4 gerieten Person und Werk später in Vergessenheit. Erst 1 Als Textausgabe künftig: Wilhelm Ignatius Schütz, Ehren=Preiß Deß Hochlöblichen Frauen=2mmers, Frank- furt 1663; Johann Gorgias, Gestiirtzter Ehren=Preiß des hochlöblichen Frauen=Zimmers, o.O., 1666, hg. von Marion Kintzinger u. Claudia Ulbrich, Hildesheim/Zürich/New York 2003, mit einer Bnleitung von Marion Kintzinger - Schütz im Text zitiert als „Ehrenpreis", Gorgias als „Gestürtzter Ehrenpreis". 2 Im Jahr 1673 erschien eine zweite, in der Niedersächsischen Staats- und Universitätsbibliothek Göttin- gen als Verlust geltende Auflage, die nach Hajek entschärft worden sein soll. Sie enthält einen Brief- wechsel zwischen zwei adeligen Frauen, datiert auf den 16. Dezember 1665. Egon Hajek, Johann Gor- gias. Ein verschollener Dichter des 17. Jahrhunderts, in: Euphorion, 24 (1925), 22-49, 197-240, 205, Anm.
    [Show full text]
  • [' 2. 0 0 7-] Poetics and Rhetorics in Early Modern Germany
    Early Modern German Literature 1350-1700 Edited by Max Reinhart Rochester, New York u.a. CAMDEN HOUSE [' 2. 0 0 7-] Poetics and Rhetorics in Early Modern Germany Joachim Knape ROM ANTIQUIIT ON, REFLECTION ON MEANS of communication - an texts Fin general and poetic texts in particular- brought about two distinct gen­ res of theoretical texts: rhetorics and poetics. Theoretical knowledge was sys­ tematized in these two genres for instructional purposes, and its practical applications were debated down to the eighteenth century. At the center of this discussion stood the communicator (or, text producer), armed with pro­ cedural options and obligations and with the text as his primary instrument of communication. Thus, poeto-rhetorical theory always derived its rules from and reflected the prevailing practice.1 This development began in the fourth century B.C. with Aristotle's Rhetoric and Poetics, which he based an the public communicative practices of the Greek polis in politics, theater, and poetic performance. In the Roman tra­ dition, rhetorics2 reflectcd the practice of law in thc forum (genus iudiciale), political counsel (genus deliberativum), and communal decisions regarding issues of praise and blame (genus demonstrativum). These comprise the three main speech situations, or cases (genera causarum). The most important the­ oreticians of rhetoric were Cicero and Quintilian, along with the now unknown author (presumed in the Middle Ages to have been Cicero) of the rhetorics addressed to Herennium. As for poetics, aside from the monumental Ars poet­ ica ofHorace, Roman literature did not have a particularly rich theoretical tra­ dition. The Hellenistic poetics On the Sublime by Pseudo-Longinus (first century A.D.) was rediscovered only in the seventeenth century in France and England; it became a key work for modern aesthetics.
    [Show full text]
  • Luther's Hymn Melodies
    Luther’s Hymn Melodies Style and form for a Royal Priesthood James L. Brauer Concordia Seminary Press Copyright © 2016 James L. Brauer Permission granted for individual and congregational use. Any other distribution, recirculation, or republication requires written permission. CONTENTS Preface 1 Luther and Hymnody 3 Luther’s Compositions 5 Musical Training 10 A Motet 15 Hymn Tunes 17 Models of Hymnody 35 Conclusion 42 Bibliography 47 Tables Table 1 Luther’s Hymns: A List 8 Table 2 Tunes by Luther 11 Table 3 Tune Samples from Luther 16 Table 4 Variety in Luther’s Tunes 37 Luther’s Hymn Melodies Preface This study began in 1983 as an illustrated lecture for the 500th anniversary of Luther’s birth and was presented four times (in Bronxville and Yonkers, New York and in Northhampton and Springfield, Massachusetts). In1987 further research was done on the question of tune authorship and musical style; the material was revised several times in the years that followed. As the 500th anniversary of the Reformation approached, it was brought into its present form. An unexpected insight came from examining the tunes associated with the Luther’s hymn texts: Luther employed several types (styles) of melody. Viewed from later centuries it is easy to lump all his hymn tunes in one category and label them “medieval” hymns. Over the centuries scholars have studied many questions about each melody, especially its origin: did it derive from an existing Gregorian melody or from a preexisting hymn tune or folk song? In studying Luther’s tunes it became clear that he chose melody structures and styles associated with different music-making occasions and groups in society.
    [Show full text]
  • Mote‡E in Derthomaskir E
    ï Mote‡e in der Thomaskire Freitag, den 3. März 2017, 18 Uhr Beim Glockenschlag bitten wir die Gemeinde, sich zu erheben. Johann Sebastian Bach (* 21.3.1685, Eisenach; † 28.7.1750, Leipzig; Thomaskantor 1723–1750) Zwei Choralvorspiele über Lieder Martin Luthers − Wir gläuben all an einen Gott · vierstimmige Orgelmotette BWV 765 − Dies sind die heilgen zehen Gebot Choralbearbeitung BWV 678 »a 2 Clav. et Ped. / Canto fermo in Canone« aus dem »Dritten Theil der Clavier Übung« (Leipzig 1739) Ingressus (Eingang) & b œ œ ˙ œ œ Kantor: Herr, höre meine Stimme wenn ich ru - fe; Gemeinde: sei mir gnädig und er - hö - re mich. Kantor: Eile, Gott, mich zu er - ret - ten, Gemeinde: Herr, mir zu hel - fen. Kantor: Ehre sei dem Vater und dem Sohne und dem Hei - li - gen Gei - ste, Gemeinde: wie es war im Anfang, jetzt und immerdar und von Ewigkeit zu E- wig - keit. A- men. & b œ œ œ œ œœ Gemeinde: Lob sei dem König der Herr-lich - keit. Psalmodie Johann Ludwig Bach (Psalmgebet) (˜ 6.2.1677, Thal bei Eisenach; 1.5.1731, Meiningen) Das ist meine Freude Motette für zwei vierstimmige Chöre und Basso continuo Das ist meine Freude, daß ich mich zu Gott halte, und meine Zuversicht setze auf den Herren. Psalm 73:28 ï Lektion Johannes Brahms (Lesung) (* 7.5.1833, Hamburg; † 3.4.1897, Wien) Warum ist das Licht gegeben dem Mühseligen Motette op. 74/1 für vier- bis sechsstimmigen Chor (1879) Warum ist das Licht gegeben dem Mühseligen, und das Leben den betrübten Herzen? Die des Todes warten und kommt nicht, und grüben ihn wohl aus dem Verborgenen.
    [Show full text]
  • Lutheran Layout II
    What’s New Welcome to Our Catalog Marty Haugen . .4-5 John Ferguson . .6 Taizé . .7 Liturgies . .8-9 New Releases for a New Millennium from GIA Herman Stuempfle books . .10 Hymn Resources . .11 A glorious choral festival as Instrumental Music . .12 only John Ferguson can create Order Form . .13 with the St. Olaf Cantorei... Choral Music . .14-18 Organ/Piano Music . .19 A Thousand Ages: A Celebration of Hope...page 6 Psalms . .20 Ars Antiqua Choralis . .21 Part of the Soli Deo Gloria Iona . .22 Collection... Reprint License . .23 Come Let Us Sing for Joy: A Morning Prayer Service and To our Lutheran customers: Beneath the Tree of Life, an In October 1999, the historic signing of the Concordat between the ecumenical communion service Roman Catholic Church and several Lutheran church bodies reminded us by Marty Haugen...pp. 4-5 again of the common heritage which many denominations share, and of the desire to work toward even greater cooperation in the future.Today, as For worship leaders, in the past, it seems as though the church is always undergoing a process composers...anyone looking of reformation. The past twenty-five years have seen many worshiping for inspirational texts... communities search for meaningful and useful ways to worship. The task of doing worship has never been more challenging or more interesting Awake Our Hearts to Praise! than it is today. The Hymns of Herman GIA offers an incredible diversity of resources for worship and Stuempfle...page 10 music—from choral works of the old masters to modern settings of the psalms, from Gregorian chant to contemporary instrumental works, from Take a look at our choral and hymn concertato settings to gospel-style music.
    [Show full text]
  • Bach Chor Berlin
    BACH-CHOR AN DER KAISER-WILHELM-GEDÄCHTNIS-KIRCHE JOHANN SEBASTIAN BACH Sehet, wir gehn hinauf gen Jerusalem BWV 159 Sonnabend, 2. März 2019, 18 Uhr Kaiser-Wilhelm-Gedächtnis-Kirche Berlin Mitwirkende Kantategottesdienst Alt Susanne Langner Tenor Volker Arndt JOHANN PACHELBEL Ciacona f-Moll 1653-1706 Bass Philipp Kaven Orgelpositiv Peter Uehling Orgel Jonas Sandmeier Bach-Chor Liturgin Eingangsvotum Bach-Collegium Leitung Achim Zimmermann Gebet Liturgin Pfarrerin Kathrin Oxen Schriftlesung: 1. Korinther 13,1-13 Am Ausgang erbitten wir sehr herzlich eine Spende zur Durchführung unserer Kantategottesdienste. 2 1 Gemeinde Wir glauben all an einen Gott [EG 183] Liturgin Schriftlesung: Lukas 18,31-43 Ansprache Gemeinde Lasset uns mit Jesus ziehen [EG 384] . : . 2. Lasset uns mit Jesus leiden, / seinem Vorbild werden gleich; / nach dem Leide folgen Freuden, / Armut hier macht dorten reich, / Tränensaat, die erntet Lachen; / Hoffnung tröste die Geduld: / Es kann leichtlich Gottes Huld / aus dem Regen Sonne machen. / Jesu, hier leid ich mit dir, / dort teil deine Freud mit mir! 4. Lasset uns mit Jesus leben. / Weil er auferstanden ist, / muss das Grab uns wiedergeben. / Jesu, unser Haupt du bist, / wir sind deines Leibes Glieder, / wo du lebst, da leben wir; / ach erkenn uns für und für, / trauter Freund, als deine Brüder! / Jesu, dir ich lebe hier, / dorten ewig auch bei dir. Text: Sigmund von Birken 1653 Melodie: Sollt ich meinem Gott nicht singen (Nr. 325) Liturgin Biblisches Votum 2 3 J. S. BACH Sehet, wir gehn hinauf gen Jerusalem Recitativo
    [Show full text]
  • Yale Collection of German Baroque Literature Author Index 1
    Yale Collection of German Baroque Literature Author Index Abel, Caspar. Abele, Matthias, d.1677. Diarium Belli Hispanici, oder Vollstindiges Tag-Register Vivat oder so genandte künstliche Unordnung. des jetzigen Spanischen Krieges wie er Von 1701. Nürnberg, Bey Michael und Johann Friederich Endtern. 1670 zur Recommendation Eines Auff den blank Januarii. 1707 Item No. 659a; [I.-V. und letzter Theil] Worinnen 40.[i.e. 160] Item No. 1698b; bis 1707. ... geführet worden samt... dem was wunderseltzame Geschichte...meist aus eigener Erfahrung, sich mit den Ungern und Sevennesern zugetragen...; zusammen geschrieben...durch Matthiam Abele, von und zu angestellten Actus Oratorii, ... heraus gegeben Von Casp. Lilienberg...; [75]; 4v. in 2. fronts. (v.1,2) 13-14 cm.; Title and Abeln ... Halberstadt Gedruckt bey Joh. Erasmus Hynitzsch imprint of 3,5 vary; Vol.1 has title: Künstliche Unordnung; Königl. Preuß. Hof-Buchdr; [12]p., 34 cm. Signatures: [A] - das ist, Wunder-seltsame, niemals in offentlichen Druck C2. gekommene...Begebenheiten...Zum andernmal aufgelegt. Reel: 603 [n.p.]. Reel: 160 Abel, Caspar, 1676-1763. Caspar Abels auserlesene Satirische Gedichte, worinnen Abraham à Sancta Clara, 1644?-1709. viele jetzo im Schwange gehende Laster, auf eine zwar freye, Abrahamische Lauber-Hütt. und schertzhaffte doch vernünfftige Art gestrafet werden; und Wien und Mürnberg, Verlegts J.P. Krauss. 1723-38 Theils ihrer Vortrefligkeit halber aus dem berühmten Boileau Item No. 1131; Ein Tisch mit Speisen in der Mitt...Denen und Horatio übersetzet Theils auch nach deren Vorbilde Juden zum Trutz, denen Christen zum Nutz an- und verfertiget sind. aufgerichtet, wie auch mit mit vielen auserlesenen so wohl Quedlinburg und Aschersleben, verlegts Gottlob Ernst biblischen als andern sinnreichen Concepten, Geschichten und Struntze.
    [Show full text]
  • Reception of Josquin's Missa Pange
    THE BODY OF CHRIST DIVIDED: RECEPTION OF JOSQUIN’S MISSA PANGE LINGUA IN REFORMATION GERMANY by ALANNA VICTORIA ROPCHOCK Submitted in partial fulfillment of the requirements For the degree of Doctor of Philosophy Dissertation Advisor: Dr. David J. Rothenberg Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of Alanna Ropchock candidate for the Doctor of Philosophy degree*. Committee Chair: Dr. David J. Rothenberg Committee Member: Dr. L. Peter Bennett Committee Member: Dr. Susan McClary Committee Member: Dr. Catherine Scallen Date of Defense: March 6, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. TABLE OF CONTENTS List of Tables ........................................................................................................... i List of Figures .......................................................................................................... ii Primary Sources and Library Sigla ........................................................................... iii Other Abbreviations .................................................................................................. iv Acknowledgements ................................................................................................... v Abstract ..................................................................................................................... vii Introduction: A Catholic
    [Show full text]