DOCSLIB.ORG

Johann Walter and Martin Lutha: Theology and Music in the Early Lutheran Church

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Johann Walter and Martin Lutha: Theology and Music in the Early Lutheran Church University of Alberta Johann Walter and Martin Lutha: Theology and Music in the Early Lutheran Church 'JY Katherine Joan Sander O A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfdlment of the requirements for the degree of Master of Arts Department of Music Edmonton, AIberta Spring 1998 National Libraw Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. nie Wellington Ottawa ON K1A ON4 Ottawa ON KtA ON4 Canada Canada Yaur hle Votre re/erence Our fi& Noire referencrr The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of ths thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de rnicrofiche/fïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in ths thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author' s ou autrement reproduits sans son permission. autorisation. Soli Deo Gloria The subject of this thesis is Johann Walter, known as the fmt K'or of the Lutheran Church. It is an investigation of his life and works, with an emphasis on the theology of the early Lutheran Chmh. Whaî was later to becorne known as the doctrine of justification is the focal point for an examination of the musical writings of both Martin Luther and Walter. The writings of two other refonners, Philip Melanchthon and Andreas Bodenstein von Karlstadt, are examineci in light of their disparate outcornes with regard to music. A detailed description of the liturgid reforrns begun by Luther is provided as a framework for his theological criteria in rnatters of adiapbm such as music. The writings of contemporary music theurisu Johannes Tinctoris, Nicolaus Listenius, Adrian Petit Coclico, Nicolaus Burtius and Hermann Finck are explored for insight into musical matters, especially the affect of the modes While much has previously been writien about the music of the Refmtion, the relatively small amount of literaîure in English does not provide an adequaîe pichue of the theology involved. This thesis is an attempt to rectiQ thaî situation. Many people were instrumental in the making of this thesis. My father, Dr. Bruce Hanison, whom 1 wilI always ad&, taught me from an early age to wnte with clarity. My ever-patient husband, Mark Sander, was there for support, encouragement, and most importantly to oppose me in mock debates My supewisor, Dr. Brian Harris, taught me to believe that 1 was a scholar. He has ben an unending weii of academic inspiration Al1 three men have taught me the value of scholanhip and the communication of ideas. My CO-workers,.Ms.Carrnen Leconte and Mr. James Whittle, have ken more than accornmodating in my tirnes of greatest need 1 could not have completed the task had it not been for their continued support. Mr. Whittle, Music Librarian at the University of Alberta, was also on hand whai I stayed after work as a student. He answered many reference questions and was most accommodating with the purchase of relevant matmiais. Ms. Car01 Farrar, Librarian at Concordia Lutheran Seminary, has been graciously tolerant of many ovadue books. Concordia Publishg House was hdenough to dow me to reproduce a chart from Luther's works. Many other Family memben and fnends have been cuntinually patient There are some who have anticipated the day of completion even more eagerly than 1. TABLE OF CONTENTS I . GENER4L HISTORICAL BACKGROUND ......................... ... ....... 1 Martin Luther ......................................................................... 3 Politid Events of In terest .......................................................... 4 Johann Walter ...................................................................... 4 Eady Life and Education ....................................................... 4 The Torgau ~~e ..................................... ... ................. 7 nieT~auK~leandLatinSchoo1........................................ 9 The Dresden Hofipelle ...................... .. .............. ...*.......*..*.. 12 Return to Torgau ...................... .. ................................ 13 LutheronMusic ..................................................................... 15 InPraiseofMusic ............................................................... 15 Luther on Secular Music ....................................................... 18 Luther on Walter and Other Composers ...................................... 19 Walter on Music ..................................................................... 20 In Praise of Music ............................................................... 21 Walter on Secular Music ..................... .................................. 25 Walter on Luther .............................. .. ............................... 26 Otha Refmation Writings on Music ........................ .. ................. 28 Philip Melanchthon ............................................................. 28 AnCtteasBodensteinvonKarlstadt .................................., ......... 30 III . THELmGYOFTHEEARLYLmERmCHURCH .................... 33 Luther'sRefomoftheLiturgy .................................................... 33 The Fonnuh rnissae ............................................................ 37 The Deursche Messe ............................. .. ............................. 39 IV . MUSIC THEORY AND AESïHECICS IN WALTER'S TIME ................ 43 Johannes Tinctoris ..................................... ............................ 43 Nicolaus Listenius ................................. ... ...... 45 Adrian Petit Coclico ................................................................. 46 Nicolaus Burtius and Hermann Finck ............................................. 49 V . THE MUSIC OF WALTER ............................ .. ......................... 50 A Survey of Walta's Werk ......................................................... 50 The Geisrliches GesangbGchkin ( 1 524) .......................................... 51 The Individual Songs and Latin Motets ........................................... 52 The Passions ......................... ,.., ..... ....................................... 53 The Unpublished Psairns. Magmficats. and Fugues ............................ 54 Canriones Septum Vocwn .......................................................... 55 Mugmifiat motommm ............................................................ 57 Das Chrisrich Kinderllied D. Manini Luthen Erhalt wrr HEm etc. ( 1566) ... 57 Anonymous and Apparently Spurious Compositions ........................... 58 The Pœms lVithoutMusic ..................... ... ............................. 58 A Selection in Detail: Hddselligr. mein 's Hemm Trm ......................... 58 On the Affect of t5e Modes ........................................................... 61 VI . CONCLUSION ................................... ,.., O.-............................ 64 A . LUTHER'S PREFACE TO THE GEISTLlCHES GESANGBUCHLEIN (2524):TWOTRANSLATIONS .................................................... 65 C . INDMDUAL GERMAN SONGS AND LATIN MOTETS NOT INCLUDED IN THE GESANGB~CHER........................................ 95 D. LOB UND PREIS DER LdBLICHEN KUNST MUSICA DURCH H . JOHANN WALTER WITTENBERG 1538................................. 96 E . HOLDSELIGER. MEIN'S HERZENS TROST ................................... 99 BIBLIOGRAPW .............................................................................. 103 LIST OF ILLUSTRATIONS Figure Page 1. Chronology of Events ................................................................. 2 2 . Family Tree of Charles V ............................................................. 5 3 . Cornparison of the Missale Romaruun to Luther's Fornida missae and De~scheMesse .......................................... 35 LIST OF MUSICAL EXAMPLES Example Page 1 . HerrChri~t~dereinigGottsSohn................................................... 61 2 . O Gort Varer. du harr Govalr ...................... ... ............................ 62 3 . Sünder. dein Wonerhbr ich nichr ................................................... 62 4 . ChristmerHemaanJordanh ................................................. 63 5 . Gon har das Evangelim gegeben ................................................... 63 CHAPTER ONE GENERAL, HISTORICAL BACKGROUND Although the Reformation was to have a momentous effect on the theology of the Christian Church, it had a very humble beginning. In northem Gerrnany, far hmthe seat of Rome, a lowly monk who was teachîng at the University of Wittenberg had a simple revelation. That revelation, which was lata to develop into the doctrine of justification, becarne a crucial point in the undastanding of Scriptme and authority in the Church. What began as a simple theological question was to have profound hmlogical and musical i mplications. The monk was, of course, Martin Luther. The details of Luther's life and his contemporary politicai and religious environment can be found in rnany tex& on the Reformation. ' For the purposes of this study, a chronologjcai
Load more

Recommended publications
  • Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
    MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake.
    [Show full text]
  • The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-Flat Major (BWV 243A)*
    The Sources of the Christmas Interpolations in J. S. Bach's Magnificat in E-flat Major (BWV 243a)* By Robert M. Cammarota Apart from changes in tonality and instrumentation, the two versions of J. S. Bach's Magnificat differ from each other mainly in the presence offour Christmas interpolations in the earlier E-flat major setting (BWV 243a).' These include newly composed settings of the first strophe of Luther's lied "Vom Himmel hoch, da komm ich her" (1539); the last four verses of "Freut euch und jubiliert," a celebrated lied whose origin is unknown; "Gloria in excelsis Deo" (Luke 2:14); and the last four verses and Alleluia of "Virga Jesse floruit," attributed to Paul Eber (1570).2 The custom of troping the Magnificat at vespers on major feasts, particu­ larly Christmas, Easter, and Pentecost, was cultivated in German-speaking lands of central and eastern Europe from the 14th through the 17th centu­ ries; it continued to be observed in Leipzig during the first quarter of the 18th century. The procedure involved the interpolation of hymns and popu­ lar songs (lieder) appropriate to the feast into a polyphonic or, later, a con­ certed setting of the Magnificat. The texts of these interpolations were in Latin, German, or macaronic Latin-German. Although the origin oftroping the Magnificat is unknown, the practice has been traced back to the mid-14th century. The earliest examples of Magnifi­ cat tropes occur in the Seckauer Cantional of 1345.' These include "Magnifi­ cat Pater ingenitus a quo sunt omnia" and "Magnificat Stella nova radiat. "4 Both are designated for the Feast of the Nativity.' The tropes to the Magnificat were known by different names during the 16th, 17th, and early 18th centuries.
    [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]
  • The Christology of Bach's St John Passion
    PARADOSIS 3 (2016) ‘Zeig uns durch deine Passion’: The Christology of Bach’s St John Passion Andreas Loewe St Paul’s Cathedral Melbourne Melbourne Conservatorium of Music Introduction On a wet, early spring afternoon, on Good Friday 1724, the congregants of Leipzig’s Nikolaikirche witnessed the first performance of Bach’s St John Passion.1 For at least a generation, Good Friday in Leipzig’s principal Lutheran churches—St Thomas’, St Nikolai and the ‘New’ Church—had concluded with the singing of Johann Walter’s chanted Passion.2 As part of the final liturgical observance of the day, the story of the death of Jesus would be sung, combining words and music in order to reflect on the significance of that day. Bach took the proclamation of the cross to a new level – theologically and musically. Rather than use a poetic retelling of the Passion story as his textual basis, Bach made use of a single gospel account, matched with contemporary poems and traditional chorales to retell the trial and death of Jesus. By providing regular opportunities for theological reflection, he purposefully created a “sermon in sound” and so, in his music making, he closely mirrors Lutheran Baroque homiletic principles. An orthodox Lutheran believer throughout his life, Bach’s Passion serves as a vehicle to invite his listeners to make their own his belief that it was “through Christ’s agony and death” that “all the world’s 1 Andreas Elias Büchner, Johann Kanold, Vollständiges und accurates Universal-Register, Aller wichtigen und merckwürdigen Materien (Erfurt: Jungnicol, 1736), 680. 2 As popularised in Gottfried Vopelius, ed., Neu Leipziger Gesangbuch/ Von den schönsten und besten Liedern verfasset/ In welchem Nicht allein des sel.
    [Show full text]
  • Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’S Megalynodia Sionia Adrian D
    Nota Bene: Canadian Undergraduate Journal of Musicology Volume 10 Article 2 Issue 1 Current Issue: Volume 10, Issue 1 (2017) In coelo et in terra: Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’s Megalynodia Sionia Adrian D. J. Ross University of Toronto Recommended Citation Ross, Adrian D. J. () "In coelo et in terra: Lutheran Theological Structure of theT roped Magnificats of Michael Praetorius’s Megalynodia Sionia," Nota Bene: Canadian Undergraduate Journal of Musicology: Vol. 10: Iss. 1, Article 2. In coelo et in terra: Lutheran Theological Structure of the Troped Magnificats of Michael Praetorius’s Megalynodia Sionia Abstract Michael Praetorius (1571–1621) ranks among the most prolific German musical figures of the seventeenth century. Despite his stature, many of his works, especially his earlier collections, remain largely understudied and underperformed. This paper examines one such early collection, the Megalynodia Sionia, composed in 1602, focussing on the relationship between formal structure of its first three Magnificat settings and the Lutheran theological ideal of uniting the Word of God with music. Structurally, these three Magnificats are distinguished by their interpolation of German chorales within the Latin text. In order to understand his motivations and influences behind the use of this technique unique at the time of composition, the paper explores Praetorius’s religious surroundings in both the personal and civic realms, revealing a strong tradition of orthodox Lutheran theology. To understand the music in light of this religious context, certain orthodox Lutheran liturgical practices are examined, in particular the Vespers service and alternatim, a compositional technique using alternating performing forces which Praetorius used to unite the Latin and German texts.
    [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]
  • GOTT DER VATER WOHN UNS BEI from Musae Sioniae I, 1605 Double Choir Motet Arranged for Small Orchestra (Choir I: Woodwinds & Strings; Choir II: Brass)
    Full Score from the library of the Concordia Sinfonietta Michael Praetorius (1571-1621) arr. Christian Guebert GOTT DER VATER WOHN UNS BEI from Musae Sioniae I, 1605 double choir motet arranged for small orchestra (Choir I: woodwinds & strings; Choir II: brass) Choir I Choir II Flute Trumpet I Clarinet Trumpet II Violin I Trombone I Violin II Trombone II Viola Bass Trombone or Tuba Cello Contrabass 2 About this arrangement: This edition is a true transcription, reflecting the original pitches, rhythms, and key. There are many instrumental combinations that work well in this setting. Conductors are encouraged to adapt to the needs of their ensembles. The Concordia Sinfonietta uses this arrangement on church outings with a small to medium sized string section, five brass (bass trombone preferred over tuba), and two woodwinds. The setting should work nicely for church and school orchestral ensembles. The rhythms and ranges of parts are accessible for intermediate amateur players. About the hymn: Luther chose an ancient medieval litany and reworked it into a hymn of invocation of the Holy Trinity. It appeared in the first Lutheran hymnal, the Geystliche gesangk Buchleyn of 1524. Praetorius turned it into a motet for double choir in 1605. His setting is arranged here, for a choir of brass and a choir of woodwinds and strings. Christian Guebert, a 2010 graduate of Concordia University Irvine, is a composer of a wide variety of works, including music for choirs, orchestras, handbells, and chamber music ensembles. He holds a Master of Music degree in Music Composition from California State University Fullerton (CSUF) and is studying composition in the doctoral degree program at the University of California, Los Angeles (UCLA).
    [Show full text]
  • Universiv Microtlms International 300 N
    INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image o f the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note w ill appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper left hand comer o f a large sheet and to continue from left to right in equal sections with small overlaps. I f necessary, sectioning is continued again-beginning below the first row and continuing on until complete.
    [Show full text]
  • President's Newsletter
    Death of Pastor Jerry Dalke Our dear friend and brother, Jerry Dalke, died on May 10. Jerry had served St. Luke Lutheran Church, Mt. Vernon, Washington, for 38 years. He had been bi-vocational much of that time working as a building contractor. Last year he announced that his body could no longer take that kind of strenuous work and was pursuing getting his real estate license to supplement his income. He, Paula (his wife), and their family have quietly sacrificed much for the kingdom of our Lord without complaint. Blessed be his memory for Jesus’ sake. Congratulations on a Well-Deserved Honor On Friday, May 21, Professor Emeritus Erling Teigen of our Bethany Lutheran College and Seminary received a Doctor of Divinity Degree, Honoris Causa (“For the sake of honor”) in a ceremony at Concordia Theological Seminary, Fort Wayne. These words were read along with his CV: “We in the Evangelical Lutheran Synod are pleased to have one of her favorite sons receive this well- deserved honor from Concordia Theological Seminary. By having conferred upon him the degree of Doctor of Divinity, honoris causa, Erling is being recognized for what so many of his students and colleagues have long appreciated. His contributions to our theological discussions have not only guided us through some difficult conflicts with stalwart confessional integrity, but his willingness to serve our Lord as a humble theologian of the cross professionally as well as in his personal life has been an inspiration to us all.” The day before, Dr. Teigen was also presented a copy of a Festschrift published for this occasion.
    [Show full text]
  • Johann Walter's Cant I Ones (1544) : Historical Background and Symbolic Influences
    JOHANN WALTER'S CANT I ONES (1544) : HISTORICAL BACKGROUND AND SYMBOLIC INFLUENCES BY ALAN MACDONALD B.MUS. DALHOUSIE UNIVERSITY, 1990 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE STUDIES School of Music We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA August 1995 © Alan Macdonald 1995 In. presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department The University of British Columbia Vancouver, Canada DE-6 (2/88) \ s, ABSTRACT Johann Walter's two songs for seven voices, from Volume V of his collected works, present what seems to be a confused assemblage: three texts sounded simultaneously in a heirarchical structure of musical parts, at the centre of which is the technical feat of an ex unica canon for four voices. Viewing these pieces as part of the larger world of sixteenth-century vocal music, it seems that the normative procedures of musical composition and textual exposition have been turned inside-out, with startling results. One of the two, the setting of the Vulgate Psalm 119 (118), was performed publicly at the inaugural service of Hartenfels Chapel on Oct.
    [Show full text]
  • Heinrich Finck Missa in Summis Stuttgart 1511 Württembergische Landesbibliothek
    GIOMAR GARCIA STHEL Heinrich Finck MISSA IN SUMMIS Stuttgart 1511 Württembergische Landesbibliothek Giomar Garcia Sthel (Brésil) Direction Claudia Habermann (Brésil) Soprano Tobias Knaus (Allemagne) Alto Andrès Montilla-Acurero (Venezuela) Ténorino Daniel Issa (Brésil) Ténor Georg Gädker (Allemagne) Basse Florian Küppers (Allemagne) Basse Patrick Denecker (Belgique) Flûte à bec et doulciane Rachel Heymans (Belgique) Flûte à bec et bombarde Kentaro Nakata (Japon) Viole de gambe Martin Chiang (Taiwan) Doulciane Elina Veronese (Italie) Trombone ténor Audrey Christensen (USA) Trombone basse Francesco Tomasi (Italie) Luth Andreas Plattner (Allemagne) Tambour Montbéliard Temple Saint-Martin Vendredi 4 juillet 2014 20 h 30 Heinrich Finck (Bamberg 1445 - Vienne 1527)1 L’un des grands polyphonistes cathédrale de Salzbourg, près du allemands. Son élève Thomas Stoltzer prince-archevêque Matthäus Lang. (1480-1526) et le Suisse Ludwig Senfl L’année de sa mort, au couvent des (1488-1543) mis à part, aucun maître Écossais de Vienne, il venait de recevoir allemand d’importance n’avait avant le poste envié de maître de chapelle du Finck écrit dans le style vocal qui était futur empereur Ferdinand Ier. alors à l’honneur en Europe occidentale On connaît de lui six messes ou et où excellaient les Franco-Flamands fragments de messe, quarante et les Italiens. Son style pourrait être motets, vingt-huit hymnes et trente- situé entre celui d’Ockeghem et celui huit Deutschelieder, lesquels figurent de Josquin des Prés. Prêtre, il vécut parmi ses meilleures compositions. plusieurs dizaines d’années comme Retenons le nom de deux de ses élèves chantre et maître de chapelle à ou continuateurs : Johann Zanger Cracovie, à la cour des rois de Pologne : (1517-1587) et Rupert Unterholzer (né Jean-Albert Ier(1492), Alexandre (1501) vers 1505-1510).
    [Show full text]
  • Abend Wird Es Wieder 218 Ach Bleib Bei Uns, Herr Jesu Christ 45 Ach
    Inhaltsverzeichnis A Abend wird es wieder Johann Christian Heinrich Rinck 218 Ach bleib bei uns, Herr Jesu Christ Johann Sebastian Bach 45 Ach bleib mit deiner Gnade Hermann Stern 161 Ach Gott vom Himmel sieh darein Johann Sebastian Bach 193 Ach Gott vom Himmel sieh darein (Vorspiel) Johann Christoph Pachelbel 194 Ach, mein Herr Jesu, wenn ich dich nicht hätte Friedrich Ferdinand Flemming 123 All Morgen ist ganz frisch und neu Melchior Vulpius I 202 All Morgen ist ganz frisch und neu Johann Walter II 202 Allein Gott in der Höh sei Ehr Leonhardt Schröter 1 Allein zu dir, Herr Jesus Christ Christoph Peter 114 Allein zu dir, Herr Jesus Christ Johann Sebastian Bach 116 Allemande August Nörminger 278 Allemande Melchior Franck 279 Allemande Michael Praetorius 282 Allemande Johann Hermann Schein 287 Allemande Johann Hermann Schein 298 Alles, was Odem hat (Kanon) Hermann Stern 7 Altes Volkslied Johann Hermann Schein 280 Am Brunnen vor dem Tore Franz Schubert 220 Am Neckar 229 An der Saale hellem Strande Friedrich Ernst Fesca 227 Auf und mach das Banner licht Friedrich Stolle 190 Auf und mach das Banner licht Friedrich Stolle 191 Auf, auf zum fröhlichen Jagen Cesar Bresgen 223 Auf, auf, mein Herz mit Freuden Johann Georg Ebeling 67 Auf, denn die Nacht wird kommen Theodor Kübler 147 Aus meines Herzens Grunde Fritz Dietrich 200 Aus meines Herzens Grunde Johann Sebastian Bach 201 Aus meines Jammers Tiefe Claude Goudimel 208 Aus tiefer Not schrei ich zu dir Melchior Franck 127 B Bald prangt, den Morgen zu verkünden Wolfgang Amadeus Mozart 242 Bergmannslied
    [Show full text]