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.