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Ich Will Dich Lieben, Meine Stärke
"" (I want to love you, my strength) is a sacred poem by Johann Scheffler who is known by his pen name Angelus Silesius. It appeared first in a poem collection, ''Heilige Seelen-Lust'' (Holy bliss of the soul) in 1657, and has become a Christian song in notable hymnals of different denominations, with different melodies. Text The full title of the collection is: Scheffler's poem is in eight stanzas of six lines each, with rhyme scheme ABABCC. The shorter final line accents its content. It is part of a 1657 collection of pastoral religious poetry, ''Heilige Seelen-Lust Oder geistliche Hirten-Lieder Der in ihren JESUM verliebten Psyche'' (Holy bliss of the soul, or: spiritual shepherd songs of Psyche who is in love with her Jesus), in which the first person (ich) is the shepherdess and Jesus the shepherd. The original header confirm this: "Sie verspricht sich jhn biß in Tod zu lieben" (She promises herself to love him until her death). The poetry is in the tradition to inter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Angelus Silesius
Angelus Silesius (9 July 1677), born Johann Scheffler and also known as Johann Angelus Silesius, was a German Catholic priest and physician, known as a mystic and religious poet. Born and raised a Lutheran, he adopted the name ''Angelus'' (Latin for "angel" or " heavenly messenger") and the epithet ''Silesius'' (" Silesian") on converting to Catholicism in 1653. While studying in the Netherlands, he began to read the works of medieval mystics and became acquainted with the works of the German mystic Jacob Böhme through Böhme's friend, Abraham von Franckenberg. Silesius's mystical beliefs caused tension between him and Lutheran authorities and led to his eventual conversion to Catholicism. He took holy orders under the Franciscans and was ordained a priest in 1661. Ten years later, in 1671, he retired to a Jesuit house where he remained for the rest of his life. An enthusiastic convert and priest, Silesius worked to convince German Protestants in Silesia to return to the Roma ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Catholic Church
The Catholic Church, also known as the Roman Catholic Church, is the largest Christian church, with 1.3 billion baptized Catholics worldwide . It is among the world's oldest and largest international institutions, and has played a prominent role in the history and development of Western civilization.O'Collins, p. v (preface). The church consists of 24 ''sui iuris'' churches, including the Latin Church and 23 Eastern Catholic Churches, which comprise almost 3,500 dioceses and eparchies located around the world. The pope, who is the bishop of Rome, is the chief pastor of the church. The bishopric of Rome, known as the Holy See, is the central governing authority of the church. The administrative body of the Holy See, the Roman Curia, has its principal offices in Vatican City, a small enclave of the Italian city of Rome, of which the pope is head of state. The core beliefs of Catholicism are found in the Nicene Creed. The Catholic Church teaches that it is the on ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Motet
In Western classical music, a motet is mainly a vocal musical composition, of highly diverse form and style, from high medieval music to the present. The motet was one of the pre-eminent polyphonic forms of Renaissance music. According to Margaret Bent, "a piece of music in several parts with words" is as precise a definition of the motet as will serve from the 13th to the late 16th century and beyond.Margaret Bent,The Late-Medieval Motet in ''Companion to Medieval & Renaissance Music'', edited by Tess Knighton and David Fallows, 114–19 (Berkeley, California: University of California Press, 1992): 114. . The late 13th-century theorist Johannes de Grocheo believed that the motet was "not to be celebrated in the presence of common people, because they do not notice its subtlety, nor are they delighted in hearing it, but in the presence of the educated and of those who are seeking out subtleties in the arts". Etymology In the early 20th century, it was generally believed the name ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peter Cornelius
Carl August Peter Cornelius (24 December 1824 – 26 October 1874) was a German composer, writer about music, poet and translator. Life He was born in Mainz to Carl Joseph Gerhard (1793–1843) and Friederike (1789–1867) Cornelius, actors in Mainz and Wiesbaden. From an early age he played the violin and composed, eventually studying with Tekla Griebel-Wandall and composition with Heinrich Esser in 1841. He lived with his painter uncle Peter von Cornelius in Berlin from 1844 to 1852, and during this time he met prominent figures such as Alexander von Humboldt, the Brothers Grimm, Friedrich Rückert and Felix Mendelssohn. Cornelius's first mature works (including the opera ''Der Barbier von Bagdad'') were composed during his brief stay in Weimar (1852–1858). His next place of residence was Vienna, where he lived for five years. It was in Vienna that Cornelius began a friendship with Richard Wagner. At the latter's behest, Cornelius moved to Munich in 1864, where he mar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gotteslob
''Gotteslob'' ("Praise of God") is the title of the hymnbook authorized by the Catholic dioceses in Germany, Austria, South Tyrol, Luxembourg and Liège, Belgium. First published in Advent 2013, it is the current official hymnal for German-speaking Catholics, succeeding the first common German hymnal, the 1975 edition of the same name. Each diocese published a book containing a common section and a regional section. The first editions amounted to around 4 million copies. History ''Gotteslob'' was developed as a sequel of the first common German hymnal, ''Gotteslob'' of 1975. It was developed over a period of 10 years by around 100 experts, who studied the use of hymns, conducting surveys and running tests in selected congregations. ''Gotteslob'' was published by Catholic dioceses in Germany, Austria, South Tyrol, and is also used by German-speaking parishes in Luxembourg and the Diocese of Liège, Belgium. It was introduced from Advent 2013, beginning on 1 December. It is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gotteslob (1975)
The 1975 edition of ''Gotteslob'' (''God's Praise'') was the first combined prayerbook and hymnbook authorised by the bishops of all German-speaking Roman Catholics in Germany and Austria. It contains texts and songs for liturgy, communal prayer and private prayer, divided into a section which is common for all, and an appendix for the local songs in a diocese. Forerunners for a common hymnal were the hymnal '' Cantate!'', published by Heinrich Bone in 1847 and used by multiple diocese of German-speaking countries, and '' Kirchenlied'', a 1938 hymnal that included songs by Protestant hymnwriters. Maria Luise Thurmair was a member of the commission preparing the edition, and also contributed several songs to the book. Her "Den Herren will ich loben", based on the Magnificat and many other liturgical hymns appeared there first. Friedrich Dörr was a member of the commission who contributed mostly his translations of Latin hymns, such as "Komm, Heilger Geist, der Leben schafft", f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kirchenlied
''Kirchenlied'' ("Church song") is a German Catholic hymnal published in 1938. It was a collection of 140 old and new songs, including hymns by Protestant authors. It was the seed for a common Catholic hymnal which was realised decades later, in the ''Gotteslob'' (1975). History ''Kirchenlied'' was published in 1938 by , Adolf Lohmann and Georg Thurmair. It was a collection of 140 songs from different periods, starting in the 16th century, and it included several Protestant songs as well as ten of Thurmair's own songs. Known as the "Standard Songbook", it was designed to be a common hymnal for German-speaking Catholics. ''Kirchenlied'' was published first by the , subtitled ''Eine Auslese geistlicher Lieder für die Jugend'' ("A selection of sacred songs for youth"). The hymnal, unlike other publications by Thurmair, was not immediately banned by the Nazis, because of its many Protestant songs. From the fourth edition, the subtitle was shortened to "Eine Auslese geistlicher Lied ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Evangelisches Kirchengesangbuch
The Evangelisches Kirchengesangbuch (EKG, literally: Protestant church songbook) was the first common hymnal of German-speaking churches in the Protestant state churches (''Landeskirchen'') in Germany and the Protestant churches in Austria. It was introduced between 1950 and 1969. The EKG was replaced by the current '' Evangelisches Gesangbuch'' (EG) between 1993 and 1996. History The intention to have a common German Protestant hymnal date back to the mid of the 19th century. A meeting of representatives of German state churches in Eisenach Eisenach () is a town in Thuringia, Germany with 42,000 inhabitants, located west of Erfurt, southeast of Kassel and northeast of Frankfurt. It is the main urban centre of western Thuringia and bordering northeastern Hessian regions, situat ... in 1853 resulted in a collection of songs that were widely known and preferred, ''Deutsches Evangelisches Kirchen-Gesangbuch in 150 Kernliedern'', also known as ''Eisenacher Büchlein''. The E ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ich Will Dich Lieben, Meine Stärke (1915)
"" (I want to love you, my strength) is a sacred poem by Johann Scheffler who is known by his pen name Angelus Silesius. It appeared first in a poem collection, ''Heilige Seelen-Lust'' (Holy bliss of the soul) in 1657, and has become a Christian song in notable hymnals of different denominations, with different melodies. Text The full title of the collection is: Scheffler's poem is in eight stanzas of six lines each, with rhyme scheme ABABCC. The shorter final line accents its content. It is part of a 1657 collection of pastoral religious poetry, ''Heilige Seelen-Lust Oder geistliche Hirten-Lieder Der in ihren JESUM verliebten Psyche'' (Holy bliss of the soul, or: spiritual shepherd songs of Psyche who is in love with her Jesus), in which the first person (ich) is the shepherdess and Jesus the shepherd. The original header confirm this: "Sie verspricht sich jhn biß in Tod zu lieben" (She promises herself to love him until her death). The poetry is in the tradition to int ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melisma
Melisma ( grc-gre, μέλισμα, , ; from grc, , melos, song, melody, label=none, plural: ''melismata'') is the singing of a single syllable of text while moving between several different notes in succession. Music sung in this style is referred to as ''melismatic'', as opposed to ''syllabic'', in which each syllable of text is matched to a single note. An informal term for melisma is a vocal run. The term roulade is also sometimes used interchangeably with melisma. History General The term melisma may be used to describe music of any genre, including baroque singing, opera, and later gospel. Within the tradition of Religious Jewish music, melisma is still commonly used in the chanting of Torah, readings from the Prophets, and in the body of a service. Today, melisma is commonly used in Middle Eastern, African, and African American music, Irish sean nós singing, and flamenco. Melisma is also commonly featured in Western popular music. Prevalence in western popular music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bar Form
Bar form (German: ''die Barform'' or ''der Bar'') is a musical form of the pattern AAB. Original use The term comes from the rigorous terminology of the Meistersinger guilds of the 15th to 18th century who used it to refer to their songs and the songs of the predecessors, the minnesingers of the 12th to 14th century. In their work, a ''Bar'' is not a single stanza (which they called a ''Liet'' or ''Gesätz''); rather, it is the whole song. The word ''Bar'' is most likely a shortening of ''Barat'', denoting a skillful thrust in fencing. The term was used to refer to a particularly artful song – the type one composes in songwriters' guilds. The AAB pattern does, however, describe each stanza in a Meistersinger's ''Bar'', which is divided into two ''Stollen'' (A), which are collectively termed the ''Aufgesang'', followed by an ''Abgesang''. The musical form thus contains two repetitions of one melody (''Stollen'' – 'stanzas') followed by a different melody (''Abgesang'' – 'aft ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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