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Meine Seele Erhebt Den Herren
Meine Seele erhebt den Herren (My soul magnifies the Lord) is Martin Luther's translation of the Magnificat canticle. It is traditionally sung to a German variant of the , a rather exceptional psalm tone in Gregorian chant.Lundberg 2012 p. 7-17 The tonus peregrinus (or ninth tone) is associated with the ninth mode or Aeolian mode. For the traditional setting of Luther's German Magnificat that is the minor mode for which the last note of the melodic formula is the tonic, a fifth below its opening note. Traditional setting The tonus peregrinus is an exceptional psalm tone in Gregorian chant: there it was most clearly associated with Psalm 113, traditionally sung in vespers. In Lutheranism, the tonus peregrinus is associated with the Magnificat (also usually sung in vespers): the traditional setting of Luther's German translation of the Magnificat ("Meine Seele erhebt den Herren") is a German variant of the tonus peregrinus. Typical for all German variants of the tonus peregrinus, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Martin Luther
Martin Luther (; ; 10 November 1483 – 18 February 1546) was a German priest, theologian, author, hymnwriter, and professor, and Order of Saint Augustine, Augustinian friar. He is the seminal figure of the Reformation, Protestant Reformation and the namesake of Lutheranism. Luther was ordained to the Priesthood in the Catholic Church, priesthood in 1507. He came to reject several teachings and practices of the Catholic Church, Roman Catholic Church; in particular, he disputed the view on indulgences. Luther proposed an academic discussion of the practice and efficacy of indulgences in his ''Ninety-five Theses'' of 1517. His refusal to renounce all of his writings at the demand of Pope Leo X in 1520 and the Charles V, Holy Roman Emperor, Holy Roman Emperor Charles V at the Diet of Worms in 1521 resulted in his Excommunication (Catholic Church)#History, excommunication by the pope and condemnation as an Outlaw#In other countries, outlaw by the Holy Roman Emper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cantus Firmus
In music, a ''cantus firmus'' ("fixed melody") is a pre-existing melody forming the basis of a polyphonic composition. The plural of this Latin term is , although the corrupt form ''canti firmi'' (resulting from the grammatically incorrect treatment of ''cantus'' as a second- rather than a fourth-declension noun) can also be found. The Italian is often used instead: (and the plural in Italian is ). History The term first appears in theoretical writings early in the 13th century (e.g., Boncampagno da Signa, ''Rhetorica novissima'', 1235). The earliest polyphonic compositions almost always involved a cantus firmus, typically a Gregorian chant, although by convention the term is not applied to music written before the 14th century. The earliest surviving polyphonic compositions, in the ''Musica enchiriadis'' (around 900 AD), contain the chant in the top voice, and the newly composed part underneath; however, this usage changed around 1100, after which the cantus firmus typicall ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Hermann Schein
Johann Hermann Schein (20 January 1586 – 19 November 1630) was a German composer of the early Baroque era. He was Thomaskantor in Leipzig from 1615 to 1630. He was one of the first to import the early Italian stylistic innovations into German music, and was one of the most polished composers of the period. Biography Schein was born in Grünhain. On the death of his father, Schein moved to Dresden where he joined the choir of the Elector of Saxony as a boy soprano. In addition to singing in the choir, he received a thorough musical training with Rogier Michael, the ''Kapellmeister,'' who recognized his extraordinary talent. From 1603 to 1607 he studied at Pforta, and from 1608 to 1612 attended the University of Leipzig, where he studied law in addition to liberal arts. Upon graduating, he was employed briefly by Gottfried von Wolffersdorff as the house music director and tutor to his children; later he became ''Kapellmeister'' at Weimar, and shortly thereafter became Thomaskant ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Johann Ludwig Krebs
Johann Ludwig Krebs (baptized 12 October 1713 – 1 January 1780) was a German Baroque musician and composer for the pipe organ, harpsichord, other instruments and orchestras. His output also included chamber music, choral works and concertos. Life Krebs was born in 1713 in Buttelstedt to Johann Tobias Krebs, an organist. At least three of his brothers were musically talented. Krebs was sent to Leipzig to study organ, lute, and the violin. Krebs studied with Johann Sebastian Bach on the organ. Bach (who had also instructed Krebs's father) held Krebs in high standing. From a technical standpoint, Krebs was unrivaled next to Bach in his organ proficiency. However, Krebs found it difficult to obtain a patron or a cathedral post. His Baroque style was being supplanted by the newer galant music style and the classical music era. Krebs took a small post in Zwickau, and in 1755 (five years after the death of Bach, which is normally referred to as the end of the Baroque period) he was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chorale Prelude
In music, a chorale prelude or chorale setting is a short liturgical composition for organ using a chorale tune as its basis. It was a predominant style of the German Baroque era and reached its culmination in the works of J.S. Bach, who wrote 46 (with a 47th unfinished) examples of the form in his Orgelbüchlein, along with multiple other works of the type in other collections. Function The precise liturgical function of a chorale prelude in the Baroque period is uncertain and is a subject of debate. One possibility is that they were used to introduce the hymn about to be sung by the congregation, usually in a Protestant, and originally in a Lutheran, church. This assumption may be valid for the shorter chorale preludes (Bach's setting of 'Liebster Jesu, wir sind hier, BWV 731, for example), but many chorale preludes are very long. It could be the case that these were played during extended ceremonial in church or in cathedrals. Style Chorale preludes are typically polyphonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bach Digital
Bach Digital (German: ), developed by the Bach Archive in Leipzig, is an online database which gives access to information on compositions by Johann Sebastian Bach and members of Bach family, his family. Early manuscripts of such compositions are a major focus of the website, which provides access to high-resolution digitized versions of many of these. Scholarship on manuscripts and versions of compositions is summarized on separate pages, with references to scholarly sources and editions. The database portal has been online since 2010. History In 2000, two years after Uwe Wolf (musicologist), Uwe Wolf had suggested the possibility of supporting the publication of the New Bach Edition (NBE) with digital media, a project named Bach Digital started as an initiative of the Internationale Bachakademie Stuttgart, but without direct involvement of the then editor of the NBE, the Johann Sebastian Bach Institute in Göttingen. After four years the project remained unconvincing: it lagge ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Schübler Chorales
' ( 'six chorales of diverse kinds, to be played on an organ with two manuals and pedal'), commonly known as the ''Schübler Chorales'' (german: Schübler-Choräle), BWV 645–650, is a set of chorale preludes composed by Johann Sebastian Bach. Johann Georg Schübler, after whom the collection came to be named, published it in 1747 or before August 1748, in Zella St. Blasii. At least five preludes of the compilation are transcribed from movements in Bach's church cantatas, mostly chorale cantatas he had composed around two decades earlier. These six chorales provide an approachable version of the music of the cantatas through the more marketable medium of keyboard transcriptions. Virtually all Bach's cantatas were unpublished in his lifetime. Context and content The hymn tunes of the Lutheran hymns on which the chorale settings included in the ''Schübler Chorales'' are based can be identified by their Zahn number. The fourth chorale of the set is however ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 324
Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: * four-part harmony * SATB vocal forces * pre-existing hymn tune allotted to the soprano part * text treatment: ** homophonic ** no repetitions (i.e., each syllable of the hymn text is sung one time) Around 400 of such chorale settings by Bach, mostly composed in the first four decades of the 18th century, are extant: * Around half of that number are chorales which were transmitted in the context of larger vocal works such as cantatas, motets, Passions and oratorios. A large part of these chorales are extant as autographs by the composer, and for nearly all of them a colla parte instrumental and/or continuo accompaniment are known. * All other four-part chorales exclusively survived in collections of short works, which include manuscripts and 18th-century prints. Apart from the '' Three Wedding Chorales'' collection ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
BWV 323
Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: * four-part harmony * SATB vocal forces * pre-existing hymn tune allotted to the soprano part * text treatment: ** homophonic ** no repetitions (i.e., each syllable of the hymn text is sung one time) Around 400 of such chorale settings by Bach, mostly composed in the first four decades of the 18th century, are extant: * Around half of that number are chorales which were transmitted in the context of larger vocal works such as cantatas, motets, Passions and oratorios. A large part of these chorales are extant as autographs by the composer, and for nearly all of them a colla parte instrumental and/or continuo accompaniment are known. * All other four-part chorales exclusively survived in collections of short works, which include manuscripts and 18th-century prints. Apart from the '' Three Wedding Chorales'' collection ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
List Of Chorale Harmonisations By Johann Sebastian Bach
Johann Sebastian Bach's chorale harmonisations, alternatively named four-part chorales, are Lutheran hymn settings that characteristically conform to the following: * four-part harmony * SATB vocal forces * pre-existing hymn tune allotted to the soprano part * text treatment: ** homophonic ** no repetitions (i.e., each syllable of the hymn text is sung one time) Around 400 of such chorale settings by Bach, mostly composed in the first four decades of the 18th century, are extant: * Around half of that number are chorales which were transmitted in the context of larger vocal works such as cantatas, motets, Passions and oratorios. A large part of these chorales are extant as autographs by the composer, and for nearly all of them a colla parte instrumental and/or continuo accompaniment are known. * All other four-part chorales exclusively survived in collections of short works, which include manuscripts and 18th-century prints. Apart from the '' Three Wedding Chorales'' collection ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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