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Such, Wer Da Will, Ein Ander Ziel
"" (Search, whoever wants, for a different goal) is a Lutheran hymn in five stanzas with a text written by Georg Weissel in 1623 to a melody that Johann Stobäus had created in 1613. History The Lutheran theologian Georg Weissel was appointed minister of the Altrossgarten Church in Königsberg in 1623. For the inauguration of the church on the second Sunday in Advent that year, he wrote the hymn "Macht hoch die Tür". When he took up the post as minister the following Sunday, he wrote "" for the occasion. Weissel knew Johann Stobäus, the composer of the tune, already from the time of studies in Königsberg. He used a tune that Stobäus had created in 1613 for a wedding hymn "". The earliest extant print of ''Such, wer da will'' is a five-part motet by Stobäus in a collection ''Preußische Festlieder'' (Prussian festive hymns) that Stobäus published in 1642, of his works and those of his teacher Johannes Eccard. The song was included in several hymnals. In the current Germa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Lutheran Hymn
Martin Luther was a great enthusiast for music, and this is why it forms a large part of Lutheran services; in particular, Luther admired the composers Josquin des Prez and Ludwig Senfl and wanted singing in the church to move away from the ''ars perfecta'' (Catholic Sacred Music of the late Renaissance) and towards singing as a '' Gemeinschaft'' (community). Lutheran hymns are sometimes known as chorales. Lutheran hymnody is well known for its doctrinal, didactic, and musical richness. Most Lutheran churches are active musically with choirs, handbell choirs, children's choirs, and occasionally change ringing groups that ring bells in a bell tower. Johann Sebastian Bach, a devout Lutheran, composed music for the Lutheran church: more than half of his over 1000 compositions are or contain Lutheran hymns. History Lutheran hymnals include: * '' Achtliederbuch'', a.k.a. the first Lutheran hymnal (1524). Contains, among others, " Nun freut euch, lieben Christen g'mein", " Es is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Intercession Of Saints
Intercession of the Saints is a Christian doctrine held by the Eastern Orthodox, Oriental Orthodox, and Catholic churches. The practice of praying through saints can be found in Christian writings from the 3rd century onward. The 4th-century Apostles' Creed states belief in the communion of Saints, which certain Christian churches interpret as supporting the intercession of saints. However, similar practices are controversial in Judaism, Islam, and Protestantism. Biblical basis Intercession of the living for the living According to the Epistle to the Romans, the living can intercede for the living: "Now I ( Paul) beseech you, brethren, for the Lord Jesus Christ's sake, and for the love of the Spirit, that ye strive together with me in your prayers to God for me"Romans 15:30. Mary intercedes at the wedding at Cana and occasions Jesus's first miracle. "On the third day a wedding took place at Cana in Galilee. Jesus’ mother was there, and Jesus and his disciples had also bee ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
17th-century Hymns In German
The 17th century lasted from January 1, 1601 ( MDCI), to December 31, 1700 ( MDCC). It falls into the early modern period of Europe and in that continent (whose impact on the world was increasing) was characterized by the Baroque cultural movement, the latter part of the Spanish Golden Age, the Dutch Golden Age, the French '' Grand Siècle'' dominated by Louis XIV, the Scientific Revolution, the world's first public company and megacorporation known as the Dutch East India Company, and according to some historians, the General Crisis. From the mid-17th century, European politics were increasingly dominated by the Kingdom of France of Louis XIV, where royal power was solidified domestically in the civil war of the Fronde. The semi-feudal territorial French nobility was weakened and subjugated to the power of an absolute monarchy through the reinvention of the Palace of Versailles from a hunting lodge to a gilded prison, in which a greatly expanded royal court could be more easil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Carus-Verlag
Carus-Verlag is a German music publisher founded in 1972 and based in Stuttgart. Carus was founded by choral conductor Günter Graulich and his wife Waltraud with an emphasis on choral repertoire. The catalogue currently includes more than 26,000 works (January 2016). The company produces the standard editions of the complete works of Josef Rheinberger and Max Reger.''Harald Wanger, Rheinberger-Archivar, Organist, Pädagoge'' Harald Wanger, Franz-Georg Rössler, Robert Allgäuer - 2003 p. 48 Carus-Verlag, Musikalische Schätze abseits bekannter Pfade - Harald Wanger und der Carus-Verlag "Für den Carus-Verlag ist die Verbindung zu Harald Wanger und dem Josef Rheinberger-Archiv ein Glücksfall." Record label The company also produces CDs to accompany some of its printed editions. Currently the publishers are working on recordings accompanying the complete editions of Wilhelm Friedemann Bach. Opera rarities include Schubert's '' Sakuntala'' and Johann Rudolf Zumsteeg's ''Die G ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Die Versuchung Jesu
' (The temptation of Jesus) is a composition for a mixed choir a cappella by Gustav Gunsenheimer, written in 1968. It is an (Gospel motet), based on the gospel in German of the temptation of Christ, written for one of the Sundays of Lent. The text is the biblical passage from the Gospel of Matthew (), followed by the first stanza from the hymn "" written by Georg Weissel, in a setting of the original melody by Johann Stobäus. The duration is given as 4 minutes. It was published by Carus-Verlag in 1968. A characteristic feature of the composition is that the part of the devil is rendered spoken, at times in canon. Series of motets Gunsenheimer composed a sequence of five motets for Sundays in Lent: # ', on the story of Jesus and two disciples (1966) # ' (1968) # ', on the raising of Jairus' daughter (1969) # ', on healing the blind near Jericho (1970) # ', on Jesus and the Canaanite woman (1971) He added a motet for a Sunday after Easter: ', on the story of the doubting Tho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Evangelienmotette
''Evangelienmotetten'' or Gospel motets (sometimes called ''Spruchmotetten'', "Bible-text motets") were settings to music of verses from the New Testament. They were selected as an essence or ''Kernspruch'' ("text-kernel") of the verses in question, with the intention of highlighting dramatically or summarising in a terse fashion a significant thought from the Gospels. There is a long tradition in Germany, dating back to the medieval era, of highlighting the importance of gospel readings through polyphonic musical settings of gospel texts. They became an increasingly popular genre from the 16th century onwards and were intended for use in Lutheran church services. They could thus be written in either Latin or German. The latter came to predominate by the end of the 16th century due to the emphasis placed by the Reformation on the need to make the Bible accessible to all people through the use of the vernacular language. During the late 16th and early 17th centuries a number of comp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gustav Gunsenheimer
Gustav Gunsenheimer (born 10 March 1934) is a German director of church music and a composer of mostly sacred music and chamber music. First an elementary school teacher, he worked for decades as the church musician at St. Lukas in Schweinfurt, where he held annual festivals, conducted a notable choir, was responsible in the Bavarian organization of chorale conductors, and was a lecturer at the music university of Würzburg. Career Born in Kunzendorf, Gunsenheimer left Silesia with his family at the end of World War II. He attended a gymnasium with a focus on old languages in Bamberg, completed with the Abitur in 1954. He studied to be a music teacher at schools. He taught at elementary schools, from 1956 in Bad Königshofen, from 1968 in Schweinfurt. His career as a musician began when he founded and conducted a regional teachers' choir named "Fränkischer Singkreis" (Franconian singing circle). In 1963 he passed the ''Kantorenprüfung'' (church musician's exam) at the . In ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karl Marx (composer)
Karl Julius Marx (12 November 1897 – 8 May 1985) was a German composer and music teacher. Life Karl Marx was born in Munich, the son of Josef Marx and his wife Emilie, née Eheberg. After early violin and piano lessons, Marx first studied natural sciences at the Ludwig Maximilian University in Munich in 1916. His encounter with Carl Orff, with whom he took private composition lessons after the World War I, was decisive for his decision to turn to music professionally. From 1920 to 1922, Marx studied composition with Anton Beer-Walbrunn and conducting with and Siegmund von Hausegger at the Akademie der Tonkunst in Munich. From 1924 to 1935, Marx was solo repetiteur in Felix von Kraus's singing class. From 1935 to 1939, he led his own interpretation class for lieder and oratorio singers at the Akademie der Tonkunst in Munich, where he also taught harmony and form theory from 1929 to 1939. From 1928 to 1939, he conducted the choir of the Munich Bachverein (until 1931 together wit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Syncope (music)
A nonchord tone (NCT), nonharmonic tone, or embellishing tone is a note in a piece of music or song that is not part of the implied or expressed chord set out by the harmonic framework. In contrast, a chord tone is a note that is a part of the functional chord (see: factor (chord)). Non-chord tones are most often discussed in the context of the common practice period of classical music, but they can be used in the analysis of other types of tonal music as well, such as Western popular music. Nonchord tones are often categorized as ''accented non-chord tones'' and ''unaccented non-chord tones'' depending on whether the dissonance occurs on an accented or unaccented beat (or part of a beat). Over time, some musical styles assimilated chord types outside of the common-practice style. In these chords, tones that might normally be considered nonchord tones are viewed as chord tones, such as the seventh of a minor seventh chord. For example, in 1940s-era bebop jazz, an F played with ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Superstition
A superstition is any belief or practice considered by non-practitioners to be irrational or supernatural, attributed to fate or magic, perceived supernatural influence, or fear of that which is unknown. It is commonly applied to beliefs and practices surrounding luck, amulets, astrology, fortune telling, spirits, and certain paranormal entities, particularly the belief that future events can be foretold by specific (apparently) unrelated prior events. Also, the word ''superstition'' is often used to refer to a religion not practiced by the majority of a given society regardless of whether the prevailing religion contains alleged superstitions or to all religions by the antireligious. Contemporary use Definitions of the term vary, but commonly describe superstitions as irrational beliefs at odds with scientific knowledge of the world. Stuart Vyse proposes that a superstition's "presumed mechanism of action is inconsistent with our understanding of the physical world ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
