Musik und religiöse Gefühle: Kann Musik religiöse Gefühle auslösen? (German Edition)

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East Dane Designer Men's Fashion. Shopbop Designer Fashion Brands. Withoutabox Submit to Film Festivals. As in the chorale fantasia, vocalises are joyfully extended to describe this glorious end. Dedicated to the Margrave Friedrich Wilhelm zu Brandenburg, it is a highly important work. Various composers had set the Passion texts to music from the end of the 15th century onwards, either polyphonically Lechner or alternating polyphony with plainchant Lassus.

This style was pursued by several of his pupils, Johann Theile in particular. The soprano voice, however, also has a completely separate function: This introduction of the chorale melodies into the Passions was totally new and was to have repercussions as far as J.

The chorales occur at the very end of each section of the Gospel narrative. The choice of instruments is also of relevance here; the entire work is accompanied not only by the basso continuo organ and theorbo but also by a string ensemble two violins and four violas da gamba. The viols also accompany the words of the Evangelist and the other characters, whilst the words of Christ are haloed with the sound of two violins and basso continuo. All that was then required to arrive at the form of the Passion as we know it from J. Remember, o Lord, our state.

Our dance has become mourning And the crown has fallen from our head. Woe to you, for we have sinned! Christ lag in Todesbanden The archetypal Easter chorale now returns in a composition by Heinrich Scheideman, another important organist of the time: The chorale is here divided into three sections: The second section places the chorale melody in the soprano and ornaments it extensively with Italian diminutions. The third section is in a simpler style, in bicinium or two parts with the right hand playing the chorale melody and the left hand playing an ornamented bass line once again with diminutions.

These two variations could well have been used as pieces played between the verses of the chorale sung by the congregation. Buxtehude created the largest amount of organ music and geistliche Konzerten of any Northern German composer. What is more, each piece in the cycle begins with a setting of texts that Buxtehude took from the Bible; two of these are taken from the Song of Solomon.

Each section is structured identically: The instrumentation of each section is identical: For a reason that could well seem somewhat didactic as would also be the case for J. The instrumental introduction to the second part of Membra, Ad genua, also makes use of this technique. Once again, the text is an expression of the trust of the Christian soul who entrusts his soul to God, reiterating his weakness and stating that he is not better than his ancestors.

The sombre aspect of the work is accentuated by the instrumental accompaniment of two violas and three violas da gamba. Die Zeit meines Abschieds ist vorhanden Nicolaus Bruhns came from a family of musicians that was active throughout the 17th century in what is now the province of Schleswig-Holstein. Matheson also stated that the young Bruhns, seated at the organ, would perform the upper parts of the polyphony on the violin and the bass line on the pedals. Bruhns was appointed organist to Husum in and was to remain in his post there until his death on 29 September Die Zeit meines Abschieds ist vorhanden is laid out along formal lines.

The central adagio is preceded by a sinfonia with an imitation of the organ tremolo stop and is based on the section of text that describes der gerechte Richter, the righteous judge. The text of the cantata Ich liege und schlafe describes the trusting sleep of the Christian soul as death approaches. We should note that the soprano aria and the duet are accompanied only by the continuo. Erstanden ist der heilige Christ This cantata was composed for a smaller group of singers and instrumentalists, notably for two tenors, two violins and continuo, and is decidedly more concertante and virtuoso in style.

The description of the Resurrection, interrupted by many calls of alleluia, perfectly matches this joyous music. We should also note the subtle integration of the chorale melody Erstanden ist der heilige Christ into certain parts of the work. The soprano launches the introduction, her voice seemingly that of an angel, after which she is joined by the vocal quartet. An air for contralto with an ostinato bass follows, describing the weight of the stone that closes the tomb and comparing it to the weight of sin.

Here it takes the form of a fully-developed chorale prelude: He was then to become organist in Erfurt , Stuttgart and Gotha before returning to take up the position of organist in the Sebalduskirche in Nuremberg. His time in Eisenach was particularly interesting; a real mutual admiration and deep friendship seems to have existed between Pachelbel and Ambrosius Bach, the father of Johann Sebastian Bach. He was also the teacher of Johann Christoph, the older brother who was to take Johann Sebastian into his home after the death of their parents.

Johann Sebastian Bach received his basic musical training in the styles inherited from Pachelbel and the Italian school. The two sinfonie are very similar, both quietly quoting the chorale melody, although Pachelbel does so more than Bach. The vocal and instrumental layout of the verses is often the same, although it does not follow the same order: Halt was du hast Johann Christoph Bach: Composers and organists both, they were amongst the more renowned members of the Bach family dynasty. Their presence in this anthology allows us to discuss a genre that not only they but also their illustrious heir was to practise: In many cases, these motets - unaccompanied or accompanied only by continuo and in an archaic style inherited from the Renaissance - were often sung in ceremonies held outside the church itself, such as the funeral wakes held at the home of the deceased.

The text is a paraphrase on one of the last words of Christ on the cross, in which he promises the repentant thief that he be will him that day in Paradise. As in the previous motet, a soprano voice - here alone and without polyphony - adds the melody of the chorale O Jesu du mein Hilf und Ruf.

Passions and becoming indispensable in the process.

The four cantatas presented here are all funeral cantatas, each one having its individual characteristics as well as points in common. Of all the contemporaries of J.

Introduction

He had worked in Leipzig at the start of his career and had become master of music for the city of Hamburg; he had also been preferred to Bach for the position of Cantor in Leipzig. The cantata Du aber Daniel bears all the signs of being a youthful composition, possibly having been composed during his time in Sorrau and Eisenach Could it have been written for the funeral of his wife Amalie in ?

In any case it is of exceptional quality and is a typical example of the new style of cantata that was being composed in Germany at the beginning of the 18th century. A chamber ensemble of violin, recorder, oboe, two bass viols, bassoon and continuo accompanies the four voices; these instruments were given their French names in the autograph manuscript, which was lost during the Second World War.

A recitative and aria for bass in several sections is now heard: Another recitative for the bass follows and the cantata concludes with an adagio chorus in ternary rhythm.

Once more the pizzicato viols and bass instruments evoke funeral bells. Bestelle dein Haus It is always interesting to discover the music of composers who have been forgotten over time but who were not without merit during their lifetimes and carried out their duties as master of music of a city, opera house or church to the satisfaction of all. One such is Christian Ludwig Boxberg, born in Sonderhausen in He studied in Leipzig and became a musician in the service of the court of Ansbach, where he composed operas in German and Italian.

Its text is made up of phrases taken from various parts of the Bible: Sterben ist mein Gewinn, Ich hab Lust abzuscheiden und bei Christo zu sein. The two chorales are identical in cut but the composer also unusually places short ritornelli for the wind instruments between the phrases of the chorale. He left a large body of work that includes not only several cantata cycles but also complete settings of the entire Gospel according to Matthew and the complete Book of Psalms. Actus Tragicus BWV As we survey these funeral cantatas by Telemann, Boxberg and Riedel, it would seem that this repertoire can be recognised by the instrumentation employed and by the use of certain string techniques such as tremolo and pizzicato.

We should beware of generalities, although it is nonetheless true that these elements also appeared in similar works by J. Bach that are generally considered as the culmination of a century of Lutheran sacred music. This is very much the case with the cantata Gottes Zeit ist die allerbeste Zeit, better known under its Latin title of Actus Tragicus. The work calls for the instruments mentioned above, although only for two recorders, two violas da gamba and continuo. The cantata is practically a sermon in music, during which the valorisation and the exegesis of the Biblical texts are realised by the constant juxtaposition and superposition of elements of musical rhetoric.

Es ist der alte Bund and sombre colours accompany the Old Testament vision, while the New Testament vision is expressed in a long bipartite aria that bathes in an atmosphere of serene joy. The line Gott loben und ihm dankbar sein is set as a gigue, whilst Und singen halleluja inspires an animated and joyous dialogue between the two keyboards, a dialogue that recalls the eponymous chorale prelude composed by Tunder.

In the coda we hear the chorale theme corresponding to the word Alleluia sounded three times in an atmosphere of celebration. Clearly part of a funeral cantata whose other movements have not survived, this single aria describes the striking of the long-awaited hour of death. Two campanelle - small bells - are called for in addition to the customary four stringed instruments.

What they exactly were is not clear: The genre had already become popular in Northern German churches by the time that Johann Sebastian Bach took up his post in Leipzig in May , but had not yet arrived in Leipzig.

Monumental opening and closing choruses act as a frame for the Gospel narration: The recording used here also has symbolic value. We used a pair of Shoeps microphones, no more and no less. When I came to put this boxed set together I remembered this recording, which I then listened to again with much emotion and tenderness. This version, despite the various blemishes that go with any live recording, touches the listener with its fervour and sincerity. This concert was dedicated to his memory.

This is a true chorale prelude, one designed to give the congregation their note and possibly also to remind them of the tune. All of the joy of Easter resounds in this short prelude organo pleno. Schlummert ein, ihr matten Augen, fallet sanfts und selig zu. The cantata ends indeed in joy: Toute contrainte de la tradition du plain-chant et de la polyphonie a disparu. Johann Sebastiani en fait partie. Rien ne permet de situer sa formation en Allemagne: Cette introduction des chorals dans le cours de la Passion est une innovation dont on retrouve la trace plus tard dans les Passions de Bach.

Le plan de chaque partie est identique: En ce qui concerne les instruments, la formation est toujours identique: Compositeurs et organistes, ils font partie des membres les plus illustres de la famille Bach. Pour ce faire, un simple couple de micros Shoeps, sans plus. La partie centrale est une longue berceuse dans laquelle il fait ses adieux au monde en appelant le sommeil: Jahrhunderts bis Johann Sebastian Bach.

Seit der Mitte des Das auf datierte Auferstehungsoratorium ist sein erstes Werk dieser Gattung. Auch die rhythmische Behandlung ist frei bzw. Auch die Begleitung ist sehr originell: Sie wird einem Bassgambenquartett anvertraut. Dieser Chor besteht aus den Personen der Handlung: Dagegen hat der Komponist diese Rollenverteilung auf alle anderen Personen erweitert, vielleicht um ihnen einen immaterielleren Aspekt zu verleihen. Die einengende Tradition des gregorianischen Chorals und der Polyphonie ist vollkommen verschwunden.

Hier eine erste Verwendung davon in einer Choralfantasie von Franz Tunder.

The psychological functions of music listening

Wenn nicht, so wurde er zumindest in dessen Umgebung ausgebildet. Von seinem Werk ist sehr wenig erhalten: Seit dem Ende des Jahrhunderts hatten verschiedene Komponisten den Text der Passion in Musik gesetzt, und zwar entweder polyphonisch Lechner oder so, dass sich Gregorianik und Polyphonie abwechselten Lassus. Massenszenen die Rollen aufteilen: Doch hat die Rolle der Sopranstimme noch eine ganz andere Funktion: Auch die Instrumentierung ist sehr wichtig.

Gedenke, Herre, wie es uns gehet. Christ lag in Todesbanden Hier ist wieder ein Osterchoral, diesmal in einer Vertonung von Heinrich Scheidemann, einem anderen bedeutenden Organisten dieser Zeit; er hatte den Organistenposten an der Katharinenkirche von Hamburg zwischen und inne. Der Aufbau der verschiedenen Teile ist immer identisch: Jeder Teil endet mit einer Reprise des Anfangschores. Das Komponieren lernte Nicolaus Bruhns bei Buxtehude. Mit einem wertvollen Empfehlungsschreiben seines Meisters ausgestattet, begab sich Bruhns nach Kopenhagen, wo er einige Jahre verbrachte und wahrscheinlich die Organistenstelle an der Nikolaikirche innehatte.

Im Jahre wurde Bruhns zum Organisten von Husum ernannt.

The psychological functions of music listening

Er blieb auf diesem Posten bis zu seinem Tod am Die Zeit meines Abschieds ist vorhanden ist eine Komposition, die formeller ausgearbeitet ist. Dabei ist zu bemerken, dass die Sopranarie und das Duett nur vom Basso continuo begleitet werden. In einigen Teilen der Komposition ist allerdings eine subtile Integration der Melodie des gleichnamigen Chorals Erstanden ist der heilige Christ zu bemerken.

Zweifellos symbolisiert der Sopran, wenn er mit der Introduktion beginnt, eine Engelsstimme, wonach das Vokalquartett hinzukommt.