The Folly of the Cross

The Passion of Christ in Theology and the Arts in Early Modernity Richard Viladesau ... His cantata Der Tod Jesu (“The Death of Jesus"—not coincidentally the title of Ramler's text) was in genre of the Italian sepolcro, ...

The Folly of the Cross

The Folly of the Cross is the fourth book in Richard Viladesau's series examining the aesthetics and theology of the cross through Christian history. Previous volumes have brought the story up through the Baroque era. This new book examines the reception of the message of the cross from the European Enlightenment to the turn of the twentieth century. The opening chapters set the stage in the transition from the Baroque to the Classical eras, describing the changing intellectual and cultural paradigms of the time. Viladesau examines the theology of the cross in the eighteenth and nineteenth centuries, and the aesthetic mediation of the cross in music and the visual arts. He shows how in the post-Enlightenment era the aesthetic treatment of the cross widely replaced the dogmatic treatment, and how this thought was translated into popular spirituality, piety, and devotion. The Folly of the Cross shows how classical theology responded to the critiques of modern science, history, Biblical scholarship, and philosophy, and how both classical and modern theology served as the occasions for new forms of representation of Christ's passion in the arts and music.

Forms of Performance From J S Bach to M Alunno 1972

The cantata is based on the hymn “Herr Jesu Christ, wahr'r Mensch und Gott” by Paul Eber. It's a funeral hymn where in the first stanza the text refers to Jesus' passion and death on the cross. In the opening movement of Bach's cantata, ...

Forms of Performance  From J S  Bach to M  Alunno  1972

Today, Bach is one of the most revered and studied figures of classical music, despite there being a time in which he was almost forgotten. Divided into two sections, this volume explores research on J.S. Bach and more broadly examines the topics of music and performance studies; with the latter focusing on composers active today, such as Marco Alunno, or those from the recent past who are lesser-known and performed, such as Pietro Cimara and Leo Ornstein. Following from Nones’s (ed.) previous publication Music as Communication: Perspectives on Music, Image and Performance (ABE, 2018), this work provides a rather unique contribution as a choral attempt at exploring performance today. The intention of this book and the downloadable audio content, with live recordings of the music explored at the conference from which the volume originated, is to inspire fresh approaches to the study of a monument like Bach, while also encouraging original research of modern composition and performance. Recordings of the performances given over the two days of the conference serve either to clarify arguments made in the papers or to attest to the music explored more generally. This volume is founded on the belief that the history of music is comprised of many figures, some of whom are undeservedly forgotten, and that our understanding of and approach to music is simultaneously shaped by the past and directed by the continual evolution of sounds and attitudes of the present. Examining music styles from baroque (Bach) to contemporary (Alunno), Forms of Performance will be of particular interest to Bach and performance studies scholars, as well as advanced researchers and PhD students in this field.

Lutheranism Anti Judaism and Bach s St John Passion

107 Their liturgical prayers for passion and Easter weeks have no such expression,” and their devotional prayers,” although ... The shape of the cross itself is symmetrical, as is Christ's name, symbolized by the Greek letter X (chi, ...

Lutheranism  Anti Judaism  and Bach s St  John Passion

Bach's St. John Passion is surely one of the monuments of Western music, yet performances of it are inevitably controversial. In large part, this is because of the combination of the powerful and highly emotional music and a text that includes passages from a gospel marked by vehement anti-Judaic sentiments. What did this masterpiece mean in Bach's day and what does it mean today? Although bibliographies on Bach and Judaism have grown enormously since World War II, there has been very little work on the relationship between the two areas. This is hardly surprising; Judaica scholars and culture critics focusing on issues of anti-Semitism commonly lack musical training and are, in any event, quite reasonably interested in even more pressing social and political issues. Bach scholars, on the other hand, have mostly concentrated on narrowly defined musical topics. Strangely, therefore, almost no scholarly attention has been given to relationships between Lutheranism and the religion of Judaism as they affect Bach's most controversial work, the St. John Passion. Through a reappraisal of Bach's work and its contexts, Marissen confronts Bach and Judaism directly, providing interpretive commentary that could serve as a basis for a more informed and sensitive discussion of this troubling work. Consisting of a long interpretive essay, followed by an annotated literal translation of the libretto, a guide to recorded examples, and a detailed bibliography, this concise text provides the reader with the tools to assess the work on its own terms and in the appropriate context.

The Wisdom and Power of the Cross

The Passion of Christ in Theology and the Arts -- Late- and Post-Modernity Richard Viladesau. of salvation : that is , the divine work of bringing fallen ( sinful and deathdestined ) humanity into communion with the pure and deathless ...

The Wisdom and Power of the Cross

The Wisdom and Power of the Cross is the fifth and final entry in Richard Viladesau's well-regarded series on the theology of the cross, from the historical crucifixion of Jesus to the present day. Continuing his analysis of theological history through cultural contexts, this volume correlates theoretical approaches with artistic representations, showing the relation of theoretical to imaginative approaches. The Wisdom and Power of the Cross examines modern and contemporary thought and images, which look at the cross in the light of modern historical and scriptural studies, science, and the novelties of modern and post-modern art and music. Viladesau here considers how the passion of Christ has been thought about by theologians and portrayed by artists in the modern world. Contemporary art and music reveal the lasting power of traditional images of the passion, as well as new possibilities for expression. The Wisdom and Power of the Cross surveys both traditional approaches to soteriology and revisionist theologies that take up the challenge of the meaning of the cross today, in light of critical historical studies and modern science, providing new understandings of traditional concepts like "original sin" and "redemption". Through his in-depth exploration of the interweaving of aesthetic and conceptual theology, Viladesau once more deepens our understanding of the foremost symbol of Christianity and its role in salvation history.

The Pathos of the Cross

The Passion of Christ in Theology and the Arts-The Baroque Era Richard Viladesau. The narrative of the burial concludes with a recitative of the four solo voices (soprano, alto, tenor, bass) in dialogue with the choir, which repeats ...

The Pathos of the Cross

The Baroque period was in some senses the beginning of modern Western scientific and intellectual culture-the early budding of the Enlightenment. In the light of a new scientific and historical consciousness, it saw the rise of deism and the critique of traditional forms of Christianity. Secular values and institutions were openly or surreptitiously replacing the structures of traditional Christian society. At the same time, there was also a trend of religious renewal and the reaffirmation of tradition. In Roman Catholicism, the Patristic, medieval, and Tridentine paradigms were subsumed into a powerful Counter-Reformation spirituality, propagated not only in books, treatises, and sermons, but also in music and in the works of what was arguably the last period of great sacred art. It inspired masters like Bernini, Reni, Rubens, Velázquez, Zurbarán, and Van Dyck. In the Protestant traditions, the Reformation movement found affective expression in new forms of music produced by Monteverdi, Scarlatti, Handel, Telemann, and Bach. The title, The Pathos of the Cross, points to a major aspect of the spirituality of this period: a dramatic portrayal of the events of Christ's passion meant to provoke an emotional response from the viewer and listener. Many works of the period retain their emotional pull centuries later, even though the theology they represent has been challenged and frequently rejected. This volume traces the ways in which Roman Catholic and Protestant theologies of the period proclaimed the centrality of the cross of Christ to human salvation. In a parallel movement, it illustrates how musical and artistic works of the period were both inspired and informed by these theologies, and how they moved beyond them in an aesthetic mediation of faith.

Tears into Wine

7, “Jesu, deine Passion ist mir lauter Freude” (Jesus, your Passion is pure joy for me), whereas the three arias explore increasingly the implications of the cross for life in the world. The collective sense of the beginning and ending ...

Tears into Wine

In 1714, the 29 year-old Johann Sebastian Bach was promoted to the position of concertmaster at the ducal court of Weimar. This post required him for the first time in his already established career to produce a regular stream of church cantatas-one cantata every four weeks. Among the most significant works of this period is Ich hatte viel Bekümmernis in meinem Herzen (Cantata 21). Generally known in English as "I had much affliction," Cantata 21 draws from several psalms and the Book of Revelations and offers a depiction of the spiritual ascent of the soul from intense tribulation to joy and exaltation. Although widely performed and loved by musicians, Cantata 21 has endured much criticism from scholars and critics who claim that the piece lacks organizational clarity and stylistic coherence. In Tears into Wine, renowned Bach scholar Eric Chafe challenges the scholarly consensus, arguing that Cantata 21 is an exceptionally carefully designed work, and that it displays a convergence of musical structure and theological purpose that is paradigmatic of Bach's sacred work as a whole. Drawing on a wide range of Lutheran theological writing, Chafe shows that Cantata 21 reaches beyond the scope of the individual liturgical occasion to voice a breadth of meaning that encompasses much of the core of Lutheran thought. Chafe artfully demonstrates that instead of simply presenting a musical depiction of the soul's journey from sorrow to bliss, Cantata 21 expresses the various stages of God's revelation and their impact on the believing soul. As a result, Chafe reveals that Cantata 21 has a formal design that mirrors Lutheran belief in unfolding revelation, with the final movement representing the work's "crown"--the goal toward which all of the earlier movements are directed. Complete with full text translations of the cantata and the liturgical readings that would have accompanied it at the first performance, Tears into Wine is a monumental book that is ideally suited for Bach scholars and students, as well as those generally interested in the relationship between theology and music.

The Music of Carl Philipp Emanuel Bach

The circulation of the Passion Cantata during Bach's lifetime only in manuscript copies suggests that he never expected it to have the ... Bach again uses instrumental music to express the inexpressible when Jesus dies on the cross; ...

The Music of Carl Philipp Emanuel Bach

Of the four sons of J. S. Bach who became composers, Carl Philipp Emanuel (1714-88) was the most prolific, the most original, and the most influential both during and after his lifetime. This first full-length English-language study critically surveys his output, examining not only the famous keyboard sonatas and concertos but also the songs, chamber music, and sacred works, many of which resurfaced in 1999 and have not previously been evaluated. The book also outlines the composer's career from his student days at Leipzig and Frankfurt (Oder) to his nearly three decades as court musician to Prussian King Frederick "the Great" and his last twenty years as cantor at Hamburg. Focusing on the composer's choices within his social and historical context, the book shows how C. P. E. Bach deliberately avoided his father's style while adopting the manner of his Berlin colleagues, derived from Italian opera. A new perspective on the composer emerges from the demonstration that C. P. E. Bach, best known for his virtuoso keyboard works, refashioned himself as a writer of vocal music and popular chamber compositions in response to changing cultural and aesthetic trends. Supplementary texts and musical examples are included on a companion website. David Schulenberg is professor of music at Wagner College and teaches historical performance at the Juilliard School. He is the author of The Music of Wilhelm Friedemann Bach (University of Rochester Press, 2010).

Catalog of the Emilie and Karl Riemenschieder Memorial Bach Library

( The Oxford Choral Songs from the Old Masters , No. 1441. ) CANTATA NO . 77. ... CANTATA NO . 78 : Vocal - piano scores 975. " Jesu , der du meine Seele ” ... “ Jesus , My Beloved Saviour " . ... Jesus By Thy Cross and Passion .

Catalog of the Emilie and Karl Riemenschieder Memorial Bach Library


The Cantatas of J S Bach

The text extracts from the Sunday Gospel* only Jesus's decision to go to Jerusalem, where His Passion will be ... The anticipated words from the Cross in the fourth movement, 'It is accomplished' (John 19.30), in fact refer to Jesus's ...

The Cantatas of J  S  Bach

This is the only English translation of this important book by the world's most distinguished Bach scholar. This work is widely regarded as the most authoritative and comprehensive treatment of the Bach cantatas. It begins with a historical survey of the seventeenth-century background to the cantatas, and performance practice issues. The core of the book is a work-by-work study in which each cantata in turn is represented by its libretto, a synopsis of its movements, and a detailed analytical commentary. This format makes it extremely useful as a reference work for anyone listening to, performing in, or studying any of the Bach cantatas. All the cantata librettos are given in German-English parallel text. For the English edition the text has been carefully revised to bring it up to date, taking account of recent Bach scholarship.

Johann Sebastian Bach

In the Rudolstadt Passion, after the narrative of Judas hanging himself, come the lines from the Litany “From the ... Farther on, after the passage telling how John took home with him the Mother of Jesus, come the lines “To defend and ...

Johann Sebastian Bach

This monumental study of Johann Sebastian Bach ranks among the great classics of musicology. Since its first publication in 1873–80, it has remained the basic work on Bach and the foundation of later research and study. The three-part treatment describes in chronological sequence practically everything that is known of the composer's life: his ancestry, his immediate family, his associations, his employers, and the countless occasions on which his musical genius emerged. Author Philipp Spitta accompanies this biographical material with quotations from primary sources: correspondence, family records, diaries, official documents, and more. In addition to biographical data, Spitta reviews Bach's musical production, with analyses of more than 500 pieces, covering all the important works. More than 450 musical excerpts are included in the main text, and a 43-page musical supplement illustrates longer passages. Despite the scholarly nature of this work, it also has the rare distinction of being a study that can be read with considerable enjoyment and great profit by every serious music lover, with or without a substantial background in the history of music or musical theory.

Analyzing Bach Cantatas

396), in the St. Matthew Passion the E major movements, “Erkenne mich, mein Hüter” and “O Mensch, bewein dein Sünde gross,” represent, respectively, a prayer to the resurrected Jesus to look favorably on the believer and the first verse ...

Analyzing Bach Cantatas

Bach's cantatas are surely among the highest achievements of Western musical art, yet individual studies of these works that are both illuminating and detailed are quite few. Chafe combines theological, historical, analytical, and interpretive approaches to the cantatas to offer readers and listeners alike the richest possible experience of these pieces. His study is sensitive to the composer's intentions as well as the universal and enduring qualities of themusic itself.

Handbook to Bach s Sacred Cantata Texts

Christ's passion is my joy for it offers me heaven (182–7) Jesu, deine Passion Jesus, thy passion lst mir lauter Freude, Is for-me pure joy, {Is pure joy for me,} Deine Wunden, Kron und Hohn Thy wounds, crown, ...

Handbook to Bach s Sacred Cantata Texts

The German church cantata of the eighteenth century was the culmination of a long tradition of Lutheran "sermon music" that used the proclamation, amplification, and interpretation of scripture to teach and persuade the listener. Bach's cantatas also served this didactic purpose and typically incorporate numerous allusions to scriptural passages or themes in their librettos. Unfortunately, many of these passages remain obscure to the twentieth-century musician because they demand a much closer familiarity with the Bible than is common today. The Handbook to Bach's Sacred Cantata Texts identifies scriptural references for the wording, imagery, and themes that Bach's listeners would have known. In addition, the religious or literary theme of each text is summarized within the specific context of the cantata as a whole. With interlinear translations and a full complement of indexes.

Bulletin

Up , Joyous Raise Your Song Him BACH , J. CHRISTOPH , 1624-1703 : Motets : Be Cantata 37. ... For Christ My Saviour Live I Gott ; Lord , now Lettest ; Tho ' the Righteous Cantata 39. ... Jesus by Thy Cross and Passion Cantata 137.

Bulletin


Bulletin National Music Council

the gan - Marca I Fermi + 01 ICK at a AA Education program . segir e de 的。 ht medium of communication between peoples ... For Christ My Saviour Live I Cantata BACH , I. ERNST , 1722-1777 : Passions Oratorium 39. ... Jesus by Thy Cross ...

Bulletin   National Music Council


The Cambridge Companion to Bach

John Butt, Jonathan Cross. Gottes , the concluding chorale of the 1723 version of Cantata 23. Both movements may have originated in a passion that Bach had composed - or partially composed - in Weimar . This second version of the John ...

The Cambridge Companion to Bach

Benefiting from the research of eminent Bach scholars, this 1997 Companion examines Bach's work in the context of his age.

School of Music Programs

... Variation Choral in A minor Suite : ( MS ) " A Chinese Garden " Nocturne ; The Fountain ; Legend A Gothic Prelude } . ... Bossi Jesus Meets His Mother ( from “ The Stations of the Cross ” ) DUPRÉ Crucifixion ( Passion Symphony ) .

School of Music Programs


Catalog

Catalog


The Creative Development of Johann Sebastian Bach Volume II 1717 1750

... St Matthew Passion. Both this and the aria text, set to music in giga-pastorale rhythm, express the soul's determination to stand by Jesus throughout His suffering and death on the Cross. Only the opening movement of this cantata, ...

The Creative Development of Johann Sebastian Bach  Volume II  1717 1750

This last in a two-volume study examines Bach's musical compositional development in his later years, including his time at Cðthen and Leipzig.