Page/Link: Page URL: HTML link: The Free Library. Retrieved Jan 26 2019 from Choralvorspiele zum Evangelischen Gesangbuch. Von Juergen Bonn. Kassel: Barenreiter, c1995-97. 1 (1995): EG 1-72. Ii; tables of contents and index of composers, p. Iii-vi; score p. Evangelisches Gesangbuch. A very small red book. We have no idea what it is doing in our archive. It's just possible that perhaps it was left here by one of the many German prisoners of War 1939 - 45. ISMN M-006-48947-3; BA 8224. 2 (1996): EG 75-134. Vorwort, 1 p.; tables of contents, p. Ii-v; score p. 6-132; index of composers, 133-34. ISMN M-006-49850-5; BA 8225. 3 (1996): EG 138-202. Ii; tables of contents and index of composers, p. Iii-vi; score p. ![]() ISMN M-006-49894-9; BA 8228. 4 (1996): EG 214-308. Vorwort, 1 p.; tables of contents and index of composers, p. Ii-vi; score p. ISMN M-006-49928-1; BA 8229, DM 48. 5 (1997): EG 316/317-406. Vorwort, 1 p.; tables of contents and index of composers, ii-vi; score p. ISMN M-006-50091-8; BA 8230. 6 (1997): EG 421-535. Ii; tables of contents and index of composers, p. Iii-iv, 1-7; score p. ISMN M-006-50072-7; BA 8238. DM 48.] Orgelbuch zum Evangelischen Gesangbuch. Im Auftrag der Evangelischen Kirche in Deutschland hrsg. Von Manfred Heinig, Hermann Rau und Dietrich Schuberth. Kassel: Barenreiter, c1993. Geleitwort, Vorwort, Hinweise zum Gebrauch, p. Iv-vii; score, 362 p.; Verzeichnis der Lieder und Gesange, 5 p. 363-694; Verzeichnis der Komponisten und ihrer Satze, p. 699-701; Verzeichnis der urheberrechtlich geschutzten Saitze und ihrer Rechteinhaber, p. 702; Verzeichnis der Lieder und Gesange, p. DM 198 (set).]. Orgelbuch zum Evangelischen Gesangbuch: Ausgabe RheinlandWestfalen-Lippe-Evangelisch reformierte Kirche. Stammteil im Auftrag der Evangelischen Kirche in Deutschland hrsg. Von Manfred Heinig, Hermann Rau und Dietrich Schuberth; Landeskirchlicher Liederteil hrsg. Von der Evangelischen Kirche im Rheinland, der Evangelischen Kirche von Westfalen, der Lippischen Landeskirche und der Evangelisch reformierten Kirche. Kassel: Barenreiter, c1996. Aulularia summary. Iii; score, 431 p.; Verzeichnis der Lieder und Gesange, 7 p. 432-893; Verzeichnis der Komponisten und ihrer Satze, p. 896-99; Verzeichnis der urheberrechtlich geschutzten Satze und ihrer Rechteinhaber, p. 900-901; Verzeichnis der Lieder und Gesange, p. ISMN M-006-49964-9; BA 8243. DM 248 (set).] One of the principal genres of sacred music in Protestant Germany during the seventeenth and eighteenth centuries, the cantata, is heard today more in concert halls than in churches. Once a functional part of the liturgy, closely related to the biblical readings appointed for each Sunday and feast day, the cantata has migrated from its functional, liturgical role to become a musical object. The situation is fortunately not the same for the organ chorale prelude, another genre that found its origin in Protestant Germany. While some chorale preludes, notably those of Johann Sebastian Bach, are heard as musical objects in recital, the chorale prelude also continues to function within Christian worship in its intended relationship to congregational chorales or hymns. The organ chorale prelude, or Choralvorspiel, may introduce the singing of a hymn (a very brief introduction, of only a few measures, is called an intonation or Choraleinleitung). The chorale prelude may also substitute for one stanza of a congregat ional hymn, the prelude sounding the chorale melody in place of the singing congregation. Such Alternatimspraxis was characteristic of music in seventeenth- and eighteenth-century German churches and is still employed today, primarily in Lutheran contexts. Finally, the chorale prelude may provide a time for directed reflection within the divine service or Gottesdienst, the clear perception of the chorale cantus firmus calling to mind both the text of the chorale and its associated theological implications, In all of these ways the chorale prelude continues to fulfill its intended functions. Single and multivolume anthologies of chorale preludes have long been staples of the organist's library; typical examples include Achtzig Choralvorspiele deutscher Meister des 17.
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