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Lutheran church music

(Begin outline from Wilson-Dickson)

Contents 1 Luther and the reformation 1.1 Martin Luther 1.2 Lutheran Song 2 The Music of the Lutheran church 2.1 Lutheran organ music 2.2 The musician's duties 2.3 Patronage 3 Heinrich Schutz 4 J. S. Bach 4.1 Bach the craftsman 4.2 Bach and symbolism 4.2.1 Bach and rhetoric 4.3 Pietism 4.4 The escstatic dimension in Bach's music 4.5 The eternal truths 4.6 Bach's cantatas 5 The decline of the Lutheran hymn 5.1 Reforms 6 Lutheran musical revival 6.1 The heritage 6.2 New music 6.3 Hugo Distler 7 Lutheran hymnals 8 Text from Baroque music article 8.1 Middle baroque music (1654–1707) 8.2 Late baroque music (1680–1750) 9 References 9.1 Notes 9.2 Sources

[edit] Luther and the reformation

[edit] Martin Luther

[edit] Lutheran Song

[edit] The Music of the Lutheran church

[edit] Lutheran organ music

[edit] The musician's duties

[edit] Patronage

[edit] Heinrich Schutz

[edit] J. S. Bach

[edit] Bach the craftsman

[edit] Bach and symbolism

[edit] Bach and rhetoric

[edit] Pietism

[edit] The escstatic dimension in Bach's music

[edit] The eternal truths

[edit] Bach's cantatas

[edit] The decline of the Lutheran hymn

[edit] Reforms

[edit] Lutheran musical revival

[edit] The heritage

• Brahms

[edit] New music

• Arthur Mendessohn (1855-1933)
• Johann David (1895-1977)
• Ernest Pepping (1901-1981)
• Siegfried Reda (1916-1968)

[edit] Hugo Distler

• Hugo Distler (1908-1942)

(End outline from Wilson-Dickson)

Starting in Sandbox with text from Baroque music article

[edit] Lutheran hymnals

[edit] Text from Baroque music article

The demands of religion were also to make the text of sacred works clearer, and hence there was pressure to move away from the densely layered polyphony of the Renaissance, to lines which put the words front and center, or had a more limited range of imitation. This created the demand for a more intricate weaving of the vocal line against backdrop, or homophony.

This musical language proved to be international, as Heinrich Schütz, a German composer who studied in Venice under both Gabrieli and later Monteverdi, used it to the liturgical needs of the Elector of Saxony and served as the choir master in Dresden.

[edit] Middle baroque music (1654–1707)

The rise of the centralized court is one of the economic and political features of what is often labeled the Age of Absolutism, personified by Louis XIV of France. The style of palace, and the court system of manners and arts which he fostered, became the model for the rest of Europe. The realities of rising church and state patronage created the demand for organized public music, as the increasing availability of instruments created the demand for chamber music. This included the availability of keyboard instruments.

The middle Baroque is separated from the early Baroque by the coming of systematic thinking to the new style and a gradual institutionalization of the forms and norms, particularly in opera. As with literature, the printing press and trade created an expanded international audience for works and greater cross-pollenation between national centers of musical activity.

The middle Baroque, in music theory, is identified by the increasingly harmonic focus of musical practice and the creation of formal systems of teaching. Music was an art, and it came to be seen as one that should be taught in an orderly manner. This culminated in the later work of Fux in systematizing counterpoint.

In contrast to these composers, Dieterich Buxtehude was not a creature of court but instead was an organist and entrepreneurial presenter of music. Rather than publishing, he relied on performance for his income, and rather than royal patronage, he shuttled between vocal settings for sacred music, and organ music that he performed. His output is not as fabulous or diverse, because he was not constantly being called upon for music to meet an occasion. Buxtehude's employment of contrast was between the free, often improvisatory sections, and more strict sections worked out contrapuntally. This procedure would be highly influential on later composers such as Bach, who took the contrast between free and strict to greater limits.

[edit] Late baroque music (1680–1750)

The dividing line between middle and late Baroque is a matter of some debate. Dates for the beginning of "late" baroque style range from 1680 to 1720. In no small part this is because there was not one synchronized transition; different national styles experienced changes at different rates and at different times. Italy is generally regarded as the first country to move to the late baroque style. The important dividing line in most histories of baroque music is the full absorption of tonality as a structuring principle of music. This was particularly evident in the wake of theoretical work by Jean-Philippe Rameau, who replaced Lully as the important French opera composer. At the same time, through the work of Johann Fux, the Renaissance style of polyphony was made the basis for the study of counterpoint. The combination of modal counterpoint with tonal logic of cadences created the sense that there were two styles of composition—the homophonic dominated by vertical considerations and the polyphonic dominated by imitation and contrapuntal considerations.

The forms which had begun to be established in the previous era flourished and were given wider range of diversity; concerto, suite, sonata, concerto grosso, oratorio, opera and ballet all saw a proliferation of national styles and structures. The overall form of pieces was generally simple, with repeated binary forms (AABB), simple three part forms (ABC), and rondeau forms being common. These schematics in turn influenced later composers. Johann Sebastian Bach has, over time, come to be seen as the towering figure of Baroque music, with what Bela Bartok described as "a religion" surrounding him. During the baroque period, he was better known as a teacher, administrator and performer than composer, being less famous than either Handel or Georg Philipp Telemann. Born in Eisenach in 1685 to a musical family, he received an extensive early education and was considered to have an excellent boy soprano voice. He held a variety of posts as an organist, rapidly gaining in fame for his virtuosity and ability. In 1723 he settled at the post which he was associated with for virtually the rest of his life: cantor and director of music for Leipzig. His varied experience meant that he became the leader of music, both secular and sacred, for the town, teacher of its musicians and leading figure. Bach's musical innovations plumbed the depths and the outer limits of the Baroque homophonic and polyphonic forms. He was a virtual catalog of every contrapuntal device possible and every acceptable means of creating webs of harmony with the chorale. As a result, his works in the form of the fugue coupled with preludes and toccatas for organ, and the baroque concerto forms, have become fundamental in both performance and theoretical technique. Virtually every instrument and ensemble of the age—except for the theatre genres—is represented copiously in his output. Bach's teachings became prominent in the classical and romantic eras as composers rediscovered the harmonic and melodic subtleties of his works.

Georg Philipp Telemann was the most famous instrumental composer of his time, and massively prolific—even by the standards of an age where composers had to produce large volumes of music. His two most important positions—director of music in Frankfurt in 1712 and in 1721 director of music of the Johanneum in Hamburg—required him to compose vocal and instrumental music for secular and sacred contexts. He composed two complete cantata cycles for Sunday services, as well as sacred oratorios. Telemann also founded a periodical that published new music, much of it by Telemann. This dissemination of music made him a composer with an international audience, as evidenced by his successful trip to Paris in 1731. Some of his finest works were in the 1750s and 1760s, when the Baroque style was being replaced by simpler styles but were popular at the time and afterwards. Among these late works are "Der Tod Jesu" ("The death of Jesus") 1755, "Die Donner-Ode" ("The Ode of Thunder") 1756, "Die Auferstehung und Himmelfahrt Jesu" ("The Resurrection and Ascension of Jesus") 1760 and "Der Tag des Gerichts" ("The Day of Judgement") 1762

[edit] References

[edit] Notes

[edit] Sources

• Steinitz, Paul (1975). "German Church Music", in Anthony Lewis and Nigel Fortune: The New Oxford History of Music: V. Opera and Church Music 1630-1750. New York: Oxford University Press. 
• Wilson-Dickson, Andrew (1992). The Story of Christian Music:From Gregorian Chant to Black Gospel: An Illustrated Guide to all the Major Traditions of Music in Worship. Elgin: Lion Publishing.