Tag: Johann Sebastian Bach

25Oct

A Celebration for the 21st Sunday after Pentecost, 2020

The last Sunday in October is honored in many Protestant churches as “Reformation Sunday”, recalling that on October 31, 1517 Martin Luther made public his 95 theses which, according to legend, he nailed to the door of the Castle church in Wittenburg, Germany. The opening hymn selected for today, “A Mighty Fortress is Our God”, was written by Luther himself. Also, in honor of another holiday coming up that coincides with that date, I have chosen a special treat for the organ postlude in this virtual service.

Reformation Sunday 2020
  1. Opening Acclamation: Psalm 46:1.
  2. Hymn: “A Mighty Fortress is Our God” by unknown congregation. Public domain.
  3. First Reading: Leviticus 19:1-2, 15-18, King James Bible.
  4. Psalm 1, King James Bible.
  5. Gloria Patri: Excerpted from chanting of Psalm 96 by Wakefield Cathedral Choir, 2018; Fair Use.
  6. Second Reading: 1 Thessalonians 2:1-8, World English Bible.
  7. Organ sequence: Georg Böhm (1661-1733): Excerpt from “Ach wie nichtig, ach wie flüchtig” performed by Thiemo Janssen on the organ in Marienhafe, used in accordance with Creative Commons license.  
  8. Gospel: Matthew 22:34-46, World English Bible.
  9. The Lord’s Prayer: from Matthew 6.
  10. Blessing: 2 Corinthians 13.
  11. Organ Postlude: Johan Sebastian Bach (1685-1750): “Toccata and Fugue in D minor.” Played by Fyodor Stroganov (organ). Recorded from a concert on 10/04/2015 at the Evangelical Lutheran Cathedral of Sts. Peter and Paul. The organizer is the Collegium musicum concert agency. Used in accordance with Creative Commons license.

The Bible passages were recorded by Librivox, and are in the public domain. Readings correspond to the Revised Common Lectionary. All audio files are given with attribution where known.

11Oct

Celebration of the Word for the 19th Sunday after Pentecost 2020

19th Sunday after Pentecost 2020
  1. Opening Acclamation: From Phillippians 4
  2. Anthem: “Rejoice in the Lord Always” by The Choirs of St. Matthew’s, Ottawa, directed by Stephen Candow. Uploaded to YouTube by Leonard Surges, and used in accordance with Creative Commons license.
  3. First Reading: Isaiah 25:1-9, King James Bible.
  4. Psalm 23, sung to the hymn tune “Crimond”, Uploaded to YouTube by Christina Iqupen, and used in accordance with Creative Commons license.
  5. Second Reading: Philippians 4:1-9, World English Bible.
  6. Hymn: “Jerusalem the Golden”, sung by an anonymous congregation, in the public domain.  
  7. Gospel: Matthew 22:1-14, World English Bible.
  8. The Lord’s Prayer: From Matthew 6.
  9. Blessing: 1 Timothy 1:17.
  10. Organ postlude: J. S. Bach (1685–1750), “Präludium a-Moll”, BWV 543, performed by Lucas Pohle at Nikolaikirche Leipzig, used in accordance with Creative Commons license.

The Bible passages were recorded by Librivox, and are in the public domain. Readings correspond to the Revised Common Lectionary. All audio files are given with attribution where known.

01Jul

Saving the Rebel

Quite by chance today I heard an interesting juxtaposition of two beautiful pieces of music. One, the haunting “When David Heard” by Thomas Tompkins, recalls the moment when Israel’s King David learns of the death of his son Absalom, killed as he was leading a rebellion against his own father. David, though spared, nevertheless cries out in agony, “O Absalom, my son! Would God I had died for thee.”

The other piece of music was an organ work by Johann Sebastian Bach, his Passacaglia and Fugue In C minor. The passacaglia was a Spanish dance form elevated to major effect by the Baroque master. This particular piece consists of a theme and 20 variations (or 21 variations comprising 7 sets of three, per French organist Marie-Claire Alain; this is a point of debate). The theme and variations—the Passacaglia— are then followed by a fugue upon the opening theme.

Though wordless, it is thought that Bach was using musical symbolism to express his deep Christian faith. Disagreement exists on how exactly one should interpret the piece, but the cross of Jesus is generally seen in the pattens tumbling forth from the notes. For example, Australian organist David Rumsey noted the following regarding the dramatic “Neapolitan Sixth” that marks a major pause in the middle of the piece:

“By extension we may therefore deduce that the Neapolitan Sixth at the end of section four of the Passacaglia strongly suggests “crucifixion”. Applied specifically to the Passacaglia we see the relationship to the climax of the New Covenant: the sacrifice of the Messiah.” (David Rumsey, 1992. “THE SYMBOLS OF THE BACH PASSACAGLIA”. Accessed online at http://www.davidrumsey.ch/Passacaglia.pdf)

The meaning of the crucifixion for Christians is summarized by St. Paul: “For if while we were enemies we were reconciled to God by the death of his Son, much more, now that we are reconciled, shall we be saved by his life.” (Romans 5:10)

The connection between these two stories that grabbed me was this. In the one instance the rebel died that the king may live. In the second instance, the King died that the rebel may live.