Martin Luther. Par SCHNEIDER ENJOTT. On the occasion of the quincentenary of Reformation Day in 2017, the composer Enjott Schneider thoroughly studied Martin Luther the individual and all his contradictions. The result is a brilliant, demanding organ symphony which is perfect for concerts on the subject of Reformation and Martin Luther. The composer describes the five movements of the symphony as follows: '1st movement: Wir glauben all an einen Gott with its quintuplet-like beginning is very Gregorian in style, outlining the range of Lutheran emotionalism between the Middle Ages and the modern era. The irrationality of 'faith' ultimately has priority over any thought and evidence. At the beginning of the movement, sounds of knocking on wood remind of the nailing of the Ninety-Five Theses to the doors of churches in Wittenberg. The chorale melody sometimes hides with an almost rough medieval saltarello, referring to Luther's robustness and vitality with which he knew to carry away even common people. 2nd movement: In 1530, the electoral prince of Saxony presented to Luther at Coburg Castle the golden signet ring with the 'Luther rose' which became the symbol of his theology of grace. A white heart with black cross is fixed on a five-petalled rose. To him, 'white' is the colour of angels and ghosts, 'black' stands for the pain of crucification: 'The just shall live by faith, but by faith in the Crucified.' But the fact that the rose and the heart are the dominating symbols shows how Catholic Marian piety remained an ingredient of Luther's spirituality throughout his life. In line with the dominant five-petal structure of the rose, this movement was composed, to a large extent, in accordance with the floating, lyrical rhythm in 5/8 time. 3rd movement: The omnipresence of death and dying – from the plague and war to the never-ending dangers of daily life – was an essential part of the world view of that time. Fears ensued that might heighten into the grotesque, e.g. in the pictures of Hieronymus Bosch. The 'Danse macabre' was a popular motif in those years. Luther's chorale 'Mitten wir im Leben sind / mit dem Tod umfangen' from 1524 ('Enchiridion' from Erfurt) is based on the Gregorian chant 'Media vita in morte sumus' created in France around 750 and, with its idea of transience, inspired a simplistic air. 4th movement: The famous confession delivered at the Diet of Worms in 1521, 'I stand here and can say no more. God help me. Amen', are not Luther's words but the version later used as text for a pamphlet. However, it represents quite plainly the straightforwardness and inevitability of his mission. Musically, it was made into a 'perpetuum mobile', i.e. a dogged, ostinato and never-ending musical air. 5th movement: The 'Mighty Fortress', on the other hand, is one of the great symbols of Martin Luther which, with its shining C major key, embodies the Protestant ideology and willful nature of the Reformation unlike any other song. Heinrich Heine called it the 'Marseille anthem of the Reformation', Friedrich Engels the 'Marseillaise of the Peasants' Wars'. This disputability is not thought through to the end but rather interrupted: With a jubilant 'birdcall version' of the melody, the finale shows a rather chamber-music-like side of the 'ideals of freedom of Christians'.'/ Répertoire / Orgue

Par SCHNEIDER ENJOTT. This frenetic assortment of familiar chorale melodies by Martin Luther was composed to mark the celebrations of Luther’s music (and the 800th anniversary of the choir of St Thomas in Leipzig) in 2012. Ein feste Burg ist unser Gott [A mighty fortress is our God] appears as a powerful ritornello theme, elaborated with tender lyricism just before the end. A chorale setting of Verleih uns Frieden gnädiglich [Lord, in thy mercy grant us peace] makes a calm middle section for this otherwise highly demanding organ piece. An organ with three manuals is required./ Répertoire / Orgue à 4 Mains

30 Bach-Chor?le f?r vierstimmigen Chor/ Bach chorales for four-part choir-Il y a 500 ans la R?forme apportait avec elle un ?lan artistique inestimable notamment la grande richesse musicale de l?Eglise protestante et un fond immense de chants liturgiques. La tradition protestante du choral a r?cemment ?t? inscrite aupatrimoine culturel immat?riel de l?UNESCO. Si Luther lui-m?me ne se consid?rait certes pas comme un ?crivain il devint pourtant l?auteur de chants le plus prolifique du mouvement de Wittenberg. Il ?crivit plus de 30 chants et la plupart d?entreeux nous accompagnent aujourd?hui encore notamment les chorals Ein feste Burg ist unser Gott Christ lag in Todesbanden et Nun komm der Heiden Heiland. L??volution artistique du chant liturgique protestant atteint son sommet dansl??uvre de Jean S?bastien Bach. Les harmonisations ? quatre voix r?alis?es par Bach ais?es ? chanter pour la communaut? mais tout sauf simplistes nous touchent encore de nos jours. Le pr?sent recueil r?unit 30 ? chorals de Bach ? ? quatre voix sur des textes de Martin Luther utilis?s dans la version du livre de chants protestant.

Bestilt af DR til DR VokalEnsemblet og DR SymfoniOrkestrettil fejringen af 500-års dagen for Reformationen d. 31. oktober 2017. Tekst fra Luthers Hymne 1523 Nu fryd jer kristne menighed nu ingen sorg vil tynge.I samlet flok med liv og lyst vi tillidsfuldt vil synge:at Gud der er så god og stærk har gjort et herligt underværksom dyrt han måtte yde.Hvad jeg har lært alt hvad jeg var det må du også være.Guds rige vil vokse sig storttil lov og pris og ære. Korpartitur / Vocal score: WH33037CStemmer / Partsare available on hire: hire@ewh.dk

Four children are on a modern day treasure hunt looking for the five core truths of faith as expressed by Martin Luther (ala the Reformation). While celebrating the Reformation's anniversary - 500 years next year - through humor and great music we learn some of the most profound truths in the Christian faith.

Version for TTBB Choir and Piano setting the text of Martin Luther. Arranged by Henry Geehl.

Babette's Feast-Based on a story by Isak Dinesen (Karen Blixen) who also wrote Out of Africa the inspiration for the 1985 Academy Award winning film. Babette's Feast tells the story of Babette Hertsard (Stéphane Audran) a 19th century Parisian political refugee who flees on a boat to Frederikshavn in Denmark with the help of her nephew and her relationship with two elderly and religious sisters. The sisters Martina (named for Martin Luther) and Philippa (named for Luther's friend and biographer Philip Melanchthon) were the daughters of a pastor who had founded his own religious sect.

based on 'From Highest Heaven I Come to Tell'. Par HASSLER / GIOVANNI TAEGGIO. The words and lyrics of the Christmas Carol From Highest Heaven I Come To Tell were written by the great Martin Luther (1483-1546) and can be found in The Hymns of Martin Luther. Martin Luther expressed radical views which began the reformation movement. His followers protested at the treatment given to Martin Luther, the event from which the term 'Protestant' was derived. It was first published in Joseph Klug's Gesangsbuch in around 1535. Add a majestic Baroque feel to any concert with this simple yet effective arrangement. / Niveau : 2 / Musique religieuse / Répertoire / Brass Band

God So Loved The World is a work for Unaccompanied SATB Divisi Chorus by renowned Welsh composer Paul Mealor. The work lasts around 4 minutes and was commissioned by the Martin Luther College Choir. The world premiere of God So Loved The World took place on February the 13th 2015 by the Martin Luther College Choir at Chapel of the Christ Martin Luther College conducted by Kermit Moldenhauer. Choral composer Paul Mealor has written a vast number of works both a cappella and with accompaniment. His work has been broadcast internationally at the 2011 RoyalWedding as well as achieving the 2011 Christmas Number One.

Texts from Veni veni Emmanuel and Martin Luther-Texts from Veni veni Emmanuel and Martin Luther translated by William Reynolds. Borrowing from two familiar Advent texts Michael Larkin has penned a lovely anthem of hope and anticipation. Advent Meditation isintrospective and prayerful in tone yet rejoices in awe at the coming of Christ and the magnitude of his humble birth. Flowing melodic lines and an accessible keyboard accompaniment make this piece suitable for choirs of anysize.

Arr. Jacob De Haan. Le magnifique thème du choral Aus tiefer Not schrei ich zu dir (Du fond de l’abîme, je t’invoque, o Éternel) est attribué à Martin Luther. Il s’agit d’une mise en musique du Psaume 130 (De profundis) dans sa version allemande. Cette hymne fait partie du corpus du premier des recueils de cantiques luthériens, le Geistliches Gesangbüchlein, publié à Wittenberg, en 1524, par Johann Walter. Deux cents ans plus tard, Jean-Sébastien Bach composait une cantate, fondée sur le choral du même nom de Martin Luther. Pour réaliser cet arrangement pour Orchestre d’Harmonie, Jacob de Haan s’est particulièrement inspiré de l’oeuvre de Bach. Aus tiefer Not est uneprécieuse contribution au répertoire sacré. / Niveau : 2.5 / Transcription / Recueil / Concert Band ou Harmonie

Arr. Jacob De Haan. Le magnifique thème du choral Aus tiefer Not schrei ich zu dir (Du fond de l’abîme, je t’invoque, o Éternel) est attribué à Martin Luther. Il s’agit d’une mise en musique du Psaume 130 (De profundis) dans sa version allemande. Cette hymne fait partie du corpus du premier des recueils de cantiques luthériens, le Geistliches Gesangbüchlein, publié à Wittenberg, en 1524, par Johann Walter. Deux cents ans plus tard, Jean-Sébastien Bach composait une cantate, fondée sur le choral du même nom de Martin Luther. Pour réaliser cet arrangement pour Orchestre d’Harmonie, Jacob de Haan s’est particulièrement inspiré de l’oeuvre de Bach. Aus tiefer Not est uneprécieuse contribution au répertoire sacré. / Niveau : 2.5 / Transcription / Recueil / Concert Band ou Harmonie