Search Results

When Felix Mendelssohn Bartholdy performed Johann Sebastian Bach’s St. Matthew Passion in the concert hall of the Berlin Singakademie in 1829, he not only transferred a piece of liturgical music into a secular space, but he also made numerous cuts that changed the theological profile of Bach’s composition. The essay explores the theology of the St. Matthew Passion in the context of early eighteenth-century theology and gives an overview of the original performance conditions and the audiences at the performances in Bach’s time. The second half of the essay analyses how these parameters changed when Mendelssohn conducted the Passion in 1829. It becomes clear that the sociological profile of the audience (educated middle and upper class who had to pay money to attend the performance) remained essentially the same, while the theology shifted from a focus on the freedom of the individual in Bach’s time to an emphasis on the community (congregation, Volk, nation) in the adapted version the Singakademie presented to its listeners in 1829.

This chapter examines the role music may have played in Bishop Richard Allen’s struggle for African-American liberation from slavery, and empowerment as full participants in church and state affairs. It begins with a broad survey of music in American and British abolitionist efforts in the late eighteenth and early nineteenth centuries, including two hymns of Allen’s own composition, to provide context for Allen’s engagement with music. In comparison to such protest songs, the hymns Allen selected for his hymnbooks were not overtly political. Nevertheless, the theology of music they represented resonated with socio-political significance, coalescing around three key themes: musical worship as (a) a means for conversion and a telos for the Christian life; (b) a bridge between heaven and earth; and (c) a reflection of, and aide to, the formation of community and ecclesial unity.

The chapter analyzes the second part of the oratorio. It explores how early modern concepts of music as reflections of heavenly and divine harmony are realized in several movements of this part of the Christmas Oratorio. The opening sinfonia juxtaposes an angelic choir (sonically represented by the strings) with a choir of shepherds (symbolized by reed instruments) while later movements continue this focus on the meaning and symbolization of the music, for instance, in a soothing lullaby sung for the baby Jesus.

This chapter considers the relationship between the melodies and the semantic content of the texts, thus bearing on the contentious question of whether chant melodies can relate to textual meaning. In the case of the sacrificia, the answer is a resounding yes. Central to this argument is the understanding of textual meaning established in Chapter 3. The author considers the occasion on which the text was sung, its meaning in biblical exegesis, and how and why the creators of the text reworked the biblical source. On this basis, I show that the melodies employ certain strategies of musical rhetoric to fashion a particular understanding of the text. The sacrificia thus pose a challenge to a long-standing belief that chant melodies are indifferent to the texts’ semantic content. On the contrary: their creators possessed an erudite knowledge of biblical interpretation, reworking biblical passages to foreground their Christian interpretation and deploying melody as a rhetorical device to shape how the text was heard. The melodies highlight images of liturgical or doctrinal importance, and underline the strategic reworking of the biblical text. Although the existing melodies do not date from the Visigothic period, it is probable that melody contributed to the bishops’ goals of forming a Nicene Christian kingdom and society.