Abendlied | |
---|---|
Motet by Josef Rheinberger | |
![]() Gang nach Emmaus, painting by Robert Zünd, 1877 | |
Key | F major |
Opus | 69/3 |
Text | Luke24:29 |
Language | German |
Composed | 1855 |
Published | 1873 Berlin by : N. Simrock |
Scoring | SSATTB choir |
Abendlied (Evening song), Op. 69/3, is a sacred motet by Josef Rheinberger for a six-part mixed choir (SSATTB). It has been regarded as his best-known sacred composition. [1] He wrote the first version in 1855 at the age of 15.
The text is a verse from the biblical narration of the Road to Emmaus appearance according to Luke24:29 in Martin Luther's German version of the bible:
Bleib bei uns,
denn es will Abend werden,
und der Tag hat sich geneiget.
Rheinberger wrote a first version on 9 March 1855, one month before Easter and two weeks before his 16th birthday. At age 24, he revised the motet, for example eliminating repetition of notes and changing the marking. He published it in 1873 by N. Simrock in Berlin as No. 3 of his Opus 69, Drei geistliche Gesänge für gemischten Chor (Three sacred songs for mixed choir, the others being Morgenlied (morning song), on a poem by Hoffmann von Fallersleben, and Dein sind die Himmel (Yours are the Heavens) after Psalms89:11,14a. [2]
A Latin version ("Mane nobiscum quoniam advesperascit, inclinata est iam dies") was written in 1878 for a performance on Easter Monday of 1878 at the Allerheiligen-Hofkirche in Munich, which only permitted Latin for liturgical singing. It was published by Carus-Verlag. Carus published a recording titled Abendlied, a collection of sacred vocal music by Rheinberger, performed by the Vancouver Cantata Singers conducted by James Fankhauser. [3]
The music in F major is marked Andante molto. The text is mostly sung syllabically. [4] The three upper voices begin with a F major chord, held for three beats on "Bleib" (Bide) and repeated for "bei" (with), changing to an A minor chord on "uns" (us), when the lower three voices begin a similar pattern. [5]
Johann Baptist Joseph Maximilian Reger, commonly known as Max Reger, was a German composer, pianist, organist, conductor, and academic teacher. He worked as a concert pianist, as a musical director at the Leipzig University Church, as a professor at the Royal Conservatory in Leipzig, and as a music director at the court of Duke Georg II of Saxe-Meiningen.
Josef Gabriel Rheinberger was a Liechtensteiner organist and composer, resident in Germany for most of his life.
August Hugo Distler was a German organist, choral conductor, teacher and composer.
Bleib bei uns, denn es will Abend werden, BWV 6, is a cantata by Johann Sebastian Bach for use in a Lutheran service. He composed it in Leipzig in 1725 for Easter Monday and first performed it on 2 April 1725.
Anton Heiller was an Austrian organist, harpsichordist, composer and conductor.
Am Abend aber desselbigen Sabbats, BWV 42, is a church cantata by Johann Sebastian Bach. He composed it in Leipzig for the first Sunday after Easter and first performed it on 8 April 1725.
Max Reger's 1915 Requiem, Op. 144b, is a late Romantic setting of Friedrich Hebbel's poem "Requiem" for alto or baritone solo, chorus and orchestra. It is Reger's last completed work for chorus and orchestra, dedicated in the autograph as Dem Andenken der im Kriege 1914/15 gefallenen deutschen Helden.
The Reger-Chor is a German-Belgian choir. It was founded in Wiesbaden in 1985 and has been conducted by Gabriel Dessauer in Wiesbaden. Since 2001 it has grown to Regerchor-International in a collaboration with the organist Ignace Michiels of the St. Salvator's Cathedral of Bruges. The choir performs an annual concert both in Germany and Belgium of mostly sacred choral music for choir and organ. Concerts have taken place regularly in St. Bonifatius, Wiesbaden, and in the cathedral of Bruges in its series "Kathedraalconcerten". The choir performed additional concerts at other churches of the two countries and in the Concertgebouw of Bruges.
Hans-Christoph Rademann is a German choral conductor, currently the director of the Dresdner Kammerchor and the Internationale Bachakademie Stuttgart.
Geistliche Chormusik is a collection of motets on German texts for choir by Heinrich Schütz. It was printed in Dresden in 1648 as his Opus Undecimum, and comprises 29 individual settings for five to seven voices, which were assigned numbers 369 to 397 in the Schütz-Werke-Verzeichnis (SWV). The original title was Geistliche Chor-Music, Erster Theil which indicates that Schütz planned a second part. It is also known as Geistliche Chor-Music 1648. The collection contains earlier and new works and a German arrangement of a motet by Andrea Gabrieli.
Unser lieben Frauen Traum Op. 138, No. 4, is a sacred motet for unaccompanied mixed choir by Max Reger. The German text is a poem by an anonymous poet, derived from a Volkslied. The piece is in F major and scored for up to six voices, SSATBB. Composed in Meiningen in 1914, it was published in 1916 after Reger's death as the fourth of Acht geistliche Gesänge. It is often performed in Advent.
Der Mensch lebt und bestehet, Op. 138, No. 1, is a sacred motet for unaccompanied mixed choir by Max Reger. The German text is a poem by Matthias Claudius, beginning with "Der Mensch lebt und bestehet nur eine kleine Zeit". The piece is in A minor and scored for eight voices in two choirs SATB. Composed in Meiningen in 1914, it was published in 1916 after Reger's death as the first of Acht geistliche Gesänge.
Nachtlied Op. 138, No. 3, is a sacred motet for unaccompanied mixed choir by Max Reger. The German text is a poem by Petrus Herbert, beginning "Die Nacht ist kommen". The piece is in B minor and scored for five voices SATBB. Composed in Meiningen in 1914, it was published in 1916 after Reger's death as the third of Acht geistliche Gesänge.
Der Einsiedler Op. 144a, is a composition for baritone soloist, five-part choir and orchestra by Max Reger, written in 1915. The German text is a poem by Joseph von Eichendorff, beginning "Komm' Trost der Welt, du stille Nacht". The composition was published in 1916 after Reger's death by N. Simrock, combined with the Hebbel Requiem, as Zwei Gesänge für gemischten Chor mit Orchester, Op. 144.
Geistliche Gesänge, Op. 110, are three motets by Max Reger. He composed them between 1909 and 1912:
Helmut Alfons Schlegel is a German Franciscan, Catholic priest, meditation instructor, author, librettist and songwriter. He is known for writing new spiritual songs, set to music by various composers.
Six Motets, Op. 82, are six motets for choir a cappella by Friedrich Kiel. He set selected psalm verses in German. The motets were published in 1883 by Bote & Bock, dedicated to H. A. Köstlin, as Sechs Motetten für gemischten Chor a cappella.
Two Motets, Op. 74, are two sacred motets for unaccompanied mixed choir by Johannes Brahms, published together. Number 1, composed in 1877 in several movements, is Warum ist das Licht gegeben dem Mühseligen?, based on Biblical texts and a chorale. Number 2, composed earlier, is O Heiland, reiß die Himmel auf, containing different settings of the stanzas of Friedrich von Spee's "O Heiland, reiß die Himmel auf". The two motets were published by N. Simrock in December 1878 and dedicated to Philipp Spitta.
"Kommet, ihr Hirten" is a German Christmas carol from Bohemia which was derived from a Czech carol, "Nesem vám noviny". It reflects elements from the nativity story, the Annunciation to the shepherds, their walk to the manger and their Adoration, inviting to follow their example. The first, "Kommet, ihr Hirten, ihr Männer und Fraun", addresses shepherds, men, and women.
Carl Josef Thiel was a German organist, church musician and professor of music.