9.4 German sacred music traditions

German Lutheran church music was a cornerstone of Baroque worship. Chorales, cantatas, and organ works conveyed theological messages and enhanced emotional impact. These musical forms were essential in expressing Lutheran faith and doctrine.

The development of German sacred genres like cantatas and passions set new standards. Composers like Bach masterfully crafted these works, intertwining text and music to create powerful religious experiences that resonated deeply with congregations.

German Lutheran Church Music

Music in German Lutheran services

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• Music played a central role in German Lutheran church services during the Baroque era considered an essential part of worship and religious expression
• Music used to convey theological messages and enhance the emotional impact of the service
• Liturgical music included chorales (hymns) sung by the congregation, choral works performed by trained choirs, and organ music for prelude, postlude, and accompaniment
• Non-liturgical music, such as cantatas and passions, performed during the service often based on the day's scripture readings or religious themes and served as musical sermons to reinforce the pastor's message

Development of German sacred genres

• Cantata: a multi-movement work for solo voices, choir, and instrumental accompaniment developed from the Italian cantata and adapted to German Lutheran contexts, typically performed during the service, often between the Gospel reading and the sermon (J.S. Bach composed over 200 cantatas, setting a new standard for the genre)
• Passion: a large-scale work narrating the suffering and death of Jesus Christ, draws texts from the Gospel accounts and includes arias, choruses, and chorales, performed during Holy Week, particularly on Good Friday (notable examples include Bach's St. Matthew Passion and St. John Passion)
• Oratorio: a large-scale work for solo voices, choir, and orchestra, similar to an opera but without staging or costumes, developed in Italy and later adapted by German composers, typically based on religious subjects but performed outside of church services, often in concert settings (notable examples include Handel's Messiah and Bach's Christmas Oratorio)

Text-Music Relationships and Comparisons

Text-music relationships in Bach's cantatas

• German composers, especially J.S. Bach, paid close attention to the relationship between text and music
• Word painting: musical techniques used to illustrate the literal meaning of the text (ascending melodic lines for words like "ascend" or "heaven")
• Affekt (affect): conveying the emotional content of the text through musical means
  • Choice of key, tempo, and instrumentation to evoke specific emotions
  • Use of dissonance, chromaticism, and rhetorical figures to heighten emotional expression
• Symbolism: using musical motifs or structures to represent theological concepts (three-part textures to symbolize the Trinity)
• In Bach's cantatas, these techniques are employed to create a close connection between the text and music, enhancing the work's religious message and emotional impact

German vs European sacred traditions

• Italy
  • Emphasis on solo vocal music (solo cantata and opera)
  • Polychoral style (cori spezzati) developed in Venice, featuring multiple choirs and instrumental groups
  • Influence on German composers, particularly in the development of the cantata and oratorio
• France
  • Focus on grand motet, a large-scale choral work with orchestral accompaniment
  • Emphasis on dance rhythms and theatricality in sacred music
  • Less influence on German sacred music compared to Italian styles
• England
  • Development of the anthem, a choral work in English with organ or instrumental accompaniment
  • Influence of the English verse anthem on German cantata style
  • Handel, a German-born composer, spent most of his career in England, composing works such as the Messiah that blended German, Italian, and English traditions