Search

The school at the South Bohemian Cistercian monastery of Zlatá Koruna was established by the last abbot of this convent in 1772. He also appointed Antonín Borový, a university educated teacher, who went on to dedicate fifty years of his life to teaching in the school. Given that a cantor's responsibilities at that time also included leading the church choir and securing the musical accompaniment for church services, Borový built up a significant music collection throughout his lifetime, of which 452 compositions have been preserved. The collection is now predominantly housed in the National Museum – the Czech Museum of Music in Prague and at the Český Krumlov branch of the State Regional Archive in Třeboň. The notes on the covers of the sheet music, which provide precise information about the performance dates for each composition, its origin and orchestration, constitute the Borový collection's greatest contribution. These notes also enable us to have some idea of the repertoire of the rural choir, the ways in which the repertoire was disseminated, and music performance practice at the turn of the eighteenth and nineteenth centuries. Borový's documentation is unique in this regard, as reports of musical performances of Czech choirs and specific repertoire choices have only been preserved sporadically. Borový also composed about twenty of his own works, which are, however, compositionally inferior. He also maintained a school chronicle written in Czech, to which he added information about school celebrations. All the sources document musical life in the Czech countryside, in which cantors, who trained entire generations of famous musicians, played an irreplaceable role for centuries. L'école du monastère de Zlatá Koruna en Bohême du sud a été créée par le dernier abbé de ce couvent en 1772. Il a également nommé Antonín Borový, professeur de formation universitaire, qui a dédié cinquante années de sa vie à enseigner dans cette école. Étant donné que les responsabilités d'un cantor à cette époque incluaient aussi la direction du chœur d'église et la prise en charge de l'accompagnement musical des services religieux, Borový a développé une importante collection musicale tout au long de sa vie, dont 452 compositions ont été conservées. La collection est maintenant principalement conservée au Musée national – le Musée de la musique tchèque de Prague et à la branche Český Krumlov des Archives régionales d'État de Třeboň. Les notes sur les couvertures des partitions qui fournissent des informations précises sur les dates de représentation de chaque œuvre, son origine et son orchestration, constituent la plus grande contribution à la collection Borový. Ces notes nous permettent d'avoir une idée de ce répertoire de chœur rural, la façon dont ce répertoire s'est diffusé et de la pratique des spectacles musicaux au tournant des XVIIIe et XIXe siècles. La documentation de Borový est unique dans ce domaine, dans la mesure où les rapports des concerts des chœurs tchèques et les choix de répertoire spécifique ont été conservés uniquement de manière sporadique. Borový a aussi composé environ vingt œuvres en propre qui sont, cependant, inférieures sur le plan de la composition. Il a aussi tenu une chronique de l'école écrite en tchèque à laquelle il ajoutait des informations sur les célébrations de l'école. Toutes les sources documentent la vie musicale dans la campagne tchèque, dans laquelle les cantors, qui formaient des générations entières de musiciens tchèques célèbres, ont joué un rôle irremplaçable pour des siècles. Die Schule des südböhmischen Zisterzienserklosters Zlatá Koruna wurde im Jahre 1772 vom letzten Abt des Klosters gegründet. Er engagierte auch Antonín Borový, einen studierten Lehrer, der fünfzig Jahre seines Lebens dem Schulunterricht widmete. Da zu den damaligen Aufgaben eines Kantors auch die Leitung des Kirchenchores sowie die musikalische Gestaltung der Gottesdienste gehörten, baute Borový im Laufe seines Lebens eine bedeutende Musiksammlung auf, von der 452 Werke erhalten sind. Die Sammlung befindet sich heute überwiegend im Nationalmuseum / Tschechischen Musikmuseum in Prag und in der Zweigstelle des Staatlichen Regionalarchivs Český Krumlov in Třeboň. Die wichtigsten Informationen aus der Borový-Sammlung stellen die Notizen auf den Einbänden der Noten dar. Sie geben genaue Auskunft über die Aufführungsdaten der einzelnen Kompositionen sowie über deren Entstehung und Orchestrierung. Diese Notizen vermitteln uns auch eine Vorstellung vom Repertoire des ländlichen Chors, von den Wegen, auf denen dieses Repertoire verbreitet wurde und von der musikalischen Aufführungspraxis am Übergang vom 18. zum 19. Jahrhundert. Die Dokumentation von Borový ist dadurch einzigartig, denn Berichte über musikalische Darbietungen tschechischer Chöre und deren spezifische Repertoireauswahl sind nur sporadisch erhalten geblieben. Borový schuf auch etwa zwanzig eigene Werke, die jedoch kompositorisch unterlegen sind. Er führte auch eine in tschechischer Sprache verfasste Schulchronik, die er mit Informationen über Schulfeiern ergänzte. Die Quellen dokumentieren das Musikleben auf dem tschechischen Land, wo Kantoren, die ganze Generationen berühmter Musiker ausbildeten, über Jahrhunderte eine unersetzliche Rolle spielten. [ABSTRACT FROM AUTHOR]

The article offers information on the music program that is standard as a choir of adults and high schoolers, a collection of cantors, and an intermittent children's choir pulled together for Christmas and Easter. Topics include examines that the average untrained amateur choir, the process outlined above will guarantee at least half the choir vanishes; and alternative strategy for that first rehearsal at St. Mary's by the Marsh.

In 1962, the music historian Friedrich Blume caused public controversy when he rejected the established image of Bach the arch-Cantor. For Bach had, to exaggerate slightly, been canonised - in both senses of the word - as the saint of cultural Protestantism. The development leading to that point had begun around 1850, when Bach was stylised into a church composer and Cantor guided by both outward and inner calling. Around 1900, Protestant theology took this reading further and stylized Bach into a messenger, a prophet, an apostle. After defeat in the First World War, musical culture in Germany was shaped by the idea of Bach as the fifth evangelist, thanks primarily to the analogously titled popular biography by the vicar Karl Hesselbacher. After the secularization of this concept in the 1960s, Bach's music itself became the worship, enabling non-believers to take part in it. Mauricio Kagel's St.-Bach-Passion is an ironic reaction to this situation. [ABSTRACT FROM AUTHOR]

The article features Jewish cantor, performer and composer Joseph Rosenblatt and his contributions and achievements in cantorial art. It mentions a brief history into the musical career of Rosenblatt, the role of environment in Russian Ukraine and his father in the development of his skills and gifts and his compositions for the congregation in Hamburg, Germany that need to be devoid of word repetitions. His compositions in the U.S. are cited including "Shomer Yisroel" and "Omar Rabi Elozor."

An interview is presented with Roderich Kreile, cantor at the Kreuzkirche in Dresden, Germany and 2012 recipient of the Sächsicher Verfassungsmedaille music award. When asked about the spiritual center of the city of Dresden, Kreile explains that the Kreuzkirche remains the most important, especially for Protestants. Other topics of discussion include Kreile's move from Munich, Germany to Dresden, the transition from the previous cantor to Kreile, and the activities of the church choir.

The article discusses the activities of German church musician Johann Valentin Meder during his time in Tallinn, Estonia, and Riga, Latvia, in the late 17th and early 18th centuries. The author details Meder's career as a cantor at a German school in Tallinn, his musical compositions, and their role in cultural transmissions and influences from Germany to the Baltic provinces.

The article discusses German church musician and composer Michael Hahn during his time as cantor at the German school of Narva, Estonia, between 1663 and 1673. Emphasizing the scarcity of historical and biographical documentation, the author seeks to reconstruct several aspects of Hahn's life and career, including the influence of his teacher, Baroque composer Heinrich Schütz, Hahn's collaboration with violinist Gregor Zuber, and the religious music scene of Narva in the 17th century.

The article focuses on the contemporary era's cantorial musical style of the recording industry. It says that Cantor Glanz and other musicians are dissatisfied on the effect of commercial media on catorial art, wherein the use of gramophone which popularize cantorial genre is also subjected to harsh criticisms. It states that the resistance of the cantors to commercialize cantorate are based on religious and ideological reasons.

The article delves into the use of the term "cantors" in various worship customs as well as their objectives. Among the religions that apply the title "cantor" in their services, only Jewish, Catholic, and Lutheran worships have continued to use the term. Some of the roles of cantors include the singing of solo portions of the Mass and announcement of song selection for Catholics and the direction of church's music for Lutherans.

This article reveals that B-minor Mass, a musical composition by German composer and musician Johann Sebastian Bach, was acclaimed in 1818 by Swiss critic and publisher Hans-Georg Nägeli as the greatest musical work of art of all times. Topics discussed include how the Mass came to be written by Bach after the death of Polish King Augustus the Strong in 1733, the composer's purpose in writing such musical work, and his career as a Court Capellmeister, Cantor and musical scholar.

The article examines the number symbolism in the first cantata cycle by composer Johan Sebastian Bach from 1723-1724. It describes the measurements and movements, as well as the Biblical texts of the cycle of cantata with which Bach inaugurated his activity as cantor and director musices in Leipzg, Germany. The cantatas include "Passion Psalm," "The Heavens Declare of the Glory of God," "Come Ye, Mortals, Laud Ye God's Perfection!," and Serve Thy God With Fear, Not Show Hypocrisy."

The article presents the author's personal opinion concerning public singing in German churches. The social function of public singing in the author's experience as a cantor is examined, the demographic composition of the author's singing group is analyzed, and the methodology and music selection of a social singing session is discussed.

The article presents various reports published within the issue including one by David Arcus on the history and roles of cantors in different religious traditions and another by Marianne Engelmann and Jane Cors Smith on eucharistic ministers.

The article examines the typical duties of a cantor in parishes in the U.S. and which of these duties ought to belong to the cantor and which should not. A proposal is then offered for a revised list of duties, as well as for other long-term measures that will make the proposed transition more possible.