A
Triptych
of
Martin
Luther
Hymns
Settings
for
4-Octave
Carillon
of
Three Hymn Tunes
by
Martin
Luther
(1483-1546)
by
Ennis
Fruhauf
[An 8 ½
x
11
softbound edition]
Table of Contents
|
Prelude and Fugue on
Available in December 2021
|
|
Three Verses
on
An In Memoriam: February 2022 |
|
.Three Variations on |
Notes
A Triptych
of
Martin Luther Hymns
presents three extended settings for four-octave carillon.
Each arrangement is based on a tune written by – or otherwise
ascribed or attributed to – Martin Luther, as are all three texts.
Luther's hymn tunes display many traits of
a
compositional school and tradition that favored use of Christian church
modes. All three tunes employ recurring rhythmic motifs within consecutive
phrases that impart a unique impetus and serve to unify by means of
repetition.
Prelude
and
Fugue
on
Vom Himmel Hoch
begins with
a slow-moving and introspective presentaton of the hymn melody in lower bells, accompanied by a progression of
quasi faux bourdon
chords in treble range.
The fugue – more accurately a loosely
imitative fugato – features
phrase-by-phrase thematic points of imitation in treble bells, with each
miniature exposition followed by a
cantus firmus statement of the corresponding chorale phrase in lower
bells; the final phrase is repeated as a coda in slow-moving arpeggiated
chords.
Three
Verses
on
Aus Tiefer Not
offers a somber
contrast to the other two settings; the
text is one that speaks of
challenges
and tribulations, evoking a Lenten spirit that is intensified by use of a
melody in Phrygian mode. In all three verses, the hymn tune
is sounded
in lower and midrange bells. An introduction states the first full phrase,
then launches into a rolling triplet harmonization over the first phrase,
restated in cantus firmus by
pedal-range bells;
the
tune's midsection reverts to common time,
concluding
with the final phrase in lower bells overlaid by treble-range triplets. In the second verse the chorale is
presented in tenor bells, played by pedals and accompanied by soprano-range
manual
tremolando chords. The third verse revisits all the details
of the first verse's setting, but with the hymn tune transposed to the
parallel major key — in
this instance from E-modal minor to E-major; the midsection reverts to its
original modal tonalities, returning to E-major for the last phrase. The
introduction is similarly transposed to E- major and restated as a codetta.
Three
Variations
on
Ein Feste Burg
opens with
an introductory unison declamation of the chorale's first full phrase, then
continues with a cantus firmus
pedal
statement of the entire tune in lower bells, set against active
accompanimental figurations in treble bells.
The second verse presents the hymn in its more contemporary metered version,
played in high bells in duet with a second treble voice.
The
final variation turns to a vigorous hymn statement at a lively pace,
with the final phrase of the first variation emerging anew as a
codetta to be capped off by a broadly stated cadential 'Amen.'
[N.B.
Reference
data in the Table of Contents is drawn from:
Hymnal
Companion
to The
Lutheran
Book of Worship, Philadelphia, 1981.]