A Bodleian Libraries blog


Music plays an enormous part in the success of the German Reformation. Martin Luther builds on communal hymn singing as a most effective means of spreading the word. Chorals become part of the fabric of Protestantism, building on the medieval heritage of Meistersinger and monasteries alike and informing the enormous output of Baroque music, culminating in the Cantatas by J S Bach. Henrike Lähnemann, Professor of Medieval German Studies, is working with Alex Lloyd, Lecturer in German, and Tom Hammond-Davies, Director of the Oxford Bach Soloists, to recreate the sound of the Reformation.

For 2017, the ambitious plan is to perform the four cantatas composed by J S Bach over the years for Reformation Day (31 October) in four different venues and formats. The first cantata, ‘Gott der Herr ist Sonn’ und Schild’ opened the series during Bonn Week 2017 as an interactive event with a dialogue introduction, a reflection by a member of the congregation, and everybody joining in the chorales. The second cantata, ‘Gelobet sei der Herr, mein Gott’, will take place in St Michael’s Northgate and is scheduled for Open Doors weekend. The last two are College based close to the actual quincentenary: After a study day on the Reformation in Exeter College on 29 October ‘Nun danket alle Gott’ will be performed and finally on 31 October ‘Ein feste Burg’ will be part of a service of Lutheran Vespers in New College.

ProgrammheftIn the Summer of 2016 the Oxford Bach Soloists undertook a tour to Northern Germany with Henrike Lähnemann. Follow the epic journey from medieval liturgy to J.S. Bach and from Kloster Mariensee to the Michaeliskirche in Lüneburg: view the Programme online, live podcasts from the concerts on the Oxford Bach Soloists blog and photographs by Alex Lloyd and Jennifer Bunselmeier.

Watch the Gesprächskonzert in Kloster Mariensee with a performance of all stages of the Easter hymn, culminating in a full performance of ‘Christ lag in Todesbanden’

A short documentary film, ‘Singing the Reformation’, was launched at the Taylor Institution on 11 November 2016. The film, of the TORCH-funded trip of the Oxford Bach Soloists to Northern Germany, was shot by Alex Lloyd on the Faculty’s new visibility equipment:

The launch also celebrated several projects in the Faculty which have been sponsored by the EHRC Visibility Challenge, such as the website Mapping Catherine’s Correspondence.

Henrike Lähnemann on the genesis of the famous hymn ‘Wachet auf, ruft uns die Stimme’ by Philipp Nicolai, its publication history and its links to pre-Reformation literature. Talk filmed by Alex Lloyd in the Old Library at St Edmund Hall.

Tom Hammond-Davies, conductor of the Oxford Bach Soloists, explains why it is a worthwhile challenge to translate Bach’s Cantatas. Filming: Alex Lloyd. Location: St Edmund Hall Chapel.

Plain Song poster

Two talks in the Hilary Term 2016 lecture series put on by the University Church, Oxford, prominently featured hymns linked to the German Reformation. Penny Boxall, the organiser, writes: “Music and the Church have always had a special relationship. From the Church’s very earliest years worship has been aided, enhanced and delivered through beautiful and challenging music. This series takes a fascinating look at the way music and the church engage with each other.” On 17th February, Alex Lloyd spoke on “Translating Bach: Theory and Practice.” This session explored issues associated with translating and performing Bach’s cantata ‘Wachet auf, ruft uns die Stimme’ (BWV 140). She writes: “We’ll discuss vocal translation theory, and practical aspects of translating cantata texts from the perspective of singers and students.”
On 24th February, Henrike Lähnemann spoke about “Pre-Reformation Hymns in Bach Cantatas: the Case of ‘Christ lag in Todesbanden’”. This session explored the afterlife of popular vernacular medieval ‘Leisen’, following their transformation into chorales in the Reformation and then becoming signature tunes of Protestant identity. There was a staging of medieval congregational singing with the audience as well as excerpts from Bach’s cantata performed by members of the Oxford Bach Soloists.