- Title Pages
- List of Figures
- A Note on Translations, Spelling, Pitch Designations, and Orthography
- 1 Tears into Wine
- 2 Per ogni tempo
- 3 Inner and Outer Revelation
- 4 “Arndtian Pietism” and “Spiritual Orthodoxy”
- 5 Music and the Praise of God
- 6 Christoph Raupach and Johann Mattheson
- 7 Breakthrough and Foretaste
- 8 Spiritual Sorrow: Part 1
- 9 Ascent of the Soul: Part 2
- 10 Perspectives on the Incarnation
- 11 The Way of the Cross
- 12 Descent and Indwelling
- Appendix A Cantata 21: <i>Ich hatte viel Bekümmernis</i>. Text and Translation. Biblical texts in italics, chorale verses in boldface, free poetic texts in Roman type. All translations from the German are those of the author.
- Appendix B Gospel and epistle for the third Sunday after Trinity. Based on Abraham Calov, <i>Die Deutsche Bibel</i>, vol. 3 (1682), 553–55; 1036–45 (spelling and orthography original).
- Appendix C Gospel and epistle for the second Sunday after Epiphany. Based on Abraham Calov, <i>Die Deutsche Bibel</i>, vol. 3 (1682), Part 1: 702–6; Part 2: 148–56 (orthography slightly modernized).
Tears into Wine
Tears into Wine
Liturgical and Related Questions
- (p.47) 1 Tears into Wine
- Tears into Wine
- Oxford University Press
This chapter studies the liturgical occasion for which Cantata 21 was first composed (the third Sunday after Trinity), as well as the second Sunday after Epiphany, which provided some of its imagery, especially the imagery of tears transformed into wine (mvt. 10), which is realized musically in the transformation of the tonality of the cantata from C minor (Part 1) to C major (the final chorus).
Oxford Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.
If you think you should have access to this title, please contact your librarian.