He was appointed as custodian of music in the diocese of Münster in 1988 and has been city cantor at Hof as well as Dekanatskantor for the deanery of Hochfranken since 1994. In 1980 Ludger Stühlmeyer became his successor. His grandfather Heinrich Stühlmeyer, a "silent hero of the resistance" against National Socialism, who was deported to the concentration camp Emslandlager in 1940 for his support of the Catholic church and those persecuted by the Third Reich, had been employed at St. His studies were also financially supported by the Friedrich-Baur-Stiftung, the Oberfrankenstiftung Bayreuth and the Wolfgang-Siegel-Stiftung. Ludger Stühlmeyer received a scholarship from the Diocese of Osnabrück. He concluded his studies with a doctorate at the faculty of philosophy. He attended seminars in Gregorian semiology with Luigi Agustoni, Godehard Joppich, and Johannes Berchmans Göschl, and studied musicology, philosophy, and theology at the Westfälische Wilhelms-Universität of Münster. After completing his A-levels at the grammar school at Melle, he studied Christian music ( Wolfgang Helbich, Winfried Schlepphorst ), Early music, and Singing at the University of the Arts Bremen, followed by studies of composition with Günther Kretzschmar, Karlheinz Stockhausen, and Helge Jung. He received music lessons from the pianist, composer and direktor of music Karl Schäfer at the Osnabrück conservatory and from Karlheinz Höne at the church musician school of the Roman Catholic Diocese of Osnabrück. Stühlmeyer was born to a family of cantors and made his first steps under the guidance of his father in the town church ( Stadtkirche) of St. It is in the public domain in the United States.Ludger Stühlmeyer (born 3 October 1961 in Melle, West Germany) is a German cantor, composer, docent and musicologist. The featured image is Adoration of the Shepherds by Bartolome Esteban Murillo. This version reuses some of the later harmony from the final verse elsewhere, removing the syncopated descant against the chant verses. Simplified Version without Syncopated Descant The final verse changes the Descant, giving praise to the Holy Trinity.Where similis juxtaposes dissimilis, Alto 2 breaks off and the Descant takes over.When the Magi enter to adore the newborn Lord, the simple Soprano/Alto 1 lines are used, denoting the humble place where the Lord was born.Likewise, Ut redderet is set thus, in which we are made like unto Him. Verses describing the paradox of Almighty God humbling himself to become Man use all four parts, with syncopated descant.Verses related to angels raise Alto 2’s line an octave into the descant.Verses dealing with men generally add the Alto 2 part.Narrative verses generally use the simple Soprano/Alto 1 melody and harmony.I mostly selected the harmonies for the verses based on these attributes: There is also a second, somewhat simplified version without the syncopated descant. My intention is to highlight something mysterious from the text.Īs usual, I’ve attached a free PDF at the bottom of the post (CC-BY-NC-ND). The syncopated descant is a little unusual and even dissonant at times. Each verse is set in two, three, or four parts, depending on the text. The setting keeps the chant melody throughout, and the other voices mostly fall in line with the chant melody. Written for the women’s schola at my parish, the score is marked SSAA, but it could easily be sung by men an octave lower. While I already composed a polyphonic refrain for Puer Natus a few years back, I recently revisited the text and wrote a harmonized version of the entire hymn.
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