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((Short description|Musical motif))
((More citations needed|date=January 2017))
((Use dmy dates|date=October 2023)) 
[[Image:Dresden Amen.jpg|thumb|400px|Dresden amen.<br />[[File:Dresden Amen.mid|frameless]]]]

The '''Dresden amen''' (((lang|de|Dresdner Amen))) is a sequence of seven notes sung by choirs during church services in the German state of [[Saxony]] since the beginning of the 19th century. The motif was first used in, and is particularly associated with, the city of [[Dresden]].

The sequence has been used in various forms by composers since the 19th century.

==Composition==
The Dresden amen was composed by [[Johann Gottlieb Naumann]] (1741–1801) for use in the Royal chapel in Dresden. Such was its popularity that it spread to other churches, both [[Catholic]] and [[Lutheran]], in Saxony. The "Dresden amen" is actually the second and third parts of a threefold amen.

==Use in classical music==
[[Felix Mendelssohn]] used the Dresden amen in his fifth symphony, the [[Symphony No. 5 (Mendelssohn)|''"Reformation"'']]. In the first movement, the theme appears in the strings:

[[Image:Mendelssohn5 DresdenAmen.png|400px]]

The theme was also used by [[Richard Wagner]], most notably in his last opera, ''[[Parsifal]]''. Wagner was a [[Kapellmeister]] in Dresden from 1842 to 1849, but he would probably have learnt the motif as a boy attending church in Dresden. It was incorporated into one of his earliest operas, ''[[Das Liebesverbot]]'', and also appears in the third act of ''[[Tannhäuser (opera)|Tannhäuser]]''.

[[Anton Bruckner]] used the Dresden amen in several motets (''[[Christus factus est, WAB 11 (Bruckner)|Christus factus est]]'' [[Werkverzeichnis Anton Bruckners|WAB]] 11, ''[[Virga Jesse (Bruckner)|Virga Jesse]]'' WAB 52 and ''[[Vexilla regis (Bruckner)|Vexilla regis]]'' WAB 51),<ref name= "van Zwol">((cite book|author=van Zwol, Cornelius|title=Anton Bruckner – Leven en Werken|publisher=Thot|year=2012|isbn=978-90-686-8590-9))</ref> the finale of his [[Symphony No. 5 (Bruckner)|Fifth Symphony]] and the [[Tempo#Basic tempo markings|adagio]] of his last symphony, the [[Symphony No. 9 (Bruckner)|Ninth]], while [[Gustav Mahler]] incorporated it into the last movement of his first symphony, [[Symphony No. 1 (Mahler)|'' "Titan"'']]. [[Manuel de Falla]] quoted from it in his incidental music for [[Calderon de la Barca|Calderón de la Barca]]'s ''El gran teatro del mundo''.

[[Charles Villiers Stanford]] used a slightly expanded Dresden Amen at the end of his [[Service in B-flat major, Op. 10 (Stanford)|Nunc Dimittis in B-flat]], op. 10 (1879).<ref>[https://www.cpdl.org/wiki/images/8/87/Evening_service_in_B_flat_Stanford.pdf ''Evening service in B flat Stanford''] cpdl.org</ref>

[[Alexander Scriabin]] inserted a theme reminiscent of the Dresden amen in the first movement (Luttes ["Struggles"]) of his [[Symphony No. 3 (Scriabin)|Symphony no. 3]].

[[Eric Ball (composer)|Eric Ball]]'s [[tone poem]] ''The Kingdom Triumphant'', a musical picture of the first and second coming of [[Christ]], uses the Dresden amen prior to the presentation of the hymn ''Helmsley'' with its associated words "Lo, He comes with clouds descending".

[[Carl Davis]] used the Dresden Amen prominently in his score for the sound-added reissue of the 1925 silent film [[Ben-Hur (1925 film)|Ben-Hur]], particularly in scenes featuring the life of Christ.

[[John Sanders (musician)|John Sanders]] based his ''Responses for Evensong'' on the Dresden Amen.
[[Igor Stravinsky]] starts the 3rd movement of the Symphony of Psalms with a shortened version of the Dresden Amen, finishing with a dominant chord on tonic pedal note.

==References==
((reflist))

((Motives (music)))
((Parsifal))

[[Category:German church music]]
[[Category:Motifs (music)]]
[[Category:Religion in Dresden]]
[[Category:Parsifal]]

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