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2015–2016 Series

MAY 15, 2016 The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis


Schedule of Concerts 23rd Season

BACH AT THE SEM – 2015-16 Dr. Maurice Boyer, Music Director OCTOBER 4, 2015, 3 p.m. (PENTECOST 19, TRINITY 18) J.S. Bach: Cantata, BWV 96, Herr Christ, der ein’ge Gottessohn; Duet for soprano & alto, “Herr, du siehst statt guter Werke,” from BWV 9, Es ist das Heil uns kommen her; Cantata BWV 67, Halt im Gedächtnis Jesum Christ; Chorus from BWV 148, Bringet dem Herrn Ehre seines Namens DECEMBER 13, 2015, 3 p.m. (ADVENT 3) Hugo Distler: Organ prelude on Wie schön leuchtet der Morgenstern; BWV 1; Cantata BWV 61, Nun komm, der Heiden Heiland; Cantata BWV 133, Ich freue mich in dir; Cantata BWV 40, Dazu ist erschienen der Sohn Gottes; Chorus from BWV 1, Wie schön leuchtet der Morgenstern FEBRUARY 7, 2016, 3 p.m. (TRANSFIGURATION) J.S. Bach: Cantata BWV 127, Herr Jesu Christ, wahr’r Mensch und Gott; Concerto for violin in A minor, BWV 1041, movement 2; Aria for alto with chorale, “Ich folge dir nach,” from BWV 159, Sehet! Wir geh’n hinauf gen Jerusalem; Cantata BWV 161, Komm, du süße Todesstunde; Cantata BWV 23, Du wahrer Gott und Davids Sohn MAY 15, 2016, 3 p.m. (PENTECOST) J.S. Bach: Cantata BWV 11, Lobet Gott in seinen Reichen; Aria for bass, “Es ist vollbracht,” from BWV 159, Sehet! Wir geh’n hinauf gen Jerusalem; Organ prelude on Komm, heiliger Geist; Cantata BWV 34, O ewiges Feuer

We are grateful to the “Friends of Bach at the Sem” for their continuing generosity that helps to make the Bach at the Sem series possible. Special thanks to Wayne Coniglio for supporting Bach at the Sem by donating the archival-only recording of the program. Concordia Seminary is privileged to make J.S. Bach’s music available to the St. Louis community and invites your generous support for these uplifting concerts. If you have not received information from Bach at the Sem and would like to be placed on the mailing list, please call 314-505-7009. Cover image – from the autograph score of J.S. Bach’s Du wahrer Gott und Davids Sohn BWV 23, which the American Kantorei performed Feb. 7, 2016.

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Bach at the Sem May 15, 2016, 3 p.m. Pentecost Dr. Maurice Boyer, Music Director The American Kantorei Dr. Jeral Becker, Assistant Conductor In Nomine Jesu Himmelfahrtsoratorium: Lobet Gott in seinen Reichen, BWV 11 (Ascension Oratorio: Praise God in His kingdoms) 1. Chorus 2. Tenor Recitative (Scott Kennebeck) 3. Bass Recitative (Jeffrey Heyl) 4. Alto Aria (Katharine Lawton Brown) 5. Tenor Recitative (Scott Kennebeck) 6. Chorale 7a. Recitative (Scott Kennebeck/Jeffrey Heyl) 7b. Alto Recitative (Katharine Lawton Brown) 7c. Tenor Recitative (Scott Kennebeck) 8. Soprano Aria (Emily Truckenbrod) 9. Chorale

Johann Sebastian Bach

Bass Aria: “Es ist vollbracht” Johann Sebastian Bach (It is accomplished) From Cantata: Sehet! Wir geh’n hinauf gen Jerusalem, BWV 159 (Jeffrey Heyl) (See! We are going up to Jerusalem) Hymn: “Come, Holy Ghost, Spirit Blessed” Prelude: Komm, Gott, Schöpfer, heiliger Geist, BWV 667 Johann Sebastian Bach The assembly stands to sing stanzas 1, 3, 5, 7 of the hymn provided on page 11 or in Lutheran Service Book (LSB 498) The choir sings stanzas 2, 4, 6 of the chant version (LSB 499) Organ Voluntary: Fantasia super Komm heiliger Geist, Herre Gott, BWV 651 Johann Sebastian Bach (Dr. Steven Wente, organist) The offerings received at this time support the Bach at the Sem concert series. Cantata: O ewiges Feuer, o Ursprung der Liebe, BWV 34 (O eternal fire, o source of love) 1. 2. 3. 4. 5.

Chorus Tenor Recitative (Scott Kennebeck) Alto Aria (Stephanie Ruggles) Bass Recitative (Jeffrey Heyl) Chorus Soli Deo Gloria

Johann Sebastian Bach


Program Notes

“I will not leave you as orphans; I will come to you. Yet a little while and the world will see me no more, but you will see me. Because I live, you also will live. […] But the Helper, the Holy Spirit, whom the Father will send in my name, He will teach you all things and bring to your remembrance all that I have said to you. Peace I leave with you; My peace I give to you. Not as the world gives do I give to you. Let not your hearts be troubled, neither let them be afraid” (John 14:18-20; 26-27 ESV).

upon it, they translate it to the present, to the sphere of personal relevance.

Ascension Oratorio: Lobet Gott in seinen Reichen, BWV 11

Although the text, which calls to mind any number of the psalms of praise, does not mention Christ’s Ascension, its enjoinder to praise God “in His kingdoms” and “in His glory” hints at the event. In a sense functioning outside the narrative, this opening movement is an exuberant response to the significance of the Ascension: Christ now reigns over all. Its dance-like character recalls the form of the Gavotte, a popular Baroque dance in duple meter. The movement is governed by a richly varied texture: homophonic, freely polyphonic and imitative. As ever, Bach’s treatment of the text is multifarious. The imperative of the verb “praise” is set in three different rhetorical gestures, each capturing a facet of the act of praising: a stately descending broken chord spelling out reverence, a lightly rising motive expressing joyfulness and a swift descending scale canonically spun in all the voice parts denoting the echo of a multi-voiced laud. A syncopated second theme (“seek to express His praise rightly”), with its tug against the beat, adds a note of mirthful insistence to the overall festive tone.

As would have been fitting for a Feast Day, the scoring is full festival scoring: two flutes, two oboes, three trumpets, timpani and strings. The full complement of instruments is reserved for the outer movements, whose character is celebratory: ebullient and extroverted. The inner movements are intimate: reflective and introverted.

The final of four works written for the Feast of the Ascension of Christ, BWV 11 was likely performed Thursday, May 19, 1735 — a few months after the Christmas Oratorio. Based upon pre-existing material, it is a parodied work. Indeed, the opening chorus was composed in 1732 as part of a cantata for the consecration of the rebuilt Thomasschule and the two arias for a now lost wedding cantata in 1725. All that survives of these original works are the libretti, whose author remains unknown; frequent Bach collaborator Picander has been suggested. It is thus impossible to reconstruct the extent of the musical material’s transformation from original to parodied context. On the title page of the manuscript score, Bach wrote “Oratorium Festo Ascensionis Christi.” Though short in length (30 minutes), the piece qualifies or functions as an oratorio in that the biblical text is delivered in secco recitatives. However, it is a “harmonization” of several sources: a melding of Luke, Acts and Mark, assembled by Luther’s colleague and personal confessor, Johann Bugenhagen. The poetic verses constituting the accompagnato recitatives, choruses and arias do not follow the linear progression of the biblical story. Rather, interrupting it and commenting

With the tenor recitative (Luke 24:50-52), the Ascension narrative proper begins: as Jesus blesses His disciples, He departs from them. The ensuing accompagnato recitative for bass steps outside of the narrative flow and in fact seems to precede the

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Ascension itself. The singer expresses fear, confusion and sadness (“hot tears”) at Jesus’ absence and pleads for Him not to go away. The addition of a pair of flutes, either in flowing 16th note thirds or sustaining long notes, yields a softness of color. In the first half, a descending pattern of slurred staccatos (a gently articulated sound) provides text painting, as they seem to be depictive of falling tears. For “hot tears,” a series of anticipations in the descending vocal line add a keening quality, which is only heightened by the supporting diminished chord.

movements separately and does not group the three final recitatives into one (there are no numbers in Bach’s autograph manuscript), one sees that the chorale stands at the center of the cantata. This communal utterance is in fact the heart of the work. It reveals that there is comfort to be found in Christ’s departure, for it means that He reigns from “on high” over all things. Cast in Bach’s harmonization, the fourth verse of the light triple-meter Ascension hymn, “Du Lebensfürst, Herr Jesu Christ” (You Prince of Life, Lord Jesus Christ) becomes a generous word of comfort. How does the Prince of Life govern? — with gentleness, not coercion or force. It is a soothing assertion and reminder to restive souls that all is under Christ’s “control”: things in heaven, earthly rulers and even the elements.

The succeeding alto aria is known most famously in its later incarnation as the Agnus Dei of the B minor Mass, where it is transposed, substantially abbreviated (it is 49 bars in length as compared to 79), and reworked. As noted above, it originated in a now lost wedding cantata. Typically, the text precedes the music and orders its flow. Here, however, a new text was composed to fit the music. Music and text are startlingly well wedded, which is a clear testament to the anonymous librettist’s exceptional skill in writing a text that reaches deeply into the expressive core of this aria.

Again, the tenor returns with the biblical narrative (Acts 1:10-11). He is suddenly joined by the bass and, from evangelist, temporarily becomes one of the two angels mentioned in the Gospel narrative. The two voices move in step then canonically. The second “man in white” echoes the first, as if to confirm or reinforce his words: He really will come back. Believe! You can trust this! The alto accompagnato recitative for two flutes and continuo is in a sense an aside that draws one into the present: “Ah, yes! Return again soon!” The tenor resumes the narrative ending with the disciples’ joyful return to Jerusalem (Acts 1:12/Luke 25:50-53).

The ascending leaps poignantly capture the vulnerable upward gaze of the one praying for Christ to stay. The spare texture (a duet for alto and violins in unison), the minor mode, and the slow pace intimate loneliness, disorientation and longing. These are intensified by the chromatic harmony, the ascending/descending half step sighing motive in the violin and the disjunct melodic contour of the head motive. The latter, associated with the first line of text, “Ah, stay yet, my dearest life,” permeates the entirety of the aria. In this duet, might the unison violin line represent Christ who remains with us even when we don’t sense His presence?

With the soprano aria in a gently lilting, minuet-like triple-meter, a dramatic shift occurs. In effect, the aria is scored for two flutes in unison, oboe da caccia (English horn in today’s orchestra) and violins and violas in unison as “bassettchen” or little bass. The continuo group (cello and organ) has dropped out. Without the grounding of a bass line and the keyboard instrument filling in the harmony, it is all upward feel: innocent, yielding, open. Like a child in trust looking up at a loving parent, the soprano sings of continually seeing “Jesus’ gracious gaze.”

The tenor then returns with a more pictorial and dramatic account of the Ascension narrative (Acts 1:9/ Mark 16:19), leading to the chorale. If one considers all

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The oratorio closes with the final verse of the Ascension chorale, “Gott fähret auf gen Himmel” (God goes up with jubilation), in a brilliant, dance-like fantasia in 6/4. Given the longing that is at the heart of the text, one might have expected a languid setting — indeed the chorale tune is in the minor mode and is full of such sentiment. Instead, Bach brilliantly casts the melody unchanged in the brightness of D major. The recurring syncopated figure in the instrumental accompaniment recalls the similarly jaunty second theme of the opening chorus and intensifies the sense of joyous anticipation. The whole is enveloped in the knowledge that the Savior is present as He promised — “Your love remains behind” as the soprano aria states.

with Christ). The chorale settles down in D major. Gradually sliding down over the three recitatives, the music finally rests in G major (one sharp) for the tender and trusting soprano aria. It is important to note that this key does mark an ascent from the alto aria’s A minor. This “slight” ascent symbolically captures the nature of our present reality, in the here and now of first fruits, the already-not-yet, where all has been accomplished but its face-to-face reality is yet to come. Through patterns of harmonic ascent and descent, the music embodies the dramatic arc of the oratorio.

An aside on tonal allegory –

BWV 159 was likely first performed Feb. 27, 1729, for the last Sunday before Lent or Quinquagesima. Thereafter no more concerted music would have been heard in the Leipzig churches until Good Friday’s performance of the St. Matthew Passion (April 15).

Aria from Sehet! Wir geh’n hinauf gen Jerusalem, BWV 159

In the musical poetics of the Baroque period, the succession of keys had symbolic meaning: at the most basic level, increased sharps meant ascent, increased flats meant descent. The diagram below spells out the tonal trajectory of the Ascension Oratorio. Note: upper case stands for major key, lower case for a minor key.

One might say that BWV 159 functions as a prelude to, or even a prolepsis of, the Great Passion. In the cantata’s bass aria, the singer relates the words of Jesus from the cross and opens up their salvific efficacy. In a way, it is as if Christ Himself (the bass as Vox Christi) were speaking through the individual. “It is fulfilled” means that suffering is over and “the world” (all that separates one from God) no longer holds sway.

D – b/A – f#/a – a – e/f# - D – D – b – G – G – D D major (two sharps) is the “home” key: the human plain on which victory has been accomplished; it is associated with triumph and victory. Each of the choral movements marks a return to it. Following the opening chorus, one observes an ascent to A major (three sharps), which fittingly coincides with the biblical narrative of the Ascension. A sudden and dramatic drop ensues (F# minor to A minor) for the plangent and keening alto aria. In the overall unfolding of the work, the key of A minor (alto aria) is the lowest harmonic point (no sharps or flats). With the resumption of the biblical narrative, the key center rises dramatically to F# minor (three sharps, a key associated with the cross and by extension

Bach’s use of the string group (long sustained notes except in the B section) recalls the way in which the strings “envelop” Jesus in the St. Matthew Passion accompagnato recitatives. There they function symbolically as a halo that is gradually subtracted as Jesus comes closer and closer to his crucifixion and cry of dereliction — “My God, my God, why have You forsaken me?” — at which point it is withdrawn altogether.

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Cantata: O ewiges Feuer, o Ursprung der Liebe, BWV 34

Interestingly, in BWV 159, the halo is withdrawn when the singer no longer relates the saving work of Christ but becomes the subject of the sentence: “I shall hasten and give thanks to my Jesus.” It resumes with “World, good night.” It is only because of Christ’s redemption that the “I” can be freed from the world and gently, without acrimony, bid it good night.

First performed for Pentecost in 1746 or 1747, thus very late in Bach’s career, this work is based almost entirely on pre-existing material. In effect, all but the tenor recitative are culled from a cantata of the same title composed some 20 years earlier for the wedding of a Leipzig clergyman. The extent of revisions or alterations to the instrumental parts, if any, is impossible to ascertain, given the paucity of sources. Few performing parts from the earlier work are extant. Necessary textual adjustments to suit the Feast of Pentecost fell to the anonymous librettist. Fittingly, Bach pulls out all the stops for the Feast Day with full festival orchestration: pairs of flutes and oboes, three trumpets, timpani and strings.

A few instances of text painting bear mention. The “fall into sin” is a downward line. The first two utterances of “World, good night” are motivically identical and outline a tonic chord in a descending pattern, evincing a putting-to-rest. At “now shall I hurry,” rhythmic diminution (faster note values) and imitation animate the surface, and the stillness of the halo is withdrawn. Finally, the movement is organized around a head motive that is bi-partite in structure (“It is finished” twice), the second part being the inversion of the first, i.e., the same intervals but in the opposite direction:

The opening chorus is one of the Bach’s most effervescent. The musical material is wonderfully vivid and pictorial. Ascending flashes to depict fire, fast-moving passages for the choir on the word “Feuer” (fire), with broken chords in the strings to capture flickering of flames, a long-held note for “ewiges” (eternal) — all musically embody the text. A brilliant instrumental ritornello heads off the work. It surrounds the choir’s singing in free and imitative polyphony, but also in homophony where the communal desire to be the temple of the Most High is expressed. This prayer to be set on fire by “the Source of love” is anything but dignified: It is ecstatic!

The motive itself, returning as it does to its opening pitch, has a circularity to it, which is a way of depicting or signifying musically the idea of completeness: “coming full circle.” It occurs a total of 12 times, either in the oboe or in the vocal line. Given Bach’s interest in number symbolism, this is not haphazard; rather it is a clear example of his thinking theologically. In effect, the number 12 is significant in the Bible: 12 tribes of Israel, 12 disciples, 12 walls of the New Jerusalem, to name a few instances. It symbolizes completeness and fullness. Bach has woven into the very fabric of this aria the notion that Christ has brought His work to completion: He has renewed all things. “It is finished” are the singer’s first and final words. The aria ends exactly as it had begun. “In my end is my beginning.”

The short tenor recitative leads to the alto aria, which, in the cantata’s chiastic structure (X in Greek), stands at the center; it is the heart of the work. In Bach’s music, the alto is often the voice of consolation and comfort, and as such often represents the Holy Spirit. In this aria, flutes are added to the string complement and play much of the time in octaves with the violins, almost like a soft overtone. Pastoral in feeling, it is a quieting song of blessing.

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The short recitative, in which the bass stands as Vox Christi, flows directly into the final chorus, which bursts forth with God’s merciful declaration: “Peace be upon Israel!” The embracive and expansive depiction of God’s loving “yes” is arresting in its all-encompassing scope and breadth. Then immediately erupts one of the most thrilling movements in all of Bach’s oeuvre: unhinged gratitude for God’s gift of peace. In the midst of the bustling excitement, the way in which Bach generously treats the words “Peace upon Israel/you” is of particular beauty. The fast-moving accompaniment does not slow down; rather, it is overlaid with the calm of peace having been granted. “I will not leave you as orphans; I will come to you. Yet a little while and the world will see Me no more, but you will see Me. Because I live, you also will live.” At the center of today’s program, which has gone from exultation to longing to comfort and back to exultation, stands the ascended and ever-present Christ. This Prince of Life, having “led captivity captive and given gifts to men” (Ephesians 4:8), has accomplished all things: “Loving His own who were in the world, He loved them to the end.” Maurice Boyer

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Text and Translation Lobet Gott in seinen Reichen, BWV 11 Praise God in His kingdoms – J.S. Bach (Ascension Oratorio)

3. Recitative (Bass) Ach, Jesu, ist dein Abschied schon so nah? Ah Jesus, is Your departure already so near? Ach, ist denn schon die Stunde da, Ah, is it already the hour Da wir dich von uns lassen sollen? when we must let You leave us? Ach, siehe, wie die heißen Tränen Ah, see how the hot tears Von unsern blassen Wangen rollen, roll down our pale cheeks, Wie wir uns nach dir sehnen, how we yearn for You, Wie uns fast aller Trost gebricht. how all our comfort is nearly destroyed. Ach, weiche doch noch nicht! Ah, do not go away yet!

1. Chorus (S A T B) Lobet Gott in seinen Reichen, Praise God in His kingdoms; Preiset ihn in seinen Ehren, praise Him in His glory. Rühmet ihn in seiner Pracht; Acclaim Him in His splendor. Sucht sein Lob recht zu vergleichen, Seek to express His praise rightly Wenn ihr mit gesamten Chören when with assembled choirs Ihm ein Lied zu Ehren macht! you make a song to His honor! 2. Recitative (Tenor – Evangelist) Der Herr Jesus hub seine Hände auf und segnete seine Jünger, The Lord Jesus raised His hands and blessed His disciples; und es geschah, da er sie segnete, schied er von ihnen. and it happened that as He was blessing them He parted from them.

4. Aria (Alto) Ach, bleibe doch, mein liebstes Leben, Ah, stay yet, my dearest Life; Ach, fliehe nicht so bald von mir! ah, do not flee so soon from me. Dein Abschied und dein frühes Scheiden Your departure and Your early leaving Bringt mir das allergrößte Leiden bring me the greatest sorrow. Ach ja, so bleibe doch noch hier; Ah yes, still stay here; Sonst werd ich ganz von Schmerz umgeben. otherwise I shall be enveloped in pain.

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5. Recitative (Tenor – Evangelist) Und ward aufgehoben zusehends und fuhr auf gen Himmel, And in their sight He was lifted up and ascended toward heaven. eine Wolke nahm ihn weg vor ihren Augen, und er sitzet zur rechten Hand Gottes. A cloud took Him away from their eyes, and He sits at the right hand of God.

Tenor and Bass (Two Men) Ihr Männer von Galiläa, was stehet ihr und sehet gen Himmel? You men of Galilee, why do you stand here and gaze toward heaven? Dieser Jesus, welcher von euch ist aufgenommen gen Himmel, This Jesus, who has been taken from you to heaven, wird kommen, wie ihr ihn gesehen habt gen Himmel fahren. will come again, as you have seen Him ascend to heaven.

6. Chorale (S A T B) Nun lieget alles unter dir, Now all lies beneath You, Dich selbst nur ausgenommen; with the exception of Yourself. Die Engel müssen für und für The angels must for ever and ever Dir aufzuwarten kommen. come to wait on You. Die Fürsten stehn auch auf der Bahn Princes also stand along the way Und sind dir willig untertan; and are willingly subject to You; Luft, Wasser, Feuer, Erden air, water, fire and earth Muß dir zu Dienste werden. must all be at Your service.

7b. Recitative (Alto) Ach ja! so komme bald zurück: Ah, yes! Return again soon: Tilg einst mein trauriges Gebärden, one day wipe away my sad bearing; Sonst wird mir jeder Augenblick otherwise, for me each moment Verhaßt und Jahren ähnlich werden. will be hateful and become like years. 7c. Recitative (Tenor – Evangelist) Sie aber beteten ihn an, wandten um gen Jerusalem von dem Berge, But they worshiped Him, then went back to Jerusalem from the mount der da heißet der Ölberg, welcher ist nahe bei Jerusalem und liegt einen Sabbater-Weg davon, that is called the Mount of Olives and is near Jerusalem and lies a Sabbath’s journey away; und sie kehreten wieder gen Jerusalem mit großer Freude. and they returned again to Jerusalem with great joy.

7a. Recitative (Tenor, Bass) Tenor (Evangelist): Und da sie ihm nachsahen gen Himmel fahren, And as they gazed after Him ascending to heaven, siehe, da stunden bei ihnen zwei Männer in weißen Kleidern, welche auch sagten: behold, there stood by them two men in white robes, who also said:

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8. Aria (Soprano) Jesu, deine Gnadenblicke Jesus, Your gracious gaze Kann ich doch beständig sehn. I can still see continually. Deine Liebe bleibt zurücke, Your love remains behind, Daß ich mich hier in der Zeit so that here in this present time An der künftgen Herrlichkeit Schon voraus im Geist erquicke, I may already in advance refresh myself in spirit with the glory that is to come Wenn wir einst dort vor dir stehn. when we one day shall stand before You.

Sehet! Wir geh’n hinauf gen Jerusalem, BWV 159 See! We are going up to Jerusalem – J.S. Bach 4. Aria (Bass) Es ist vollbracht, It is finished; Das Leid ist alle, the suffering is over. Wir sind von unserm Sündenfalle From our fall into sin In Gott gerecht gemacht. we are made just in God. Nun will ich eilen Now I shall hasten Und meinem Jesu Dank erteilen, and give thanks to my Jesus. Welt, gute Nacht! World, good night! Es ist vollbracht! It is finished!

9. Chorale (S A T B) Wenn soll es doch geschehen, When will it happen? Wenn kömmt die liebe Zeit, When comes the dear time Daß ich ihn werde sehen, that I shall see Him In seiner Herrlichkeit? in His glory? Du Tag, wenn wirst du sein, You day, when will you be Daß wir den Heiland grüßen, that we may greet the Savior, Daß wir den Heiland küssen? that we may kiss the Savior? Komm, stelle dich doch ein! Come, be present soon!

O ewiges Feuer, o Ursprung der Liebe, BWV 34 O eternal Fire, O Source of love – J.S. Bach 1. Chorus (S A T B) O ewiges Feuer, o Ursprung der Liebe, O eternal Fire, O Source of love, Entzünde die Herzen und weihe sie ein. enkindle our hearts and consecrate them. Laß himmlische Flammen durchdringen und wallen, Make heavenly flames penetrate and flow through us. Wir wünschen, o Höchster, dein Tempel zu sein, We wish, o most High, to be Your temple. Ach, laß dir die Seelen im Glauben gefallen! Ah, make our souls pleasing to You in faith!

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2. Recitative (Tenor) Herr, unsre Herzen halten dir Lord, our hearts hold Dein Wort der Wahrheit für: Your Word to be the truth. Du willst bei Menschen gerne sein, You want willingly to be among men; Drum sei das Herze dein; therefore, let my heart be Yours. Herr, ziehe gnädig ein. Lord, graciously enter in. Ein solch erwähltes Heiligtum Such a chosen sanctuary Hat selbst den größten Ruhm. has itself the greatest glory.

4. Recitative (Bass) Erwählt sich Gott die heilgen Hütten, If God chooses the sacred dwellings/tabernacles Die er mit Heil bewohnt, that He inhabits with salvation, So muß er auch den Segen auf sie schütten, so must He also pour blessings on them [and] So wird der Sitz des Heiligtums belohnt. so will the seat of His sanctuary be rewarded. Der Herr ruft über sein geweihtes Haus The Lord proclaims over His consecrated house Das Wort des Segens aus: the word of His blessing: 5. Chorus (S A T B) Friede über Israel. “Peace upon Israel.” Dankt den höchsten Wunderhänden, Thank the exalted, wondrous hands. Dankt, Gott hat an euch gedacht. Give thanks: God has thought of you. Ja, sein Segen wirkt mit Macht, Yes, His blessing works with power Friede über Israel, to send peace upon Israel [and] Friede über euch zu senden. peace upon you.

3. Aria (Alto) Wohl euch, ihr auserwählten Seelen, Happy are you, you chosen souls, Die Gott zur Wohnung ausersehn! whom God has selected for His dwelling! Wer kann ein größer Heil erwählen? Who can choose a greater salvation? Wer kann des Segens Menge zählen? Who can count the abundance of blessings? Und dieses ist vom Herrn geschehn. And this has come to pass from the Lord.

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“Come, Holy Ghost, Spirit Blessed� LSB 498 498 Come, Holy Ghost, Creator Blest

choir choir

choir

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Teach us to know the Father, Son, And You, from both, as Three in One That we Your name may ever bless And in our lives the truth confess.

7 Praise we the Father and the Son And Holy Spirit, with them One, And may the Son on us bestow The gifts that from the Spirit flow! Amen.

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Dr. Maurice Boyer, Music Director Dr. Maurice Boyer is associate professor of music at Concordia University Chicago, River Forest, Ill. (CUC), where he conducts the chamber orchestra and Laudate, a women’s choir, and teaches all levels of ear training. Although born in the United States, he began his musical training (piano, voice and solfège) in Aix-en-Provence, France, where he lived until the age of 18. Boyer earned a Bachelor of Music in sacred music, with piano as his principal instrument, and a Master of Music in choral conducting at Westminster Choir College of Rider University in Princeton, N.J., while he also studied theology at Princeton Theological Seminary. He holds a Doctor of Musical Arts in orchestral conducting from the University of Maryland, College Park. His principal conducting teachers have been Joseph Flummerfelt, Kenneth Kiesler and James Ross. Boyer also is artistic director of Aestas Consort of Chicago and assistant conductor of the Symphony of Oak Park River Forest. He has served as guest conductor of the Chicago Choral Artists and guest chorus master for Chicago’s Music of the Baroque. Additionally, he has been chorus master of the New Jersey State Opera and director of music at several churches.

Steven Wente Steven Wente is professor of music and organist to the Chapel of Our Lord at Concordia University Chicago, River Forest, Ill.. In 2012, he was named distinguished professor of music. At Concordia University, he serves as chair of the music department, coordinates graduate programs in music, and teaches organ and courses in music history. He holds undergraduate and graduate degrees from Concordia University and Doctor of Music degree in organ performance from Northwestern University. His organ teachers have included David J. Wilson, Herbert Gotsch, Robert Lodine, Richard Enright and Wolfgang Rübsam. Wente is active as an organist, presenting recitals widely; participating in various recordings, most recently Pillars of Concordia: Hymns and Prayers by Concordia Composers; and attending summer seminars in France, Switzerland and Montreal. As a teacher and workshop leader, he has presented at the Institutes on Liturgy, Preaching and Church Music (LCMS) and at conferences of the Association of Lutheran Church Musicians. Also, he has taught in the Pipe Organ Encounters (POE) of the American Guild of Organists. Wente also serves as cantor at First Saint Paul’s Lutheran Church, the oldest Lutheran congregation in Chicago. He has written organ preludes and settings of hymns for the Concordia Hymn Prelude Series and the Concordia Organ Prelude Library. In recent years he has contributed to various publications: Grace Notes (ALCM); Concordia Historical Institute Quarterly; Key Words in Church Music; Thine the Praise: Essays on Lutheran Church Music in honor of Carl Schalk; Lutheran Forum; and the upcoming Encyclopedia of Martin Luther and the Reformation (Rowman & Littlefield Publishers, 2017).

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The American Kantorei Soprano Emily Truckenbrod, Principal Lea Herdler, Assistant Principal Kathryn Crumrine Katherine Gastler Megan Glass Brittany Graham Krista Hartmann Camille Marolf Alto Katharine Lawton Brown, Principal Stephanie Ruggles, Assistant Principal Danielle Gines Mona Hauser Anna Otterman Kimberly Werner Amy Will Lisa Young

Chorus

Tenor Scott Kennebeck, Principal Jeral Becker, Assoc. Principal Greg Gastler Bill Larson Ryan Markel Steve Paquette Bass Jeffrey Heyl, Principal David Berger, Assoc. Principal Thomas Jarrett Bolain Everett Gossard Greg Upchurch Kyle Will

Orchestra Oboes Ann Homann, Principal Eileen Burke

Violin I Wanda Becker, Concertmaster Cynthia Bowermaster Christine Sasse Hannah Frey

Bassoon Robert Mottl

Violin II Kaoru Wada, Principal Marilyn Park Ellington Tova Braitberg Margret Heyl

Trumpets John Korak, Principal Robert Souza Jason Harris Timpani Ted Rubright

Viola Sarah Borchelt, Principal Laura Reycraft

Positiv (Continuo) Organ Melissa Kalbfleisch

Cello Andrew Ruben

Chapel Organ Steven Wente

Double Bass Adam Anello Flutes Paula Kasica, Principal Jennifer Adams 13


Title page from volume 1 (Old Testament) of the Calov Bible commentary from the library of J.S. Bach. Bach’s monogram signature is at the bottom right corner of the page. (Courtesy of Concordia Seminary Library)

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WELCOME TO BACH AT THE SEM! This final concert of the 2015-2016 season offers the opportunity to express heartfelt thanks. The masterful leadership of Music Director Maurice Boyer has been evident in every concert. Dr. Boyer, we thank you! The excellence of the American Kantorei has been experienced in every concert because of their dedication of long hours and diligent preparation in presenting the very best of God’s gift of music. We thank you! On behalf of Dr. Boyer, the musicians, and the Concordia Seminary community, I am honored to thank you who have attended our concerts, supported this effort with your gifts and shared the good word about Bach at the Sem with family and friends. Today’s concert invites you to think about one of the great mysteries, the hiddenness of God. God’s handiwork is seen all about us in the marvels of creation, especially rich in this springtime of the year, but God has chosen to veil His direct presence to us, at least for the time being. This is a great theme in theology and Bach’s texts invite you to ponder for yourself the hiddenness of God, how He quietly reveals Himself today and the promised grand revelation at the end of time. The culture of Concordia Seminary is a culture of joy in faith and thankfulness to God and people. It is in that spirit that we welcome you and close out this wonderful season of Bach at the Sem.

Dale A. Meyer President Concordia Seminary, St. Louis

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Join Us! A Special Reception with Dr. Maurice Boyer Music Director for the Bach at the Sem Concert Series After today’s concert in Koburg Hall All are welcome!

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celebrating the music of j.s. bach since 1955. STAY UP-TO-DATE WITH BACH AT THE SEM BETWEEN CONCERTS bach.csl.edu /BachAtTheSem @BachAtTheSem

Experience Great Music in a Great Space in 2016!

Philip Barnes Artistic Director

2015~2016 Join one of the country’s best a cappella choirs for our 60th season! Sing A New Song!

Languish With Love

In Every Corner Sing!

All Manner of Gods

Christmas – Auf Deutsch!

In Memoriam

September 27 • 3 pm February 14 • 3 pm Third Baptist Church Second Presbyterian Church 620 North Grand Blvd • St. Louis • 63103 4501 Westminster Place • St. Louis • 63108 November 8 • 3 pm April 10 • 3 pm St. Louis Abbey 560 Music Center 500 S Mason Road • Creve Coeur • 63141 560 Trinity Avenue • U City • 63130

Visit www.CathedralConCerts.org for complete concert information Group Rates Available 314-533-7662 Cathedral Basilica of St. Louis 4431 Lindell Boulevard 63108

December 20 • 3 pm Trinity Lutheran Church 812 Soulard Street • St. Louis • 63104

May 29 • 3 pm St. Francis de Sales Oratory 2653 Ohio Avenue • St. Louis • 63118

SEASON Subscribe and Save! TICKETS ON For tickets or a brochure call 636-458-4343 SALE NOW chamberchorus.org

slcc60_3.625x5_ConcordiaAd.indd 1

9/3/15 12:48 PM


You Can Bless and Enrich Lives! Bach’s amazing music continues to bless and enrich lives because people like you have not only appreciated the music personally, but have made provisions to make it possible for new generations to experience the highest quality performances of not only his music but also that of other master composers of the Christian musical heritage. This wonderful music still touches the lives of people of all ages and all beliefs. “Friends of Bach at the Sem” make it possible for children, students, families and members of the community to be enriched by the professional, live performances that Bach at the Sem has delivered for 23 uplifting seasons. With a full schedule of Sunday concerts featuring the American Kantorei, now is the perfect time for you to experience the joy of being one of the patrons who make Bach at the Sem possible. By becoming a “Friend of Bach at the Sem” you will have the satisfaction of enriching others just as you have been blessed and enriched. Pledges, checks and credit card donations are welcomed. Please use the envelope provided. Or, to ask questions or donate by phone, please call 800-822-5287.

Bach at the Sem Sponsorship

“Friends of Bach at the Sem”

Concert Sponsor Conductor Sponsor Reception Sponsor

Board Sponsor $1,000 Guest Sponsor $500 Friend Sponsor $100

$10,000 $5,000 $2,500

For more information about sponsoring Bach at the Sem, please call 314-505-7009 or email bach@csl.edu.

Concordia Seminary 801 Seminary Place St. Louis, MO 63105 www.csl.edu

Bach at the Sem | May 2016  

MAY 15, 2016, 3 p.m. (PENTECOST)

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