Bach at the Sem | October 2014 Program

2014–2015 Series

October 19, 2014 The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis

Schedule of Concerts BACH AT THE SEM – 2014-2015 Maurice Boyer, Music Director OCTOBER 19, 2014, 3:00 p.m.

(TRINITY 24) J. S. Bach: Chorus from BWV 137, Lobe den Herrn, den mächtigen König; Cantata BWV 33, Allein zu dir, Herr Jesu Christ; Soprano aria from BWV 10, Meine Seele erhebt den Herren; Cantata BWV 74, Wer mich liebet, der wird mein Wort halten; Chorus from BWV 69, Lobe den Herrn, meine Seele DECEMBER 14, 2014, 3:00 p.m.

(ADVENT 2) Michael Praetorius: Works for brass; J. S. Bach: Cantata BWV 62, Nun komm, der Heiden Heiland; Alto aria from BWV 147, Herz und Mund und Tat und Leben; Cantata BWV 36, Schwingt freudig euch empor MARCH 15, 2015, 3:00 p.m.

(LENT 3) J. S. Bach: Sinfonia from BWV 75, Die Elenden sollen essen; Cantata BWV 187, Es wartet alles auf dich; Chorus from BWV 102, Herr, deine Augen sehen nach dem Glauben; Cantata BWV 72, Alles nur nach Gottes Willen MAY 17, 2015, 3:00 p.m.

(EASTER 5) J. S. Bach: Missa in g-moll, BWV 235; Sinfonia from BWV 42, Am Abend aber desselbigen Sabbats; Cantata BWV 249, Oster-Oratorium

Joan Bergt, accompanist and concert continuo player for the American Kantorei for its entire history, has retired. Few husband-wife teams have collaborated in musical performance for as long as Joan and the Rev. Maestro Robert Bergt. While their official collaboration with the Kantorei began in 1969, they had been artistic partners from the 1950s, including with its predecessor, the seminary’s Cantata Chorus. We take this opportunity to thank God for His gift of Joan – her wonderful spirit, her high level of musicianship, and her many years of faithful service.

Special thanks to: Wayne Coniglio and “Eye-full Tower Records” for supporting Bach at the Sem by contributing a portion of the fees related to the archival-only recording of the program.

Concordia Seminary is privileged to make Johann Sebastian Bach’s music available to the St. Louis community and invites your generous support for these inspiring concerts. If you have not received mailings from Bach at the Sem and would like to be placed on the mailing list, please call 1-800-822-5287.

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Friends and Patrons of Bach at the Sem, Concordia Seminary is most pleased to welcome you to campus. In the words of the opening chorus, “Let the music be heard!” We celebrate today’s concert as a continuation and a renewal of one of our most important roles in the St. Louis community, Bach at the Sem. Because four of the Ten Commandments describe our relationships with other people, Concordia strives to be a positive corporate citizen within Clayton and the greater St. Louis community.

A special and heartfelt welcome to Dr. Maurice Boyer, the new Music Director and Conductor of Bach at the Sem! You will see from his resume why we are so delighted that he will be leading us into the treasures of sacred music and especially into the sublime work of Johann Sebastian Bach. We pray God’s blessings upon Dr. Boyer, and we will strive to be a blessing to him as he blesses us.

It is people who enrich our lives, and today we not only welcome Director Boyer but also honor Mrs. Joan Bergt upon her retirement. She has been the accompanist and concert continuo player for the American Kantorei for its entire history. Her service has been stellar and her ready smile always welcome. God’s blessings continue upon you, dear Mrs. Bergt!

While we all need our moments of solitude, God has created us for community, to interact with one another for His good purposes. Jesus teaches that we have two great duties: You shall love the Lord your God with all your heart and with all your soul and with all your mind.

This is the great and first commandment. And a second is like it: You shall love your neighbor as yourself. (Matt. 22:37-39) You are always welcome to visit this campus, to walk through our grounds, to admire the architecture of the oldest buildings, and above all to look heavenward and reflect upon your life and purpose. Concordia Seminary is honored to be part of this community and we strive to be helpful to you and to share the precious message of God’s grace die Christus uns verdienet hat which Christ has earned for us mit Büßen und Versöhnen. by atonement and reconciliation.

Dr. Dale A. Meyer President

Meet Dr. Maurice Boyer, Music Director Bach at the Sem at Concordia Seminary begins its 22nd season with a new music director.

Dr. Maurice Boyer, who guest conducted the February 2014 Bach at the Sem concert, has been appointed to serve as music director for the American Kantorei / Bach at the Sem. Dr. Boyer is associate professor of music at Concordia University Chicago (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.

Dr. Boyer’s Bachelor of Music in sacred music, with piano as his principal instrument, and Master of Music in choral conducting were earned at Westminster Choir College of Rider University in Princeton, New Jersey, where 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.

Dr. Boyer also is artistic director of Aestas Consort of Chicago, the Heritage Chorale of Oak Park, 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.

Dr. Boyer follows long-time Bach at the Sem music director (1993-2011), the Rev. Robert Bergt, and a series of guest conductors in the last two seasons. Dr. Boyer will remain in his position at CUC with released time to devote to his responsibilities in directing the American Kantorei and the Bach at the Sem series. Interim music director, Dr. Jeral Becker, will continue in service as assistant conductor of the Kantorei.

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Bach at the Sem October 19, 2014, 3:00 p.m.

Dr. Maurice Boyer, Music Director The American Kantorei Dr. Jeral Becker, Assistant Conductor In Nomine Jesu Chorus: Lobe den Herren, den mächtigen König der Ehren

from Cantata BWV 137

Cantata: Allein zu dir, Herr Jesu Christ, BWV 33

(In You Alone, Lord Jesus Christ)

Johann Sebastian Bach Johann Sebastian Bach

1. Chorale 2. Bass Recitative (David Berger) 3. Alto Aria (Stephanie Ruggles) 4. Tenor Recitative (Jeral Becker) 5. Tenor-Bass Duet (Scott Kennebeck/Jeffrey Heyl) 6. Chorale Hymn: “Praise to the Lord, the Almighty” The assembly stands to sing hymn provided on page 10

or in Lutheran Service Book (LSB) 780: stanzas 1,3,5

the choir sings stanzas 2 and 4 (settings by Hugo Distler) Aria: Herr, der du stark und mächtig bist Johann Sebastian Bach

(Lord, you who are strong and mighty) From Meine Seele erhebt den Herrn, BWV 10 (Emily Truckenbrod) The offerings are received in support of the Bach at the Sem concert series Cantata: Wer mich liebet, der wird mein Wort halten, BWV 74

(He who loves will keep my word)

Johann Sebastian Bach

1. Chorus 2. Soprano Aria (Katherine Gastler) 3. Alto Recitative (Katharine Lawton Brown) 4. Bass Aria (Jeffrey Heyl) 5. Tenor Aria (Scott Kennebeck) 6. Bass Recitative (David Berger) 7. Alto Aria (Katharine Lawton Brown) 8. Chorale Chorus: Lobe den Herrn, meine Seele from Cantata BWV 69

Johann Sebastian Bach Soli Deo Gloria

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Program Notes “Gather together. Psalter and harps, awake!

Let the music be heard!”

major and minor further depicts the duel of shadows and rays of light. The opening figure of the chorale tune is a descending 4th followed by a rising scale, with which are associated the words “Allein zu dir, Herr Jesu Christ.” This motivic fragment is anticipated in the opening’s instrumental flourish, albeit in diminution (shorter note values). One might assert that this “embeddedness” of the chorale fragment in the instrumental material, which cannot be accidental, is a sonic representation of Christ, the comforter (“mein Tröster”), reaching into struggling humanity to succor it.

In this first program of our 2014-2015 season, we begin and end with Praise to the Lord. These jubilant opening choruses from Cantatas BWV 137 and 69 were composed for Trinity 12 in August 1725 and 1723 respectively.

The day’s Gospel reading concerns Jesus’ healing of the deaf-mute man (Mark 7:31-7). In this reading, an ailing man is brought to Jesus. Jesus takes him aside, digs His hands into the man’s ears, and then spits and touches the man’s tongue. Just a bit later in the same Gospel, He will put saliva on a blind man’s eyes.

Jesus does not just say, “Be healed,” and, by fiat, the man is. Rather He is willing to implicate himself in a needy person’s life, to share of His own life, even be considered unclean—the man was a Gentile—to heal that person. At the center of God’s loving incursion into the world stands Jesus the Christ, heedless of self-preservation, recklessly loving.

The bass recitative, which begins barrenly in anguish and condemnation, ends with a flourish of rejoicing at the prospect of a merciful word. With the alto aria, time stops. The horizontal, time-bound dimension of the opening chorus is no more. It is now “God’s time.” Moving along at a slow pace and lasting close to half the cantata’s length, this very still aria is the heart of the work.

Given its text, one might have imagined a dark setting, angst-ridden, in the minor mode, possibly with only voice and continuo. Instead Bach gives a new perspective. The aria is in essence uttered from the outside, from the vantage point of “Jesus’ word of comfort,” of mercy granted. Its overall mood is at once one of fragility and repose. The long, winding lines over unexpected harmonic progressions suggest wandering. In counterbalance, the overall major key and the mirroring duet of voice and instruments, unfolding essentially in the same range, intimates that the “I” of the aria is not alone. The quiet and delicate muted first violins, walking alongside the “I,” by turn anticipate or follow its every step—with the pizzicato accompaniment clearly depicting the sound of the footsteps.

It is against this backdrop that these songs of praise erupt as gratitude for such boundless love!

Cantata: Allein zu dir, Herr Jesu Christ, BWV 33 Cantata BWV 33 was first performed Sept. 3, 1724, for Trinity 13. The readings for the day would have been Paul’s Epistle to the Galatians (3:15-22) and the Parable of the Good Samaritan from Luke (10:23-37). Although the cantata progresses toward the Gospel narrative, it is the difficult reading from Galatians that serves as the backdrop to its libretto, especially verse 22: “But the scripture has imprisoned all things under the power of sin, so that what was promised through faith in Jesus Christ might be given to those who believe.” Struggle is at the core of the work. The “I” of the cantata can accomplish nothing, not even loving his neighbor aright, save by the grace of Christ.

The B section of this da capo aria (ABA form) dealing with the burden of sin turns darker and chromatic.

This translates on the page into an increasing number of sharps (in German “Kreuze,” or crosses), themselves symbolically indicating that the crucified/ risen One, the Christ, is present amidst this burden.

His presence is additionally sensed in the violin’s canonic relation to the vocal line. The implication is that not only is He present, He is in fact treading the same path, closely behind. Furthermore, being

The cantata begins with a forward-driving and blustery chorale fantasia, which is almost cinematic in its simultaneous portrayal of struggle (the fast moving instruments) and rest (the still and simple four-part chorale). Its chiaroscuro oscillation between

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“weighed down” is heard in startling dissonance and is given a downward line, while Jesus’ word of comfort is an ascending line. Similarly, the vocal line also “enacts” the text at “that He has done enough for me,” where the line dips down and then rises.

One is reminded of the words from Mary’s Song of Praise, the Magnificat: “He has lifted up the lowly…”

Throughout this aria, whenever Jesus is mentioned, His loving and sustaining presence is felt in consonant music of disarming tenderness.

The structure of the aria is tripartite: the A section, exuberant and in the major mode, leads to the B section, inward and reflective and in the minor mode, which then returns to A. The emotional arc is exaltation-contemplation-exaltation. If A can be termed objective in the sense that it expounds God’s mighty work, B by contrast reveals the subjective dimension of this work in the life of Mary, the Christ-bearer. While the mode shifts to minor and the vocal line changes in outline, the instrumental accompaniment perdures, remaining consistent throughout. This detail is significant in that it brings to light that God is the One at work in Mary.

In the two following movements, one steers toward the day’s Gospel reading, the Parable of the Good Samaritan. Finally here, in the tenor recitative and tenor-bass duet, does the word “love” appear. What is the result of the “I” being so burdened? The “I” can’t even love its neighbor. The duet is thus a prayer to “God, whose name is Love,” that He might kindle in the believer’s heart true faith and love. The contour of the duet’s melody is reminiscent of the opening and closing chorale tune: “Allein zu dir, Herr Jesu Christ.” With such rapprochement, Bach is depicting musically that it is Christ Himself who by His grace enables the doing of works of love.

A further salient point is worth highlighting. The Gospel’s “He has looked with favor upon the lowliness of His servant” becomes in this paraphrase, “You look upon me in my distress.” One might say that, by employing a rising figure, Bach is recalling the Gospel text and presenting in musical terms what God does, namely “lift up the lowly.” In Mary’s case, this lifting up means that she has been chosen to be the bearer in her body of the Christ.

The aria ends in exaltation of the One whose name is holy and whose works are wondrous.

Returning to the opening chorale, Bach fittingly ends the cantata in doxology, with a hymn of praise to the Trinity.

Cantata: Wer mich liebet, der wird mein Wort halten, II BWV 74

Aria: “Herr, der du stark und mächtig bist” from Meine Seele erhebt den Herrn (BWV 10)

It is difficult to imagine the tremendous experience the Leipzig congregants must have had in the Spring of 1725: the second version of the St. John Passion would have been heard on Good Friday, followed on Sunday by the first version of the Easter Oratorio BWV 249 (we will perform the later version on May 17) and continuing on Pentecost (May 20) with today’s Cantata BWV 74!

Cantata BWV 10 was composed for the Feast of the Visitation of Mary in July 1724. Its text, the so-called German Magnificat, is a German paraphrase of Mary’s song of praise to God (Luke 1:46-55). This part of the Gospel narrative occurs during Mary’s visit to Elizabeth, the mother of John the Baptist.

The present aria is specifically a paraphrase of verses 48 and 49.

The day’s Epistle reading would have been Acts 2:1-13 (the descent of the Spirit), while the Gospel would have been John 14:23-35 (Jesus’ valedictory words of comfort to His disciples). Pentecost in the broadest sense is the answer to the question that haunted the disciples: “How do we live in Jesus’ physical absence?”

Confirming this notion, Cantata 74 is less about the event of Pentecost than it is about living into the time of Pentecost, that in-between time, the time between Christ’s Ascension and His return to draw all things unto the Father.

A single instrumental motive pervades the aria: an embellished rising arpeggiated figure. Its fast and wide-ranging upward motion (two octaves) is a sonic embodiment of vigor and strength. The first vocal entrance, also an ascending line, is an unadorned version of the instrumental motive.

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A striking and perhaps even perplexing feature of this Pentecost cantata is that, unlike Bach’s other cantatas for the same Feast Day, its libretto contains no direct mention of the Holy Spirit. I would venture to say that this lacuna is deliberate, and add that Bach and his librettist (Christiane Mariane von Ziegler) may in fact be inviting their listeners to see with the eyes of faith and thereby learn to discern the presence of the Spirit, the Spirit of Christ at work. The Holy Spirit is thus fittingly unseen, but His underlying presence is heard and sensed.

In response, the tenor earnestly appropriates Jesus’ words and turns them into a joyful celebration of His promised return. The A and A’ sections of this tripartite aria focus on jubilation and trust. From this “wide angle” view, the lens focuses in on the individual for the B section. Here a new character makes his entrance: Satan, who will try at every turn to hinder and curse. Clear-eyed, the believer recognizes that there will be trials. He also knows that the only response to the “troublesome” one is faith in the One who has promised to return.

Unlike the opening movements of Bach’s other Pentecost cantatas (BWV 172 and 34), which dance ecstatically in a fast triple meter, this cantata opens in a bright but rather stately manner, as if in regal procession.

Jesus’ words from the Gospel of the day (John 14:23) are uttered in a simple objective way. There is no sense that keeping His word might prove to be difficult.

After so exuberant an aria, the bass recitative cuts sharply through the narrative. Its words outside of their context in Paul’s Letter to the Romans (8:1) seem almost to come out of nowhere. There is however a connection, but one that is not overtly supplied. In effect, it is the “spirit” (pun intended) of Romans 8:2, “For the law of the Spirit of life in Christ Jesus has set you free from the law of sin and of the death,” that is in fact the “unseen” point of intersection between the John narrative and the Pauline letter.

In response to the words of Jesus, the soprano with childlike openness and faith invites Christ and the Father to enter her heart and make their dwelling therein. The aria is a duet between the soprano and the oboe da caccia (here English horn), both of whose lines imitate one another and unfold in the same register. Given the imitative relation of the two lines, as well as the similarity of timbre, one may well aver that the oboe da caccia represents the Holy Spirit, whose life-giving breath flows through the believer, giving her the capacity to say: “Come, come, my heart lies open to You!”

With the alto aria, we reach the dramatic highpoint of the cantata. A wondrous battle is waged against “hellish chains” and Satan’s rage. In its vividness, this aria reminds one of two similar instances in the St. John Passion: the harrowing depiction of Jesus’ descent into hell after He expires, and the B section of the alto aria, “Es ist vollbracht,” in which “The Hero of Juda fights with might / And seals the battle.”

The alto recitative begins from the same psychological place of openness as the preceding aria but turns to anguish. The soloist’s words are reminiscent of Peter’s words to Jesus at the Transfiguration (Mark 9:6): “let us make three dwellings, one for you, one for Moses and one for Elijah.” He is awed, terrified, and confounded by this mountaintop experience and, recognizing that it has great significance, does not wish it to end. Likewise here, the soloist in this aria cannot admit that Jesus must leave.

The alto aria in BWV 74 is itself a representation of the “harrowing of hell” as it came to be known in the Middle Ages: Christ’s victorious descent into hell to destroy death and the devil. The jagged 16th note accompanimental figures in the oboes and strings simulate the sound of clanging chains, while the solo violin fiercely and relentlessly tears through the texture twice as fast with 32nd notes. I would offer that the solo violin symbolizes Christ’s rending asunder the chains of hell, death, and Satan. In all of Bach’s oeuvre, this is one of his most arrestingly vivid evocations!

With the bass aria as the Vox Christi, Jesus’ words from John 14:28 come as a corrective, a gentle reproof. As so often with Bach, the contour of the vocal line embodies the ideas, ascending with “I go away,” and descending for “and return to you again.”

The A section of this ABA aria has two thematic strands, one wildly combative and thrusting, the other still, as if the battle had temporarily abated.

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The B section is the heart of the aria, as it reveals the outcome of this mighty battle: “I am God’s heir and can laugh at the Satan’s empty rage.” The violent chords in this section enact the final breaking apart of the chains. The sweetness of the parallel thirds and sixths embodies the fruits of this battle won.

The triplets in the vocal line are sonic evocations of laughter, and the final descending scale is like a trampling down of Satan.

One of Bach’s most stirring uses of chiasmus is in his St. John Passion, which would likely have still been ringing in the composer’s ear at the time he was composing BWV 74. There, the entire structure revolves around the chorale: “Through your imprisonment, God’s Son, has come our freedom; / your dungeon is the throne of mercy, / the sanctuary of all the faithful.” As in the Passion, Bach embeds the shape of the cross in the very structure of this work.

Thus, the simple faith of the soprano aria is given substance in the alto aria’s mighty battle. Likewise the bass recitative comes as reassurance to the timorousness of the alto recitative – all through the Christ!

For a cantata that began in C major and whose most dramatic aria was also in C major to end in A minor may seem a bit deflating. It is rather a “note” of sobriety that it strikes here. At all stages of the walk of faith, it is easy to become complacent or overconfident. Bach points back to Christ. He ever remains the center.

One might ask: does the listener perceive this structural level? Perhaps, perhaps not—deeper structural levels are first sensed, then actually heard/seen. This added layer of meaning may well have been for Bach a private confession or profession of faith: at the center is “Christ the Victor.” But it may also be his way of saying to his listener: “Be watchful; Christ is ever present.”

To underline that all must point back to Christ, Bach constructs his musical narrative on two coexisting structural levels. There is a linear progression that reaches its dramatic apex in the alto aria: the fierce battle that has been fought and won by Christ.

Simultaneously and subjacently, a chiastic or cruciform structure (for the Greek letter X or “chi”) is informing the whole unfolding of the cantata (see diagram below). While the former points to Christ, the latter embodies Christ. The point of articulation of this chiastic structure is the tenor-bass pair of arias at the center of the work, each essentially dealing with the same idea—Christ is leaving, Christ will return.

2. Soprano aria

Maurice Boyer

6. Bass Recitative 4. Bass aria 5. Tenor aria

3. Alto recitative

7. Alto Aria

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Text and Translation doch weil sie mich von Herzen reuen, Yet, since I heartily regret my sin, wirst du, mein Gott und Hort, You will, my God and refuge, durch ein Vergebungswort through one word of forgiveness mich wiederum erfreuen. give me joy again.

From Cantata, BWV 137: Lobe den Herren, J. S. Bach Chorus (SATB) Lobe den Herren, den mächtigen König der Ehren, Praise the Lord, the mighty King of glory, meine geliebete Seele, das ist mein Begehren. my beloved soul; that is my desire.

Kommet zu Hauf, Gather together.

Psalter und Harfen, wacht auf!

Psaltery and harps, awake!

Lasset die Musicam hören.

Let the music be heard.

Aria (Alto) Wie furchtsam wankten meine Schritte, How fearfully stagger my footsteps, doch Jesus hört auf meine Bitte but Jesus listens to my entreaties und zeigt mich seinem Vater an. and bears witness for me to His Father.

Mich drückten Sündenlasten nieder, The burden of my sins weighed me down, doch hilft mir Jesu Trostwort wieder, but Jesus’ word of comfort – daß er für mich genug getan. that He has done enough for me – helps me again.

Cantata, BWV 33: Allein zu dir, Herr Jesu Christ, J. S. Bach Chorus (SATB) Allein zu dir, Herr Jesu Christ, In You alone, Lord Jesus Christ, mein Hoffnung steht auf Erden; my hope on earth rests; Ich weiß, daß du mein Tröster bist, I know that You are my comforter; kein Trost mag mir sonst werden. there can be no other comfort for me.

Von Anbeginn ist nichts erkorn, From the beginning is nothing appointed; auf Erden war kein Mensch geborn, on earth was no man born der mir aus Nöten helfen kann. who can help me out of my troubles.

Ich ruf dich an, I call upon You, zu dem ich mein Vertrauen hab. in whom I put my trust.

Recitative (Tenor) Mein Gott, verwirf mich nicht, My God, cast me not away wiewohl ich dein Gebot noch täglich übertrete, -although I daily still transgress your commandment von deinem Angesicht! from Your face!

Das kleinste ist mir schon zu halten viel zu schwer; The least one is far too difficult for me to keep; doch, wenn ich um nichts mehr but if I pray for nothing more als Jesu Beistand bete, than Jesus’ assistance, so wird mich kein Gewissensstreit no conflict of conscience der Zuversicht berauben; can rob me of my confidence. gib mir nur aus Barmherzigkeit In Your mercy give me only den wahren Christenglauben! true Christian faith!so stellt er sich mit guten Früchten ein so that it is apparent in good fruits und wird durch Liebe tätig sein. and will be active through love.

Recitative (Bass) Mein Gott und Richter, My God and judge, willt du mich aus dem Gesetze fragen, if You should interrogate me according to the law, so kann ich nicht, then I could not weil mein Gewissen widerspricht, -since my conscience speaks against meauf tausend eines sagen. answer to one [accusation] of a thousand.

An Seelenkräften arm und an der Liebe bloß, [I am] poor in power of spirit and void of love, und meine Sünd ist schwer und übergroß; and my sin is heavy and huge.

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Aria/Duet (Tenor, Bass) Gott, der du die Liebe heißt, God, You who are called love, ach, entzünde meinen Geist, oh, enkindle my spirit. laß zu dir vor allen Dingen Toward You before all else meine Liebe kräftig dringen! let my love boldly push its way!

Gib, daß ich aus reinem Triebe Grant that I, from a pure motive, als mich selbst den Nächsten liebe; may love my neighbor as myself. stören Feinde meine Ruh, If enemies disturb my peace, sende du mir Hülfe zu! send me Your help!

Cantata BWV 74: Wer mich liebet, der wird mein Wort halten, J. S. Bach Chorus (SATB) Wer mich liebet, der wird mein Wort halten, Whoever loves Me will keep My word, und mein Vater wird ihn lieben, and my Father will love him, und wir werden zu ihm kommen and We will come to him und Wohnung bei ihm machen. and make Our dwelling with him.

Aria (Soprano) Komm, komm, mein Herze steht dir offen, Come, come, my heart lies open to You! ach, laß es deine Wohnung sein!

Oh, grant that it may be Your dwelling place!

Ich liebe dich, so muß ich hoffen: I love You; thus I must hope: dein Wort trifft itzo bei mir ein; Your word now enters me; denn wer dich sucht, fürcht’, liebt und ehret, for whoever seeks, fears, loves and honors You, dem ist der Vater zugetan. to him is the Father devoted.

Ich zweifle nicht, ich bin erhöret, I do not doubt that I have been heard, daß ich mich dein getrösten kann. so that I can find consolation in You.

Chorale (SATB) Ehr sei Gott in dem höchsten Thron, Honor be to God on the highest throne, dem Vater aller Güte, to the Father of all goodness und Jesu Christ, sein’m liebsten Sohn, and to Jesus Christ, His dearest Son, der uns allzeit behüte, who protects us always, und Gott dem Heiligen Geiste, and to God the Holy Spirit, der uns sein Hülf allzeit leiste, who always supports us with His help, damit wir ihm gefällig sein, so that we may be pleasing to Him. hier in dieser Zeit here in this time und folgends in der Ewigkeit. and thereafter in eternity.

Recitative (Alto) Die Wohnung ist bereit.

Your dwelling place is prepared.

Du findst ein Herz, das dir allein ergeben, You find a heart that is devoted to You alone. drum laß mich nicht erleben, Thus, do not let me experience [that] daß du gedenkst, von mir zu gehn.

You have any thought of leaving me.

Das laß ich nimmermehr, ach, That I shall never, oh, nimmermehr geschehen! never let happen!

From Cantata BWV 10: Meine Seele, erhebt den Herren, J. S. Bach Aria (Soprano) Herr, der du stark und mächtig bist, Lord, You who are strong and mighty, Gott, dessen Name heilig ist, God, whose name is holy, wie wunderbar sind deine Werke! how wonderful are Your works! du siehest mich Elenden an, You look upon me in my distress. du hast an mir so viel getan, You have done so much for me daß ich nicht alles zähl und merke. that I cannot count and realize everything.

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Aria (Bass) Ich gehe hin und komme wieder zu euch.

I go away and return to You again.

Hättet ihr mich lieb, so würdet ihr euch freuen.

If You love me, You would rejoice in this

Aria (Alto) Nichts kann mich erretten Nothing can save me von höllischen Ketten from hellish chains als, Jesu, dein Blut. but, Jesus, Your blood.

Dein Leiden, dein Sterben Your passion, Your dying macht mich ja zum Erben: make me, yes, Your heir: ich lache der Wut. I laugh at [Satan’s] rage.

Aria (Tenor) Kommt, eilet, stimmet Sait und Lieder Come, hasten, tune strings and songs in muntern und erfreuten Ton. in merry and gladdened tones.

Geht er gleich weg, so kömmt er wieder, Though He suddenly leaves, so will He return, der hochgelobte Gottessohn. this highly-praised Son of God. Der Satan wird indes versuchen, Satan will meanwhile try hard den Deinigen gar sehr zu fluchen. to curse even your kin.

Er ist mir hinderlich, He is troublesome to me; so glaub ich, Herr, an dich. so I believe, Lord, in You.

Chorale (SATB) Kein Menschenkind hier auf der Erd No child of mankind here on earth ist dieser edlen Gabe wert, is worthy of this noble gift; bei uns ist kein Verdienen; none among us is deserving; hier gilt gar nichts als Lieb und Gnad, nothing else matters here but love and grace, die Christus uns verdienet hat which Christ has earned for us mit Büßen und Versühnen [i.e.,Versöhnen]. by atonement and reconciliation.

Recitative (Bass) Es ist nichts Verdammliches an denen, There is no condemnation for those die in Christo Jesu sind. who are in Christ Jesus.

From Cantata BWV 69: Lobe den Herrn, meine Seele, J. S. Bach Lobe den Herrn, meine Seele, Praise the Lord, my soul, und vergiß nicht, was er dir Gutes getan hat. and forget not the good He has done for you.

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790 Praise to the Lord, the Almighty 790 Praise to the Lord, the Almighty

choir choir

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Praise to the Lord! O let all that is in me adore Him! All that has life and breath, come now with praises before Him! 5 Praise to thethe Lord!

O let all that is in me adore Him! Let Amen All that has life and come now with praises before Him! Sound from breath, His people again;

Let the Amen Gladly forever adore Him!

Sound from His people again;

Public domain

Gladly forever adore Him!

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The American Kantorei Chorus Soprano Emily Truckenbrod, Principal Jean Baue Kathryn Crumrine Katherine Gastler Megan Glass Marita Hollander Camille Marolf Jenny Maske Lynn D. Morrissey

Alto Katharine Lawton Brown, Principal Stephanie Ruggles, Assistant Principal Danielle Gines Mona Hauser Sarah J. Ludwig Xiaoying Wang Anna Woell Lisa Young

Tenor Scott Kennebeck, Principal Jeral Becker, Associate Principal Thomas Jarrett (Jerry)Bolain Willard Cobb Greg Gastler Bill Larson Steve Paquette Spencer Stephens

Bass Jeffrey Heyl, Principal David Berger, Associate Principal Joe Beran Dan Maske Michael Wenz Kyle Will

Orchestra Violin I Wanda Becker, Concertmaster Cynthia Bowermaster Christine Sasse Violin II Kaoru Wada, Principal Marilyn Park Ellington Tova Braitberg Viola Sarah Borchelt, Principal Dee Sparks Cello Andrew Ruben

Bass Frederick DeVaney Oboe 1 / English Horn Ann Homann, Principal Oboe 2 Eileen Burke Oboe 3 / English Horn Diane Lieser Bassoon Robert Mottl

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Trumpet John Korak, Principal Robert Souza Mary Weber Timpani Michael Faris Positiv (Continuo) Organ Melissa Niemeyer Chapel Organ David Johnson

Joan Bergt, Rev. Robert Bergt (deceased), and Dr. Kent Burreson, Dean of the Chapel

My dear Bach at the Sem friends, Warm greetings to each of you at the beginning of Season #22: Bach at the Sem. For all, both new and “seasoned” members, this will be an exciting chapter in its history with a new conductor and new leadership.

I have decided now to retire as accompanist and active collaborator in the joy and challenge of Spirit-filled music making, which began for me in the mid-1950s with the Cantata Chorus, the Schola Cantorum, American Kantorei, and now Bach at the Sem. My decision comes at a time in my life when I can participate in the listener’s reward!

It is impossible for me to describe the incredible blessings I have known throughout the changing scenes of life but always with the constant and enduring gift of music.

With thanks, dear Bach at the Sem family, for filling my life with overflowing goodness and blessing!

“Be filled with the Spirit... singing and making melody in your heart to the Lord.”

(Eph. 5: 18-19) Love in Christ, Joan Bergt

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Always and Forever O Holy Night with Christine Brewer

season XIV

December 6 Salem United Methodist Church

Shalom House benefit

March 7, 2015 St. Gabriel the Archangel Catholic Church

Requiem O For !e Lov"...

December 7 Resurrection Lutheran Church

Feed My People benefit with special guests

St. Gabriel Chancel Choir Mary Beth Wittry, Director

Salem UMC Chancel Choir

a concert in honor of women and mothers

May 9, 2015 Venue TBA

check website for details

american chamber chorale Stephen Morton

american chamber chorale ������������������������������� season XIV

2014 - 2015 For tickets and information, visit americanchamberchorale.com americanchamberchorale.com or call (314) 638-0793 Philip Barnes

SINGER S OF JOY !

Artistic Director

Join one of the country's best a cappella choirs for our 59th season!

Fe a t u r i n g ch o ra l g ro u p s f ro m Concordia Seminar y, St. Louis

nat i v i t y joy d e c e m b e r 7, 2 0 1 4

C o n co rdia L ut h e ra n, K i rk w ood • 7 : 0 0 p m w w w. c k hom e . or g

ep i pha ny joy f e b r ua r y 7, 2 0 1 5

C o n co rdia S emin ar y, S t . L ou i s • 2 : 0 0 p m w w w. c s l . e d u

resurrection joy april 19, 2015

M essia h L ut h e ra n, S t . L ou i s • 7 : 0 0 p m w w w. m e s s i a h l u t h e ra n s t l . or g

for more information Call - 1-800-822-5287 V i s i t - w w w. c s l . e d u Email - johnsond@csl.edu

2014~2015 Mendelssohn & Judith Bingham

October 5 • 3pm St. Louis Abbey • 500 S Mason Road • Creve Coeur • 63141

Juan Gutierrez de Padilla & Heitor Villa-Lobos November 9 • 3pm St. Cecilia Catholic Church • 5418 Louisiana Ave • St. Louis • 63111

Palestrina & Herbert Howells

December 21 • 3pm First Presbyterian Church Kirkwood • 100 E. Adams Ave • Kirkwood • 63122

Milhaud & Purcell

February 15 • 3pm Christ Church Cathedral • 1210 Locust Street • St. Louis • 63103

Kodály & Vaughan Williams

April 12 • 3pm St. Mary of Victories Catholic Church • 744 S 3rd St • St. Louis • 63102

William Billings & Richard Rodney Bennett

May 31 • 3pm Union Avenue Christian Church • 733 Union Blvd • St. Louis 63108

SEASON TICKETS ON SALE NOW Subscribe and Save! For tickets or a brochure call

636-458-4343 chamberchorus.org

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 21 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: 1-800-822-5287.

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.

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