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2015–2016 Series

OCTOBER 4, 2015 The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis


Schedule of Concerts 23rd Season

BACH AT THE SEM – 2015-2016 Dr. Maurice Boyer, Music Director OCTOBER 4, 2015, 3:00 p.m. (PENTECOST 19, TRINITY 18) J.S. Bach: Cantata from 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, 3:00 p.m. (ADVENT 3) J.S. Bach: Organ prelude on Wie schön leuchtet der Morgenstern, BWV 1; Cantata BWV 61, Nun komm, der Heiden Heiland; Aria for bass, “Johannis freudenvolles springen,” from BWV 121, Christum wir sollen loben schon; Cantata BWV 40, Dazu ist erschienen der Sohn Gottes; Chorus from BWV 1, Wie schön leuchtet der Morgenstern FEBRUARY 7, 2016, 3:00 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, 3:00 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 Ursprung der Liebe We are grateful to the “Friends of Bach at the Sem” for their continuing generosity that makes 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 mailings 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 will perform Feb. 7, 2016.

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Bach at the Sem October 4, 2015, 3:00 p.m. Twentieth Sunday after Trinity

Dr. Maurice Boyer, Music Director The American Kantorei Dr. Jeral Becker, Assistant Conductor In Nomine Jesu Cantata: Herr Christ, der ein’ge Gottessohn, BWV 96 (Lord Christ, the only Son of God) 1. Chorus 2. Recitative (Katharine Lawton Brown) 3. Tenor Aria (Scott Kennebeck) 4. Recitative (Emily Truckenbrod) 5. Bass Aria (Jeffrey Heyl) 6. Chorale

Johann Sebastian Bach

Soprano-Alto Duet: Herr, du siehst statt guter Werke auf des Herzens Glaubensstärke (Lord, instead of good works you look at the strength of faith in our hearts) from Cantata: Es ist das Heil, BWV 9 (Emily Truckenbrod / Stephanie Ruggles) Johann Sebastian Bach Hymn: “Sing Praise to God, the Highest Good” The assembly stands to sing the hymn provided on page 9 or in Lutheran Service Book (LSB) 819 Organ Voluntary: Fugue in G major (“Gigue”), BWV 577 Johann Sebastian Bach (James Marriott, organist) The offerings received at this time support the Bach at the Sem concert series. Cantata: Halt im Gedächtnis Jesum Christ, BWV 67 (Keep in memory Jesus Christ) 1. 2. 3. 4. 5. 6. 7.

Johann Sebastian Bach

Chorus Tenor Aria (Scott Kennebeck) Recitative (Katharine Lawton Brown Chorale Recitative (Katharine Lawton Brown) Bass Aria / Chorus (Jeffrey Heyl) Chorale

Chorus: Bringet dem Herrn Ehre seines Namens (Bring to the Lord the glory of His Name) Chorus from BWV 148

Soli Deo Gloria

Johann Sebastian Bach


Program Notes “Awaken us by your mercy!” combined forces only accentuate the brilliance of the piccolo. That the tune emanates from within might also Welcome to the opening concert of the 2015-16 Season be a way of depicting the Incarnation — “true man yet of Bach at the Sem. In today’s program, the common very God.” The low-lying alto, “bearing” the Morning thread is God in Christ — the Morning Star and Bearer Star, may be depictive of the womb that bore the Christ. of Peace — relentlessly seeking out the doubting and Throughout, the melody is heard unaltered but for one the faltering in the midst of their struggle through His significant note. At “Morgensterne” (morning star), love. May the depth of Bach’s understanding of this Bach inserts a chromatic passing tone (B natural), one mystery enliven and bring joy to your hearts. that enables him to veer ever so briefly but suddenly to the opposite end of the harmonic spectrum: E major Cantata: Herr Christ, der ein’ge Gottessohn, BWV 96 from the movement’s F major. Pitch and harmony in consort subtly depict the effulgence of the star. In the BWV 96 belongs to Bach’s second annual cycle of meeting of high and low, William Crashaw’s “In the cantatas — 52 works composed in 1724-25 and based Holy Nativity of Our Lord” comes to mind: “Great upon Lutheran chorales. The title hymn was penned little one whose all-embracing birth / Lifts earth to by Elizabeth Kreuziger, a friend of Martin Luther, in heav’n, stoops heav’n to earth.” 1524. The Reformer was so taken with the hymn that he included it at the head of his Gesangbuch. While it Three apostrophes punctuate the ensuing and richly is now linked with the Feast of the Epiphany (see “The layered recitative: “O wondrous power of love! Only Son from Heaven,” Lutheran Service Book 402), O incomprehensible, secret might!” and “O rich power in former times it was fittingly associated with the of blessing!” These evocative titles are responses to the Eighteenth Sunday after Trinity, on which the Gospel mystery of the Incarnation: God’s opening heaven and reading portrays Jesus asking: “What do you think shutting hell. of the Messiah? Whose son is he?” (Matt. 22:23-49) Composed exactly 200 years later, the present cantata Reading the text of the succeeding aria apart from was first performed Oct. 8, 1724. The aforementioned Bach’s setting, one might expect something plangent five-verse chorale textually governs the entirety of this and passionate. As a rejoinder to such surface reading, six-movement work: verbatim in the outer movements Bach provides an aria that is light and wide-eyed. and paraphrased by an anonymous librettist in the inner It is difficult to doubt that he readily perceived the movements. The chorale tune is declaimed in long librettist’s allusion to the prophet Hosea (11:4): “I led notes in the opening Chorale Fantasia and uttered in a them with cords of human kindness, with bands of love. straight four-part harmonization in the final movement. I was to them like those who lift infants to their cheeks. I bent down to them and fed them.” It is indeed the The first movement alludes to Matthew 2 (the journey affect of these lines that governs the aria. of the Magi) and to 2 Peter 1:19: “So we have the prophetic message more fully confirmed. You will do The idea of lifting up, which pervades the A section of well to be attentive to this as to a lamp shining in a dark this Da Capo aria, is captured musically in a number place, until the day dawns and the morning star rises of gestures: three rising steps preceded by leaps in your hearts.” Bach sonically paints a vivid scene. downward, fast ascending lines, “ti-do” retardations at A pastoral setting is evoked in the spirited lilt of a cadences. The high-pitched airy flute further depicts this gigue marked vivace, while the brightness of the star is lifting and, in fact, carries the upward (“lifting”) motive vividly depicted in the virtuosic sopranino recorder part throughout the aria. Finally, the aria itself represents a (piccolo flute in today’s performance) whose swiftly harmonic rising from the first movement: from F major unfolding 16th notes cast light from high above on the to the lustral key of C major. Throughout, the flute is entire texture. by turn independent of the voice, in imitation of it, or in step with it (in 3rds and 6ths). In the A section, The chorale melody in long notes would typically be sweet harmonies (7th and 9th chords) are couched in allotted to the soprano voice. Here assigned to the alto, sophisticated counterpoint and attenuated by surprising it bores through the middle of the texture doubled by chromatic turns and mode mixture. oboes d’amore and trumpet. The warm hues of these 2


Reaching the B section, the music moves to the relative minor (A minor) and becomes increasingly chromatic, especially at “that it may blaze with sacred flames.” Sharps on the page (crosses in German) symbolize the cross and therefore the Christ. One is reminded of Luther’s words in verse 5 of “Christ Jesus Lay in Death’s Strong Bands”: “Here is the righteous Easter Lamb / As God has commanded, / High on the Cross’ beam it has / Roasted in burning love.” The singer is asking that his faith be animated by the same burning love that was found in Christ. The flames may also be a reference to the flaming tongues of the Holy Spirit. That the flute unfolds in parallel motion with the voice in 3rds and 6ths might suggest that, in the thick of things, the “cords or ropes” (of God’s love) do indeed take hold of the one who is struggling. It is tenuous to say specifically what the flute may represent, but one can aver that it suggests gentle divine sustenance.

Unlike the tenor aria, which is in ABA form, the bass aria is through-composed. There is thus a direct linear progression from beginning to end. Closing as it had opened, in unrest, the aria offers no easy solutions for the disquieted mind. However, at the exact middle point of the aria (measures 33-39 out of 73 total), there is a ray of hope — seven bars of otherworldly stillness. In the hands of a lesser composer, the text would perhaps evoke an imploring tone: “Go along with me, my Savior.” Instead, Bach bores deeply into it and finds utter simplicity and light: Christ stands at the center. The texture becomes transparent and the harmony pure. The instrumental accompaniment, which had matched the voice, now plays only staccato quarter notes. Right and left are still there, but they are no longer distinguishable. With the Savior, they lose their power. The clarity of C major (the tenor aria) is temporarily regained. Finally, a downward sequential pattern with sweet bass line suspensions suggests that, even in the descent into danger, Christ is with the one who calls upon Him.

Although the tenor aria is a plea, it is one addressed “on behalf” of the soul (“die Seele” not “meine Seele”) to the deity. There is no “I” here, nor is there a possessive pronoun in the original German, although one could suggest that it is implied. Thus, the soprano recitative marks a definite turning point in the cantata toward the subjective. This trajectory is prolonged in the bass aria, which is thoroughly concerned with the individual’s dilemma of being “driven by the wind” (James 1:8) to the right and left. Although the opening chapter of James is not directly referenced or alluded to, its concern with double-mindedness and disquiet seem a reasonable backdrop for this aria.

Far from an anticlimactic “tack-on,” the finale chorale, as in all the cantatas, has a gathering effect in that it draws the listener into a communal experience. The lens fans out to the “we” of the community of faith. Familiar with Elizabeth Kreuziger’s hymn, the congregants of Bach’s time would have felt drawn into the musical experience, as they would have been able to sing inwardly the quickening words of its final verse: “Kill us through Your goodness, awaken us through Your mercy.” The Old Adam in all must die that the New Adam may live.

In contrast to the tenor aria’s innocence and overall trust, the bass aria speaks from a place of anguished introspection. However, by casting it in the stately and elegant dance form of the Sarabande, Bach intimates that the “I” that is pulled by the tension of “right vs. left” is not chaotic or depraved. Rather it is genuinely endeavoring to walk the “path of righteousness” but is beset by the pressures without. Text painting is clear in the instrumental groups (strings and oboes) being used antiphonally to symbolize the two sides. Interestingly the right (correct/righteous) lifts upward and the left (sinister/dangerous) pulls downward. The tug of “sinking into danger” and the struggle for discernment are further sensed at a latent level in the intricacy of the phrasing and in the downward spin of canonically unfolding lines.

Duet: from Es ist das Heil uns kommen her, BWV 9 The exact date of composition of BWV 9 is unclear, but consensus is that it was composed sometime between 1732 and 1735 for the Sixth Sunday after Trinity. The Gospel of the day is from the Sermon on the Mount (Matt. 5:20-26), where Jesus warns that one cannot at the same time come to God’s altar and bear anger or hatred in one’s heart. On the surface, this Da Capo duet is bright and lyrical — effortless and delightful. Its construction, however, evinces the greatest rigor. The A section is in fact a masterful piece of five-part counterpoint: a strict double canon (flute-oboe / soprano-alto) alternately at the 4th and 5th with bass accompaniment. That Bach chose to write a canon rather than a fugue is not insignificant. 3


As the most rigorously governed form of counterpoint, its rules are the strictest: in Greek, canon means “rule.” Bach reveals in sound that freedom and obedience are not mutually exclusive. A different rule or law is at work, one that governs the heart: that of faith. Rule and obedience are expressed in the rigor of the counterpoint; freedom is heard and felt in the instrumental and vocal lines being independent but motivically related. The affect of the music is unequivocal: “obedience” translates as joy.

A further connection between the Passion and this cantata is the Gospel of John. In effect, the reading for the First Sunday after Easter would have been John 20:19-31. Having first appeared to Mary Magdalene, Jesus suddenly appears to his disciples who, terrified, have locked themselves in the house where they were staying. His words to them are: “Peace be with you. As the Father sent me, so I send you.” He then breathes on them the Holy Spirit. The following week, He appears to them again. This time, Thomas, who had been absent, is with them. Ensues the famous episode of “doubting Thomas.”

From the opening section’s A major, the B section turns to the relative minor: F# minor. While the harmonic language becomes more complex and chromatic, the counterpoint is simplified in the sense that there is no longer per se a double canon. Flute and oboe now unfold in step with soprano and alto, respectively, albeit with embellished lines. One might say that the instruments, as in the tenor aria above, embody divine sustaining and enabling. The text here states “Only faith makes us righteous; everything else is too poor to be able to help us.” Through strictly musical means (key, increased chromaticism and number of sharps), Bach subtly but clearly defines the subject and object of that faith: Christ.

Let us return to the architecture of BWV 67. Adding a semantic layer to the linear unfolding of the work is its overall tonal planning, which follows a pattern of ascent then descent (A – F# – A). Subjacent to this is what one might call the ideational level, which is chiastic or cruciform. See below. Tonal Planning

F# major C# minor/B major C# minor/A major E major A major A major A major

Cantata: Halt im Gedächtnis Jesum Christ, BWV 67

Chiastic Structure Chorus – Aria – Recit

Composed for the First Sunday after Easter 1724 (April 16), BWV 67 was first performed nine days after the first version of the St. John Passion on Good Friday. In the intervening days, parishioners in Leipzig would have heard three other works: a revival of Bach’s earliest cantata BWV 4 on Easter Sunday and two parodies of secular cantatas composed in Cöthen, BWV 66 and 134, on Easter Monday and Easter Tuesday, respectively. Thus, the present work would have been the first new work performed since Good Friday. From the physical evidence of the manuscript score, one gets the impression that Bach was working at breakneck pace.

Chorale Recit – Aria – Chorale The significance of this tonal planning and overall chiastic structure is that it underscores a Johannine theme: the lifting up of the Son of Man (John 3:14-15, 8:28, 12:32). In these passages, the reference is to being lifted up upon the cross, just as Moses lifted up the serpent in the desert. Looking to the Son of Man means life.

In contrast to BWV 96, which is on the whole inward and poetic, BWV 67 is extroverted and dramatic. Despite its brevity — a mere 20 minutes — it is truly a companion piece to the St. John Passion and, in conception, reveals a similar preoccupation with the semantic and expressive potency of architecture. Given the intense constraints on his schedule, Bach in all probability worked on both pieces simultaneously during the preceding Lent.

The ecstatic opening chorus sets a single line of text: “Keep (hold) in memory Jesus Christ who has been raised from the dead” (2 Tim. 2:8). Brilliant fugal writing alternates with declamatory homophony. Two instances of wonderfully direct text painting bear mentioning: “Hold” expressed by a single long-held note and “resurrected” as a melismatic rising line. Jubilation is underscored in the piling up of fugal subject entrances. 4


For Thomas, sung by the tenor, faith knows that Christ has risen from the dead, but the heart is still torn. Bach, rather than concentrate on doubt for the aria’s affect, insightfully focuses on the joy engendered by the faith statement: “My Jesus is arisen.” However, lucid as he ever is, Bach adds psychological layers to this joy: Below the surface lurk disquiet, impatience and urgency. Bach never ceases to amaze in his capacity for empathy: not a soul state seems unfamiliar to him. The nervousness of Thomas’ restless mind is heard in harmonically unstable passages, in the frequent rests between words within a phrase, and in quickly dovetailing canonic entrances of the “arisen” motive (upward scale). These entrances give voice to the obsessive activity of Thomas’ heart and mind wrestling with the mystery of the resurrection. In E major, albeit with forays into sharper keys (F# and B) and more chromatic regions, the aria is the first step in the ascent to F# major.

“O Lord, help and sustain us!,” Christ enters right into the thick of things to bring words of comfort. He not only silences the storm, He is also willing to step right into it when invoked. A simple four-part setting of the beautiful and gentle chorale, “Du Friedefürst, Herr Jesu Christ” (You prince of peace, Lord Jesus Christ), fittingly draws the cantata to a close. Chorus: Bringet dem Herrn Ehre seines Namens, BWV 148 Cantata BWV 148 was composed for the Seventeenth Sunday after Trinity and performed Sept. 19, 1723, during Bach’s first autumn in Leipzig. The Gospel of the Day (Luke 14:1-11) is Jesus’ brilliant handling of the questions of whether it is lawful to cure people on the Sabbath, who is given the place of choice at a wedding and who is invited to a dinner. His final words are: when you give a banquet, invite the poor, the crippled, the lame, and the blind. And you will be blessed, because they cannot repay, for you will be repaid at the resurrection of the dead.” How stirring it is to hear this cantata’s opening chorus burst forth as an eruption of joy in response to such generosity!

Recitative-chorale-recitative function as a unit. With the chorale, we reach the highest point of harmonic elevation. While there are only four sharps in the key signature, all seven sharps actually occur in the movement, which eventually cadences in F# major on “Alleluja!” Christ is lifted up; He has risen from the dead. For the First Sunday after Easter, Bach has chosen to make the heart of his cantata a communal utterance and selected a hymn known to all, probably by heart. Little more than a week earlier, he had done the very same in the St. John Passion with the chorale “Through your imprisonment, God’s Son, has freedom come to us.” In both pieces, he enfolds the chorale in a chiastic or cruciform structure (as shown above). Just as a cathedral is constructed in the shape of the cross, so also is this cantata cross-shaped: Christ is the center.

The bass aria is a hybrid four-part AB variation form in which a blustery section for three-part chorus (the disciples) and strings alternates with a placid section for bass soloist (Vox Christi) and winds. The movement functions as the answer to the tenor aria’s plea: “My salvation, appear!” It depicts in arrestingly vivid strokes the Gospel of the Day. The disciples are locked away in their house in terror. Suddenly, time is suspended and Jesus says: “Peace be with you.” One is reminded of Psalm 46, “Be still and know that I am God,” in which the preceding portion of the text is rife with violent imagery. When, in its third entrance, the chorus cries,

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Dr. Maurice Boyer


Text and Translation Herr Christ, der ein’ge Gottessohn, BWV 96 Lord Christ, the only Son of God – J.S. Bach

3. Aria (Tenor) Ach, ziehe die Seele mit Seilen der Liebe, Ah, draw my soul to You with ropes of love, O Jesu, ach zeige dich kräftig in ihr! O Jesus, ah show Yourself powerfully in it! Erleuchte sie, daß sie dich gläubig erkenne, Enlighten it, so that it may recognize You in faith. Gib, daß sie mit heiligen Flammen entbrenne, Grant that it may blaze with sacred flames. Ach wirke ein gläubiges Dürsten nach dir! Ah, make it have a thirst for faith in You! (Da capo)

1. Chorus (S A T B) Herr Christ, der ein’ge Gottessohn, Lord Christ, the only Son of God, Vaters in Ewigkeit, of the Father in eternity Aus seinem Herzen entsprossen, who sprang from His heart, Gleichwie geschrieben steht, just as it stands written, Er ist der Morgensterne, He is the Morning Star, Sein’n Glanz streckt er so ferne His radiance He stretches so far Vor andern Sternen klar. that it is clear beyond all other stars.

4. Recitative (Soprano) Ach, führe mich, o Gott, zum rechten Wege, Ah, lead me, O God, on the right way, Mich, der ich unerleuchtet bin, I, who am unenlightened, Der ich nach meines Fleisches Sinn who, because of the desires of my flesh, So oft zu irren pflege; so often am wont to err. Jedoch gehst du nur mir zur Seiten, Still if only You walk beside me, Willst du mich nur mit deinen Augen leiten, if only You are willing to lead me with Your eyes, So gehet meine Bahn then my path leads Gewiss zum Himmel an. certainly to heaven.

2. Recitative (Alto) O Wunderkraft der Liebe, O wondrous power of love, Wenn Gott an sein Geschöpfe denket, when God considers those that He has created, Wenn sich die Herrlichkeit when His glory Im letzten Theil der Zeit in the final part of time Zur Erde senket. sinks down to earth. O unbegreifliche, geheime Macht! O incomprehensible, secret power! Es trägt ein auserwählter Leib A chosen body bears Den großen Gottessohn, the great Son of God, Den David schon whom David already Im Geist als seinen Herrn verehrte, in spirit honored as his Lord, Da dies gebenedeite Weib for this blessed woman In unverletzter Keuschheit bliebe. remained in immaculate purity. O reiche Segenskraft! die sich auf uns ergossen, O rich power of blessing! poured out upon us Da er den Himmel auf-, die Hölle zugeschlossen. for He has opened heaven and shut hell.

5. Aria (Bass) Bald zur Rechten, bald zur Linken Now to the right, now to the left Lenkte sich mein verirrter Schritt. my erring steps turn. Gehe doch, mein Heiland, mit, Go along with me, my Savior. Laß mich in Gefahr nicht sinken, Let me not sink into danger; Laß mich ja dein weises Führen let me indeed sense Your wise guidance Bis zur Himmelspforte spüren! to heaven’s gates!

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6. Chorale (S A T B) Ertödt uns durch dein’ Güte, Kill us through Your goodness, Erweck’ uns durch dein’ Gnad; awaken us through Your mercy. Den alten Menschen kränke, Weaken the old man Dass er neu’ Leben mag so that he may have new life Wohl hier auf dieser Erden, even here on this earth, Den Sinn und all’ Begierden so that his mind and desires Und G’danken hab’n zu dir. and thoughts may be for You.

Mein Glaube kennt des Heilands Sieg, My faith knows the Savior’s victory, Doch fühlt mein Herze Streit und Krieg, still my heart feels strife and battle. Mein Heil, erscheine doch! My salvation, appear then! 3. Recitative (Alto) Mein Jesu, heißest du des Todes Gift My Jesus, You are called death’s poison Und eine Pestilenz der Hölle: and a plague for hell: Ach, daß mich noch Gefahr und Schrecken trifft! Ah, that I should still meet with danger and fear! Du legtest selbst auf unsre Zungen You Yourself put on our tongues Ein Loblied, welches wir gesungen: a song of praise, which we sang:

Es ist das Heil uns kommen her, BWV 9 Salvation unto us has come – J.S. Bach 5. Duet (Soprano, Alto) Herr, du siehst statt guter Werke Lord, instead of good works You look at Auf des Herzens Glaubensstärke, the strength of faith in our hearts, Nur den Glauben nimmst du an. You take account only of faith. Nur der Glaube macht gerecht, Only faith makes us righteous; Alles andre scheint zu schlecht, everything else appears too poor Als daß es uns helfen kann. to be able to help us. (Da capo)

4. Chorale (S A T B) Erschienen ist der herrlich’ Tag, The glorious day has appeared Dran sich niemand g’nug freuen mag: when no one can rejoice sufficiently: Christ, unser Herr, heut’ triumphiert, Christ, our Lord, today triumphs; All’ sein’ Feind’ er gefangen führt. all His enemies He leads captive. Alleluja! 5. Recitative (Alto) Doch scheinet fast, Yet it almost seems Daß mich der Feinde Rest, that the remaining enemies, Den ich zu groß und allzu schrecklich finde, whom I find too great and only too frightening, Nicht ruhig bleiben lässt. do not let me stay in peace. Doch, wenn du mir den Sieg erworben hast, But if You have won the victory for me, So streite selbst mit mir, mit deinem Kinde! then fight, You Yourself, by my side, by Your child! Ja! ja! wir spüren schon im Glauben, Yes indeed, already we feel in faith Daß du, o Friedefürst, that You, O Prince of peace Dein Wort und Werk an uns erfüllen wirst. will fulfill in us Your word and work.

Halt im Gedächtnis Jesum Christ, BWV 67 Keep in memory Jesus Christ – J.S. Bach 1. Chorus (S A T B) Halt’ im Gedächtnis Jesum Christ, Keep in memory Jesus Christ, der auferstanden ist von den Todten. who has risen from the dead. 2 Aria (Tenor) Mein Jesus ist erstanden, My Jesus is arisen, Allein, was schreckt mich noch? yet what still frightens me?

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6. Aria (Bass) and Chorus (S A T) Bass: Friede sei mit euch! Peace be with you! Chorus: Wohl uns! Jesus hilft uns kämpfen How fortunate we are! Jesus helps us to fight Und die Wuth der Feinde dämpfen, and to subdue the rage of the enemy. Hölle, Satan, weich! Hell, Satan, give in! Bass: Friede sei mit euch! Peace be with you! Chorus: Jesus holet uns zum Frieden Jesus calls us to peace Und erquikket in uns Müden and revives in us weary ones Geist und Leib zugleich. at once spirit and body. Bass: Friede sei mit euch! Peace be with you! Chorus: O Herr, hilf und lass gelingen, O Lord, help us and let us succeed Durch den Tod hindurch zu dringen in pressing on through death In dein Ehrenreich! into Your glorious kingdom. Bass: Friede sei mit euch! Peace be with you!

7. Chorale (S A T B) Du Friedefürst, Herr Jesu Christ, You Prince of peace, Lord Jesus Christ, Wahr’r Mensch und wahrer Gott, true man and true God, Ein starker Nothhelfer du bist You are a strong helper in distress, Im Leben und im Tod. in life and in death. Drum wir allein Therefore, we only Im Namen dein in Your Name Zu deinem Vater schreien. cry to Your Father. Bringet dem Herrn Ehre seines Namens, BWV 148 Bring to the Lord the Glory of His Name – J.S. Bach 1. Chorus (S A T B) Bringet dem Herrn Ehre seines Namens, Bring to the Lord the glory of His Name; betet an den Herrn im heiligem Schmuck. pray to the Lord in holy splendor. (Psalm 29:2, 96:8)

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Sing Praise 819 Sing   Praise  toto  God, God,  the the  Highest Highest  Good Good   LSB 819

5   5.

All confess who  confess   Christ’s   holy   name,   All who Christ’s holy name,        Give  God  the  praise  and  glory.   Give God the praise and glory. Let  all  who  know  His  pow’r  proclaim   Let all who know His pow’r proclaim        Aloud  the  wondrous  story.   Aloud wondrous Cast  ethe v’ry   idol  from  istory. ts  throne,   Cast ev’ry For  Gidol od  is  from God,  aits nd  throne, He  alone:   For God Heaalone:        Tis o  GGod, od  all  and praise   nd  glory!     To God all praise and glory! Public  domain  

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Dr. Maurice Boyer

James F. Marriott

Music Director

Director of Musical Arts

Dr. Maurice Boyer is in his second year of serving as music director for the American Kantorei / Bach at the Sem. He is associate professor of music at Concordia University Chicago, River Forest, Ill., where he conducts the chamber orchestra and Laudate, a women’s choir, and teaches all levels of ear training. Boyer also is the artistic director of Aestas Consort of Chicago and assistant conductor of the Symphony of Oak Park River Forest. He 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., where he also studied theology at Princeton Theological Seminary. Boyer also holds a Doctor of Musical Arts in orchestral conducting from the University of Maryland, College Park.

James F. Marriott, director of Musical Arts at Concordia Seminary, holds a Master of Church Music from Concordia University Wisconsin, Mequon, Wis., and a Bachelor of Parish Music from Concordia University, Nebraska, Seward, Neb. He is a doctoral candidate in liturgical studies at Garrett-Evangelical Theological Seminary in Evanston, Ill., a regular recitalist and lecturer at Christian venues throughout the country, and serves as the founder and artistic director for Evangelii, the youth choir of Trinity Lutheran Church in Lisle, Ill., which annually tours the nation. He also has published worship materials through Concordia Publishing House and Liturgy Solutions.

The American Kantorei Chorus Soprano Emily Truckenbrod, Principal Jean Baue Kathryn Crumrine Megan Glass Brittany Graham Lea Herdler Krista Hartmann Marita Hollander Camille Marolf Lynn D. Morrissey

Alto Katharine Lawton Brown, Principal Stephanie Ruggles, Assistant Principal Danielle Gines Mona Hauser Anna Otterman Kimberly Werner Amy Will Mary Ulm Lisa Young

Tenor Scott Kennebeck, Principal Jeral Becker, Assoc. Principal Thomas Jarrett Bolain Bill Larson Keith Wehmeier Bass Jeffrey Heyl, Principal David Berger, Assoc. Principal Charles McCall Greg Upchurch Kyle Will

Orchestra Violin I Wanda Becker, Concertmaster Cynthia Bowermaster Christine Sasse Hannah Frey Violin II Kaoru Wada, Principal Marilyn Park Ellington Tova Braitberg Margret Heyl

Viola Sarah Borchelt, Principal Laura Reycraft

Oboe / Oboe d’amore Ann Homann, Principal Eileen Burke

Cello Andrew Ruben

Trumpet John Korak

Double Bass Anita Hagerman

Positiv (Continuo) Organ John Walsh

Flute / Piccolo Paula Kasica

Chapel Organ James Marriott

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Welcome to Bach at the Sem! With anticipation of great goodness in this new season, we welcome you today to Bach at the Sem. Dr. Maurice Boyer begins his second year as music director for the American Kantorei. The countless hours of preparation by Director Boyer and the American Kantorei promise us an enriching afternoon and we thank them most sincerely. J.S. Bach knew his Bible, knew it in his head and heart. The genius given to him was to lift the biblical words off the printed page to be carried by music into the heads and hearts of those who listen to his works. It’s worth noting that scholars have estimated that only 10 percent of the population of the Roman Empire in the first century could read and write. So when St. Paul wrote, “Faith comes through hearing,” he was literally describing how the faith came into the hearts of people (Rom. 10:17). Literate people read Scripture to those who couldn’t read and all together shared what they had experienced through their connections and conversations. The theme for Concordia Seminary’s new academic year, our 177th, is “Living and Active,” taken from Heb. 4:12-13: The word of God is living and active, sharper than any two-edged sword, piercing to the division of soul and of spirit, of joints and of marrow, and discerning the thoughts and intentions of the heart. And no creature is hidden from his sight, but all are naked and exposed to the eyes of him to whom we must give account. Books and literacy became increasingly common after the invention of moveable type in the 15th century, but with that blessing came the temptation to think of biblical texts as bound in a book. Experiencing Bach recalls us to the truth that the Word is viva vox evangelii, the living voice of the Gospel. The genius of Bach lifts texts from print to cut to the heart, bringing us before the One who judges but also forgives and saves. In all the works we are blessed to hear this afternoon, the music lifts the words from scores and programs to make it “living and active” in our lives. An institutional note: Today Concordia Seminary is the largest donor to Bach at the Sem. Our present challenge is to make this beloved concert series more self-sustaining so as to ensure these concerts can continue. We can only do that with your help. As such, we seek your financial support. I invite you to join me in more generous giving so that Bach at the Sem will be “living and active” for many years to come.

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 On the Seminary Campus 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!

CATHEDRAL CONCERTS 2015 - 2016 SEASON Christine Brewer soprano & Paul Jacobs organist

Wednesday, October 14, 2015 8:00 PM

Philip Barnes Artistic Director

Welcomed by The Order of St.John, Mrs. Priscilla R. McDonnell, & Mrs. Anna M. Harris with support from the Vassia Foundation and the Arts & Education Council

Tenebrae

English Chamber Choir Nigel Short, Director

Thursday, October 29, 2015 8:00 PM Presented by Mr. John Russell

Welcomed by Dr. & Mrs. Anthony Fathman

Vienna Boys Choir Holiday Concert

Presented in Memory of Francis Einig

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

Saturday, November 21, 2015 8:00 PM

Sing A New Song!

Languish With Love

Christmas at the Cathedral

In Every Corner Sing!

All Manner of Gods

Saturday, December 12, 2015 8:00 PM Sunday, December 13, 2015 2:30 PM

Christmas – Auf Deutsch!

In Memoriam

Welcomed by Coldwell Banker Gundaker, Paul & Amy Mittelstadt, & Steinway Piano Gallery Steinway is the Official Piano of Cathedral Concerts

With the Sonos Handbell Ensemble & Frederica von Stade Mezzo-soprano Welcomed by Favazza’s & Enterprise Bank & Trust

Group Rates Available - 314-533-7662

www.CathedralConCerts.org

Cathedral Basilica of St. Louis 4431 Lindell Boulevard 63108

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 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 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: 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 | October 2015  

OCTOBER 4, 2015, 3:00 p.m. (PENTECOST 19, TRINITY 18)

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