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2013–2014 Series

December 1, 2013 The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis

Schedule of Concerts Bach at the Sem 2013–2014 October 20, 2013, 3:00 p.m. Guest conductor and organist: Bálint Karosi J. S. Bach: Cantatas BWV 79, Gott, der Herr, ist Sonn’ und Schild; BWV 147, Herz und Mund und Tat und Leben Max Reger: Choral-Phantasie über “Ein’ feste Burg ist unser Gott,” Op.27 December 1, 2013, 3:00 p.m. Guest conductor: Martin Dicke J. S. Bach: Christmas Oratorio, BWV 248, III, Herrscher des Himmels, erhöre das Lallen; BVW 248, VI, “Herr, wenn die stolzen Feinde schnauben” Tomás Luis de Victoria: O magnum mysterium Martin Dicke: O come, O come, Emmanuel; Of the Father’s love begotten February 16, 2014, 3:00 p.m. April 6, 2014, 3:00 p.m.

Guest conductor: Maurice Boyer J. S. Bach: Cantatas BWV 43, Gott fähret auf mit Jauchzen; BWV 234, Missa Brevis in A Major Johann Pachelbel: Jauchzet dem Herrn (motet) Guest Conductor: Jeffrey Wilson J. S. Bach: Cantatas BWV 22, Jesu nahm zu sich die Zwölfe; BWV 182, Himmelskönig sei willkommen; BWV 143, Lobe den Herrn, meine Seele (chorus) G. F. Handel: “Worthy is the Lamb” (from Messiah)

The Chapel of St. Timothy and St. Titus Concordia Seminary, 801 Seminary Place, St. Louis, MO 63105 |

We are grateful to the generous donors who make the Bach at the Sem series possible. Special thanks to: “Friends of Bach at the Sem” The major sponsors for today’s concert are the wonderful “Friends of Bach at the Sem” who are responding generously to the 2013-2014 challenge. 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 for continuing to provide space and valuable services for the Bach at the Sem series. 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 314-505-7009.

Bach at the Sem

December 1, 2013, 3:00 p.m. Dr. Martin Dicke, Guest Conductor The American Kantorei Dr. Jeral Becker, Interim Director In Nomine Jesu Cantata, Herrscher des Himmels, erhöre des Lallen, BWV 248 (from Christmas Oratorio, Part III) 1. Chorus 2. Recitative (Scott Kennebeck, Evangelist) 3. Chorus 4. Bass Recitative (David Berger) 5. Chorale 6. Duet (Emily Truckenbrod, Soprano; Jeffery Heyl, Bass) 7. Recitative (Scott Kennebeck, Evangelist) 8. Alto Aria (Katharine Lawton Brown) 9. Alto Recitative (Stephanie Ruggles) 10. Chorale 11. Recitative (Scott Kennebeck, Evangelist) 12. Chorale 13. Chorus O magnum mysterium (Motet) Veni, veni Emmanuel (Motet) Divinum, mysterium (Motet)

Johann Sebastian Bach

Thomás Luis de Victoria arr. Martin Dicke arr. Martin Dicke

The offerings are received in support of the Bach at the Sem concert series.

Hymn: “Savior of the Nations Come” The assembly stands to sing the hymn provided on page 10 and in Lutheran Service Book (LSB) 332 Cantata, Herr, wenn die stolzen Feinde schnauben, BWV 248 Johann Sebastian Bach (from Christmas Oratorio, Part VI) 1. Chorus 2. Recitative (Scott Kennebeck, Evangelist; David Berger, Herodes) 3. Soprano Recitative (Jean Baue) 4. Soprano Aria (Emily Truckenbrod) 5. Recitative (Scott Kennebeck, Evangelist) 6. Chorale 7. Recitative (Scott Kennebeck, Evangelist) 8. Tenor Recitative (Jeral Becker) 9. Aria (Jeral Becker) 10. Solo Quartet Recitative (Sylvia Witt, Lisa Gines, Spencer Stephens, Andy Jones) 11. Chorale Soli Deo Gloria

Program Notes The Grinch posed a good question when he asked, “What is all this joyous music?” On the mission field in Papua New Guinea, our biggest event every year was the annual Christmas program at Highland Lutheran School. Every year our teachers wrote an elaborate Christmas program. From the time of the auditions in early October, it was rehearsed almost every day after school. The program was truly a joyous event, and everyone on the mission field came for it. I still remember some of the lines and carols from those programs. The gift of the first Christmas and the joy it brought to our world persists to this day and time will not dampen it.

Bach ended up with a work that surpassed the music from which it came and that is incredibly unified in its conception and construction. Today’s concert features Parts III and VI. The following summary of the Christmas Oratorio will help to contextualize these parts. Parts I and II of the Christmas Oratorio tell of the birth of Christ and the announcement of the Good News to the shepherds. Part III, Herrscher des Himmels, erhöre das Lallen, tells how the shepherds ran to Bethlehem to find the child. It concludes with several hymn stanzas that express the joy that the shepherds had and, by extension, all people of faith have in the coming of Christ. Part IV celebrates the circumcision and naming of Jesus, while Part V begins to tell the story of the wise men. Part VI, Herr, wenn die stolzen Feinde schnauben, completes the story of the wise men by focusing on King Herod and his murderous intentions towards the Christ child. The theme of Part VI is God’s victory over all enemies, including evil rulers and even death itself. Surviving instrumental parts reveal that the music for Part VI comes almost entirely from a previously composed cantata, now lost. The few musical changes between the two cantatas indicate that Bach saw no need for changes in this cantata or lacked time to go through his usual adaptive process. Nevertheless, it is remarkable and serves as a fitting close to the series. The opening chorus and the closing chorale both feature trumpets and timpani in all their majesty and power. In the opening chorus we hear entirely unexpected harmonic shifts that seem to underline the thought of escaping “the sharp claws of the enemy.” In the aria, Nur ein Wink von seinen Händen (Just a Wave of His Hands), the soprano sings that God can destroy the pride of his enemies with a mere word. Interestingly, the music, basically a minuet in ¾ time, is full of shifting accents, confusing the listener as to the exact location of the downbeat. The final chorale, a spiritual and musical masterstroke, sets words of victory to the melody of the Passion chorale, O Haupt voll Blut und Wunden (O Sacred Head, now Wounded), accompanied by trumpet fanfares. In the Incarnation is presaged the Passion and the final rout of death, devil, sin, and hell.

Christmas Oratorio – Parts III and VI Unbridled joy is the hallmark of Bach’s Christmas Oratorio. The Christmas of 1734-35 must have been a very busy one for Leipzig musicians. In that year Bach’s Weihnachts-Oratorium was first performed. It is an unconventional oratorio, for rather than following the pattern of Italian oratorios, as he did for his Easter Oratorio, Bach followed the tradition of the Lutheran historia and the oratorio Passion by using an Evangelist to sing the biblical narrative of the Christmas story from the Gospels of St. Luke and St. Matthew. Furthermore, rather than composing it to be performed at one service, he composed it as six separate cantatas to be performed over the 12 days of Christmas. All but one of the six cantatas begins with a festive chorus. A copy of the title page of original printed libretto that still exists informs us that Parts I, II and III were intended for the worship services on December 25, 26, and 27 at both the Nikolaikirche and the Thomaskirche (one in the morning and one in the afternoon). Part IV was to be performed on New Year’s Day for the Feast of the Circumcision and Naming of Jesus, Part V on the following day for the First Sunday in the New Year, and Part VI on January 6 for the Feast of the Epiphany. Probably for practical reasons, Bach borrowed much from his own music when composing the Christmas Oratorio, reworking three secular cantatas previously composed for the Elector of Saxony and his family. With the help of a librettist, Bach fitted new words to the music that were appropriate for the celebration of Christmas. Remarkably, even with this borrowing,


The Latin Motets The motets on today’s program include Tomas Luis Victoria’s famous setting of O magnum mysterium and Two Motets on Latin Christmas Hymns that I composed last Christmas and dedicated to the American Kantorei in memory of the Reverend Robert Bergt, their late founder and director, and in thanksgiving for 20 years of Bach at the Sem concerts. As the inheritors of a great musical tradition, it is important that we treasure this heritage and keep it alive so that others may be blessed by the powerful proclamation of the Word taking place through it.

conceive and give birth to a son, and will call him Immanuel” (Isaiah 7:14).

The text of the popular Christmas carol, “O Come, O Come Emmanuel,” is a lyrical paraphrase of the O Antiphons, an ancient set of seven antiphons that were sung by Christians at their daily services during the last week of Advent. Each of the O Antiphons expounds upon a name that the prophet Isaiah had given to the Messiah:

The text of Ex corde natus parentis (Of the Father’s Love Begotten) consists of four stanzas from a 38 stanza poem by Aurelius Prudentius entitled Hymnus omnis horae (Hymn for All Seasons) plus a final doxological stanza. Prudentius was a Roman official from Spain, who, after a trip to Rome, dedicated his life to writing Christian poetry using the classical forms, meter, and devices of Latin poetry. In 405 he published Liber Cathemerinon, a collection of 12 lyric poems for practicing Christians. Hymnus omnis horae is the ninth hymn in this collection and celebrates the life of Christ from His birth to His ascension into heaven. The joy of this poem leaps off the page as Prudentius exhorts the faithful to both play and sing praises to their Savior.

The motet on Veni, veni Emmanuel sets all seven verses of the hymn, modulating into four keys while passing the melody from voice to voice before concluding with several sudden and surprising key changes that lead to what I call a “Picardy third on steroids,” i.e., a major chord built on the altered note of the E minor Picardy third. The verses of the hymn and the Scripture passages upon which they are based provide excellent devotional material for the Advent season.

1. December 17: O Sapientia (O Wisdom) – Isaiah 11:2-3 and 28:29; 2. December 18: O Adonai (O Lord) – Isaiah 11:4-5 and 33:22 3. December 19: O Radix Jesse (O Root of Jesse) – Isaiah 11:1 and 10; 4. December 20: O Clavis David (O Key of David) – Isaiah 9:6 and 22:22; 5. December 21: O Oriens (O Dawn of the East) – Isaiah 9:2; 6. December 22: O Rex Gentium (O King of the Nations) – Isaiah 2:4 and 9:7; 7. December 23: O Emmanuel (O Emmanuel) – Isaiah 7:14.

In this setting of Ex corde natus parentis, two manifestations of the God incarnate are musically intertwined: God’s coming into the world at Christmas and His coming to His people through the Sacrament of Holy Communion. This setting begins with an ostinato on the text Divinum Mysterium, the name of the hymn tune. The tune was originally a song sung during the celebration of Holy Communion, and its name is derived from the first two words of its original text. By combining the hymn tune name with the Christmas text in the same setting, this composition proclaims in a unique and powerful way the “divine mystery” of both incarnations and that the God who came to us at Christmas still lives and dwells among us.

It is not known who paraphrased these texts into the Latin hymn, Veni, veni Emmanuel, but we do know that the hymn was first translated into English in the mid-1800s by the Reverend John Mason Neale. Since then it has become a standard Christmas carol in English-speaking countries. It is worth noting that, although the hymn is based on the O Antiphons, the author begins with the last O Antiphon rather than the first. With a refrain based on this antiphon, the author emphasizes the centrality of the word “Emmanuel” (God with us) in the Christian faith. He thereby emphasizes that the Christmas story fulfills Isaiah’s prophecies of God, the Creator, redeeming His people: “Therefore the Lord himself will give you a sign: The virgin will

May you have a Christmas full of God’s joy and may He put a Grinch in our lives so that we may share that joy. Martin Dicke


Text and Translation Herrscher des Himmels, erhöre das Lallen BWV 248, III – J. S. Bach Ruler of heaven, hear our babbling

5. Chorale (S A T B) Dies hat er alles uns getan, All this He has done for us Sein groß Lieb zu zeigen an; to show His great love, Des freu sich alle Christenheit for which let all Christendom rejoice Und dank ihm des in Ewigkeit. and thank Him for this eternally. Kyrieleis! Lord, have mercy!

1. Chorus (S A T B) Herrscher des Himmels, erhöre das Lallen, Ruler of heaven, hear our babbling; Laß dir die matten Gesänge gefallen, let our faint songs be pleasing to You, Wenn dich dein Zion mit Psalmen erhöht! when Your Zion exalts You with psalms! Höre der Herzen frohlockendes Preisen, Hear the exultant praise of our hearts, Wenn wir dir itzo die Ehrfurcht erweisen, as we now show our reverence for You, Weil unsre Wohlfahrt befestiget steht! for our welfare is made sure!

6. Aria Duet (Soprano, Bass) Herr, dein Mitleid, dein Erbarmen Lord, Your compassion, Your mercy Tröstet uns und macht uns frei. comforts us and sets us free. Deine holde Gunst und Liebe, Your gracious favor and love, Deine wundersamen Triebe Your wonderful impulses, Machen deine Vatertreu make Your fatherly faithfulness Wieder neu. again new.

2. Recitative (Tenor) Evangelist: Und da die Engel von ihnen gen Himmel fuhren, And as the angels went from them to heaven, sprachen die Hirten untereinander: the shepherds said to one another: 3. Chorus (S A T B) Shepherds: Lasset uns nun gehen gen Bethlehem Let us now go to Bethlehem und die Geschichte sehen, die da geschehen ist, and see the event that has happened there, die uns der Herr kundgetan hat. that the Lord has made known to us.

7. Recitative (Tenor) Evangelist: Und sie kamen eilend und funden beide, And they came with haste and found both, Mariam und Joseph, Mary and Joseph, dazu das Kind in der Krippe liegen. with the Child lying in the crib. Da sie es aber gesehen hatten, When they had seen it, breiteten sie das Wort aus, they spread the word welches zu ihnen von diesem which to them about this Kind gesaget war. Child had been spoken. Und alle, für die es kam, And all those to whom it came wunderten sich der Rede, wondered at the speech die ihnen die Hirten gesaget hatten. that the shepherds had delivered to them.

4. Recitative (Bass) Er hat sein Volk getröst’, He has comforted His people, Er hat sein Israel erlöst, He has redeemed His Israel, Die Hülf aus Zion hergesendet sent help out of Zion Und unser Leid geendet. and ended our suffering. Seht, Hirten, dies hat er getan; See, shepherds, this He has done, Geht, dieses trefft ihr an! Go, this is what you will find.


12. Chorale (S A T B) Seid froh dieweil, dass euer Heil Be joyful meanwhile that your Salvation Ist hie ein Gott und auch ein Mensch geboren, has been born here as both God and man, Der, welcher ist der Herr und Christ He who is the Lord and Christ, In Davids Stadt, von vielen auserkoren. in David’s city, chosen from many.

Maria aber behielt alle diese Worte But Mary kept all these words und bewegte sie in ihrem Herzen. and set them a-stir in her heart. 8. Aria (Alto) Schließe, mein Herze, dies selige Wunder Enclose, my heart, this blessed miracle Fest in deinem Glauben ein! firmly with your faith! Lasse dies Wunder, die göttlichen Werke, Let this miracle, this work of God, Immer zur Stärke ever serve to strengthen Deines schwachen Glaubens sein! your weak faith!

13. Chorus (S A T B) Herrscher des Himmels, erhöre das Lallen, Ruler of heaven, hear our babbling; Laß dir die matten Gesänge gefallen, let our faint songs be pleasing to You, Wenn dich dein Zion mit Psalmen erhöht! when Your Zion exalts You with psalms! Höre der Herzen frohlockendes Preisen, Hear the exultant praise of our hearts, Wenn wir dir itzo die Ehrfurcht erweisen, as we now show our reverence for You, Weil unsre Wohlfahrt befestiget steht! for our welfare is made sure!

9. Recitative (Alto) Ja, ja, mein Herz soll es bewahren, Yes, yes, my heart will preserve Was es an dieser holden Zeit what at this propitious time Zu seiner Seligkeit regarding its salvation Für sicheren Beweis erfahren. it has experienced as certain proof.

O magnum mysterium – T. L. de Victoria O great mystery

10. Chorale (S A T B) Ich will dich mit Fleiß bewahren, I shall diligently keep You [in my heart]. Ich will dir leben hier, I shall here live for You; Dir will ich abfahren, to You shall I depart. Mit dir will ich endlich schweben With You I shall finally soar aloft, Voller Freud ohne Zeit full of joy beyond time Dort im andern Leben. there in the other life.

O magnum mysterium O great mystery et admirabile sacramentum,* and wondrous humility, ut animalia viderent Dominum natum, that animals should see the Lord newborn, jacentem in praesepio. lying in a manger. O beata Virgo, cujus viscera meruerunt O blessed Virgin, whose womb was worthy portare Dominum Jesum Christum. to bear the Lord Christ Jesus. Alleluia!

11. Recitative (Tenor) Evangelist: Und die Hirten kehrten wieder um, And the shepherds went back again, preiseten und lobten Gott um alles, glorifying and praising God for all das sie gesehen und gehöret hatten, that they had seen and heard, wie denn zu ihnen gesaget war. as it had been said to them.

*The Latin word “sacramentum” does not refer to a sacrament, as we understand the term today. In classical Latin it refers to submission or commitment to the service of a higher power or, in the legal context, a “sacred deposit” or “guaranty,” i.e., a formal promise to pay a debt.


Veni, veni Emmanuel – M. Dicke Come, come, Emmanuel

Dispel the fog of night and drive away the shadows of death. Rejoice! . . . Veni, veni, Rex Gentium, veni, Redemptor omnium, Come, come, King of the Nations! Come, Redeemer of all ut salvas tuos famulos peccati sibi conscios. Gaude! . . . to save Your servants who acknowledge their sin. Rejoice! . . .

Veni, veni Emmanuel, captivum solve Israel Come, come Emmanuel, free captive Israel qui gemit in exsilio privatus Dei Filio. who mourns in exile deprived of the Son of God. Refrain: Gaude! Gaude! Emmanuel nascetur pro te, Israel! Rejoice! Rejoice! Emmanuel will be born to You, Israel.   Veni, O veni, Sapientia, quae hic disponis omnia; Come, O come, Wisdom, who orders all things; veni, viam prudentiae ut doceas et gloriae. Gaude! . . . come, teach us the path of knowledge and glory. Rejoice! . . .

Text: Latin, c. 12th century: Psalteriolum Cantionum Catholicarum, Köln, 1710.

Corde natus ex parentis – M. Dicke Of the Father’s love begotten 1 (4). Corde natus ex parentis ante mundi exordium, Begotten of the Father before the world began, A et O cognominatus, ipse fons et clausula He is Alpha and Omega, the beginning (source) and the end; omnium quae sunt, fuerunt, quaeque post futura sunt. [Saeculorum saeculis.]* all that is, was, everything that is yet to be. [Evermore and evermore.]

Veni, veni Adonai, qui populo in Sinai Come, come Adonai (LORD), who to the people in Sinai legem dedisti vertice in majestate gloriae. Gaude! . . . gave the Law on the top of the mountain in glorious majesty. Rejoice! . . . Veni, O Jesse virgula, ex hostis tuos ungula, Come, O Shoot of Jesse! From the talons of Your enemy, de spectu tuos tartari educ et antro barathri. Gaude! . . . from the pit of hell and the hollow abyss, deliver us. Rejoice! . . .   Veni, Clavis Davidica, regna reclude caelica; Come, Key of David; unlock the kingdom of heaven. fac iter tutum superum et claude vias inferum. Gaude! . . . Make safe the way to the things above and close the path to hell. Rejoice! . . .   Veni, veni O Oriens, solare nos adveniens; Come, come, O Rising Sun; shine on us by Your coming. noctis depelle nebulas dirasque mortis tenebras. Gaude! . . .

2 (7). O beatus ortus ille, virgo cum puerperal O that blessed birth when a virgin bore a child edidit nostram salutem feta Sancto Spiritu, conceived by the Holy Spirit to bring about our salvation; et puer redemptor orbis os sacratum protulit! [Saeculorum saeculis.] and the boy, Redeemer of the world, revealed His sacred face! [Evermore and evermore.] 3 (9). Ecce, quem vates vetustis concinebant saeculis, Behold, this is He who the ancient seers sang of long ago; quem prophetarum fideles paginae spoponderant, who the trustworthy scrolls of the prophets solemnly promised. emicat promissus olim: cuncta conlaudent eum!


[Saeculorum saeculis.] Now He springs forth, promised of old. Let all things praise Him together! [Evermore and evermore.]

So können wir den scharfen Klauen then we can escape the sharp claws Des Feindes unversehrt entgehn. of the enemy unhurt.

4 (8). Psallat altitudo caeli, psallite omnes angeli, Sing with the lyre heights of heaven, play and sing all you angels! quidquid est virtutis usquam psallat in laudem Dei, Let the virtuous everywhere sing praise to God! nulla linguarum silescat, vox et omnis consonet! Let no tongue be silent and every voice resound! [Saeculorum saeculis.] [Evermore and evermore.]

2. Recitative (Tenor, Bass) Evangelist: Da berief Herodes die Weisen heimlich Then Herod summoned the wise men secretly und erlernet mit Fleiß von ihnen, wenn and diligently learned from them when der Stern erschienen wäre? the star had appeared. und weiset sie gen Bethlehem und sprach: And he directed them to Bethlehem and said,

5. Tibi, Christe, sit cum Patre hagioque Pneumate To You, Christ, with the Father and the Holy Spirit hymnus, decus, laus perennis, gratiarum actio, be hymns, glory, eternal praise, thanksgiving, honor, virtus, victoria, regnum aeternaliter. honor, virtue, victory, everlasting kingdom. Saeculorum saeculis. Evermore and evermore.

Herod: “Ziehet hin und forschet fleißig nach Go there and enquire carefully dem Kindlein, about the little Child; und wenn ihr’s findet, and when you have found him, sagt mir’s wieder, come back and bring me word dass ich auch komme und es anbete.” so that I also may go and worship him.

* “Saeculorum saeculis” means literally “of the ages, to the ages.”

3. Recitative (Soprano) Du Falscher, suche nur den Herrn zu fällen, Liar, you seek the Lord only to bring him down, Nimm alle falsche List, [and] use every false artifice Dem Heiland nachzustellen; to waylay the Savior; Der, dessen Kraft kein Mensch ermißt, He whose power no man can measure Bleibt doch in sichrer Hand. yet remains in safe hands. Dein Herz, dein falsches Herz ist schon, Your heart, your false heart, is already – Nebst aller seiner List, with all your treachery, des Höchsten Sohn, by the Son of the Most High, Den du zu stürzen suchst, sehr wohl bekannt. whom you seek to cast down – very well-known.

Text: St. 1-4 from Hymnus omnis horae (Hymn for All Seasons), a 38-stanza poem by Aurelius Prudentius Clemens (348-c413). Stanza numbers in parentheses indicate position in the original poem.

Herr, wenn die stolzen Feinde schnauben BWV 248, VI – J. S. Bach Lord, when our arrogant enemies snort 1. Chorus (S A T B) Herr, wenn die stolzen Feinde schnauben, Lord, when our arrogant enemies snort, So gib, dass wir im festen Glauben grant that we in firm faith Nach deiner Macht und Hülfe sehn! may look to Your strength and help! Wir wollen dir allein vertrauen, We want to trust You alone; 7

4. Aria (Soprano) Nur ein Wink von seinen Händen Just a wave of His hands Stürzt ohnmächtger Menschen Macht. casts down the powerless strength of man. Hier wird alle Kraft verlacht! Here all might is derided! Spricht der Höchste nur ein Wort, If the Most High speaks but one word Seiner Feinde Stolz zu enden, to put an end to the pride of his enemies, O, so müssen sich sofort oh, then at once must Sterblicher Gedanken wenden. thoughts of mortals be changed.

6. Chorale (S A T B) Ich steh an deiner Krippen hier, I stand here at your crib, O Jesulein, mein Leben; O little Jesus, my Life; Ich komme, bring und schenke dir, I come, bring, and give you Was du mir hast gegeben. what you have given to me. Nimm hin! es ist mein Geist und Sinn, Take it! It is my spirit and mind, Herz, Seel und Mut, nimm alles hin, heart, soul, and courage; take it all Und lass dirs wohlgefallen! and let it be pleasing to You!

5. Recitative (Tenor) Evangelist: Als sie nun den König gehöret hatten, And when they had heard the King, zogen sie hin. they went away. Und siehe, der Stern, And behold, the star, den sie im Morgenlande gesehen hatten, which they had seen in the East, ging für ihnen hin, went before them bis dass er kam und stund oben über, until it came and stood over the place da das Kindlein war. where the little Child was. Da sie den Stern sahen, When they saw the star, wurden sie hoch erfreuet they rejoiced greatly und gingen in das Haus und funden and went into the house and found das Kindlein mit Maria, seiner Mutter, the child with Mary, His mother, und fielen nieder und beteten es an and fell down and worshiped Him und täten ihre Schätze and opened their treasures auf und schenkten ihm Gold, and gave Him gold, Weihrauch und Myrrhen. frankincense, and myrrh.

7. Recitative (Tenor) Evangelist: Und Gott befahl ihnen im Traum, dass sie And God commanded them in a dream that they sich nicht sollten wieder zu Herodes lenken, should not return to Herod, und zogen durch einen andern Weg and so they departed by another way wieder in ihr Land. back to their own country. 8. Recitative (Tenor) So geht! Genug, mein Schatz Go then! [It is] enough that my Treasure geht nicht von hier, does not depart from here. Er bleibet da bei mir, He stays here with me; Ich will ihn auch nicht von mir lassen. I will not let Him leave me. Sein Arm wird mich aus Lieb His arm will me – out of love Mit sanftmutsvollem Trieb with a motive full of gentleness Und größter Zärtlichkeit umfassen; and with great tenderness – embrace. Er soll mein Bräutigam verbleiben, He will remain my Bridegroom; Ich will ihm Brust und Herz verschreiben. I will to Him dedicate my breast and heart. Ich weiß gewiss, er liebet mich, I know for certain that He loves me;


10. Recitative (S A T B) Was will der Höllen Schrecken nun, What would the terror of hell do now, Was will uns Welt und Sünde tun, what would the world and sin do to us, Da wir in Jesu Händen ruhn? since we rest in Jesus’ hands?

Mein Herz liebt ihn auch inniglich my heart also loves Him dearly Und wird ihn ewig ehren. and will always honor Him. Was könnte mich nun für ein Feind How could any foe hurt me now Bei solchem Glück versehren! amidst such good fortune? Du, Jesu, bist und bleibst mein Freund; You, Jesus, are and remain my friend; Und werd ich ängstlich zu dir flehn: and if I implore You anxiously, Herr, hilf!, so lass mich Hülfe sehn! “Lord, help!,” then let me see Your help

11. Chorale (S A T B) Nun seid ihr wohl gerochen Now you are well avenged An eurer Feinde Schar, on your enemy host, Denn Christus hat zerbrochen, for Christ has shattered Was euch zuwider war. what was against you. Tod, Teufel, Sünd und Hölle Death, devil, sin, and hell Sind ganz und gar geschwächt; are completely weakened. Bei Gott hat seine Stelle With God has its place Das menschliche Geschlecht. the human race.

9. Aria (Tenor) Nun mögt ihr stolzen Feinde schrecken; Now might you arrogant enemies [try to] terrify. Was könnt ihr mir für Furcht erwecken? What fear can you arouse in me? Mein Schatz, mein Hort ist hier bei mir. My Treasure, my Refuge, is here with me. Ihr mögt euch noch so grimmig stellen, Though you may appear ever so fierce Droht nur, mich ganz und gar zu fällen, and threaten to cast me down altogether, Doch seht! mein Heiland wohnet hier. yet look! My Savior dwells here


Savior of the Nations, Come, LSB 332

332 Savior of the Nations, Come






God the Father was His source, God the Father was His source, Back to God He ran His course. Back to God He ran His course. Into hell His road went down, Into hell His road went down, Back then to His throne and crown. Back then to His throne and crown.


For You are the Father’s Son Who in flesh the vict’ry won. Who in flesh the vict’ry won. By Your mighty pow’r make whole By Your mighty pow’r make whole All our ills of flesh and soul. All our ills of flesh and soul.


FromShines the manger newborn in glory throughlight the night. Shines in glory through the night. Darkness there no more resides; Darkness there more resides; In this lightno faith now abides. In this light faith now abides.

For You are the Father’s Son

From the manger newborn light

Glory to the Father sing,

8 GloryGlory to thetoFather sing, the Son, our king, GloryGlory to thetoSon, our the Spiritking, be GloryNow to the Spirit be eternity. and through Now and through eternity.

© 2006 Concordia Publishing House. Used by permission: LSB Hymn License .NET, no. 100010935.; © 1978 Concordia Publishing House. Used by permission: LSB Hymn Licen 100010935. Public domain


Martin Dicke Martin Dicke has been cantor at Trinity Lutheran Church, Peoria, Ill., since 2002. As cantor he plans worship services, directs several ensembles, serves as primary organist, and oversees the Trinity Concert Series ( and the Peoria Bach Festival ( Founded in 2003, the Peoria Bach Festival grew quickly from a weekend event to an entire week of concerts and activities, including a program for children. Recent performances include J. S. Bach’s St. Matthew Passion (2010), Easter Oratorio (2011), and Christmas Oratorio (2012). A perpetual student of the choral art, Dr. Dicke has master’s and doctoral degrees in choral conducting (University of Minnesota and Iowa respectively) and has studied and sung under Robert Shaw, Weston Noble, Erik Erikson, and most recently Raymond Erickson. Born in Papua New Guinea into a family of pastors and missionaries, Dr. Dicke maintains a high interest in foreign missions. After attending Concordia University, St. Paul, he served churches in both Minnesota and Iowa, taught at a Lutheran high school for 15 years, founded and directed a select choir in St. Paul/Minneapolis for 10 years, and conducted the Chamber Singers of Iowa City for three. He is currently the Dean of the Peoria Chapter of the American Guild of Organists and is preparing his dissertation for publication by A-R Editions, a publisher of editions of early music. Two of the Latin motets on this afternoon’s program were composed by him last Christmas and dedicated to the American Kantorei in memory of the Rev. Robert Bergt and in thanksgiving for 20 years of Bach at the Sem concerts. A selection of his compositions is available at


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) 12

The American Kantorei Jeral Becker, Interim Director and Conductor, Choir Personnel Director Wanda Becker, Concertmaster and Orchestra Personnel Director Chorus Soprano Emily Truckenbrod, Principal Jean Baue, Assistant Principal Katherine Gastler Marita Hollander Melissa Kinsey Camille Marolf Deanna Merz Lynn D. Morrissey Sylvia Witt

Tenor Jeral Becker, Principal Scott Kennebeck, Assistant Principal Jerry Bolain Willard Cobb Greg Gastler William Larson Ryan Markel Steve Paquette Spencer Stephens

Alto Katharine Lawton Brown, Principal Stephanie Ruggles, Assistant Principal Loretta Ceasar-Striplin Lisa Gines Mona Houser Christa Steinbacher Xiaoying Wang Lisa Young

Bass David Berger, Principal Jeffrey Heyl, Assistant Principal Joe M. Beran Robin Fish, Jr. Andrew Jones Gary Lessmann Matthew Warmbier

Orchestra Violin I Wanda Becker, Concertmaster Jane Price Christine Sasse

Cello Andrew Ruben

Violin II Kaoru Wada, Principal Marilyn Park Ellington Tova Braitberg

Flute Paula Kasica, Principal Jennifer Adams

Viola Sarah Borchelt, Principal Dee Sparks

Double Bass Frederick DeVaney

Oboe / Oboe d’amore Ann Homann, Principal Eileen Burke Bassoon Robert Mottl


Trumpets John Korak, Principal Robert Souza Mary Weber Timpani Alan Schilling Positiv (Continuo) Organ Joan Bergt Chapel Organ Martin Dicke

Bach at the Sem Enriches Lives! Bach at the Sem is brought to you by Concordia Seminary and the generous patrons of this series, including the “Friends of Bach at the Sem.” Children, students, families, and members of the community are all enriched by the professional, live performances of the music of Johann Sebastian Bach and other master composers of the Christian musical heritage. The excellent guest conductors and skilled musicians bring this music to life for us to savor. To support Bach at the Sem, as well as the search for a new permanent music director of the American Kantorei, and to ensure the future viability of the series, we have inaugurated a sponsorship program called “Friends of Bach at the Sem.” We are inviting you to become a Friend and one of the important patrons of this concert series. Your gift of $1,000, $500, or $100 is welcomed and encouraged. We were very blessed to have received a new challenge grant for the 2013-2014 season. Today, your gift is especially good stewardship because every dollar you give or pledge will be matched dollar for dollar up to the first $30,000. This is a terrific opportunity to give thanks for the many years of wonderful concerts and to give a gift to join the Friends support program. Please respond as the Lord leads. Every gift to Bach at the Sem is important!

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


Welcome to Bach at the Sem! The flurries of the holiday season are coming at us, flurries of activity, of pressure and sometimes flurries of cold, snowy, harsh weather. Your friends and neighbors at Concordia Seminary hope that this afternoon you will find a welcome time of rest. “Mary treasured up all these things, pondering them in her heart.” (Luke 2:19) There was much coming and going when Jesus was born long ago. In our time, the busyness has so intensified that it takes a conscious personal decision to disengage and reflect on what is most important in our short lives. So we welcome you on this first December day, and we pray for you and yours the blessed peace of this Christmas season. We extend a special welcome to guest conductor, Dr. Martin Dicke. Thank you for your expertise in conducting and for your musical compositions that serve us this afternoon by centering us on the mysteries of this season. Interim Director Jeral Becker and the American Kantorei continue to be special gifts to us. To you our community says a most sincere “thank you.” And again to each of you, thank you for your attendance at and participation in Bach at the Sem. May we sit, like Mary, pondering in our hearts the treasures that today’s music brings. Dale A. Meyer President


American Mosaic songs of our people

American Chamber Chorale Season XIII

Season XIII Concerts Season Preview Gathering Saturday, Oct. 19, 7:30pm Candlelight Christmas Saturday, Dec. 7, 2013 7:30pm Family Christmas Sunday, Dec. 15, 3:00pm Witness

with special guest Denise Thimes Saturday, March 1, 7:30pm & Sunday, March 2, 2014, 3pm

Skip To My Lou Saturday, May 10, 2014, 7:30pm

2013 - 2014

The American Chamber Chorale is unique among area choruses, frequently incorporating other artistic mediums into concerts through collaborations with other area arts organizations. Concerts are designed to engage and inspire audiences of all backgrounds as the Chorale and Orchestra present a mix of masterworks from the past and the very best of modern choral repertoire, often giving premiere performances of great works in St. Louis.

Stephen Morton Artistic Director and Conductor

Mindful of our responsibilities as members of the community, the ACC performs concerts each season to benefit local charities serving the less fortunate in the St. Louis area. In the words of Artistic Director Stephen Morton,

Concerts this season benefit:

Kingdom House Feed My People & Let’s Start

“In a world teeming with forces that divide, choral singing encourages, expresses, and exemplifies a true sense of community”.

Special discounts for seniors, students, and children

Become a member of “Friends of Bach at the Sem!” “Friends of Bach at the Sem” are sharing the precious legacy of the music of J. S. Bach and enriching the cultural life of Concordia Seminary and the St. Louis community. Your gift is especially good stewardship because every dollar you give or pledge will be matched dollar for dollar up to the first $30,000. Every gift to Bach at the Sem is important! Please call 314-505-7009 or email to join.

Philip Barnes Artistic Director

Join one of the country’s best a cappella choirs for our 58th season!




October 6 • 3 pm Ethical Society of St Louis 9001 Clayton Road • St. Louis • 63117

February 23 • 3 pm 560 Music Center 560 Trinity Ave • University City • 63130



Old English

Old Church Slavonic

November 10 • 3 pm United Hebrew Congregation 13788 Conway Road • St Louis • 63141 December 22 • 3 pm St Luke the Evangelist Catholic Church 7230 Dale Ave • St. Louis • 63117

April 13 • 3 pm John Burroughs School Theatre 755 S Price Road • Ladue • 63124 May 25 • 3 pm Saint Stanislaus Kostka Church 1413 N 20th St • North St Louis • 63106

Subscribe & Save with SEASON TICKETS

General $160 • Students $48

For tickets or brochure call


PO Box 11558 St. Louis, MO 63105 slcc58 3.75x5Concordia.indd 1

8/29/13 1:34 PM

Bach at the Sem | December 2013  

Guest conductor Martin Dicke J. S. Bach: Christmas Oratorio, BWV 248, III, Herrscher des Himmels, erhöre das Lallen; BVW 248, VI, “Herr, wen...

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