Bach at the Sem | February 2014

2013–2014 Series

February 16, 2014 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 bach.csl.edu | www.csl.edu

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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 for continuing to provide space and valuable services for the Bach at the Sem series.

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Bach at the Sem February 16, 2014, 3:00 p.m.

Dr. Maurice Boyer, Guest Conductor The American Kantorei Dr. Jeral Becker, Interim Director In Nomine Jesu Cantata, Gott fähret auf mit Jauchzen, BWV 43

(God ascends with joyful shouts) 1. Chorus 2, 3. Tenor Recitative and Aria (Jeral Becker) 4, 5. Soprano Recitative and Aria (Emily Truckenbrod) 6, 7. Bass Recitative and Aria (David Berger) 8, 9. Alto Recitative and Aria (Katharine Lawton Brown) 10. Soprano Recitative (Sylvia Witt) 11. Chorale

Johann Sebastian Bach

Jauchzet dem Herrn alle Welt, Motet for Double Chorus (Make a joyful noise to the Lord, all the earth)

Johann Pachelbel

Hymn: “Thy Strong Word Did Cleave the Darkness” The assembly stands to sing hymn provided on page 8

or in Lutheran Service Book (LSB) 578: 1,4,5,6

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

Missa Brevis in A Major, BWV 234 Johann Sebastian Bach (Short Mass in A Major) Kyrie 1. Kyrie eleison – Chorus Christe eleison – Solo Quartet

(Emily Truckenbrod-Soprano, Stephanie Ruggles-Alto, Scott Kennebeck-Tenor, David Berger-Bass) Kyrie eleison – Chorus Gloria 2. Gloria in excelsis Deo – Chorus Et in terra pax – Alto Solo (Lisa Gines) Laudamus te – Chorus Adoramus te – Bass Solo (Matthew Warmbier) Glorificamus te – Chorus Adoramus te – Tenor Solo (Scott Kennebeck) Glorificamus te, Gratias agimus tibi – Chorus 3. Domine Deus – Bass Aria (Jeffrey Heyl) 4. Qui tollis peccata mundi – Soprano Aria (Jean Baue) 5. Quoniam tu solus sanctus – Alto Aria (Stephanie Ruggles) 6. Cum sancto spiritu – Chorus Soli Deo Gloria

Program Notes Gott fähret auf mit Jauchzen, BWV 43 (Bach)

Part II opens with a startlingly imaginative and almost operatic depiction of Christ as “Hero of heroes” and “Satan’s Prince and Terror” (bass recitative). In the ensuing aria, the “Hero of heroes” is shown as “treading alone the winepress.” Here is an allusion to the Suffering Servant of the latter part of the Book of the Prophet Isaiah. The bloodstained Christ (the suffering servant) suffered greatly, but the crushing in the end was not His but that of His adversary: Satan, Sin, and Death. Rather than with a crown of thorns, we are invited to bedeck Him, “The Hero of heroes,” with garlands.

The Feast of the Ascension of our Lord has been somewhat eclipsed by the other major Feast days: Christmas, Easter or Pentecost. Yet, according to the Scriptures, it is of crucial importance.

In this musical sermon, Bach reveals his keen understanding of the essential place of Christ’s Ascension in the unfolding of God’s plan of Reconciliation and Salvation.

Composed in May 1726, Cantata BWV 43 dates from the fourth year of Bach’s Cantorate in Leipzig. It employs a rich orchestral palette (2 oboes, 3 trumpets, timpani, strings and basso continuo), one befitting its liturgical occasion. Its text comprises an anonymous poem to which are added an Old Testament text (Psalm 47:5-6), a New Testament text (the Gospel of the day, Mark 16:19) and a chorale (Du Lebensfürst, Herr Jesu Christ). In spite of its 11-movement bipartite structure, Cantata 43 unfolds swiftly—the whole lasts only about 20 minutes. All the movements are through composed (no da capo arias or choruses), and each is relatively short. Still, as always with Bach, the work is full of musical gems that are rich in theological understanding.

Of all the movements, the alto aria may be the most subtly layered. To begin with, it is the first occasion in the cantata that the pronoun “I” appears: “I stand here along the way and gladly/ yearningly gaze on Him.” Thus, from an objective narrative, the piece enters the realm of subjective significance. The aria paints a picture of Christ’s continually fighting to set His servants free from affliction, grief, and shame – in short, from the clutches of His enemies. Struggle is heard in the thorny chromaticism, is seen on the page in the profusion of sharps (in German, sharps are “Kreuze” or crosses), and is felt by the singer in an aria that is difficult to sing.

After a stately and noble opening, reminiscent of a regal procession, the first movement erupts into an exuberant fugue. The text from Psalm 47:5-6 refers to God as King rising, presumably to His throne. The fugue subject itself, first heard in the trumpet, includes a wide leap (a 6th) and an ascending figure, both of which musically depict the ascent of God (Christ). This ascending motion is further embodied in the orchestral accompaniment with its own rapidly rising flourishes and with the graded entrances of the choir from bass to soprano.

A number of instances of text-painting bear mention. For “I stand here along the way,” the singer sustains a single pitch as the two oboes (the Father and the Son now at His side?) wend their way above the range of the singer in consonant thirds and sixths. At “to help His servants,” the oboes are withdrawn only to reenter after those words are uttered. Here, the music depicts Christ Himself descending into the desolate pit of our affliction to lift us up to the Father, reconciling us to Him.

Continuing in this dramatic vein, the tenor recitative and aria extol the King of kings who has won a great victory, delivering the captives from their captivity. The soprano then reveals in a more reflective mode the identity of this mighty and ascending warrior: Jesus who has accomplished the work of Salvation.

In the end, we, like the soprano of the final recitative, are invited to stand here, in our present circumstances (“along the way”), and call on Christ with gratitude, knowing that He has drawn/ will draw us to Himself. Throughout the cantata, Christ is referred to as King, King of kings, Hero of heroes, Satan’s Prince and Terror, and finally as Prince of Life. It is as such that He is addressed in the final chorale!

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Jauchzet dem Herrn (Pachelbel)

All the movements of the Gloria have been traced back to pre-existing cantata movements. However, the provenance of the tri-partite Kyrie has not been determined. (Is it based on a lost cantata, or was it freshly composed for this Mass?) Compared to the monumental and imploring Kyrie I of the B minor Mass, the Mass in A’s Kyrie I is intimate and surprisingly serene. The music eschews all anxiety and distress. What is one to make of it? Is it just abstractly elegant music written in stile gallant, the less complex style in fashion at the time?

The kinship of musical material between Kyrie I and the “Et in terra pax” section of the Gloria— its gentle, pastoral expressive tenor—suggests otherwise. A clearer understanding is found by looking ahead to the Gloria.

“Jauchzet dem Herrn,” one of Johann Pachelbel’s eleven extant motets, is scored, as are all but one, for double chorus. In today’s performance, it is sung unaccompanied. This jubilant song of praise is in the pure key of C major (all white keys on the piano). Its textures are predominantly homophonic (voices moving together), the choirs interacting mostly antiphonally (responsively), coming together at cadences.

Two striking points in this wonderful motet bear highlighting. First, when the text reaches “For the Lord is gracious and his mercy endures forever,” all eight parts come together in strict homophony as if all creation were united in one song of praise. The harmonic language is also simplified, becoming diatonic, devoid of any chromaticism.

Through these musical means, Pachelbel is upholding as central the abiding and lustral, or purifying, nature of God’s mercy.

The first section of the five-part Gloria (“Gloria in excelsis”) is a reworking of the aria, “Friede sei mit euch” (Peace be with you), for bass and choir from Cantata BWV 67, Halt im Gedächtnis Jesum Christ (Hold in mind Jesus Christ), for the First Sunday after Easter. In the Gospel reading of the day, the disciples find themselves essentially hiding for their lives. Suddenly, Christ appears to them saying, “Peace be with you!” In like manner, the aria for bass and chorus shows the Vox Christi (voice of Christ) uttering the same words of comfort to the chorus, the faithful in distress, struggling against the attacks of the evil foe. It is one of Bach’s most arresting evocations of comfort. No less stirring is the composer’s insightful adaptation of this very material for the Gloria.

Second, receiving the most extensive and elaborate musical treatment is the final line of the Psalm: “And His truth (endures) for all time.” At first the two choirs conjoin in imitative polyphony—the most sophisticated and complex music so far—and then separate, returning to the simpler antiphonal homophony of the opening. The music is fresh and jubilant throughout. Pachelbel’s varied and imaginative treatment of the text points to his understanding of the beauty, vastness, depth and all-encompassing nature of God’s truth.

Missa in A, BWV 234 (Bach)

Here, the choir, representing the heavenly host, sings exuberant words of praise, blessing, and glory (“Gloria in excelsis Deo”). By contrast, the three soloists utter words of peace and adoration: “Et in terra pax hominibus bonae voluntatis” and three times “Adoramus te.” The movement ends with the choir singing “Gratias agimus tibi, Domine” (we give thanks to you, O Lord). By overlaying the Mass movement and the cantata movement, Christ shines through as being the One who at the core speaks the words, “Et in terra pax.”

He is the “object” and recipient of our adoration (“Adoramus te”), but also its subject. As His voice is the one echoing beneath the Mass movement,

In Bach’s oeuvre, the four Lutheran Masses or Missae (Kyrie and Gloria only) have often been undervalued for being parodies (adaptations) of pre-existing works (cantatas for the most part).

The trend has thankfully shifted. In Bach’s hands, parody becomes an opportunity for adding layers of meaning to his musical canvas. In its use of parody and in its overall structure, the delicately orchestrated Mass in A, composed in 1738, is singularly revelatory of Bach’s theological mind in action, and particularly of the Christocentrism of his thinking.

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one can say that He is also the One who, having bestowed peace, grants the capacity to adore in gratitude. Adoration is our gift of love to the Christ.

This semantic layering further affords Bach the opportunity to reveal the opening Kyrie as proleptic, or a foreshadowing, of the Gloria; it is “backlit” by the Gloria. If this suggestion bears out, then Bach is articulating something of rich theological significance for the faithful: namely that our plea for mercy begins with Christ’s promise of peace and that He is, in fact, the One who grants us the capacity even to ask for mercy.

Furthermore, asking for mercy and giving thanks, which are the core of the Eucharist (Thanksgiving), are revealed as inextricably linked in the one-andsame act of Adoration of God, who is our Creator, Redeemer, and Sustainer. I would thus offer that Kyrie I was written for the occasion of the creation of the Mass and with the Gloria in mind.

is stripped away, leaving violins and violas in unison as the lowest instruments. Above this quasi-bass line, two flutes plangently intertwine.

The delicacy of these instruments (especially wooden Baroque transverse flutes) yields a quality of fragility and vulnerability. In orchestral color and expressive tenor, it calls to mind the aria from the St. Matthew Passion: “Aus Liebe will mein Heiland sterben” (Out of love does my Savior die), also sung by a soprano. In both arias, the abandonment, abasement, and humiliation of Christ, the Lamb of God, are starkly evinced and poignantly felt.

As in the narrow confines of the cantata’s alto aria, so here in the overall structure of the multisection Gloria, Bach shows Christ’s descent into and among humanity for its salvation.

The humiliation and exaltation of Christ are two aspects of the one act of redemption and reconciliation. The prayer for mercy is addressed to the One who died, rose from the dead and now sits at the right hand of the Father. Having begun today’s concert at the Ascension of Christ, we end in praise of the Trinity. We have come full circle.

At the center of the Gloria’s five sections stands the soprano aria: “Qui tollis peccata mundi” (who takes away the sins of the world). In Christian theology, these words are “the heart of the matter.”

In the overall structure of the Gloria, this section is the lowest point harmonically and is reached by descent. From here, an ascent leads to the final section, “Cum sancto Spiritu.” Bach here is depicting in sound the humiliation and the exaltation of Christ in His saving sacrifice: A major—F# minor—B minor—D major—A major.

In close, let us return to the Gloria and entertain for a moment with noted Bach scholar Alfred Mann the idea that the three soloists singing “Adoramus te” may represent the Wise Men who came from afar to worship the new born King in Bethlehem. In such light, the singing and hearing of this Mass on the sixth Sunday of the Epiphany of our Lord becomes all the more significant as we ourselves seek to adore this King, who by His grace reveals Himself to us as Savior and is newly born and formed in us daily.

The aria itself is an adaptation of Cantata BWV 179’s soprano aria: “Liebster Gott, erbarme dich” (Dearest God, have mercy). In the B section of this aria are the words, “Hilf mir, Jesu, Gottes Lamm” (Help me, Jesus, Lamb of God). The connection to the Mass is obvious, but Bach’s insightful changes add poignancy. The bass line

Program Notes by Maurice Boyer

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Text and Translation Gott fähret auf mit Jauchzen, BWV 43 God ascends with joyful shouts - J. S. Bach 1. Chorus (S A T B) Gott fähret auf mit Jauchzen God ascends with joyful shouts und der Herr mit heller Posaunen. and the Lord with ringing trumpets.

Lobsinget, lobsinget Gott, Sing praises, sing praises to God; lobsinget, lobsinget unserm Könige. sing praises, sing praises to our King.

4. Recitative (Soprano) “Und der Herr, nachdem er mit ihnen geredet hatte, “And the Lord, after He had spoken with them, ward er aufgehaben gen Himmel was taken up to heaven und sitzet zur rechten Hand Gottes.” and sits at the right hand of God.” 5. Aria (Soprano) Mein Jesus hat nunmehr My Jesus has now Das Heilandwerk vollendet His work of salvation completed Und nimmt die Wiederkehr and makes His return Zu dem, der ihn gesendet. to the One who sent Him. Er schließt der Erde Lauf, He finishes His earthly race.

Ihr Himmel, öffnet euch You heavens, be open Und nehmt ihn wieder auf! and take Him up once more!

2. Recitative (Tenor) Es will der Höchste sich ein Siegsgepräng bereiten, The Highest would prepare for Himself a victory parade, Da die Gefängnisse er selbst gefangen führt. for captivity He Himself leads captive.

Wer jauchzt ihm zu?

Who shouts with joy for Him? Wer ists, der die Posaunen rührt?

Who is it who sounds the trumpets?

Wer gehet ihm zur Seiten?

Who goes at His side?

Ist es nicht Gottes Heer, Is it not God’s host Das seines Namens Ehr, that [who] of the honor of His Name, Heil, Preis, Reich, Kraft und Macht salvation, praise, kingdom, power, and might mit lauter Stimme singet with loud voices sings Und ihm nun ewiglich ein Halleluja bringet. and to Him now eternally brings a hallelujah?

6. Recitative (Bass) Es kommt der Helden Held, He comes, the Hero of heroes, Des Satans Fürst und Schrecken, Satan’s Prince and terror, Der selbst den Tod gefällt, who felled death itself, Getilgt der Sünden Flecken, blotted out sin’s stains,[and] Zerstreut der Feinde Hauf; scattered the enemy horde.

Ihr Kräfte, eilt herbei You powers, hasten here Und holt den Sieger auf. and raise the Conqueror high.

3. Aria (Tenor) Ja tausend mal tausend begleiten den Wagen, Yes, a thousand times a thousand accompany the chariot Dem König der Kön’ge lobsingend zu sagen, the King of Kings in songs of praise to tell Daß Erde und Himmel sich unter ihm schmiegt that earth and heaven bow down beneath Him Und was er bezwungen, nun gänzlich erliegt. and what He has conquered now completely submits.

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7. Aria (Bass) Er ists, der ganz allein He it is, who by Himself Die Kelter hat getreten the winepress has trodden, Voll Schmerzen, Qual und Pein, full of suffering, torment, and pain, Verlorne zu erretten to save those who were lost Durch einen teuren Kauf. through a costly purchase.

Ihr Thronen, mühet euch You Thrones, bestir yourselves Und setzt ihm Kränze auf! and place garlands on Him!

10. Recitative (Soprano) Er will mir neben sich He would for me near Himself Die Wohnung zubereiten, a dwelling prepare Damit ich ewiglich so that I eternally Ihm stehe an der Seiten, stand at His side, Befreit von Weh und Ach! freed from pain and woe!

Ich stehe hier am Weg I stand here along the way Und ruf ihm dankbar nach. and call gratefully after Him.

8. Recitative (Alto) Der Vater hat ihm ja The Father has indeed for Him Ein ewig Reich bestimmet: an eternal kingdom ordained.

Nun ist die Stunde nah, Now is the hour at hand Da er die Krone nimmet when He takes His crown Vor tausend Ungemach. for [bearing] a thousand hardships.

Ich stehe hier am Weg I stand here along the way Und schau ihm freudig nach. and look toward Him with joy.

11. Chorale (S A T B) 1. Du Lebensfürst, Herr Jesu Christ, You Prince of life, Lord Jesus Christ, Der du bist aufgenommen who have been taken up Gen Himmel, da dein Vater ist into heaven, where Your Father is Und die Gemein der Frommen, and the congregation of the righteous, Wie soll ich deinen großen Sieg, how should I Your great victory – Den du durch einen schweren Krieg that you through a hard war Erworben hast, recht preisen have won – rightly praise Und dir g’nug Ehr erweisen? and You sufficent honour render?

9. Aria (Alto) Ich sehe schon im Geist, I see already in spirit Wie er zu Gottes Rechten how He at God’s right hand Auf seine Feinde schmeißt, casts away His enemies Zu helfen seinen Knechten to help his servants Aus Jammer, Not und Schmach. out of their misery, need, and disgrace.

Ich stehe hier am Weg I stand here along the way Und schau ihm sehnlich nach. and look toward Him with longing.

2. Zieh uns dir nach, so laufen wir, Draw us to you, and we shall run; Gib uns des Glaubens Flügel! give us wings of faith!

Hilf, daß wir fliehen weit von hier Help us, that we may flee far from here Auf Israelis Hügel! to the hills of Israel!

Mein Gott! wenn fahr ich doch dahin, My God! when shall I go there, Woselbst ich ewig fröhlich bin? where I shall be eternally joyful?

Wenn werd ich vor dir stehen, When shall I stand before You, Dein Angesicht zu sehen?

Your countenance to behold?

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Jauchzet dem Herrn alle Welt – Johann Pachelbel Make a joyful noise to the Lord, all the earth (Psalm 100)

2. Gloria Chorus and Soli (S A T B) Gloria in excelsis Deo, Glory be to God on high, et in terra pax hominibus bonae voluntatis. and on earth peace to men of good will.

Laudamus te, benedicimus te, We praise Thee, we bless Thee. adoramus te, glorificamus te.

We worship Thee, we glorify Thee.

Gratias agimus tibi propter magnam gloriam tuam.

We give thanks to Thee for Thy great glory.

Jauchzet dem Herrn alle Welt.

Make a joyful noise to the Lord, all the earth; Dienet dem Herrn mit Freuden. serve the Lord with joy.

Kommet vor sein Angesicht mit Frohlocken.

Come into His presence with rejoicing.

Erkennet, dass der Herr Gott ist.

Recognize that the Lord is God: Er hat uns gemacht, und nicht wir selbst, zu seinem Volk He made us—and not we ourselves— to be His people und zu Schafen seiner Weide. and to be sheep for His pasture.

Gehet zu seinen Toren ein mit Danken, Enter through His gates with thanks, zu seinen Vorhöfen mit Loben. into His forecourts with praise.

Danket ihm, lobet seinen Namen, Give Him thanks and praise His name, denn der Herr ist freundlich for the Lord is gracious, und seine Gnade währet ewig and His mercy endures forever, und seine Wahrheit für und für. and His truth for all time.

3. Aria (Bass) Domine Deus, Rex coelestis, O Lord God, heavenly King, Deus Pater omnipotens, God the Father Almighty, Domine Fili unigenite Jesu Christe, O Lord, the only-begotten Son, Jesus Christ, Domine Deus, Agnus Dei, Filius Patris.

O Lord God, Lamb of God, Son of the Father.

4. Aria (Soprano) Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nobis, have mercy upon us. suscipe deprecationem nostram.

Receive our prayer.

Qui sedes ad dexteram patris, Thou that sittest at the right hand of the Father, miserere nobis. have mercy upon us.

Messe in A dur, BWV 234 Mass in A Major – J. S. Bach

5. Aria (Alto) Quoniam tu solus sanctus, For Thou only art holy; tu solus Dominus, Thou only art the Lord; tu solus altissimus Jesu Christe.

O Jesus Christ, art most high,

1. Kyrie Chorus and Soli (S A T B) Kyrie eleison, Lord, have mercy, Christe eleison, Christ, have mercy, Kyrie eleison.

Lord, have mercy.

6. Chorus and Soli (S A T B) Cum Sancto Spiritu in gloria Dei Patris, amen. with the Holy Ghost in the glory of God the Father. Amen.

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Thy Strong Word Did Cleave the Darkness, LSB 578 578 Thy Strong Word

5 5

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Give us lips to sing Thy glory, Thyglory, mercy to proclaim, ď ˛ 6 Give us lipsTongues to sing Thy

Tounges Thy mercy to shout proclaim, Throats that the hope that fills us, Throats thatMouths shout thetohope thatThy fillsholy us, name. speak

Mouths toAlleluia, speak Thy holy name. alleluia!

Alleluia, alleluia!

May the light which Thou dost send

May the light which Thou dost send Fill our songs with alleluias,

Fill our songs with alleluias, Alleluias without end!

Alleluias without end.

God the Father, light-creator, To Thee laud and honor be.

To Thee, Light of Light begotten, Praise be sung eternally.

Holy Spirit, light-revealer, Glory, glory be to Thee.

Mortals, angels, now and ever Praise the holy Trinity!

God the Father, light-creator, To Thee laud and honor be.

To Thee, Light of Light begotten, Praise be sung eternally.

Holy Spirit, light-revealer, Glory, glory be to Thee.

Mortals, angels, now and ever Praise the holy Trinity!

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Š 1969 Concordia Publishing House. Used by permission: LSB Hymn License .NET, no. 100010935.

Public domain

Maurice Boyer Maurice Boyer is associate professor of music at Concordia University Chicago, where he conducts the chamber orchestra and women’s choir (Laudate) and teaches aural skills. 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 eighteen.

Dr. Boyer holds a doctor of musical arts degree in orchestral conducting from the University of Maryland, College Park. His master of music is in choral conducting and his bachelor of music is in sacred music (with piano as his principal instrument). Both were earned at Westminster Choir College of Rider University in Princeton, New Jersey. His principal conducting teachers have been Joseph Flummerfelt, Kenneth Kiesler, and James Ross. He also studied theology at Princeton Theological Seminary.

Dr. Boyer is artistic director of the Heritage Chorale and of the Aestas Consort, a Chicago-based vocal ensemble specializing in Baroque music. He is assistant conductor of the Symphony of Oak Park and River Forest. He has also been guest conductor for the Chicago Choral Artists and guest chorus master for Chicago’s Music of the Baroque.

About his work with Music of the Baroque, Dennis Polkow of the Chicago Classical Review wrote, “Maurice Boyer’s preparation of the chorus was shown to best advantage. The guest director was able to achieve not only a wonderful blend and unity of choral sound throughout the multi-movement work, but was also able to bring off a wide palette of timbres and contrasting dynamics that threw Handel’s text painting in sharp relief.” Additionally, he has been chorus master of the New Jersey State Opera and music director in several churches.

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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) 10

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 Kathryn Crumrine Katherine Gastler Marita Hollander Melissa Kinsey Camille Marolf Deanna Merz Lynn D. Morrissey Sheridan Morrissey Halle Warmbier 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 Cynthia Bowermaster

Cello Andrew Ruben

Violin II Kaoru Wada, Principal Marilyn Park Ellington Tova Braitberg

Flute Paula Kasica, Principal Jennifer Adams

Viola Dee Sparks, Principal Jennifer Goodman

Double Bass Frederick DeVaney

Oboe Ann Homann, Principal Eileen Burke Bassoon Robert Mottl

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Trumpet John Korak, Principal Robert Souza Mary Weber Timpani Kim Shelley Positiv (Continuo) Organ Joan Bergt Chapel Organ Joan Bergt

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Welcome to Concordia Seminary!

What is it that draws us to experience the music of J.S. Bach? Early in his book, Music in the Castle of Heaven: a Portrait of Johann Sebastian Bach, John Eliot Gardiner writes And, if we accept that one part of the human psyche searches for a spiritual outlet (and, indeed, a spiritual input), then however materialistic our society may have become, however agnostic the Zeitgeist, for those who have the ears to hear it, the confident and overwhelmingly affirmative music of Bach can go a long way towards meeting this need. For Bach is of the very front rank of composers since 1700 whose entire work was geared, one way or another, towards the spiritual and the metaphysical – celebrating life, but also befriending and exorcising death. He saw both the essence and practice of music as religious…. ‘NB’, he wrote in the margin of his copy of Abraham Calov’s Bible commentary [now in Concordia Seminary’s Rare Book Collection], ‘Where there is devotional music, God with his grace is always present.’ (17) We express our sincere gratitude to Dr. Maurice Boyer for serving as today’s guest conductor. His expertise joins the ongoing love of the American Kantorei and Interim Music Director Jeral Becker for the best of music and promises to lead us to experience again the deep reason why Bach attracts us. As the concluding chorale in today’s cantata puts it, “How should I rightly praise your great victory and sufficient honor render? Give us wings of faith!”

We at Concordia Seminary thank you for your presence and your support to help make Bach at the Sem possible. “Where there is devotional music, God with his grace is always present.”

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 beneÞt local charities serving the less fortunate in the St. Louis area. In the words of Artistic Director Stephen Morton,

Concerts this season beneÞt:

Kingdom House Feed My People & Let’s Start

“In a world teeming with forces that divide, choral singing encourages, expresses, and exempliÞes 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 bach@csl.edu to join.

Philip Barnes Artistic Director

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

Greek

2013~2014

Latin

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

Hebrew

Egyptian

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

636-458-4343

PO Box 11558 St. Louis, MO 63105

www.chamberchorus.org slcc58 3.75x5Concordia.indd 1

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