Bach at the Sem | April 2013

2012–2013 Series

April 28, 2013 The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis

Schedule of Concerts Bach at the Sem 2012–2013 October 28, 2012, 3:00 p.m.

Guest conductor: Dr. Martin Dicke J. S. Bach: Cantatas BWV 70, Wachet! Betet!; BWV 80, Ein’ feste Burg; Heinrich Schütz: Motet, Herr, auf dich traue ich

December 2, 2012, 3:00 p.m.

Guest conductor: Dr. Andrew Megill J. S. Bach: Christmas Oratorio, Pt. 1; Cantata BWV 191, Gloria in excelsis Deo; Charles Pachelbel: Magnificat.

March 24, 2013, 3:00 p.m.

(Rescheduled for April 6, 2014)

Guest conductor: Dr. 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 (choruses); G. F. Handel: “Worthy is the Lamb” (from Messiah)

April 28, 2013, 3:00 p.m.

Guest Conductor: Dr. Scott M. Hyslop

J. S. Bach: Cantatas BWV 69, Lobe den Herrn, meine Seele; BWV 190a,

Singet dem Herrn ein neues Lied; BWV 120, Gott, man lobet dich in der

Stille zu Zion (chorus); BWV 143, Lobe den Herrn, meine Seele (chorus) The Chapel of St. Timothy and St. Titus Concordia Seminary, 801 Seminary Place, St. Louis, MO 63105 bach.csl.edu | www.csl.edu 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: The Major Sponsors for the 2012-2013 Bach at the Sem Concert Series.

Anonymous Richard and Phyllis Duesenberg Mr. and Mrs. Sanford N. McDonnell Foundation Rhonda and Alan Zacharias, Zacharias Advancement Consulting, LLC “Friends of Bach at the Sem” Thank you to everyone who has responded so generously to the 2012-2013 Bach at the Sem Challenge Grant. Your gifts have made a significant contribution to the success of this year’s concert series.

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

April 28, 2013, 3:00 p.m.

Dr. Scott M. Hyslop, Guest Conductor The American Kantorei Dr. Jeral Becker, Interim Director In Nomine Jesu Cantata, Singet dem Herrn ein neues Lied, BWV 190a Johann Sebastian Bach (Sing to the Lord a New Song) 1. Chorus 2. Chorale & Recitative (Matthew Meyer, Bass; Spencer Stephens, Tenor; Lisa Gines, Alto) 3. Aria (Gretchen Weber, Alto) 4. Recitative (Martin Dressler, Bass) 5. Aria-Duet (Scott Kennebeck,Tenor; Jeffrey Heyl, Bass) 6. Recitative (Jerry Bolain, Tenor) 7. Chorale Cantata, Lobe den Herrn, meine Seele, BWV 69

(Praise the Lord, my Soul) 1. Chorus 2. Recitative (Joy Boland, Soprano) 3. Aria (Katharine Lawton Brown, Alto) 4. Recitative (Jeral Becker, Tenor) 5. Aria (Martin Dressler, Bass) 6. Chorale

J. S. Bach

Hymn, “Ye Watchers and Ye Holy Ones�

The assembly stands to sing the hymn provided on page 8 and in Lutheran Service Book (LSB) 670 The offerings are received in support of the Bach at the Sem concert series.

Cantata, Gott, man lobet dich in der Stille zu Zion, BWV 120 (God, the People Praise You in the Stillness of Zion) 2. Chorus

J. S. Bach

Cantata, Lobe den Herrn, meine Seele, BWV 143 (Praise the Lord, my Soul) 7. Chorale / Chorus

J. S. Bach

Soli Deo Gloria

Program Notes Q: What do musicological sleuthing, repurposing and reconstruction have in common?

A: Today’s concert!

again with alterations and underwent its final transformation for performance on August 26 of 1748 as a Ratswechselkantate, celebrating the recent election of a new city council for Leipzig.

The first three works on today’s program were written for civic and ecclesiastical celebrations while Bach was serving as Kantor in Leipzig. The final work on the program, the closing chorale from BWV 143, a New Year’s Cantata, more than likely originates from Bach’s second period in Weimar (1708-1717). The common denominator of all four of these works is that they are jubilant, vibrant, and exciting. The notes of the printed music all but jump off the page and dance with the performers - and with each of us as well.

The opening chorale is a masterpiece of choral and orchestral writing. The orchestra is lavishly regal with three trumpets, timpani, three oboes, a bassoon, strings, and continuo. The altos and tenors begin, subsequently joined by the sopranos and basses singing the first half of the text of the verse, which is then repeated and finished by all of the voices in a grand homophonic statement before they set forth on a double fugue.

The subject of the first fugue is sung in a florid fashion by the sopranos followed by the altos, tenors and basses. The subject of the second fugue is begun by the tenors followed by the altos, basses, and sopranos. The two fugues intertwine at the end of the movement, beginning with the soprano statement of the first fugue subject, which is followed by the altos singing the subject of the second fugue. The conclusion of the double fugue whisks us immediately back to the brilliant opening instrumental fanfare. The overall effect of this chorus sets the stage for the celebration: “Lobe den Herrn, meine Seele, und vergiss nicht, was er dir Gutes getan hat!” (Praise the Lord, my soul, and forget not what good things He has done for you!).

Singet dem Herrn ein neues Lied, BWV 190a Today’s program begins with a work that is the result of much musicological sleuthing and welleducated reconstruction. BWV 190a was first performed on June 25, 1730, and was written for the first day of Leipzig’s celebration of the 200th anniversary of the Augsburg Confession. The model which Bach chose for this composition was that of his cantata of the same name, BWV 190, written for New Year’s Day in 1724. While fragments of Bach’s manuscript for BWV 190 have come down to us, Bach’s manuscript for BWV 190a is completely lost. A printed libretto from Bach’s librettist, Picander (Christian Friedrich Henrici), shows that BWV 190a is clearly a parody of BWV 190 with the substitution of new recitatives, new aria texts, and a different final chorale: “Es danke Gott und lobe dich.”

The reconstructed score for today’s performance, completed by the noted German Kantor and academic, Diethard Hellman, was first performed on May 4th of 1969.

The ensuing recitatives and arias that make up movements two through four continue the theme of thanks and praise to God for what he has done.

The fifth movement, the bass aria, is a moving prayer set for bass voice with strings and oboe d’amore. Written in ritornello form, this aria implores the Redeemer’s aid in times of suffering.

This movement is indeed an example of some of Bach’s finest writing for bass voice.

Lobe den Herrn, meine Seele, BWV 69, also follows the busy Kantor’s practice of employing the three Rs: Repurpose, Reuse, and Recycle. BWV 69 has instrumentation virtually identical to BWV 190a and is itself the third version of a cantata, BWV 69a, which was originally composed for the Twelfth Sunday after Trinity, August 15 of 1723. In 1727 it was revived

The concluding chorale – scored for full orchestra and chorus, “Es danke Gott und lobe dich,” with cadences in the melody, underscored by fanfarelike figures for trumpets and drums – sets the stage for a wonderfully climactic conclusion. It is based on Luther’s stanza three of Psalm 67: “Let

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Lobe den Herrn, meine Seele, BWV 143 Chorale/Chorus: “Halleluja – Gedenk, Herr Jesu, an dein Amt” We conclude this afternoon’s concert with a celebratory work of the young Bach. Dating back to his second sojourn in Weimar (1708-1717), this concluding chorale/chorus is scored for SATB voices with corno da caccia, timpani, bassoon, strings and continuo. The alto, tenor and bass voices join in singing only one word, “Alleluia,” while the sopranos sing the third verse of the chorale: Alleluja!

Gedenk, Herr, jetzund an dein Amt, Daβ du Friedfürst bist, Und hilf uns gnädig allesamt Jetzund zu dieser Frist; Laβ uns hinfort Dein göttlich Wort Im Fried noch länger schallen (Think, Lord, now of Your office, that You are a prince of peace and help all of us graciously now at this appointed time.

From henceforth let us make Your divine Word resound in peace for a long time.)

the people praise Thee, O God: let all the people praise Thee.”

Gott, man lobet dich in der Stille, BWV 120 Chorus: “Jauchzet, ihr erfreuten Stimmen” The movement can be summed up in one word: Jubilation! This lively second movement from BWV 120, written for the installation of the Leipzig city council in August of 1736, makes the listener a participant in a magnificent, dancing song of praise to God, as the chorus urges us to join them in singing, Jauchzet, ihr erfreuten Stimmen, Steiget bis zum Himmel ’nauf!

Lobet Gott im Heiligtum Und erhebet seinen Ruhm; Seine Güte, Sein erbarmendes Gemüte, Hört zu keinen Zeiten auf!

(Rejoice, you joyful voices; Rise up to heaven!

Praise God in His sanctuary and extol His glory, His goodness His compassionate nature.

Cease at no time!)

The text is in da capo form, which Bach follows strictly. The two lines of the A text each receive compact fugal themes, both subjects having been heard in the instrumental ritornello, where a rising arpeggio is the motif for Jauchzet (rejoice) and a climbing melisma is the motif for steiget (rise).

Trumpets, strings, oboes, and timpani lend their voices to this mighty hymn of praise.

The chorale text and tune, sung by the sopranos, is set into the ebullient “alleluias” of the ATB chorus and the ecstatic figures played by the orchestra in the same manner that a beautiful gem is placed in a setting of gold and silver. What else can we do but join in a resounding Amen!

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Scott M. Hyslop

Texts and Translations Singet dem Herrn ein neues Lied, BWV 190a Sing to the Lord a new song – J. S. Bach (Cantata for New Year’s Day; revised for the 200th anniversary of the Augsburg Confession) 1. Chorus (S, A, T, B) Singet dem Herrn ein neues Lied!

Sing to the Lord a new song!

Die Gemeine der Heiligen soll ihn loben!

The congregation of the saints should praise Him! Lobet ihn mit Pauken und Reigen, Praise Him with drums and dances! lobet ihn mit Saiten und Pfeifen!

Praise Him with strings and pipes!

Herr Gott, dich loben wir!

Lord God, we praise You! Alles, was Odem hat, lobe den Herrn!

Everything that has breath praise the Lord !

Herr Gott, wir danken dir!

Lord God, we thank You! Alleluja!

2. Chorale and Recitative (S, A, T, B) (B, T, A) Herr Gott dich loben wir.

Lord God, we give You praise, Gott, daß du unser Hort God, that You our shield Und unser Heiland bist. and our redeemer are.

Herr Gott wir danken dir: Lord God, we give You thanks.

Mit Jauchzen gehn wir fort Triumphant shall we go forth Und suchen, Herr, dein Angesicht, and seek now, Lord, Your countenance, Denn deine Gnade reicht, for Your grace extends So weit der Himmel ist, as wide as the heavens, Und deine Wahrheit leucht’ and Your truth sheds light So weit die Wolken gehen. as far as clouds range.

Herr Gott dich loben wir Lord God, we give You praise

Das noch dein helles Licht that still Your brilliant light In unserm Lande scheint. within our land shines.

O! Gott, wie groß ist deine Güte, O God, how great is Your loving-kindness, Die es so treu mit deinen Kindern meint! that is so faithfully shown to Your children!

Vergieß das liebende Gemüte Forget that loving disposition, Mein Zion, ja! vergiß es nicht, my Zion [church], yea, forget it not!

Herr Gott, wir danken dir!

Lord God, we give You thanks.

3. Aria (Alto) Lobe, Zion, deinen Gott, Praise, Zion, Your God; Lobe herrlich seinen Namen.

Praise greatly His name.

Auf! erzähle, denke dran; Rise! Proclaim, ponder thereon Was der Herr an uns getan, what the Lord for us has done.

Darum bete für ihn an, Therefore, worship Him henceforth; Rühme seines Wortes Samen.

Praise the seed of His Word.

4. Recitative (Bass) Herr, wenn dein Evangelium Lord, if Your Gospel, Die Himmelslehre that heavenly teaching, Nicht unser Trost gewesen wäre, had not been our consolation, So hätt’ uns Noth und Tod so would woe and death Zu Boden unterdrückt: have crushed us to the ground.

Das ist des Lebens Brot, That [Gospel] is our bread of life.

Das unserm Geiste Kraft, That is our spirit’s strength.

Das unsrer Seele Labsal schafft, That our soul’s refreshment procures,

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7. Chorale (S, A, T, B) Es danke, Gott, und lobe dich, May the people thank and praise You, das Volk in guten Taten God, in their good deeds.

Das Land bringt Frucht, und bessert sich, The land bears fruit and is enriched; dein Wort ist wohl geraten.

Your word is made to prosper.

Uns segne Vater und der Sohn, Bless us, Father and the Son. uns segne Gott der Heil’ge Geist, Bless us, God the Holy Ghost, dem alle Welt die Ehre tu. whom all the world does honor. für ihm sich fürchte allermeist, Of Him especially stand in fear. nun sprecht von Herzen Amen.

Now say from your heart: Amen.

Und mit der Seligkeit erquickt. and with blessedness restores.

Hier ist Gerechtigkeit, des Glaubens Schild, Here is righteousness, the shield of faith, Die nur vor Gott im Himmel gilt.

Which alone before God in heaven is valid.

5. Aria (Duet – Tenor, Bass) Selig sind wir durch das Wort, Blessed are we through the Word.

Selig sind wir durch das Gläuben, Blessed are we through the faith.

Selig sind wir hier und dort, Blessed are we here and there.* Selig, wenn wir treu verbleiben.

Blessed, if we remain faithful.

Selig, wenn wir nicht allein, Blessed, if we are not only Hörer, sondern Thäter sein. hearers, but also doers.

* “Here and there” probably refers to the contemporary (1730) and original (1530) adherents to the Augsburg Confession.

6. Recitative (Tenor) Nun Gott, dir opfern wir Now God, to You we offer Der Lippen Frucht dafür, the fruit of our lips.

Wir, die wir uns nach deinem Nahmen nennen, We, we who by Your own name have named us, Und Christum, deinen Sohn bekennen. and Christ, who is Your Son, acknowledge.

Nimm ferner deine Kirch in acht, Moreover, take care of Your church, Daß sie wie auf den Fels that it, as on that rock, Je mehr und mehr gegründet werde. be over time firmly established.

Vermehre deine kleine Herde Multiply this Your small flock.

In deiner Hand steht Kraft und Macht In Your hand there is power and might.

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Lobe den Herrn, meine Seele, BWV 69 Praise the Lord, my soul – J. S. Bach Kantate zum Ratswechsel Cantata for the Inauguration of the Town Council

3. Aria (Alto) Meine Seele, Auf! erzähle, My soul, get up! tell Was dir Gott erwiesen hat! what God has shown to you!

Rühme seine Wundertat, Praise His wonderful work.

Laß, dem Höchsten zu gefallen, To please the Highest, Ihm ein frohes Danklied schallen! let a joyful song of thanks to Him resound!

1. Chorus (S, A, T, B) Lobe den Herrn, meine Seele, Praise the Lord, my soul, und vergiß nicht, and do not forget was er dir Gutes getan hat! what good He has done for you!

4. Recitative (Tenor) Der Herr hat große Ding an uns getan.

The Lord has done great things for us.

Denn er versorget und erhält, For He looks after and upholds, Beschützet und regiert die Welt. protects and rules the world.

Er tut mehr, als man sagen kann.

He does more than can be said.

Jedoch, nur eines zu gedenken: Yet consider just one thing: Was könnt uns Gott wohl Beßres schenken, what better gift could He bestow on us Als daß er unsrer Obrigkeit than that to our authorities He Den Geist der Weisheit gibet, should give the spirit of wisdom, Die denn zu jeder Zeit who then at all times Das Böse straft, das Gute liebet? punish evil [and] love good ?

Ja, die bei Tag und Nacht Yes, who by day and night Vor unsre Wohlfahrt wacht? keep watch over our welfare?

Laßt uns dafür den Höchsten preisen; For this reason let us praise the Highest: Auf! ruft ihn an, Get up! call to Him

2. Recitative (Soprano) Wie groß ist Gottes Güte doch!

How great then is God’s goodness!

Er bracht uns an das Licht, He brought us to the light, Und er erhält uns noch. and He still upholds us.

Wo findet man nur eine Kreatur, Where is found a single creature Der es an Unterhalt gebricht? who lacks support?

Betrachte doch, mein Geist, Consider then, my spirit, Der Allmacht unverdeckte Spur, the trace of the Almighty that has not been hidden, Die auch im kleinen sich recht groß erweist. which proves He is truly great even in the smallest thing.

Ach! möcht es mir, o Höchster, doch gelingen, Ah! might it be possible, O Highest God, for me to succeed Ein würdig Danklied dir zu bringen! in bringing to You a worthy song of thanks!

Doch, sollt es mir hierbei an Kräften fehlen, Yet even if I should lack strength for this purpose, So will ich doch, Herr, deinen Ruhm erzählen.

I still, Lord, want to tell of Your glory.

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Gott man lobet dich, BWV 120 (selection) God, they praise You – J. S. Bach

Daß er sich auch noch fernerhin so gnädig woll erweisen. so that He also henceforth would show mercy.

Was unserm Lande schaden kann, Whatever could harm our land, Wirst du, O Höchster, von uns wenden You will, O Highest, from us turn away Und uns erwünschte Hilfe senden. and send us the longed-for help.

Ja, ja, du wirst in Kreuz und Nöten Yes, indeed, in suffering and distress You will Uns züchtigen, jedoch nicht töten. punish but not kill us.

2. Chorus (S, A, T, B) Jauchzet, ihr erfreuten Stimmen, Rejoice, you joyful voices; Steiget bis zum Himmel ’nauf! rise up to heaven!

Lobet Gott im Heiligtum Praise God in His sanctuary Und erhebet seinen Ruhm; and extol His glory.

Seine Güte, His goodness, Sein erbarmendes Gemüte, His compassionate nature, Hört zu keinen Zeiten auf!

Cease at no time!

5. Aria (Bass) Mein Erlöser und Erhalter, My Redeemer and Preserver, Nimm mich stets in Hut und Wacht! keep me always in Your care and protection!

Steh mir bei in Kreuz und Leiden, Stand by me in suffering and sorrow; Alsdenn singt mein Mund mit Freuden: thereupon my mouth sings with joy: Gott hat alles wohlgemacht.

God has done all things well.

Lobe den Herrn, meine Seele, BWV 143 (selection) Praise the Lord, my soul – J. S. Bach 7. Chorus (S chorale, A, T, B) Hallelujah Gedenk, Herr, Jesu, an dein Amt, Think, Lord, now of Your office, Daß du ein Friedfürst bist, that You are a prince of peace Und hilf uns gnädig allesamt and help all of us graciously Jetzund zu dieser Frist; now at this appointed time.

Laß uns hinfort From henceforth let us make Dein göttlich Wort Your divine Word Im Fried noch länger schallen. resound in peace for a long time.

6. Chorale (S, A, T, B) Es danke, Gott, und lobe dich May the people thank and praise You, Das Volk in guten Taten.

God, in their good deeds.

Das Land bringt Frucht und bessert sich, The land bears fruit and is enriched; Dein Wort ist wohl geraten.

Your word is made to prosper.

Uns segne Vater und der Sohn, Bless us, Father and the Son. Uns segne Gott, der Heilge Geist, Bless us, God the Holy Ghost; Dem alle Welt die Ehre tut, whom all the world does honor.

Für ihm sich fürchten allermeist, Of Him especially stand in fear, Und sprecht von Herzen: Amen! and say from the heart: Amen!

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Ye Watchers and Ye Holy Ones, LSB 670

670 Ye Watchers and Ye Holy Ones

Public domain

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Dr. Scott M. Hyslop Scott M. Hyslop received the D.M.A. in Organ/Church Music at The University of Michigan, where he was a student of Marilyn Mason. He also holds a Master’s Degree in Church Music from Concordia University, River Forest (Chicago), Illinois, and a Bachelor of Music Degree from the University of Wisconsin - River Falls. In addition to his formal education, he has studied with Paul Manz through the Lutheran School of Theology at Chicago and the Paul Manz Institute of Church Music in Chicago.

Further musical studies include work in organ performance with Maurice Clerc at the Cathedral of St. BĂŠnigne in Dijon, France, and in composition with Conrad DeJong, Richard Hillert, and James Aikman. Dr. Hyslop is also a Melodious Accord Fellow, having studied choral composition with the noted American composer and arranger, Alice Parker. He has had numerous compositions for voices, organ, and instruments issued by several publishing houses, as well as a biography of Paul Manz, The Journey Was Chosen: The Life and Work of Paul Manz (MorningStar, 2007). Dr. Hyslop has served congregations in Minneapolis, Minnesota; Chicago, Illinois; and Stuart, Florida. He presently serves as the Director of Parish Music at St. Lorenz Lutheran Church in Frankenmuth, Michigan. He is also a member of the Board of Directors for Lutheran Music Program, the organizational sponsor of Lutheran Summer Music, and the Board of Directors for the Association of Lutheran Church Musicians. Dr. Hyslop and his family reside in Birch Run, Michigan.

The American Kantorei Jeral Becker, Interim Director and Conductor, Choir Personnel Director Wanda Becker, Concertmaster, Orchestra Personnel Director Chorus Tenor Jeral Becker, Principal Scott Kennebeck, Assistant Principal Jerry Bolain Willard Cobb Greg Gastler William Larson Ryan Markel Steve Paquette Spencer Stephens Fritz von Hering

Soprano Joy Boland, Principal Jean Baue Kathryn Crumrine Marita Hollander Melissa Kinsey Camille Marolf Jennifer Maske Deanna Merz Lynn D. Morrissey Amy Riley

Alto Katharine Lawton Brown, Principal Gretchen Weber, Assistant Principal Loretta Ceasar-Striplin Lisa Gines Mona Houser Ashley Mommens Stephanie Ruggles Anna Woell

Bass David Berger, Principal Jeffrey Heyl, Assistant Principal Martin Dressler Robin Fish Daniel Maske Dan Merz Matthew Meyer Jason Swan

Orchestra Violin I Wanda Becker, Concertmaster Jane Price Christine Sasse Cynthia Bowermaster

Cello Andrew Ruben

Bassoon Robert Mottl

Double Bass Frederick DeVaney

Violin II Kaoru Wada, Principal Marilyn Park Ellington Margaret Heyl

Oboe Ann Homann, Principal Eileen Burke Diane Lieser

FlĂźgelhorn / Trumpet John Korak, principal Mary Weber Jason Harris

Viola Sarah Borchelt, Principal Tova Braitberg

Oboe d’amore Ann Homann

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Timpani Alan Schilling Positiv (Continuo) Organ Joan Bergt

Dear Guests, With this afternoon’s presentation, the Bach at the Sem series of The American Kantorei concludes three performances of the season under the direction of guest conductors: Dr. Martin Dicke, Dr. Andrew Megill, and Dr. Jeffrey Wilson, respectively.

The concluding concert of the season on April 28 will feature guest conductor, Dr. Scott M. Hyslop, Director of Parish Music, St. Lorenz Lutheran Church, Frankenmuth, MI. The 2012-13 season is a transition year for Bach at the Sem. American Kantorei founder and long-time director, Robert Bergt, passed away in July 2011. Concordia Seminary and the American Kantorei, in planning for the future of this ministry of music, are pleased to engage guest conductors this year and next year as we search for a new director.

The venue of Bach at the Sem will continue to be the Chapel of St. Timothy and St. Titus at Concordia Seminary. The mission is to profess the Christian faith through the proclamation of music, principally the music of J. S. Bach and the many other composers from the Golden Age of Church Music.

This year major support for Bach at the Sem has been provided by “Friends of Bach at the Sem.” Thank you to everyone who has responded with a generous gift. We are blessed to announce that this grant has been expanded to $30,000. Every dollar you give or pledge will be matched dollar for dollar up to the first $30,000 in response to this opportunity.

The great heritage of church music enriches all. The Seminary is a large repository of that music. It is affiliated with the Lutheran church, about which it has been said, “The greatest contribution of the Lutheran Church to Western Civilization lies in the field of music.” Concordia Seminary and The American Kantorei ask your support so that Bach at the Sem may continue its marvelous ministry of music. Every gift to Bach at the Sem is important! An envelope has been enclosed for your convenience.

In His service, Jeral Becker Interim Director and Conductor

Bach at the Sem Sponsorship Concert Sponsor Conductor Sponsor Reception Sponsor

“Friends of Bach at the Sem”

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

Board Sponsor $1,000 Guest Sponsor $400 Friend Sponsor $100

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

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Welcome to Bach at the Sem! This afternoon’s concert promises to be a special aesthetic and spiritual offering. Our deep thanks to today’s guest conductor, Dr. Scott M. Hyslop, Director of Parish Music at St. Lorenz Lutheran Church in Frankenmuth, Mich. We are honored that you are sharing your love of Bach, your abilities and your time to lead us today. Today’s experience wouldn’t happen without the ongoing dedication of the American Kantorei and interim music director Jeral Becker. Our lives are more fully developed because of your service.

Ultimately everything we have has been given to us. While we strive to use our God-given abilities and resources to maintain and increase the quality of life, we do so, or should do so with full recognition that heavenly grace has often come to us through the sacrifice of others. I ask that you see yourself as part of an ongoing tradition that will bequeath Bach at the Sem to the future. Just as the inspiration for this series by the Duesenbergs, Robert Bergt, the Seminary, and many others blesses us today, so our commitment can make Bach at the Sem a legacy to the next generation. In a culture that is increasingly Philistine, in which young people are exposed to ignoble role models, and wherein economic constraints jeopardize “unprofitable” art, literature and music, it will take our effort now to make Bach at the Sem endure for generations to come. On behalf of Concordia Seminary, I invite you to join us in our efforts to provide Bach and the best of culture to our community for years to come.

Because Jesus Christ sacrificed Himself for us (“Greater love has no one than this, that someone lays down his life for his friends,” John 15:13), Christians continue to celebrate glorious Easter and Christ’s resurrection.

“I came that they may have life, and have it abundantly” (John 10:10). Sincere gratitude to God for the gift of abundant life springs from the heart and blooms in our own sacrifices for others. As we are ennobled by today’s concert, may we have a willing spirit to pass these blessings on to the future.

Dale A. Meyer President

Messiah, Advent & Christmas Portion Chorale & Orchestra Saturday evening, December 8th, 7:30 PM Salem In Ladue Methodist Church 1200 S. Lindbergh Blvd St. Louis, MO 63131

Te Deum Chorale & Orchestra Saturday evening, March 23rd, 7:30 PM Salem In Ladue Methodist Church 1200 S. Lindbergh Blvd.

St. Louis, MO 63131

Season XII

Music of Arvo Pärt, Schubert & Bruckner

~~~ Messiah & More Chorale & Strings Sunday afternoon, December 16th, 3:00 PM Resurrection Lutheran Church 9907 Sappington St. Louis, MO 63128

~~~ Let Voice and String Resound!

Chorale & Orchestra Saturday evening, May 11th, 7:30 PM Concordia Lutheran Church 505 South Kirkwood Road Kirkwood, MO 63122

~~~ For more information, call (314) 638-0973 or visit www.americanchamberchorale.com

Music of Ola Gjielo and J.S. Bach

Stephen Morton, Artistic Director and Conductor

Become a founding 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

2012 ~2013 Join one of the country's best a cappella choirs for our 57th season!

Today, A Rude Brief Recitative

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What Do You Think I Fought For

Musicians Wrestle Everywhere

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Guaranteed seating at “sold-out”concerts

February 17 • 3 pm St. Anthony Of Padua Catholic Church 3140 Meramec St • South St. Louis • 63118 April 14 • 3 pm South Broadway Athletic Club 2301 7Th Blvd • Soulard • 63104

Chanting To Paradise

May 26 • 3 pm St. Francis De Sales Oratory 2653 Ohio Ave • South St. Louis • 63118

For tickets or a brochure call

636-458-4343 PO Box 11558 St. Louis, MO 63105

www.chamberchorus.org