CHRIST LUTHERAN CHURCH & HEIFETZ INTERNATIONAL MUSIC INSTITUTE present:
Saturday March 19, 2022 9AM – 9PM FREE ADMISSION THE STAUNTON BACH CHOIR, SOLOISTS & CHAMBER ORCHESTRA Paul Weber, Director HEIFETZ ENSEMBLE IN RESIDENCE * BALINT KAROSI, Organ NICHOLAS KITCHEN, Violin * YEESUN KIM, Cello FLORENCE JOWERS, Organ * JINGXUAN ZHANG, Piano PETER BLANCHETTE & MANE LAREGGLA, Archguitars EARLY MUSIC ACCESS PROJECT, David McCormick, Director AGO CHARLOTTESVILLE-ALBEMARLE CHAPTER ORGANISTS Special Children's Program: "Peep The Piper" - 11:00 AM
Christ Lutheran Church 2807 North Augusta Street · Staunton, VA heifetz.institute/Bach
Bach Around the Clock 2022 A free community-wide marathon celebration of the music and majesty of Johann Sebastian Bach. From sunup to sundown, you’ll hear superb string soloists, renowned organists, guitarists, pianists, choirs,& brilliant ensembles, performing the inspiring and moving works of “the immortal god of harmony.”
TABLE OF CONTENTS 9:00 AM A Bach String Sampler (p. 4) 10:00 AM The Bach Cello Suites (p. 5) 11:00 AM Bach for Kids: "Peep The Piper" (p. 5) 11:45 AM The Sonatas & Partitas - A Solo Journey (p. 6) 2:00 PM Bach the Lutheran Theologian (p. 7) 3:00 PM Bach from the AGO (p. 8) 4:00 PM The Archguitar Duo Plays Bach (p. 9) 5:00 PM On Beyond Bach: CPE Bach & The Future of Music (p. 10) 6:00 PM A Bach Potpourri from EMA (p. 11) 6:30 PM All of Bach: Bálint Karosi in Recital (p. 12) 7:30 PM Grand Finale: The Cantata Hour (p. 13) Notes & Translations pp. 14-21
Performer bios and additional information may be found online at www.bacharoundtheclock.org
Ensemble In Residence
FRIDAY MARCH 25 - 4:00 PM
Mystics, Muses, & Mothers FRIDAY APRIL 1 - 7:30 PM
April in Paris
FRIDAY APRIL 15 - 7:30 PM
Meet the A-B-C Trio
with pianist Lynne Mackey
FRIDAY APRIL 22 - 7:30 PM
On Wings of Song
with songwriter Paul Reisler
9:00 AM
A Bach String Sampler Heifetz Ensemble in Residence [HEIR] Performers and other Heifetz alums and family begin our daylong celebration with Bach for Strings - from solo selections to a beloved orchestral suite, and a preview of complete works to come.
- Program Sinfonia [Preludio] from Cantata No. 29 (arr. N. Kitchen) Liana Branscome, violin; Strauss Shi, violin; Nicholas Kitchen, violin; Steven Baloue, viola; Ben Fried, cello Adagio & Presto from Violin Sonata No. 1 in G minor, BWV 1001 Liana Branscome, violin Gamba Sonata No. 3 in G minor, BWV 1029: I Ben Fried, cello; Connie Kim-Sheng harpsichord Violin Concerto in E major, BWV 1042 I. Allegro II. Adagio III. Allegro assai Isabella Gorman, violin & Heifetz Ensemble in Residence; Misha Bjerken, bass Gamba Sonata No. 1 in G major, BWV 1027: I & II Steven Baloue, viola, Connie Kim-Sheng, harpsichord Allemande from Violin Partita No. 2 in D minor, BWV 1004 Strauss Shi, violin Air on a G String Liana Branscome, violin; Strauss Shi, violin; Steven Baloue, viola; Ben Fried, cello, Misha Bjerken, bass; Connie Kim-Sheng, harpsichord
10:00 AM
The Bach Cello Suites Borromeo Quartet cellist & Heifetz Institute teacher Yeesun Kim plays three of Bach's landmark Suites for Solo Cello
- Program Cello Suite No. 1 in G minor, BWV 1007 Cello Suite No. 2 in D minor, BWV 1008 Cello Suite No. 4 in E-flat Major, BWV 1010 Yeesun Kim, cello
11:00 AM
Bach for Kids: "Peep The Piper" Bálint Karosi, Organ
Learn about the pipe organ and its repertoire in a fun and accessible way! “Peep the Piper” is a multi-media demonstration of the organ developed by Swiss organist and composer Guy Bovet which has proven to be enjoyable for anyone who loves music at any level. This charming, free and clever presentation has become a hallmark of for kids of all ages to discover the magic and mysteries of the King of Instruments. Interested in learning about the differences between all those pipes, whether fat or skinny, wood or metal? This is a great introduction that shows the organ to be an inviting instrument for all to enjoy. After the presentation, children are invited for a brief hands-on investigation of the magnificent Op. 24 Taylor & Boody Organ in the loft.
11:45 AM
The Sonatas & Partitas A Solo Journey Heifetz Institute & Borromeo Quartet Artistic Director Nicholas Kitchen performs the complete Sonatas & Partitas for solo violin, including the searing Chaconne, and breathtaking Adagio & Fugue.
- Program Violin Sonata No. 1 in G minor, BWV 1001 Violin Partita No. 1 in B minor, BWV 1002 Violin Sonata No. 2 in A minor, BWV 1003 Violin Partita No. 2 in D minor, BWV 1004 Violin Sonata No. 3 in C major, BWV 1005 Violin Partita No. 3 in E major, BWV 1006 Nicholas Kitchen, violin
2:00 PM
Bach the Lutheran Theologian Christ Evangelical Lutheran Church’s Director of Music performs Excerpts from Clavierübung III – The Catechism Chorales on the Taylor & Boody Op. 24 organ, interspersed with related Bach Chorales sung by the Bach Around The Clock Chamber Choir soloists.
- Program Praeludium pro Organo pleno, BWV 552,1 Allein Gott in der Höh sei Ehr, BWV 676 Chorale, BWV 112 [Text and tune: Nicolaus Decius] Allein Gott in der Höh sei Ehr, BWV 677 Dies sind die heilgen zehn Gebot, BWV 678 Chorale, BWV 298 [Text: Martin Luther] Dies sind die heilgen zehn Gebot, BWV 679 Vater unser im Himmelreich, BWV 683 see separate sheet for audience participation Chorale, BWV 416 [Text and tune: Martin Luther] Aus tiefer Not schrei ich zu dir, BWV 686 Chorale, BWV 38 [Text and tune: Martin Luther] Aus tiefer Not schrei ich zu dir, BWV 687 Fuga a 5 con pedale pro Organo pleno, BWV 552,2 Florence Jowers, organ Bach Around the Clock Chamber Choir Soloists Sheila Dietrich, soprano Biraj Barkakaty, countertenor Brian Thorsett, tenor Adrian Smith, bass
3:00 PM
Bach from the AGO Five members of the Charlottesville-Albemarle chapter of the American Guild of Organists join in our day-long celebration with a selection of Bach’s memorable works for the King of Instruments.
- Program Toccata, Adagio & Fugue in C major, BWV 564 Joel VanderZee, organ Fantasy in C minor, BWV 562 Roger Daggy, organ An Wasserflüssen Babylon, BWV 653 Komm, Gott Schöpfer, heiliger Geist, BWV 657 Daniel Grotz, organ Wo soll ich fliehin hin?, BWV 646 Kommst du nun, Jesu, von Himmel herunter, BWV 650 Jonathan Bolena, organ Prelude and Fugue in B Minor, BWV 544 Jonathan Shakel, organ
4:00 PM
The Archguitar Duo Plays Bach Peter Blanchette, renowned Bach interpreter and inventor of the unique 11string Archguitar, returns to Staunton with his Spanish duet partner Mané Lareggla for an hour of Bach that will be breathtaking in its virtuosity and heart-melting in its beauty.
- Program To Include Allemande from French Suite No. 3 in B minor, BWV 814 Little Prelude No. 2 from Six Little Preludes for clavier, BWV 934 Gavottes I &II from English Suite No. 3 in G minor, BWV 808 Ich ruf zu Dir. (#40 from Orgelbüchlein), BWV 639 Gigue from French Suite No. 2 in C minor, BWV 813 Prelude in C major, from the Well Tempered Clavier, Book One, BWV 846 Selections from Violin Partita No. 1 in A minor, BWV 1001 Peter Blanchette & Mané Lareggla, archguitars
5:00 PM
On Beyond Bach: CPE Bach & The Future of Music He may have been the guardian of his father’s famous flames, but Carl Philipp Emanuel Bach was also one of the most radical composers of the 18th century. “What makes these keyboard pieces pop is their unpredictability,” declares NPR. “Throughout — especially in the opening movements of the sonatas — the impetuous mood swings, curious key changes, whiplash stops and starts and deceptive cadences leave you wondering (gleefully) if this isn’t the musical equivalent to ADHD.” The inimitable Jing brings the music of the most famous son of Bach to vivid life.
- Program La Boehmer in D major, Wq 117, No. 26 Keyboard Sonata in F major, Wq. 48, No. 1, from the Prussian Sonatas (1742) Keyboard Sonata in E flat major, Wq 49, No. 5 from the Württemberg Sonatas (1742–1744) Sonata (Variations), Wq 60, No. 6 Sonata in C major (1779) Rondo for keyboard in C major, Wq 56, No. 1 fr. Keyboard Sonatas and Rondos (1780) Jingxuan Zhang, piano
6:00 PM
A Bach Potpourri from EMA David McCormick, founder of the Early Music Access Project and the freshly-minted Executive Director of Early Music America, and one of the nation’s foremost practitioners, presenters, and administrators in the world of Early Music, showcases his performance chops on the Baroque violin, joined by fellow Charlottesville artists Alex Johnson and Shannon O’Leary.
- Program Allegro and Cantabile, ma un poco adagio (BWV 1019a) from Violin Sonata No. 6 in G, BWV 1019 David McCormick, Baroque violin Alex Johnson, harpsichord Prelude, Corrente, Sarabande & Gigue from Partita No. 1 in B-flat, BWV 825 Alex Johnson, harpsichord Bist du Bei Meir, BWV 508 [Gottfried Heinrich Stölzel] (formerly attr. Bach) Shannon O’Leary, soprano David McCormick, Baroque violin Alex Johnson, harpsichord Allemande from Violin Partita No. 2 in D minor, BWV 1004 David McCormick, Baroque violin Ich bin vergnügt in meinem Leiden, from BWV 58 Shannon O’Leary, soprano David McCormick, Baroque violin Alex Johnson, harpsichord
6:30 PM
All of Bach: Bálint Karosi in Recital Since winning the International Bach Competition in Leipzig in 2008, organist, composer, and conductor Bálint Karosi has been recognized as one of the leading interpreters of the music of J. S. Bach worldwide. His All of Bach project, launched in 2020, led him to create a series of Bach recitals on great organs throughout the US and Europe… including a stop right here in Staunton.
- Program Prelude and Fugue in E Minor, BWV 533 Partita “Ach, was soll ich Sünder machen,” BWV 770 “Aus tiefer Not schrei ich zu dir,” BWV 1099 “Wenn dich Unglück tut greifen an,” BWV 1104 “Nun laßet uns den Leib begraben,” BWV 1111 “Gott ist mein Heil, mein Hilf und Trost,” BWV 1106 “Ach Herr, mich armen Sünder,” BWV 742 Fugue on a theme by Corelli in B Minor, BWV 579 Prelude in G Major, BWV 568 “Als Jesus Christus in der Nacht,” BWV 1108 “Christ, der du bist der helle Tag,” BWV 1120 “Ach Gott und Herr,” BWV 714 “Ich hab mein Sach Gott heimgestellt,” BWV 1113 “Ein’ feste Burg ist unser Gott,” BWV 720 “In dulci Jubilo,” BWV 729 Prelude and Fugue in E Minor, BWV 548 Bálint Karosi, organ
7:30 PM
Grand Finale: The Cantata Hour
Our day-long celebration journeys from darkness to light, beginning with the lament of indescribable grief from The St. John Passion, and concluding with two of Bach’s most heartfelt cantatas, from sorrow to serenity.
- Program -
Aria, Es ist Vollbracht from St. John Passion, BWV 245 Cantata BWV 12, Weinen, Klagen, Sorgen, Zagen Cantata BWV 140 Wachet Auf, Ruft uns die Stimme SOLOISTS Sheila Dietrich, soprano Brian Thorsett, tenor Biraj Barkakaty, countertenor Adrian Smith, bass Cecelia McKinley, contralto
CHAMBER CHOIR Soprano
Nancy Dennis, Sarah Grove-Humphries, Autry Harper, Anne-Michele Maher, Jennifer Roe, Megan Sharp, Kaitlyn Townsend
Alto
Erin Blackwood, Laura Douglass, Charles Humphries, Jonathan Schakel, Narumi Sousa, Anne Stanford
Tenor
Sean Dye, Jonathan Greer, Aaron Reichert, Joel VanderZee
Bass
Matthew Hunsberger, Sam Kauffman, Jeffrey Smoker, Brian Sousa
ORCHESTRA Conductor: Paul Weber Violin I: Strauss Shi; Liana Branscome Violin 2: Isabella Gorman; Nicholas Kitchen Viola 1: Steven Baloue Viola 2: Jessica Embach Cellos: Yeesun Kim; Benjamin Fried Double Bass: Misha Bjerken
Oboe 1: Jeanette Zyko Oboe 2: Yi-Ping Chen English Horn: Miguel Ramirez Bassoon: Suzanne Pattison Trumpet: Nick Harvey Organ Continuo: Florence Jowers
BWV 245: Johannes-Passion Arie Es ist vollbracht! O Trost vor die gekränkten Seelen! Die Trauernacht Läßt nun die letzte Stunde zählen. Der Held aus Juda siegt mit Macht Und schließt den Kampf. Es ist vollbracht!
Aria It is finished! O comfort for the ailing soul! The night of sorrow now measures out its last hour. The hero out of Judah conquers with might and concludes the battle. It is finished!
CANTATA, BWV 12: Weinen, Klagen, Sorgen, Zagen Occasion: Third Sunday after Easter (Jubilate) Readings of the Day: 1 Peter 2:11-20; John 16:16-23 Text: Acts 14:22 (Mvt. 3); Samuel Rodigast (Mvt. 7); Salomo Franck ? (Mvts. 2, 4-6) Chorales: Jesu, meine Freude; Was Gott tut, das ist wohlgetan
This cantata was composed in Weimar just after Bach’s promotion to concertmaster in March 1714 and revived by him a decade later on April 30, 1724 on the Third Sunday of Easter during Bach’s first season in Leipzig. The text describes the afflictions of the Christian and exhorts hearers to remain faithful in the midst of suffering. It begins with a ravishing, mournful sinfonia. The oboe’s plaintive song sets the scene for the opening choral movement, one of the most impressive and deeply affecting cantata movements Bach ever composed. It depicts four words–weeping, wailing, lamenting, fearing–indicative of Jesus’ suffering and of the believer’s life. One is struck by the starkness and searing pathos of this movement, which later became the “Crucifixus” in the creedal movement of the B minor Mass. Each word, a heart-rending sob, is stretched over the bar line and a passacaglia bass. The trial and tribulation with which this cantata is imbued (and which has been evidenced in the pandemic and the war in Ukraine) is countered by the solo trumpet tune of the tenor aria. Bach places the tenor’s tortuous melodic line against a consoling Lutheran hymn-tune, “Jesus, Priceless Treasure,” to indicate God’s continuing presence in the midst of tribulation. The final chorale, “What God does is well done,” affirms God’s gracious will even and especially during times of upheaval and suffering. A central passage of the Gospel reading on which this cantata is based is John 16:20-22:
20 Very truly, I tell you, you will weep and mourn, but the world will rejoice; you will have pain, but your pain will turn into joy. 21 When a woman is in labor, she has pain, because her hour has come. But when her child is born, she no longer remembers the anguish because of the joy of having brought a human being into the world. 22 So you have pain now; but I will see you again, and your hearts will rejoice, and no one will take your joy from you. 23 On that day you will ask nothing of me. Very truly, I tell you, if you ask anything of the Father in my name, he will give it to you.
1 Sinfonia 2 Coro Weinen, Klagen, Sorgen, Zagen, Angst und Not Sind der Christen Tränenbrot, Die das Zeichen Jesu tragen.
1 Sinfonia 2 Chorus [S, A, T, B] Weeping, lamentation, worry, apprehension, anxiety and distress are the bread of tears of Christians who bear the mark of Jesus.
3 Recitativo A Wir müssen durch viel Trübsal in das Reich Gottes eingehen.
3 Recitative [Alto] We must enter through much tribulation into God's kingdom.
4 Aria A Kreuz und Krone sind verbunden, Kampf und Kleinod sind vereint. Christen haben alle Stunden Ihre Qual und ihren Feind, Doch ihr Trost sind Christi Wunden.
4 Aria [Alto] Cross and crown are joined together struggle and treasure are united. Christians have at all hours their anguish and their enemy, but Christ's wounds are their consolation.
5 Aria B Ich folge Christo nach, Von ihm will ich nicht lassen Im Wohl und Ungemach, Im Leben und Erblassen. Ich küsse Christi Schmach, Ich will sein Kreuz umfassen. Ich folge Christo nach, Von ihm will ich nicht lassen.
5 Aria [Bass] I follow after Christ, I do not want to leave him in prosperity and adversity in living and dying I kiss Christ's shame, I want to embrace his cross. I follow after Christ, I do not want to leave him.
6 Aria T Sei getreu, alle Pein Wird doch nur ein Kleines sein. Nach dem Regen Blüht der Segen, Alles Wetter geht vorbei. Sei getreu, sei getreu!
6 Aria [Tenor] Be faithful, all pain will then be only a little thing. After the rain blessing blossoms, all bad weather passes by. Be faithful, be faithful!
7 Choral Was Gott tut, das ist wohlgetan Dabei will ich verbleiben, Es mag mich auf die rauhe Bahn Not, Tod und Elend treiben, So wird Gott mich Ganz väterlich In seinen Armen halten: Drum lass ich ihn nur walten.
7 Chorale [S, A, T, B] Whatever God does, that is done well. I shall stay with this. It may be that on the rough road I shall be driven by distress, death and misery, yet God will just like a father hold me in his arms: therefore I let only him rule over me.
CANTATA, BWV 140: Wachet auf, ruft uns die Stimme Occasion: The Twenty-seventh and Last Sunday after Trinity Readings for the Day: 1 Thessalonians 5:1-11; Matthew 25:1-13 Text: Philipp Nicolai (Mvts. 1, 4, 7); Anon. (Mvts. 2, 3, 5, 6)
Cantata 140 is based on Matthew 25:1-13, which dramatically depicts the story of the wise and foolish bridesmaids. The libretto relates to the end of time when Christ will come as a bridegroom to his bride, the church, represented by ten maidens. Some of these bridesmaids were prepared for his final coming by having their lamps ready for lighting, and some of them were not. The entire story forms the gospel reading for the Twentyseventh Sunday after Trinity–the last Sunday in Bach’s church year calendar–when the return of Christ and God’s final judgment were highlighted. The backbone of the cantata is the poetry of the Hymn of the Day for that Sunday, “Wake, Awake, for Night Is Flying.” This hymn, one of the most famous of Lutheran chorales, is called “The King of Chorales.” Its text and tune depict the gospel account and appear in movements 1, 4, and 7. The lyrics in the other movements describe the coming of the bridegroom and his welcoming reception. Two movements cast as love-duets between Christ and the church are as passionate as any others composed by Bach. The drama of the cantata is enhanced by the tradition of the hymn itself. Both its text and tune were composed by Lutheran pastor and poet Philipp Nicolai (1556−1608) and appended to his set of pastoral reflections on heaven entitled Mirror of Joy. In 1597 Pastor Nicolai ministered to his parishioners during a plague and buried 1,400 members of his congregation, with funerals for over three hundred during the month of July alone. Despite facing death and devastation, Nicolai’s resilient hymn mirrors the hope of believers in a time of great suffering and transports us to heaven’s gate and the joy of eternal life. The hymn text (in Mvt. 4 of the cantata) refers to the great wedding feast of heaven as an “Abendmahl,” the German name for Holy Communion. When centered, the hymn text takes the shape of a communion chalice:
Wachet auf, ruft uns die Stimme Der Wächter sehr hoch auf die Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heißt diese Stunde; Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohlauf, der Bräut’gam kommt, Steht auf, die Lampen nehmt! Halleluja! Macht euch bereit Zu der Hochzeit, Ihr müsset ihm entgegen gehn! This cantata was performed on November 25, 1731 and is generally revered today as Bach’s most mature and well-known cantata. As a complement to BWV 12, it is imbued with the joy that Jesus promised to the disciples after a period of suffering. In our time of uncertainty, suffering, and death, the music of this cantata fills us with hope in the promise of unending life. The Gospel account on which this cantata is based is from Matthew 25:1-13: “Then the kingdom of heaven will be like this. Ten bridesmaids took their lamps and went to meet the bridegroom. 2 Five of them were foolish, and five were wise. 3 When the foolish took their lamps, they took no oil with them; 4 but the wise took flasks of oil with their lamps. 5 As the bridegroom was delayed, all of them became drowsy and slept. 6 But at midnight there was a shout, ‘Look! Here is the bridegroom! Come out to meet him.’ 7 Then all those bridesmaids got up and trimmed their lamps. 8 The foolish said to the wise, ‘Give us some of your oil, for our lamps are going out.’ 9 But the wise replied, ‘No! there will not be enough for you and for us; you had better go to the dealers and buy some for yourselves.’ 10 And while they went to buy it, the bridegroom came, and those who were ready went with him into the wedding banquet; and the door was shut. 11 Later the other bridesmaids came also, saying, ‘Lord, lord, open to us.’ 12 But he replied, ‘Truly I tell you, I do not know you.’ 13 Keep awake therefore, for you know neither the day nor the hour.
1 Coro Wachet auf, ruft uns die Stimme Der Wächter sehr hoch auf der Zinne, Wach auf, du Stadt Jerusalem! Mitternacht heißt diese Stunde; Sie rufen uns mit hellem Munde: Wo seid ihr klugen Jungfrauen? Wohl auf, der Bräutgam kömmt; Steht auf, die Lampen nehmt! Alleluja! Macht euch bereit Zu der Hochzeit, Ihr müsset ihm entgegen gehn!
1 Chorus [S, A, T, B] Wake up, the voice calls us of the watchmen high up on the battlements, wake up, you city of Jerusalem! This hour is called midnight; they call us with a clear voice: where are you, wise virgins? Get up, the bridegroom comes; Stand up, take your lamps! Hallelujah! Make yourselves ready for the wedding, you must go to meet him!
2 Recitativo T Er kommt, er kommt, Der Bräutgam kommt! Ihr Töchter Zions, kommt heraus, Sein Ausgang eilet aus der Höhe In euer Mutter Haus. Der Bräutgam kommt, der einem Rehe Und jungen Hirsche gleich Auf denen Hügeln springt Und euch das Mahl der Hochzeit bringt. Wacht auf, ermuntert euch! Den Bräutgam zu empfangen! Dort, sehet, kommt er hergegangen.
2 Recitative [Tenor] He comes, he comes, the bridegroom comes! You daughters of Zion, come out, he hastens his departure from on high to your mother's house. The bridegroom comes, who like a roe deer and a young stag leaps on the hills and brings to you the wedding feast. Wake up, rouse yourselves to welcome the bridegroom! There, see, he comes this way.
3 Aria (Duetto) S B Sopran: Wenn kömmst du, mein Heil? Bass: Ich komme, dein Teil Sopran: Ich warte mit brennendem Öle Bass: Eröffne den Saal Sopran: Ich öffne den Saal beide: Zum himmlischen Mahl Sopran: Komm, Jesu! Bass: Komm, liebliche Seele!
3 Aria (Duet) [Soprano (Soul), Bass (Jesus)] Soul: When are you coming, my salvation? Jesus: I come, your portion. Soul: I wait with burning oil. Jesus: Open the hall Soul: I open the hall Both: to the heavenly feast. Soul: Come, Jesus! Jesus: Come, lovely soul!
4 Choral T Zion hört die Wächter singen, Das Herz tut ihr vor Freuden springen, Sie wachet und steht eilend auf. Ihr Freund kommt vom Himmel prächtig, Von Gnaden stark, von Wahrheit mächtig, Ihr Licht wird hell, ihr Stern geht auf. Nun komm, du werte Kron, Herr Jesu, Gottes Sohn! Hosianna! Wir folgen all Zum Freudensaal Und halten mit das Abendmahl.
4 Chorale [Tenor] Zion hears the watchmen sing, her heart leaps for joy, she awakes and gets up in haste. Her friend comes from heaven in his splendor, strong in mercy, mighty in truth. Her light becomes bright, her star rises. Now come, you worthy crown, Lord Jesus, God's Son! Hosanna! We all follow to the hall of joy and share in the Lord's Supper.
5 Recitative [Bass] 5 Recitativo B So come inside to me So geh herein zu mir, you bride that I have chosen for myself, Du mir erwählte Braut! I have betrothed myself to you Ich habe mich mit dir from eternity to eternity. Von Ewigkeit vertraut. It is you that I want to set in my heart, Dich will ich auf mein Herz, Auf meinem Arm gleich wie ein Siegel setzen on my arm like a seal and to delight your grieved eyes. Und dein betrübtes Aug ergötzen. Forget now, O soul, Vergiß, o Seele, nun the anguish, the sorrow Die Angst, den Schmerz, that you had to suffer Den du erdulden müssen; On my left hand you should rest Auf meiner Linken sollst du ruhn, and my right hand should kiss you. Und meine Rechte soll dich küssen. 6 Aria (Duetto) S B Seele: Mein Freund ist mein, Bass: Und ich bin sein, beide: Die Liebe soll nichts scheiden. Seele: Ich will mit dir in Himmels Rosen weiden, Bass: du sollst mit mir in Himmels Rosen weiden, beide: Da Freude die Fülle, da Wonne wird sein.
6 Aria (Duet) [Soprano (Soul), Bass (Jesus)] Soul: My friend is mine, Jesus: and I am yours, Both: Nothing shall divide our love. Soul: I want to graze on heaven's roses with you, Jesus: You will graze on heaven's roses with me, Both: There will be fullness of joy, there will be delight
7 Choral Gloria sei dir gesungen Mit Menschen- und englischen Zungen, Mit Harfen und mit Zimbeln schon. Von zwölf Perlen sind die Pforten, An deiner Stadt sind wir Konsorten Der Engel hoch um deinen Thron. Kein Aug hat je gespürt, Kein Ohr hat je gehört Solche Freude. Des sind wir froh, Io, io! Ewig in dulci jubilo.
7 Chorale [S, A, T, B] May “Gloria” be sung to you with the tongues of men and angels, with harps and with cymbals. The gates are made of twelve pearls, in your city we are companions of the angels on high around your throne. No eye has ever perceived, no ear has ever heard such joy. Therefore we are joyful, Hurray, hurray! for ever in sweet rejoicing.
STAUNTON, VIRGINIA JUNE 28 - AUGUST 6 Visit our year-round Music Shop and Box Office for instrument sales, rentals, & unique music merchandise
www.heifetzinstitute.org
Patrons Concerto The Christ Lutheran Church Endowment Committee Oratorio Charlottesville Chapter American Guild of Organists Florence Jowers and Paul Weber Nancy Dahl Benjamin K. & Jennifer B. Roe
Sonata
Laura Blevins Douglass Taylor and Boody Organ Builders Dr. And Mrs. Richard L. M. Coleman Ruth E. Chodrow Bob and Mable Lou Weiss The Rev. Robert & Elizabeth McCarty (Pastor of Christ Lutheran Church)
Suite
Larry Harrell and Tom Arbaugh Linda and Nicholas MacNeil
Louise Temple-Rosebrook & Fritz Rosebrook Jane and Preston Manning Mary Alice Wease Thursday Morning Music Club
Nicholas and Linda MacNeil Catharine and Madison Brown Hollis and Jacqueline Thoms Dr. Susan Blair Green Leah Farmer and Dr. Pat Matthews Ruth Arnold and Lou Dolive
Cantata
David and Vivian Proctor Howard and June Ratcliffe
Gifts in Kind
Tru by Hilton and Heritage Hospitality Owners, hotel rooms The many performers, donating their time and talent to the glory of Bach
We invite you to become a patron of Bach Around the Clock. Please find a donation box and mailing list signup sheet in the back of the sanctuary. Checks may be made payable to “Christ Lutheran Church.” Thank you!
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