october 4, 2015 - Bach at the Sem

2015–2016 Series
OCTOBER 4, 2015
The Chapel of St. Timothy and St. Titus
at Concordia Seminary, St. Louis
Schedule of Concerts
23rd Season
BACH AT THE SEM – 2015-2016
Dr. Maurice Boyer, Music Director
OCTOBER 4, 2015, 3:00 p.m.
(PENTECOST 19, TRINITY 18)
J.S. Bach: Cantata from BWV 96, Herr Christ, der ein’ge Gottessohn; Duet for soprano & alto,
“Herr, du siehst statt guter Werke,” from BWV 9, Es ist das Heil uns kommen her; Cantata BWV 67,
Halt im Gedächtnis Jesum Christ; Chorus from BWV 148, Bringet dem Herrn Ehre seines Namens
DECEMBER 13, 2015, 3:00 p.m.
(ADVENT 3)
J.S. Bach: Organ prelude on Wie schön leuchtet der Morgenstern, BWV 1; Cantata BWV 61,
Nun komm, der Heiden Heiland; Aria for bass, “Johannis freudenvolles springen,” from BWV 121,
Christum wir sollen loben schon; Cantata BWV 40, Dazu ist erschienen der Sohn Gottes;
Chorus from BWV 1, Wie schön leuchtet der Morgenstern
FEBRUARY 7, 2016, 3:00 p.m.
(TRANSFIGURATION)
J.S. Bach: Cantata BWV 127, Herr Jesu Christ, wahr’r Mensch und Gott; Concerto for violin in
A minor, BWV 1041, movement 2; Aria for alto with chorale, “Ich folge dir nach,” from BWV 159,
Sehet! Wir geh’n hinauf gen Jerusalem; Cantata BWV 161, Komm, du süße Todesstunde;
Cantata BWV 23, Du wahrer Gott und Davids Sohn
MAY 15, 2016, 3:00 p.m.
(PENTECOST)
J.S. Bach: Cantata BWV 11, Lobet Gott in seinen Reichen; Aria for bass, “Es ist vollbracht,”
from BWV 159, Sehet! Wir geh’n hinauf gen Jerusalem; Organ prelude on Komm, heiliger Geist;
Cantata BWV 34, O Ursprung der Liebe
We are grateful to the “Friends of Bach at the Sem” for their continuing generosity that makes the
Bach at the Sem series possible.
Special thanks to: Wayne Coniglio for supporting Bach at the Sem by donating the archival-only
recording of the program.
Concordia Seminary is privileged to make J. S. Bach’s music available to the St. Louis community
and invites your generous support for these uplifting concerts. If you have not received mailings from
Bach at the Sem and would like to be placed on the mailing list, please call 314-505-7009.
Cover image – from the autograph score of J.S. Bach’s Du wahrer Gott und Davids Sohn BWV 23,
which the American Kantorei will perform Feb. 7, 2016.
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Bach at the Sem
October 4, 2015, 3:00 p.m.
Twentieth Sunday after Trinity
Dr. Maurice Boyer, Music Director
The American Kantorei
Dr. Jeral Becker, Assistant Conductor
In Nomine Jesu
Cantata: Herr Christ, der ein’ge Gottessohn, BWV 96 (Lord Christ, the only Son of God)
1. Chorus
2. Recitative (Katharine Lawton Brown)
3. Tenor Aria (Scott Kennebeck)
4. Recitative (Emily Truckenbrod)
5. Bass Aria (Jeffrey Heyl)
6. Chorale
Johann Sebastian Bach
Soprano-Alto Duet: Herr, du siehst statt guter Werke auf des Herzens Glaubensstärke
(Lord, instead of good works you look at the strength of faith in our hearts)
from Cantata: Es ist das Heil, BWV 9 (Emily Truckenbrod / Stephanie Ruggles) Johann Sebastian Bach
Hymn: “Sing Praise to God, the Highest Good”
The assembly stands to sing the hymn provided on page 9
or in Lutheran Service Book (LSB) 819
Organ Voluntary: Fugue in G major (“Gigue”), BWV 577 Johann Sebastian Bach
(James Marriott, organist)
The offerings received at this time support the Bach at the Sem concert series.
Cantata: Halt im Gedächtnis Jesum Christ, BWV 67
(Keep in memory Jesus Christ)
1.
2.
3.
4.
5.
6.
7.
Johann Sebastian Bach
Chorus
Tenor Aria (Scott Kennebeck)
Recitative (Katharine Lawton Brown
Chorale
Recitative (Katharine Lawton Brown)
Bass Aria / Chorus (Jeffrey Heyl)
Chorale
Chorus: Bringet dem Herrn Ehre seines Namens
(Bring to the Lord the glory of His Name)
from Cantata BWV 148
Soli Deo Gloria
Johann Sebastian Bach
Program Notes
“Awaken us by your mercy!”
combined forces only accentuate the brilliance of the
piccolo. That the tune emanates from within might also
Welcome to the opening concert of the 2015-16 Season
be a way of depicting the Incarnation — “true man yet
of Bach at the Sem. In today’s program, the common
very God.” The low-lying alto, “bearing” the Morning
thread is God in Christ — the Morning Star and Bearer
Star, may be depictive of the womb that bore the Christ.
of Peace — relentlessly seeking out the doubting and
Throughout, the melody is heard unaltered but for one
the faltering in the midst of their struggle through His
significant note. At “Morgensterne” (morning star),
love. May the depth of Bach’s understanding of this
Bach inserts a chromatic passing tone (B natural), one
mystery enliven and bring joy to your hearts.
that enables him to veer ever so briefly but suddenly
to the opposite end of the harmonic spectrum: E major
Cantata: Herr Christ, der ein’ge Gottessohn, BWV 96
from the movement’s F major. Pitch and harmony in
consort subtly depict the effulgence of the star. In the
BWV 96 belongs to Bach’s second annual cycle of
meeting of high and low, William Crashaw’s “In the
cantatas — 52 works composed in 1724-5 and based
Holy Nativity of Our Lord” comes to mind: “Great
upon Lutheran chorales. The title hymn was penned
little one whose all-embracing birth / Lifts earth to
by Elizabeth Kreuziger, a friend of Martin Luther, in
heav’n, stoops heav’n to earth.”
1524. The Reformer was so taken with the hymn that
he included it at the head of his Gesangbuch. . While it
Three apostrophes punctuate the ensuing and richly
is now linked with the Feast of the Epiphany (see The
layered recitative: “O wondrous power of love!” “O
Only Son from Heaven, Lutheran Service Book #402),
incomprehensible, secret might!” and “O rich power of
in former times it was fittingly associated with the
blessing!” These evocative titles are responses to the
Eighteenth Sunday after Trinity, on which the Gospel
mystery of the Incarnation: God’s opening heaven and
reading portrays Jesus asking: “What do you think
shutting hell.
of the Messiah? Whose son is he?” (Matt. 22:23-49)
Composed exactly 200 years later, the present cantata
Reading the text of the succeeding aria apart from
was first performed Oct. 8, 1724. The aforementioned
Bach’s setting, one might expect something plangent
five-verse chorale textually governs the entirety of this
and passionate. As a rejoinder to such surface reading,
six-movement work: verbatim in the outer movements
Bach provides an aria that is light and wide-eyed.
and paraphrased by an anonymous librettist in the inner
It is difficult to doubt that he readily perceived the
movements. The chorale tune is declaimed in long
librettist’s allusion to the prophet Hosea (11:4): “I led
notes in the opening Chorale Fantasia and uttered in a
them with cords of human kindness, with bands of love.
straight four-part harmonization in the final movement.
I was to them like those who lift infants to their cheeks.
I bent down to them and fed them.” It is indeed the
The first movement alludes to Matthew 2 (the journey
affect of these lines that governs the aria.
of the Magi) and to 2 Peter 1:19 “So we have the
prophetic message more fully confirmed. You will do
The idea of lifting up, which pervades the A section of
well to be attentive to this as to a lamp shining in a dark
this Da Capo aria, is captured musically in a number
place, until the day dawns and the morning star rises
of gestures: three rising steps preceded by leaps
in your hearts.” Bach sonically paints a vivid scene.
downward, fast ascending lines, “ti-do” retardations at
A pastoral setting is evoked in the spirited lilt of a
cadences. The high-pitched airy flute further depicts this
gigue marked vivace, while the brightness of the star is
lifting and, in fact, carries the upward (“lifting”) motive
vividly depicted in the virtuosic sopranino recorder part
throughout the aria. Finally, the aria itself represents a
(piccolo flute in today’s performance) whose swiftly
harmonic rising from the first movement: from F major
unfolding 16th notes cast light from high above on the
to the lustral key of C major. Throughout, the flute is
entire texture.
by turn independent of the voice, in imitation of it,
or in step with it (in 3rds and 6ths). In the A section,
The chorale melody in long notes would typically be
sweet harmonies (7th and 9th chords) are couched in
allotted to the soprano voice. Here assigned to the alto,
sophisticated counterpoint and attenuated by surprising
it bores through the middle of the texture doubled by
chromatic turns and mode mixture.
oboes d’amore and trumpet. The warm hues of these
2
Reaching the B section, the music moves to the relative
minor (A minor) and becomes increasingly chromatic,
especially at “that it may blaze with sacred flames.”
Sharps on the page (crosses in German) symbolize
the cross and therefore the Christ. One is reminded
of Luther’s words in verse 5 of “Christ Jesus Lay in
Death’s Strong Bands”: “Here is the righteous Easter
Lamb / As God has commanded, / High on the Cross’
beam it has / Roasted in burning love.” The singer is
asking that his faith be animated by the same burning
love that was found in Christ. The flames may also be a
reference to the flaming tongues of the Holy Spirit. That
the flute unfolds in parallel motion with the voice in
3rds and 6ths might suggest that, in the thick of things,
the “cords or ropes” (of God’s love) do indeed take
hold of the one who is struggling. It is tenuous to say
specifically what the flute may represent, but one can
aver that it suggests gentle divine sustenance.
Unlike the tenor aria, which is in ABA form, the bass
aria is through-composed. There is thus a direct linear
progression from beginning to end. Closing as it had
opened, in unrest, the aria offers no easy solutions for
the disquieted mind. However, at the exact middle point
of the aria (measures 33-39 out of 73 total), there is a
ray of hope — seven bars of otherworldly stillness. In
the hands of a lesser composer, the text would perhaps
evoke an imploring tone: “Go along with me, my
Savior.” Instead, Bach bores deeply into it and finds
utter simplicity and light: Christ stands at the center.
The texture becomes transparent and the harmony pure.
The instrumental accompaniment, which had matched
the voice, now plays only staccato quarter notes.
Right and left are still there, but they are no longer
distinguishable. With the Savior, they lose their power.
The clarity of C major (the tenor aria) is temporarily
regained. Finally, a downward sequential pattern with
sweet bass line suspensions suggests that, even in the
descent into danger, Christ is with the one who calls
upon Him.
Although the tenor aria is a plea, it is one addressed “on
behalf” of the soul (“die Seele” not “meine Seele”) to
the deity. There is no “I” here, nor is there a possessive
pronoun in the original German, although one could
suggest that it is implied. Thus, the soprano recitative
marks a definite turning point in the cantata toward the
subjective. This trajectory is prolonged in the bass aria,
which is thoroughly concerned with the individual’s
dilemma of being “driven by the wind” (James 1:8)
to the right and left. Although the opening chapter
of James is not directly referenced or alluded to, its
concern with double-mindedness and disquiet seem a
reasonable backdrop for this aria.
Far from an anticlimactic “tack-on,” the finale chorale,
as in all the cantatas, has a gathering effect in that it
draws the listener into a communal experience. The lens
fans out to the “we” of the community of faith. Familiar
with Elizabeth Kreuziger’s hymn, the congregants of
Bach’s time would have felt drawn into the musical
experience, as they would have been able to sing
inwardly the quickening words of its final verse: “Kill
us through Your goodness, awaken us through Your
mercy.” The Old Adam in all must die that the New
Adam may live.
In contrast to the tenor aria’s innocence and overall
trust, the bass aria speaks from a place of anguished
introspection. However, by casting it in the stately and
elegant dance form of the Sarabande, Bach intimates
that the “I” that is pulled by the tension of “right vs.
left” is not chaotic or depraved. Rather it is genuinely
endeavoring to walk the “path of righteousness” but
is beset by the pressures without. Text painting is
clear in the instrumental groups (strings and oboes)
being used antiphonally to symbolize the two sides.
Interestingly the right (correct/righteous) lifts upward
and the left (sinister/dangerous) pulls downward. The
tug of “sinking into danger” and the struggle for
discernment are further sensed at a latent level in the
intricacy of the phrasing and in the downward spin of
canonically unfolding lines.
Duet: from Es ist das Heil uns kommen her, BWV 9
The exact date of composition of BWV 9 is unclear, but
consensus is that it was composed sometime between
1732 and 1735 for the Sixth Sunday after Trinity. The
Gospel of the day is from the Sermon on the Mount
(Matt. 5:20-26), where Jesus warns that one cannot at
the same time come to God’s altar and bear anger or
hatred in one’s heart.
On the surface, this Da Capo duet is bright and lyrical
— effortless and delightful. Its construction, however,
evinces the greatest rigor. The A section is in fact a
masterful piece of five-part counterpoint: a strict double
canon (flute-oboe / soprano-alto) alternately at the 4th
and 5th with bass accompaniment. That Bach chose to
write a canon rather than a fugue is not insignificant.
3
As the most rigorously governed form of counterpoint,
its rules are the strictest: in Greek, canon means “rule.”
Bach reveals in sound that freedom and obedience are
not mutually exclusive. A different rule or law is at
work, one that governs the heart: that of faith. Rule and
obedience are expressed in the rigor of the counterpoint;
freedom is heard and felt in the instrumental and
vocal lines being independent but motivically related.
The affect of the music is unequivocal: “obedience”
translates as joy.
A further connection between the Passion and this
cantata is the Gospel of John. In effect, the reading for
the First Sunday after Easter would have been John
20:19-31. Having first appeared to Mary Magdalene,
Jesus suddenly appears to his disciples who, terrified,
have locked themselves in the house where they were
staying. His words to them are: “Peace be with you.
As the Father sent me, so I send you.” He then breathes
on them the Holy Spirit. The following week, He
appears to them again. This time, Thomas, who had
been absent, is with them. Ensues the famous episode of
“doubting Thomas.”
From the opening section’s A major, the B section turns
to the relative minor: F# minor. While the harmonic
language becomes more complex and chromatic, the
counterpoint is simplified in the sense that there is
no longer per se a double canon. Flute and oboe now
unfold in step with soprano and alto, respectively,
albeit with embellished lines. One might say that the
instruments, as in the tenor aria above, embody divine
sustaining and enabling. The text here states “Only faith
makes us righteous; everything else is too poor to be
able to help us.” Through strictly musical means (key,
increased chromaticism and number of sharps), Bach
subtly but clearly defines the subject and object of that
faith: Christ.
Let us return to the architecture of BWV 67. Adding a
semantic layer to the linear unfolding of the work is its
overall tonal planning, which follows a pattern of ascent
then descent (A – F# – A). Subjacent to this is what
one might call the ideational level, which is chiastic or
cruciform. See below.
Tonal Planning
F# major
C# minor/B major
C# minor/A major
E major
A major
A major
A major
Cantata: Halt im Gedächtnis Jesum Christ, BWV 67
Chiastic Structure
Chorus – Aria – Recit
Composed for the First Sunday after Easter 1724 (April
16), BWV 67 was first performed nine days after the
first version of the St. John Passion on Good Friday.
In the intervening days, parishioners in Leipzig would
have heard three other works: a revival of Bach’s
earliest cantata BWV 4 on Easter Sunday and two
parodies of secular cantatas composed in Cöthen, BWV
66 and 134, on Easter Monday and Easter Tuesday,
respectively. Thus, the present work would have
been the first new work performed since Good Friday.
From the physical evidence of the manuscript score,
one gets the impression that Bach was working at
breakneck pace.
Chorale
Recit – Aria – Chorale
The significance of this tonal planning and overall
chiastic structure is that it underscores a Johannine
theme: the lifting up of the Son of Man (John 3:14-15,
8:28, 12:32). In these passages, the reference is to
being lifted up upon the cross, just as Moses lifted up
the serpent in the desert. Looking to the Son of Man
means life.
In contrast to BWV 96, which is on the whole inward
and poetic, BWV 67 is extroverted and dramatic.
Despite its brevity — a mere 20 minutes — it is
truly a companion piece to the St. John Passion and,
in conception, reveals a similar preoccupation with
the semantic and expressive potency of architecture.
Given the intense constraints on his schedule, Bach in
all probability worked on both pieces simultaneously
during the preceding Lent.
The ecstatic opening chorus sets a single line of text:
“Keep (hold) in memory Jesus Christ who has been
raised from the dead” (2 Tim. 2:8). Brilliant fugal
writing alternates with declamatory homophony. Two
instances of wonderfully direct text painting bear
mentioning: “Hold” expressed by a single long-held
note and “resurrected” as a melismatic rising line.
Jubilation is underscored in the piling up of fugal
subject entrances.
4
For Thomas, sung by the tenor, faith knows that Christ
has risen from the dead, but the heart is still torn. Bach,
rather than concentrate on doubt for the aria’s affect,
insightfully focuses on the joy engendered by the
faith statement: “My Jesus is arisen.” However, lucid
as he ever is, Bach adds psychological layers to this
joy: below the surface lurk disquiet, impatience and
urgency. Bach never ceases to amaze in his capacity
for empathy: not a soul state seems unfamiliar to him.
The nervousness of Thomas’s restless mind is heard
in harmonically unstable passages, in the frequent
rests between words within a phrase, and in quickly
dovetailing canonic entrances of the “arisen” motive
(upward scale). These entrances give voice to the
obsessive activity of Thomas’s heart and mind wrestling
with the mystery of the resurrection. In E major, albeit
with forays into sharper keys (F# and B) and more
chromatic regions, the aria is the first step in the ascent
to F# major.
“O Lord, help and sustain us!,” Christ enters right into
the thick of things to bring words of comfort. He not
only silences the storm, He is also willing to step right
into it when invoked.
A simple four-part setting of the beautiful and gentle
chorale, “Du Friedefürst, Herr Jesu Christ” (You prince
of peace, Lord Jesus Christ), fittingly draws the cantata
to a close.
Chorus: Bringet dem Herrn Ehre seines Namens,
BWV 148
Cantata BWV 148 was composed for the Seventeenth
Sunday after Trinity and performed Sept. 19, 1723,
during Bach’s first autumn in Leipzig. The Gospel of
the Day (Luke 14:1-11) is Jesus’ brilliant handling of
the questions of whether it is lawful to cure people
on the Sabbath, who is given the place of choice at
a wedding, and who is invited to a dinner. His final
words are: “… when you give a banquet, invite the
poor, the crippled, the lame, and the blind. And you will
be blessed, because they cannot repay, for you will be
repaid at the resurrection of the dead.” How stirring it
is to hear this cantata’s opening chorus burst forth as an
eruption of joy in response to such generosity!
Recitative-chorale-recitative function as a unit. With
the chorale, we reach the highest point of harmonic
elevation. While there are only four sharps in the
key signature, all seven sharps actually occur in the
movement, which eventually cadences in F# major
on “Alleluja!” Christ is lifted up; He has risen from
the dead. For the First Sunday after Easter, Bach has
chosen to make the heart of his cantata a communal
utterance and selected a hymn known to all, probably
by heart. Little more than a week earlier, he had done
the very same in the St. John Passion with the chorale
“Through your imprisonment, God’s Son, has freedom
come to us.” In both pieces, he enfolds the chorale in a
chiastic or cruciform structure (as shown above). Just
as a cathedral is constructed in the shape of the cross,
so also is this cantata cross-shaped: Christ is the Center.
The bass aria is a hybrid four-part AB variation form
in which a blustery section for three-part chorus (the
disciples) and strings alternates with a placid section for
bass soloist (Vox Christi) and winds. The movement
functions as the answer to the tenor aria’s plea: “My
salvation, appear!” It depicts in arrestingly vivid strokes
the Gospel of the Day. The disciples are locked away in
their house in terror. Suddenly, time is suspended and
Jesus says: “Peace be with you.” One is reminded of
Psalm 46, “Be still and know that I am God,” in which
the preceding portion of the text is rife with violent
imagery. When, in its third entrance, the chorus cries,
5
Maurice Boyer
Text and Translation
Herr Christ, der ein’ge Gottessohn, BWV 96
Lord Christ, the only Son of God – J. S. Bach
3. Aria (Tenor)
Ach, ziehe die Seele mit Seilen der Liebe,
Ah, draw my soul to You with ropes of love,
O Jesu, ach zeige dich kräftig in ihr!
O Jesus, ah show Yourself powerfully in it!
Erleuchte sie, daß sie dich gläubig erkenne,
Enlighten it, so that it may recognize You in faith.
Gib, daß sie mit heiligen Flammen entbrenne,
Grant that it may blaze with sacred flames.
Ach wirke ein gläubiges Dürsten nach dir!
Ah, make it have a thirst for faith in You!
(Da capo)
1. Chorus (S A T B)
Herr Christ, der ein’ge Gottessohn,
Lord Christ, the only Son of God,
Vaters in Ewigkeit,
of the Father in eternity
Aus seinem Herzen entsprossen,
who sprang from His heart,
Gleichwie geschrieben steht,
just as it stands written,
Er ist der Morgensterne,
He is the Morning Star,
Sein’n Glanz streckt er so ferne
His radiance He stretches so far
Vor andern Sternen klar.
that it is clear beyond all other stars.
4. Recitative (Soprano)
Ach, führe mich, o Gott, zum rechten Wege,
Ah, lead me, O God, on the right way,
Mich, der ich unerleuchtet bin,
I, who am unenlightened,
Der ich nach meines Fleisches Sinn
who, because of the desires of my flesh,
So oft zu irren pflege;
so often am wont to err.
Jedoch gehst du nur mir zur Seiten,
Still if only You walk beside me,
Willst du mich nur mit deinen Augen leiten,
if only You are willing to lead me with Your eyes,
So gehet meine Bahn
then my path leads
Gewiss zum Himmel an.
certainly to heaven.
2. Recitative (Alto)
O Wunderkraft der Liebe,
O wondrous power of love,
Wenn Gott an sein Geschöpfe denket,
when God considers those that He has created,
Wenn sich die Herrlichkeit
when His glory
Im letzten Theil der Zeit
in the final part of time
Zur Erde senket.
sinks down to earth.
O unbegreifliche, geheime Macht!
O incomprehensible, secret power!
Es trägt ein auserwählter Leib
A chosen body bears
Den großen Gottessohn,
the great Son of God,
Den David schon
whom David already
Im Geist als seinen Herrn verehrte,
in spirit honored as his Lord,
Da dies gebenedeite Weib
for this blessed woman
In unverletzter Keuschheit bliebe.
remained in immaculate purity.
O reiche Segenskraft! die sich auf uns ergossen,
O rich power of blessing! poured out upon us
Da er den Himmel auf-, die Hölle zugeschlossen.
for He has opened heaven and shut hell.
5. Aria (Bass)
Bald zur Rechten, bald zur Linken
Now to the right, now to the left
Lenkte sich mein verirrter Schritt.
my erring steps turn.
Gehe doch, mein Heiland, mit,
Go along with me, my Savior.
Laß mich in Gefahr nicht sinken,
Let me not sink into danger;
Laß mich ja dein weises Führen
let me indeed sense Your wise guidance
Bis zur Himmelspforte spüren!
to heaven’s gates!
6
6. Chorale (S A T B)
Ertödt uns durch dein’ Güte,
Kill us through Your goodness,
Erweck’ uns durch dein’ Gnad;
awaken us through Your mercy.
Den alten Menschen kränke,
Weaken the old man
Dass er neu’ Leben mag
so that he may have new life
Wohl hier auf dieser Erden,
even here on this earth,
Den Sinn und all’ Begierden
so that his mind and desires
Und G’danken hab’n zu dir.
and thoughts may be for You.
Mein Glaube kennt des Heilands Sieg,
My faith knows the Savior’s victory,
Doch fühlt mein Herze Streit und Krieg,
still my heart feels strife and battle.
Mein Heil, erscheine doch!
My salvation, appear then!
3. Recitative (Alto)
Mein Jesu, heißest du des Todes Gift
My Jesus, You are called death’s poison
Und eine Pestilenz der Hölle:
and a plague for hell:
Ach, daß mich noch Gefahr und Schrecken trifft!
Ah, that I should still meet with danger and fear!
Du legtest selbst auf unsre Zungen
You Yourself put on our tongues
Ein Loblied, welches wir gesungen:
a song of praise, which we sang:
Es ist das Heil uns kommen her, BWV 9
Salvation unto us has come – J. S. Bach
5. Duet (Soprano, Alto)
Herr, du siehst statt guter Werke
Lord, instead of good works You look at
Auf des Herzens Glaubensstärke,
the strength of faith in our hearts,
Nur den Glauben nimmst du an.
You take account only of faith.
Nur der Glaube macht gerecht,
Only faith makes us righteous;
Alles andre scheint zu schlecht,
everything else appears too poor
Als daß es uns helfen kann.
to be able to help us.
(Da capo)
4. Chorale (S A T B)
Erschienen ist der herrlich’ Tag,
The glorious day has appeared
Dran sich niemand g’nug freuen mag:
when no one can rejoice sufficiently:
Christ, unser Herr, heut’ triumphiert,
Christ, our Lord, today triumphs;
All’ sein’ Feind’ er gefangen führt.
all His enemies He leads captive.
Alleluja!
5. Recitative (Alto)
Doch scheinet fast,
Yet it almost seems
Daß mich der Feinde Rest,
that the remaining enemies,
Den ich zu groß und allzu schrecklich finde,
whom I find too great and only too frightening,
Nicht ruhig bleiben lässt.
do not let me stay in peace.
Doch, wenn du mir den Sieg erworben hast,
But if You have won the victory for me,
So streite selbst mit mir, mit deinem Kinde!
then fight, You Yourself, by my side, by Your child!
Ja! ja! wir spüren schon im Glauben,
Yes indeed, already we feel in faith
Daß du, o Friedefürst,
that You, O Prince of peace
Dein Wort und Werk an uns erfüllen wirst.
will fulfill in us Your word and work.
Halt im Gedächtnis Jesum Christ, BWV 67
Keep in memory Jesus Christ – J. S. Bach
1. Chorus (S A T B)
Halt’ im Gedächtnis Jesum Christ,
Keep in memory Jesus Christ,
der auferstanden ist von den Todten.
who has risen from the dead.
2 Aria (Tenor)
Mein Jesus ist erstanden,
My Jesus is arisen,
Allein, was schreckt mich noch?
yet what still frightens me?
7
6. Aria (Bass) and Chorus (S A T)
Bass:
Friede sei mit euch!
Peace be with you!
Chorus:
Wohl uns! Jesus hilft uns kämpfen
How fortunate we are! Jesus helps us to fight
Und die Wuth der Feinde dämpfen,
and to subdue the rage of the enemy.
Hölle, Satan, weich!
Hell, Satan, give in!
Bass:
Friede sei mit euch!
Peace be with you!
Chorus:
Jesus holet uns zum Frieden
Jesus calls us to peace
Und erquikket in uns Müden
and revives in us weary ones
Geist und Leib zugleich.
at once spirit and body.
Bass:
Friede sei mit euch!
Peace be with you!
Chorus:
O Herr, hilf und lass gelingen,
O Lord, help us and let us succeed
Durch den Tod hindurch zu dringen
in pressing on through death
In dein Ehrenreich!
into Your glorious kingdom.
Bass:
Friede sei mit euch!
Peace be with you!
7. Chorale (S A T B)
Du Friedefürst, Herr Jesu Christ,
You Prince of peace, Lord Jesus Christ,
Wahr’r Mensch und wahrer Gott,
true man and true God,
Ein starker Nothhelfer du bist
You are a strong helper in distress,
Im Leben und im Tod.
in life and in death.
Drum wir allein
Therefore, we only
Im Namen dein
in Your Name
Zu deinem Vater schreien.
cry to Your Father.
Bringet dem Herrn Ehre seines Namens, BWV 148
Bring to the Lord the Glory of His Name – J. S. Bach
1. Chorus (S A T B)
Bringet dem Herrn Ehre seines Namens,
Bring to the Lord the glory of His Name;
betet an den Herrn im heiligem Schmuck.
pray to the Lord in holy splendor.
(Psalm 29:2, 96:8)
8
Sing
Praise
819 Sing Praise toto God,
God, the
the Highest
Highest Good
Good LSB 819
5 5. All confess
who confess Christ’s holy name, All who
Christ’s
holy
name,
Give God the praise and glory. Give God the praise and glory.
Let all who know His pow’r proclaim Let all who know His pow’r proclaim
Aloud the wondrous story. Aloud
wondrous
Cast ethe
v’ry idol from istory.
ts throne, Cast ev’ry
For Gidol
od is from
God, aits
nd throne,
He alone: For God
Heaalone:
Tis
o GGod,
od all and
praise nd glory! To God all praise and glory!
Public domain 9
Dr. Maurice Boyer
James F. Marriott
Music Director
Director of Musical Arts
Dr. Maurice Boyer is in his second
year of serving as music director for
the American Kantorei / Bach at the
Sem. He is associate professor of music
at Concordia University Chicago,
River Forest, Ill., where he conducts
the chamber orchestra and Laudate, a
women’s choir, and teaches all levels of ear training. Boyer
also is the artistic director of Aestas Consort of Chicago and
assistant conductor of the Symphony of Oak Park River
Forest. He earned a Bachelor of Music in sacred music,
with piano as his principal instrument, and Master of Music
in choral conducting at Westminster Choir College of
Rider University in Princeton, N.J., where he also studied
theology at Princeton Theological Seminary. Boyer also
holds a Doctor of Musical Arts in orchestral conducting
from the University of Maryland, College Park.
James F. Marriott, director of Musical
Arts at Concordia Seminary, holds
a Master of Church Music from
Concordia University Wisconsin,
Mequon, Wisc. and a Bachelor
of Parish Music from Concordia
University, Nebraska, Seward,
Neb. He is a doctoral candidate in liturgical studies at
Garrett-Evangelical Theological Seminary in Evanston, Ill.,
a regular recitalist and lecturer at Christian venues
throughout the country, and serves as the founder and
artistic director for Evangelii, the youth choir of Trinity
Lutheran Church in Lisle, Ill., which annually tours the
nation. He also has published worship materials through
Concordia Publishing House and Liturgy Solutions.
The American Kantorei
Chorus
Soprano
Emily Truckenbrod, Principal
Jean Baue
Kathryn Crumrine
Megan Glass
Brittany Graham
Lea Herdler
Krista Hartmann
Marita Hollander
Camille Marolf
Lynn D. Morrissey
Alto
Katharine Lawton Brown, Principal
Stephanie Ruggles, Assistant Principal
Danielle Gines
Mona Hauser
Anna Otterman
Kimberly Werner
Amy Will
Mary Ulm
Lisa Young
Tenor
Scott Kennebeck, Princiipal
Jeral Becker, Assoc. Principal
Thomas Jarrett Bolain
Bill Larson
Keith Wehmeier
Bass
Jeffrey Heyl, Principal
David Berger, Assoc. Principal
Charles McCall
Greg Upchurch
Kyle Will
Orchestra
Violin 1
Wanda Becker, Concertmaster
Cynthia Bowermaster
Christine Sasse
Hannah Frey
Violin II
Kaoru Wada, Principal
Marilyn Park Ellington
Tova Braitberg
Margret Heyl
Viola
Sarah Borchelt, Principal
Laura Reycraft
Oboe / Oboe d’amore
Ann Homann, Principal
Eileen Burke
Cello
Andrew Ruben
Trumpet
John Korak
Double Bass
Anita Hagerman
Positiv (Continuo) Organ
John Walsh
Flute / Piccolo
Paula Kasica
Chapel Organ
James Marriott
10
Welcome to Bach at the Sem!
With anticipation of great goodness in this new season, we welcome you
today to Bach at the Sem. Dr. Maurice Boyer begins his second year as music
director for the American Kantorei. The countless hours of preparation by
Director Boyer and the American Kantorei promise us an enriching afternoon
and we thank them most sincerely.
J.S. Bach knew his Bible, knew it in his head and heart. The genius given to
him was to lift the biblical words off the printed page to be carried by music
into the heads and hearts of those who listen to his works. It’s worth noting
that scholars have estimated that only 10 percent of the population of the
Roman Empire in the first century could read and write. So when St. Paul
wrote, “Faith comes through hearing,” he was literally describing how the
faith came into the hearts of people (Rom. 10:17). Literate people read
Scripture to those who couldn’t read and all together shared what they had
experienced through their connections and conversations.
The theme for Concordia Seminary’s new academic year, our 177th, is “Living and Active,” taken from Heb. 4:12-13:
The word of God is living and active, sharper than any two-edged sword, piercing to the division of soul and
spirit, of joints and of marrow, and discerning the thoughts and intentions of the heart. And no creature
is hidden from his sight, but all are naked and exposed to the eyes of him to whom we must give account.
Books and literacy became increasingly common after the invention of moveable type in the 15th century, but with
that blessing came the temptation to think of biblical texts as bound in a book. Experiencing Bach recalls us to the
truth that the Word is viva vox evangelii, the living voice of the Gospel. The genius of Bach lifts texts from print to
cut to the heart, bringing us before the One who judges but also forgives and saves. In all the works we are blessed
to hear this afternoon, the music lifts the words from scores and programs to make it “living and active” in our lives.
An institutional note: Today Concordia Seminary is the largest donor to Bach at the Sem. Our present challenge
is to make this beloved concert series more self-sustaining so as to ensure these concerts can continue. We can only
do that with your help. As such, we seek your financial support. I invite you to join me in more generous giving so
that Bach at the Sem will be “living and active” for many years to come.
Dale A. Meyer
President
11
Join Us!
A Special Reception with Dr. Maurice Boyer
Music Director for the Bach at the Sem Concert Series
After today’s concert
On the Seminary Campus
All are welcome!
12
celebrating the music
of j.s. bach since 1955.
STAY UP-TO-DATE WITH
BACH AT THE SEM
BETWEEN CONCERTS
bach.csl.edu
/BachAtTheSem
@BachAtTheSem
Experience Great Music in a Great Space!
CATHEDRAL CONCERTS 2015 - 2016 SEASON
Christine Brewer soprano &
Paul Jacobs organist
Wednesday, October 14, 2015 8:00 PM
Philip Barnes
Artistic Director
Welcomed by The Order of St.John, Mrs. Priscilla R. McDonnell,
& Mrs. Anna M. Harris with support from the Vassia Foundation
and the Arts & Education Council
Tenebrae
English Chamber Choir
Nigel Short, Director
Thursday, October 29, 2015 8:00 PM
Presented by Mr. John Russell
Welcomed by Dr. & Mrs. Anthony Fathman
Vienna Boys Choir
Holiday Concert
Presented in Memory of Francis Einig
2015~2016
Join one of the country’s best a cappella choirs for our 60th season!
Saturday, November 21, 2015 8:00 PM
Sing A New Song!
Languish With Love
Christmas at the Cathedral
In Every Corner Sing!
All Manner of Gods
Saturday, December 12, 2015 8:00 PM
Sunday, December 13, 2015 2:30 PM
Christmas – Auf Deutsch!
In Memoriam
Welcomed by Coldwell Banker Gundaker,
Paul & Amy Mittelstadt, & Steinway Piano Gallery
Steinway is the Official Piano of Cathedral Concerts
With the Sonos Handbell Ensemble
& Frederica von Stade Mezzo-soprano
Welcomed by Favazza’s & Enterprise Bank & Trust
Group Rates Available - 314-533-7662
www.CathedralConCerts.org
Cathedral Basilica of St. Louis
4431 Lindell Boulevard 63108
September 27 • 3 pm
February 14 • 3 pm
Third Baptist Church
Second Presbyterian Church
620 North Grand Blvd • St. Louis • 63103 4501 Westminster Place • St. Louis • 63108
November 8 • 3 pm
April 10 • 3 pm
St. Louis Abbey
560 Music Center
500 S Mason Road • Creve Coeur • 63141 560 Trinity Avenue • U City • 63130
December 20 • 3 pm
Trinity Lutheran Church
812 Soulard Street • St. Louis • 63104
May 29 • 3 pm
St. Francis de Sales Oratory
2653 Ohio Avenue • St. Louis • 63118
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You Can Bless and Enrich Lives!
Bach’s amazing music continues to bless and enrich lives because people like you have not only appreciated the
music personally, but have made provisions to make it possible for new generations to experience the highest
quality performances of not only his music but also that of other master composers of the Christian musical
heritage. This wonderful music still touches the lives of people of all ages and all beliefs.
“Friends of Bach at the Sem” make it possible for children, students, families and members of the community
to be enriched by the professional, live performances that Bach at the Sem has delivered for 21 uplifting seasons.
With a full schedule of Sunday concerts featuring the American Kantorei, now is the perfect time for you to
experience the joy of being one of the patrons who make Bach at the Sem possible.
By becoming a “Friend of Bach at the Sem” you will have the satisfaction of enriching others just as you have
been blessed and enriched.
Pledges, checks, and credit card donations are welcomed. Please use the envelope provided.
Or, to ask questions or donate by phone please call: 1-800-822-5287.
Bach at the Sem Sponsorship
“Friends of Bach at the Sem”
Concert Sponsor
Conductor Sponsor
Reception Sponsor
Board Sponsor $1,000
Guest Sponsor $500
Friend Sponsor $100
$10,000
$5,000
$2,500
For more information about sponsoring Bach at the Sem,
please call 314-505-7009 or email bach@csl.edu.
Concordia Seminary
801 Seminary Place
St. Louis, MO 63105
www.csl.edu