Sunday, November 8, 2015 at 4:00 pm

St. Paul’s Music: Music in a Sacred Space
Through the language of music, St. Paul’s Music is a bridge between the secular and the sacred
that creates community, connects people with the divine, and develops young musicians.
Now in its thirty-seventh year, St. Paul’s Music continues as a ministry of St. Paul’s Episcopal Church, where the human
spirit speaks through the arts. Through generous supporters, St. Paul’s Music is able to offer a variety of events to the
community, and continues to feature choral masterworks performed by St. Paul’s Choir with orchestra, as well as
professional artists from the Indianapolis area and around the world. This organization also supports projects such as
recordings and choir pilgrimages. St. Paul’s Music is an organization dedicated to sharing the arts with all people in our
community.
St. Paul’s Music presents
Choral Masterworks of Johann Sebastian Bach (1685-1750)
Sunday, November 8, 2015 at 4:00 p.m.
Concerto in D minor for Harpsichord, BWV 1052
Allegro
Adagio
Allegro
Tom Gerber, harpsichord
Herz und Mund und Tat und Leben, BWV 147
Cantata for the Feast of the Visitation of Mary (1723)
1. Chor
Herz und Mund und Tat und Leben
Muß von Christo Zeugnis geben
Ohne Furcht und Heuchelei,
Daß er Gott und Heiland sei.
Heart and mouth and deed and life
Must bear witness to Christ
Without fear and hypocrisy
That he is God and Savior.
6. Choral
Wohl mir, daß ich Jesum habe,
O wie feste halt ich ihn,
Daß er mir mein Herze labe,
Wenn ich krank und traurig bin.
Jesum hab ich, der mich liebet
Und sich mir zu eigen gibet;
Ach, drum lass ich Jesum nicht,
Wenn mir gleich mein Herze bricht.
Happy am I that I have Jesus;
O how firmly I shall hold him,
That he may refresh my heart
When I am ill and grieving.
I have Jesus, who loves me
And entrusts himself to me;
Ah, I’ll thus not leave Jesus,
Even if my heart should break.
Lobe den Herren, den mächtigen König der Ehren, BWV 137
Cantata for the Twelfth Sunday after Trinity (1725)
1. Chor
Lobe den Herren, den mächtigen König der Ehren,
Meine geliebete Seele, das ist mein Begehren.
Kommet zu Hauf,
Psalter und Harfen, wacht auf!
Lasset die Musicam hören.
Praise the Lord, the mighty King of honor,
my beloved soul, this is my desire.
Come join the crowd,
psaltery and harps, awake!
Let the music be heard.
Ein feste Burg ist unser Gott, BWV 80
Cantata for Reformation Festival (revised, c. 1748)
1. Choro
Ein feste Burg ist unser Gott,
Ein gute Wehr und Waffen;
Er hilft uns frei aus aller Not,
Die uns itzt hat betroffen.
Der alte böse Feind,
Mit Ernst er's jetzt meint,
Groß Macht und viel List
Sein grausam Rüstung ist,
Auf Erd ist nicht seinsgleichen.
Our God is a secure fortress,
a good shield and weapon;
He helps us willingly out of all troubles,
that now have encountered us.
The old, evil enemy
is earnestly bent on it,
great strength and much deceit
are his horrid armaments,
there is nothing like him on earth.
2. Aria (Soprano, Bass)
Sara Haisley, soprano; Pat Havens, bass
Alles, was von Gott geboren,
Ist zum Siegen auserkoren.
Mit unsrer Macht ist nichts getan,
Wir sind gar bald verloren.
Es streit' vor uns der rechte Mann,
Den Gott selbst hat erkoren.
Wer bei Christi Blutpanier
In der Taufe Treu geschworen,
Siegt im Geiste für und für.
Fragst du, wer er ist?
Er heißt Jesus Christ,
Der Herre Zebaoth,
Und ist kein andrer Gott,
Das Feld muß er behalten.
Alles, was von Gott geboren,
Ist zum Siegen auserkoren.
Everything that is born of God
is destined for victory.
Nothing can be done through our strength,
we are soon already lost.
The righteous Man battles for us,
that God himself has elected.
Whoever, with the bloody banner of Christ
is sworn into the fealty of baptism,
conquers in the spirit again and again.
You ask, who is He?
He is called Jesus Christ,
the Lord of Sabaoth,
and there is no other God,
He must control the battlefield.
Everything that is born of God
is destined for victory.
3. Recitativo-Arioso (Bass)
Pat Havens, bass
Erwäge doch, Kind Gottes, die so große Liebe,
Da Jesus sich
Mit seinem Blute dir verschriebe,
Wormit er dich
Zum Kriege wider Satans Heer und wider Welt,
und Sünde Geworben hat!
Gib nicht in deiner Seele
Dem Satan und den Lastern statt!
Laß nicht dein Herz,
Den Himmel Gottes auf der Erden,
Zur Wüste werden!
Bereue deine Schuld mit Schmerz,
Daß Christi Geist mit dir sich fest verbinde!
Only consider, child of God, that such great love,
which Jesus Himself
with His blood signed over to you,
through which He,
in the war against Satan's host and against the world
and sin, has won you!
Do not make a place in your soul
for Satan and depravity!
Do not let your heart,
God's heaven on earth,
become a wasteland!
Repent your guilt with pain,
so that Christ's spirit may firmly bind itself to you!
4. Aria (Soprano)
Samantha Dotterweich, soprano
Komm in mein Herzenshaus,
Herr Jesu, mein Verlangen!
Treib Welt und Satan aus
und laß dein Bild in mir erneuert prangen!
Weg, schnöder Sündengraus!
Come into my heart's house,
Lord Jesus, my desire!
Drive the world and Satan out
and let your image, shine forth renewed in me!
Away, contemptable horror of sin!
5. Choral
Und wenn die Welt voll Teufel wär
und wollten uns verschlingen,
so fürchten wir uns nicht so sehr,
es soll uns doch gelingen.
Der Fürst dieser Welt,
wie saur er sich stellt,
Tut er uns doch nicht,
das macht, er ist gericht',
ein Wörtlein kann ihn fällen.
And if the world were full of the devil
and would devour us,
even then we would not be so fearful,
we should even then succeed.
The prince of this world,
however sour he might be,
yet can do nothing to us,
since he is already judged,
a little word can topple him.
6. Recitativo (Tenor)
Elwood Black, tenor
So stehe dann bei Christi blutgefärbten Fahne,
O Seele, fest
und glaube, daß dein Haupt dich nicht verläßt,
Ja, daß sein Sieg
Auch dir den Weg zu deiner Krone bahne!
Tritt freudig an den Krieg!
Wirst du nur Gottes Wort
So hören als bewahren,
So wird der Feind gezwungen auszufahren,
Dein Heiland bleibt dein Hort!
Then stand with Christ's bloodstained flag,
O soul, firmly
and believe that you will not lose your Leader,
indeed, that His victory
will also pave the way to your crown!
March joyfully to war!
If you only keep God's word
as you hear it,
then the enemy will be driven out forcibly,
your Savior remains your treasure!
7. Aria (Alto, Tenor)
Mark Stoner II, alto; Elwood Black, tenor
Wie selig sind doch die, die Gott im Munde tragen,
Doch selger ist das Herz, das ihn im Glauben trägt!
Es bleibet unbesiegt und kann die Feinde schlagen
Und wird zuletzt gekrönt, wenn es den Tod erlegt.
Hymn: A mighty fortress is our God
Please stand, if you are able, to sing the hymn.
How happy are they, who bear God’s name on their lips,
But more blessed is the heart that bears Him in faith!
It remains unconquered and can strike at the enemy
and will be crowned at last, when it vanquishes death.
Ein feste Burg ist unser Gott
Program Notes
The final creative stage of Bach’s years in Leipzig represents the acme of his highly organized art. Many of the works he
penned from 1723-1750 were generated out of duty to his post as Capellmeister – vocal works to be performed in the
service of the Church. Others were written as a statement of compositional posterity, not necessarily intended to be
performed. Yet others were a product of his connection with the Leipzig Collegium Musicam, a secular forum designed as
a workshop for amateur and professional musicians to perform chamber music.
The Leipzig Collegium concerts were offered on Friday nights at Zimmerman’s Coffee House, an artistic hangout for
students and locals in a thriving college town. Chamber music of varying forces, solo keyboard music, and even vocal
works (such as Bach’s “Coffee” Cantata) premiered at the coffee house. Bach served as director of the ensemble from
1729 until Zimmerman’s death in 1741, and we must assume that the central repertory for the concerts was Bach’s own
compositions. The Collegium rose in fame during Bach’s tenure, and even after his departure continued to blossom. The
ensemble eventually became the immediate precursor of the Leipzig Gewandhaus, famously led by Felix Mendelssohn,
and today stands as one of Europe’s finest orchestras. Bach’s concerti for one, two, three, and even four harpsichords
are thought to have been performed by the Collegium, with Bach and his talented, virtuosic sons at the keyboard.
The three cantatas on today’s program were all performed in Leipzig, and in the case of “Herz und Mund” and “Ein feste
Burg,” are expanded versions of earlier works. The common thread binding these works together is the creative use of
chorales, the defining feature of Lutheran music. In “Lobe den Herren” Bach presents the chorale melody essentially
unadorned in long notes in the soprano part, an unmistakable statement of a tune that would be familiar to churchgoers
in 18th century Germany (and to modern day Christians who know it to the text “Praise to the Lord, the Almighty”). The
lower parts dance around the chorale melody, and the orchestra swirls around a concerto underneath the dazzling
counterpoint. The chorale presented in “Herz und Mund” is not in its opening movement, but in its famous lilting chorus
popularized and arranged as “Jesu, joy of man’s desiring.”
Bolstered by the enduring popularity of the quintessential hymn of Lutheran Germany, Bach’s Cantata 80, “Ein feste
Burg,” is one of his most recognized and performed vocal works. Interestingly, its first printing in 1821 predates the
publication of both of Bach’s Passion settings and the B Minor Mass. Its popularity persisted also to an unfortunate
association with German national fervor, and was used as a sound byte in German radio broadcasts during World War
II, turning Martin Luther’s words from the chorale - “Ours remains the Kingdom” - into a political ideal and branding
Bach as an unwitting German spokesman. Nevertheless, the glorious architecture and structure of the cantata are
among the most impressive in Bach’s oeuvre, and is perhaps the crowning achievement of the chorale motet genre. Its
enormous opening movement follows strict imitative counterpoint among the voices, a metaphorical fortress of
compositional strength. Within each melodic segment of fugal writing is the chorale melody itself appearing in canon
between the lowest and highest voices in the orchestra. The effect is monumental and stirring, unsurpassed in scope,
skill, and ingenuity. The remaining movements make use of the succeeding stanzas by Martin Luther, with textual
commentary in the arias and recitatives by the librettist Salamo Franck. In lieu of the final chorale as written in the
cantata, the audience is invited to join in singing the four-stanza hymn in English.
- Brad Hughley
St. Paul’s Choir, Indianapolis
Brad Hughley, Associate Organist and Choir Director
Frank W. Boles, Organist and Director of Music
The Reverend John E. Denson, Jr., D.Min., Rector
Trebles
Ivy Beam
Callie Carpenter
Sarah Cummings
Katie Fox
Bella Gould
Emily Gould
Grace Haisten
Margaret Hotopp
Jacob Hughes
Katharine Hughley
Audrey Johns
Fiona Keith
Destiny Law
Evan Law
Dupe Ogunbekun
Abby Schollenberger
C.J. Walls
Sopranos
Kate Appel
Bethany Bockrath
Samantha Dotterweich
Pam Douglas
Sara Haisley
Janet Hock
Susan Joiner
Desiree Law
Erin Walls
Pamela Walters-Boley
Tenors
Rick Bernhardt
Elwood Black
Jose Espada
Brandon Lowe
Gary Lowe
Brian Pawlak
Altos
Pam Coates
Deborah Givan
Inez Harper
Amy Hughley
Joyce Krauser
Tracie Lowe
Noah Menke
Diana Saltanovitz
Patti Shea-Carpenter
Melanie Sokhey
Becky Stoner
Mark Stoner II
Nancy Utz
Basses
Rick Adams
Robert Alonso
Simon Atkinson
Rusty Broxterman
John Carvey
Pat Havens
Jay Heath
Harry R Mamlin III
Mark Stoner
Peter Whitten
Indianapolis Baroque Artists
Violin I
Davis Brooks
Chin Mi Kim
Debbie Rodin
Yon Joo Lee
Violin II
Noelle Gosling
Laura Barcelo
Nicole Deguire
Viola
Colette Abel
Amy Brandfonbrener
Violoncello
Adriana Contino
Nancy Smith
Violone
Emmet Hannick
Cembalo, Organ
Tom Gerber
Oboes
Tim Clinch
Leonid Sirotkin
Bassoon
Kara Stolle
Trumpets
Allen Miller
Lennie Foy
Dan Golando
Timpani
Jeffrey Nearpass
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Scholarships
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honor of many generations of
Carvey Family musicians by the
Carvey Family.
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Marilyn L. Vargo, in thanksgiving
for the life of Edward G. Vargo