Bach at the Sem | May 2017 by Concordia Seminary

2016-17 Series

MAY 7, 2017 The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis

Schedule of Concerts 24th Season

BACH AT THE SEM – 2016-17 Dr. Maurice Boyer, Music Director DECEMBER 11, 2016, 3 p.m. (ADVENT 3) J.S. Bach: Cantata, BWV 121, Christum wir sollen loben schon; Sinfonia: from Cantata, BWV 182, Himmelskönig, sei willkommen; Soprano aria: from Cantata, BWV 151, Süßer Trost, mein Jesus kömmt; Organ Voluntary, BWV 645, Wachet auf, ruft uns die Stimme; Cantata, BWV 147, Herz und Mund und Tat und Leben MAY 7, 2017, 3 p.m. (FEAST OF EASTER) J.S. Bach: Cantata, BWV 6, Bleib’ bei uns, denn es will Abend werden; Cantata, BWV 104, Du Hirte Israel, höre!; Cantata, BWV 42, Am Abend aber desselbigen Sabbats We are greatful to our corporate sponsors and the “Friends of Bach at the Sem” for their generosity which has helped to make the concert series possible. For a history of Bach at the Sem and a complete listing of its repertoire dating to its inaugural concert in 1993, please visit www.csl.edu/bach. Cover image – from the autograph score of J.S. Bach’s autograph manuscript of “Herz und Mund und Tat und Leben” BWV 147, which the American Kantorei performed Dec. 11, 2016.

Join Us! A Special Reception with Dr. Maurice Boyer, Music Director for the Bach at the Sem Concert Series,

and the members of the American Kantorei After today’s concert in Koburg Hall All Are Welcome!

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Bach at the Sem May 7, 2017, 3 p.m. Fourth Sunday of Easter The American Kantorei Dr. Maurice Boyer, Music Director Dr. Jeral Becker, Assistant Conductor In Nomine Jesu Cantata: Bleib’ bei uns, denn es will Abend werden, BWV 6 (Stay with us, for evening is coming) 1. 2. 3. 4. 5. 6.

Johann Sebastian Bach

Chorus Alto Aria (Katharine Lawton Brown) Chorale Bass Recitative (Jeffrey Heyl) Tenor Aria (Scott Kennebeck) Chorale

Hymn: “This Joyful Eastertide” The assembly stands to sing stanzas 1 and 3 of the hymn provided on Page 8 or in Lutheran Service Book (LSB) 482 The choir sings stanza 2 in a setting by Maurice Boyer Cantata: Du Hirte Israel, höre, BWV 104 (You Shepherd of Israel, listen) 1. 2. 3. 4. 5. 6.

Johann Sebastian Bach

Chorus Tenor Recitative (Scott Kennebeck) Tenor Aria (Scott Kennebeck) Bass Recitative (Jeffrey Heyl) Bass Aria (Jeffrey Heyl) Chorale

Organ Voluntary: Allein Gott in der Höh’ sei Ehr’ BWV 676 (Benton Blasingame, organist)

Johann Sebastian Bach

Cantata: Am Abend aber desselbigen Sabbats, BWV 42 (On the evening of the same Sabbath)

Johann Sebastian Bach

1. 2. 3. 4. 5. 6. 7.

Sinfonia Tenor Recitative (Scott Kennebeck) Alto Aria (Stephanie Ruggles) Chorale Duet (Emily Truckenbrod, Scott Kennebeck) Bass Recitative (Jeffrey Heyl) Bass Aria (Jeffrey Heyl) Chorale Soli Deo Gloria

Program Notes “Stay with us, for evening is coming” “Jesus appears in the midst of them And says to them: Amen.”

imploring, reverent and elegiac — full of yearning. By its key (C minor) and head-motive, this chorus recalls the penultimate movement of the St. John Passion, the burial chorus “Ruht wohl, ihr heilige Gebeine” (rest well, you holy body).

Easter is exultation in the resurrection of Jesus Christ — rejoicing in the wondrous message of victory over death, sin and the devil. But for the disciples, initially the response was also fear, anguish and even doubt — fear for their lives; anguish at the thought of Jesus’ departing; doubt as to the very reality of the resurrection (Thomas). Today’s concert follows the emotional trajectory of the disciples’ wrestling with the new reality that had just been ushered in: at once the resurrected Lord and His looming absence or “hiddenness.”

The word “bleib” (stay) is set both as a single long-held pitch and a falling gesture, the latter capturing perhaps a reverent downward cast of the eyes or a bow or simply the idea of “here below.” To depict the gradual fading of the light, Bach gradually unwinds the line downward, allowing one to follow the sun’s declivity. A succession of inner pedal points, with repeated pitches then long notes, evoke at once stasis and disquiet.

The three cantatas clearly evince that Christ’s “hiddenness” is not abandonment. His generous presence, though sometimes unrecognized, meets the anguished one beset with doubt in the midst of his/her fear. According to St. John, Jesus steps right into it, even passing through its locked doors. Our final concert begins with a plea, “stay with us,” and ends with a prayer, “grant us peace.” At the heart stands the good and faithful Shepherd, whose “Word of grace” leads “to fresh waters to revive the soul mightily.”

In contrast to the measured clarity of the largely homophonic A section, the much shorter B section’s jagged multi-subject fugue registers as chaotic. Conjunct motion and plangent chromaticism yield to disjunct motion and jarring dissonance (the prevalence of the tritone). The disciples’ imploring is here anguished and urgent. “Bleib’ bei uns” (stay with us) is uttered on a single pitch in long note values. If one counts the unison statement by the choir as four, it appears that this motive is heard a total of 12 times. The number is biblically significant as it implies completeness (12 tribes of Israel, 12 disciples, 12 gates of the New Jerusalem …). According to the biblical narrative, only two disciples were with Jesus. Bach, however, poignantly extends the plea to all the disciples and, by implication, all believers. The cry is universal.

Cantata: Bleib’ bei uns, denn es will Abend werden, BWV 6 Written for Easter Monday, April 2, 1725, this cantata was heard only three days after the second version of the St. John Passion. It likely struck quite a note of sobriety after the previous day’s rendition of the festive Easter Oratorio (first version). However, it is one fitting for the day’s Gospel reading about the disciples’ journey to Emmaus (Luke 24:13-35). Interestingly, the cantata focuses on a single part of the narrative: that of Jesus’ departing. Indeed, the disciples’ plea, “Stay with us, for evening is coming and the day draws to an end,” is restated three times, once in each of the first three movements. No explicit mention is made of the joy experienced when the disciples recognize Jesus in the breaking of the bread.

The beat of silence that follows the section’s final unison outcry (“Stay with us!”) allows its echo to die away and the mood to return to that of the opening. This interstice of time is pregnant with meaning. It is as if, in this silence, a reminder of the breaking of the bread and the generous, comforting presence of the Master and Friend has quelled the anguish and transformed it into longing. The delicate minuet-like aria for alto and English horn obbligato with cello/bass playing pizzicato is a marked expressive turn from the opening chorus. It captures the libretto’s light/darkness antithesis in subtle harmonic shifts. Although the key is E-flat major, mode mixture abounds, with chord borrowings from parallel minor

The structure of the grand opening movement is tripartite. Its outer sections are cast in the form of a sarabande. Elegant, noble and expressive, this dance unfolds in a slow triple meter (3/4), with the stress, unlike that of a minuet, on beat two. The tone here is 2

keys, thus creating a kind of musical chiaroscuro. Downward harmonic motion to surprising flat keys (B-flat minor and A-flat minor), symbolizing encroaching darkness, is interrupted at cadences, which deftly slide back to the major mode — like suddenly reaching a clearing in the densest forest. The petition has been granted.

reading would have been John 10:12-16, the fourth of Jesus’ seven “I am” statements: “I am the Good Shepherd.” Bach’s instrumentation as heard in the opening chorus — the usual string complement joined by a quartet of double reeds (two oboes, English horn and bassoon) — immediately conjures a pastoral setting. The lilting 3/4 meter and fluid triplets, as well as the mostly diatonic harmonic language in the bright key of G major, consort to paint a tranquil scene. The limpid choral texture unfolds in a seamless and consistent pattern: homophony, pairs of voices in thirds and sixths, fugue, homophony, pairs of voices in thirds and sixths, fugue, homophony. There is no anguish in the pleas to “hear” and “appear.” Bach writes from the vantage point of the one hearing the prayer: the good Shepherd.

The chorale is scored for violoncello piccolo obbligato and basso continuo and soprano (here the section), singing the tune in augmentation (long notes), descant-like. The virtuoso solo line’s opening motive, in its contour, is an embellished version of the melody. The emotional tenor is one of simple, childlike trust. In the ensuing bass recitative, the darkness of the opening line is musically depicted by a descending leap of a seventh and the lamps’ being overturned in the final line by the singer’s line tumbling from high E-flat to low G (an octave and a sixth below).

The succeeding tenor recitative begins secco and turns to an arioso for the final line: “God is faithful, faithful, God is faithful.” Bach chooses to repeat the text, especially highlighting the adjective “faithful” by placing it centrally. The cadence in B minor sets the stage for the succeeding aria.

The tenor aria’s opening motive could be seen as a cross-motive (two intersecting intervals), which would be a fitting interpretation of this pervasive motive. Indeed, looking up to Jesus is looking to His Cross. A repetitive sigh-motive (descending half step) is heard throughout in association with the “way of sin” — it ever curls back on itself. This aria, which is in G minor, descends as the alto aria had into progressively sombre minor keys, only to be suddenly pulled back up to the light of the major mode at cadences. The florid 16th note triplets could be interpreted as a Trinitarian reference or, perhaps, the flickering flame of the Holy Spirit, which Jesus, according the Gospel of the day, breathes on His disciples.

Here, the first and second oboes shift to oboes d’amore. That Bach chooses these “oboes of love” and the Passion-colored key of B minor communicates a desire to stress that the Shepherd does not abandon His own. The opening motive associated with the text “Verbirgt mein Hirte” (should my Shepherd hide) permeates the movement. Indeed, it is uttered by all the voices canonically. This canonic writing with entrances “chasing” one another also depicts hurrying steps. The upward reaching anticipations that make up this head-motive capture the yearning of the individual. Chromaticism and surprising harmonic turns are employed to express fearfulness, yielding also a sense of being dispirited: a “sinking feeling.” In contrast, pleasing thirds and sixths between various strands of the texture, as well as profuse 9-8 suspensions, disclose the underlying generosity of the Shepherd who, in spite of seeming hiddenness, is ever present.

The cantata closes in G minor with the second verse of Luther’s hymn “Erhalt uns, Herr, bei deinem Wort” (Lord, keep us steadfast in Your Word). A sturdy harmonization captures the fervor of this communal prayer that the Lord of lords would protect all of Christendom with His might. Cantata: Du Hirte Israel, höre, BWV 104

With the entrance of the bass, the aforementioned is confirmed. Here, the Vox Christi speaks words of utmost consolation and peace. All anguish is dispelled through the comforting presence of the Shepherd. The instrumentation joins the full string complement with

BWV 104 was composed during Bach’s first year in Leipzig and first heard on the Second Sunday after Easter, April 23, 1724, thus a little over two weeks after the first version of the St. John Passion. The Gospel 3

a single oboe d’amore doubling the first violins. The instrument not only colors the sound but also connects this movement to the tenor aria, thereby providing an answer to it. The lilting pastoral meter (12/8) embodies the same tranquility and absolute calm heard in the opening chorus. The tonality of D major, one associated with victory and triumph, is here given new meaning. The victory of Christ brings peace to His flock. A salient detail of text-painting bears mention. Two words are set over a long-held note: “hoffet” (hope) and “Todesschlafe” (sleep of death). The former word is heard four times, twice before each of the utterances of “Todesschlafe.” The latter word is sung both times over a Neapolitan chord: a major chord most often given in first inversion (gentler than root position), built upon the flatted second scale degree, e.g., C natural in B minor. The major chord and the “softness” of the harmony signify that this “sleep of death” is nothing to be feared. Given the musical apposition of the two aforementioned words, the harmonic choice and the fact that hope is heard twice as many times as sleep of death, one understands that the “death sleep” is enveloped by or, one might say, means hope.

The cantata opens with a brilliant Sinfonia in da capo form. In D major, the key associated with triumph, it is a burst of vitality and joy but not without an undercurrent of restlessness and disquiet (the minor mode of the B section and the pulsating eighth notes in the inner voices). The tenor recitative in B minor quotes the Gospel of the day. A tonic pedal point in unquiet 16th notes and a single diminished chord govern two thirds of the recitative, thereby capturing the disciples shackled in fear. With the appearance of Jesus, harmonic motion begins, giving the sense that Jesus breaks through the locked doors of the disciples’ anguished hearts. The restless 16th notes remain, indicating that their anxiety has not yet been appeased. With the alto da capo aria, time stops and disquiet vanishes. The aria and the transition to it are one of the most arresting and comforting moments in all of Bach’s vocal works. The selection of the alto voice is not incidental, as Bach typically capitalizes on its warmth to express consolation and its function as the mouthpiece of the Holy Spirit.

The text of the closing chorale is a metrical paraphrase of Psalm 23 set to the tune: “Allein Gott in der Höh’ sei Ehr’” (to You alone God in the highest be praised). The melody would have been very familiar to congregants since it functioned as the German (vernacular) “Gloria” in Luther’s Deutsche Messe (1526) and was used as such in Leipzig. In a manner befitting the comforting text, Bach’s harmonization is uncomplicated and direct, with mild suspensions conveying the gentle leading of the Shepherd.

Rather than stay within the Gospel of the day, the unknown librettist here makes allusion to the words of Jesus as recorded in the Gospel according to St. Matthew: “Where two or three are gathered in My name, there am I among them” (18:20). In the John reading, Jesus says, “Peace be with you,” which the librettist, conflating the two Gospel readings, translates as “Amen,” God’s “Yes.” The A section, in 4/4 time and in G major, unfolds slowly and expansively in unalloyed calm. The sense of being outside of time is only heightened by the slow harmonic rhythm, the “halo-like” functioning of the strings, and the rhythmic variety of the overlaid solo wind lines — two oboes weaving in and out of canonic writing and twined motion in thirds and sixths. These are musically related to the alto line, thereby bringing to light what “two [or three]” gathered in “Jesus’ precious name” signifies: “Imitatio Christi” or, even more so, Christ being formed in them. Oboes and upper strings drop out for the words, “and then speaks the Amen,” as if to strip away any distraction: Jesus’ bare words are sufficient.

Cantata: Am Abend aber desselbigen Sabbats, BWV 42 This cantata was written for the First Sunday after Easter, April 8, 1725, just six days after BWV 6, a week after the first version of the Easter Oratorio and 10 days after the second version of the St. John Passion. The day’s Gospel tells of Jesus’ second and third post-resurrection appearances (John 20:19-31). The disciples for fear are hiding behind locked doors. Jesus suddenly appears, saying “Peace be with you” and breathes on them the Holy Spirit. Thomas is absent and doesn’t believe his fellow disciples. A week later, Jesus appears again. This time Thomas is present. The story is familiar. 4

This assertion receives further grounding in the B section. Indeed, here also, all instruments but the continuo group (bass line and organ) disappear. With the change of meter (12/8) and a turn to chromatic harmony mainly in the minor mode, one feels that one has “stepped” back into time. The words of the libretto are here somewhat cryptic. Bach provides a musical interpretation. Christ, through the mere fact of His “Amen,” frees the disciples from the shackles of their fear to perform acts of love and mercy in the spare here and now.

making the address through the “two or three gathered in His name” — here the soprano and the tenor. He is ever at work, even when not immediately perceived.

Then follows a return to the timeless A section with its highly ornamented lines and florid runs, spelling generosity, an overflowing of beauty (Jesus’ dear or precious name) and goodness — blessing, Christ’s “Amen,” His “Yes.” One might say that the “Amen” is Christ’s very presence among the two or three gathered.

Continuing in A major, the bass aria operates in counterbalance to the alto aria. There, Jesus is the One whose presence is peace. Here He is the One who defends His own. The music presents a fight, but it is one with a delicate instrumentation: a string trio of first violins divisi (probably, as here, two soloists) and bass line. Boring through the middle of the musical texture is the singer, as Vox Christi. Jesus steps right into the thick of “rage” and “persecution” to protect His own.

Starting in E minor and cadencing in A major, the bass recitative restates the Gospel of the day. In the penultimate bar, at “therefore, let the enemies rage,” the continuo anticipates the descending broken chord figuration that pervades the succeeding aria. It thereby spells out its meaning: the raging of the enemies.

In spite of its length, the chorale duet in B minor could be considered the heart of the cantata. Structurally, it stands right at the middle — if not temporally (the alto aria is nearly 10 minutes long), then at least numerically. Its scoring is unusual: a unison cello and bassoon obbligato line, which, though independent, is in fact an embellished form of the continuo’s line (here double bass only). The two lines intersect in most bars. This bass line, which is locked throughout in two alternating patterns, could stand for the enemies who are seeking to destroy the faithful. In effect, the “downfall” of which the text speaks is heard linearly in a descending motive that falls by tiers on accented dissonance and harmonically in a downward harmonic pattern, either through step-wise motion or by circle of fifths.

Harmonically, the A section is the least complex movement of the cantata. While the surface activity of the music is fast, its harmonic rhythm (the pace at which harmonies change) is in fact slow. Bach is hereby unmasking the enemies as impotent — all bluster no substance — before Jesus, “the shield of His own.” The B section is more harmonically unstable. Here, the singer adopts the descending broken chord material, but in augmentation (longer note-values); Jesus works according to a different temporal unfolding: God’s time.

A second striking feature of this jagged and richly layered movement is that, while Bach names it “chorale” in his autograph score (and indeed the text is a chorale text), he withholds any clearly discernible iteration of its melody. Fragments are merely and only intermittently perceptible in the bass line and the vocal lines, thus buried deep below the musical surface.

The close of the cantata, in F# minor, marks a return to the words of Martin Luther in his version of the Latin “Da pacem, Domine.” This text, at some point, became incorporated into another Luther hymn heard at the end of BWV 6: “Erhalt uns Herr, bei deinem Wort.” This stirring final chorale fans out beyond the realm of the church itself and becomes a prayer even for those in governance. The pedal point under beautiful suspensions startlingly evokes a vision of “a calm and peaceful life.” Ending on an F# major chord, the final “Amen” recalls Jesus’ “Amen” to the disciples in the earlier alto aria. He Himself, the Alpha and the Omega, is Peace.

Also surprising is the choice of voices, soprano and tenor, for words that seem to come directly from God to the “little flock.” Indeed, the “little flock” is twice addressed comfortingly in gentle sixths, then thirds. I would aver that there is a theological reason behind this choice on Bach’s part. He is saying in a veiled way that which the alto aria had stated overtly: it is Christ who is

Maurice Boyer 5

Text and Translation Bleib’ bei uns, denn es will Abend werden, BWV 6 Stay with us, for evening is coming (Luke 24:29)

4. Recitative (Bass) Es hat die Dunkelheit Darkness has An vielen Orten überhand genommen. spread over many places. Woher ist aber dieses kommen? How has this come about? Bloß daher, weil sowohl die Kleinen als die Großen Simply for this reason: both the lowly and the great Nicht in Gerechtigkeit have not justly Vor dir, o Gott, gewandelt walked before You, O God; Und wider ihre Christenpflicht gehandelt. and they have acted against their Christian duty. Drum hast du auch den Leuchter umgestoßen. Thus have You also overturned their candlestick.

1. Chorus (S A T B) Bleib’ bei uns, denn es will Abend werden, Stay with us, for evening is coming und der Tag hat sich geneiget. and the day draws to an end. 2. Aria (Alto) Hochgelobter Gottessohn, Most praiseworthy Son of God, Laß es dir nicht sein entgegen, Let it not be against Your will Daß wir itzt vor deinem Thron that we now before Your throne Eine Bitte niederlegen: lay down a request: Bleib’, ach bleibe unser Licht, Stay, ah stay as our light, Weil die Finsternis einbricht. since darkness comes over us.

5. Aria (Tenor) Jesu, laß uns auf dich sehen, Jesus, let us look towards You Daß wir nicht so that we may not Auf den Sündenwegen gehen. go along the way of sin. Laß das Licht Let the light Deines Worts uns heller scheinen of Your Word shine clearly for us Und dich jederzeit treu meinen. and always bring You to mind faithfully.

3. Chorale (Soprano) Ach bleib’ bei uns, Herr Jesu Christ, Ah, stay with us, Lord Jesus Christ, Weil es nun Abend worden ist, since evening has now come. Dein göttlich Wort, das helle Licht, Let not Your divine Word, the clear light, Laß ja bei uns auslöschen nicht. be extinguished among us.

6. Chorale (S A T B) Beweis dein Macht, Herr Jesu Christ, Show Your might, Lord Jesus Christ. Der du Herr aller Herren bist; You, who are the Lord of lords, Beschirm dein arme Christenheit, protect Your poor Christendom [or Christian people] Daß sie dich lob in Ewigkeit. so that they may praise You forever.

(Vespera iam venit, translated by Philipp Melanchthon 1579) In dieser letzt’n betrübten Zeit In these last troubled times, Verleih uns, Herr, Beständigkeit, grant us, Lord, constancy Daß wir dein Wort und Sakrament so that Your Word and Sacrament Rein b’halten bis an unser End. we may keep purely until our end.

(Martin Luther 1542)

(Nikolaus Selnecker 1572)

Du Hirte Israel, höre, BWV 104 You Shepherd of Israel, listen (Psalm 80:1-2)

4. Recitative (Bass) Ja, dieses Wort ist meiner Seelen Speise, Yes, this Word is the food of my soul, Ein Labsal meiner Brust, a refreshment for my breast, Die Weide, die ich meine Lust, the pasture that I call my delight, Des Himmels Vorschmack, ja mein alles heiße. a foretaste of heaven, indeed, my all. Ach! sammle nur, o guter Hirte, Ah! Gather now, O good Shepherd, Uns Arme und Verirrte; us poor and straying ones. Ach laß den Weg nur bald geendet sein Ah, let our path soon be ended Und führe uns in deinen Schafstall ein! and lead us into Your sheepfold!

1. Chorus (S A T B) Du Hirte Israel, höre, You Shepherd of Israel, listen. der du Joseph hütest wie der Schafe, You who guard Joseph like the sheep, erscheine, der du sitzest über Cherubim. appear, You who are seated above the cherubim. 2. Recitative (Tenor) Der höchste Hirte sorgt vor mich, The highest Shepherd takes care of me. Was nützen meine Sorgen? What use are my cares? Es wird ja alle Morgen Indeed, every morning. Des Hirten Güte neu. the kindness of the Shepherd is new. Mein Herz, so fasse dich, My heart, compose yourself, Gott ist getreu. God is faithful.

5. Aria (Bass) Beglückte Herde, Jesu Schafe, Happy flock, Jesus’ sheep, Die Welt ist euch ein Himmelreich. the world is for you a heavenly kingdom. Hier schmeckt ihr Jesu Güte schon Here you already taste the goodness of Jesus Und hoffet noch des Glaubens Lohn and hope for the reward of faith Nach einem sanften Todesschlafe. after a sweet sleep in death. [Da Capo]

3. Aria (Tenor) Verbirgt mein Hirte sich zu lange, If my Shepherd stays hidden too long Macht mir die Wüste allzu bange, and the wilderness makes me too fearful, Mein schwacher Schritt eilt dennoch fort. my weak steps still hurry forward. Mein Mund schreit nach dir, My mouth cries to you, Und du, mein Hirte, wirkst in mir and you, my Shepherd, bring about in me Ein gläubig Abba durch dein Wort. a trustful Abba through Your Word.

6. Chorale (S A T B) Der Herr ist mein getreuer Hirt, The Lord is my faithful Shepherd dem ich mich ganz vertraue, to whom I entrust myself completely. Zu Weid er mich, sein Schäflein, führt, He leads me, His lamb, to pasture Auf schöner grünen Aue, in beautiful green meadows; Zum frischen Wasser leit’ er mich, He leads me to fresh water Mein Seel zu laben kräftliglich to revive my soul mightily Durchs selig Wort der Gnaden. through His blessed Word of grace.

Am Abend aber desselbigen Sabbats, BWV 42 On the evening of the same Sabbath (John 20:19)

Denn da die Jünger sich versammlet hatten for when the disciples had gathered together Im finstern Schatten, in dark shadows Aus Furcht für denen Jüden, for fear of the Jews, So trat mein Heiland mitten ein, then my Savior came into the midst of them Zum Zeugnis, daß er seiner as witness that He Kirche Schutz will sein. will be the protection of His church. Drum laßt die Feinde wüten! Therefore, let the enemies rage.

1. Sinfonia 2. Recitative (Tenor) Am Abend aber desselbigen Sabbats, On the evening of the same Sabbath Da die Jünger versammlet as the disciples were gathered together Und die Türen verschlossen waren and the doors were locked Aus Furcht für den Jüden, for fear of the Jews, Kam Jesus und trat mitten ein. Jesus came and stood in the midst of them.

6. Aria (Bass) Jesus ist ein Schild der Seinen, Jesus is a shield for His people Wenn sie die Verfolgung trifft. when persecution strikes them. Ihnen muß die Sonne scheinen For them the sun must shine Mit der güldnen Überschrift: with the golden superscription: Jesus ist ein Schild der Seinen, Jesus is a shield for His people Wenn sie die Verfolgung trifft. when persecution strikes them.

3. Aria (Alto) Wo zwei und drei versammlet sind Where two or three are gathered together In Jesu teurem Namen, in Jesus’ beloved name, Da stellt sich Jesus mitten ein there Jesus appears in the midst of them Und spricht darzu das Amen. and says to them, Amen. Denn was aus Lieb und Not geschicht, For what happens from love and necessity Das bricht des Höchsten Ordnung nicht. does not break the order of the most high God. [Da Capo]

7. Chorale (S A T B) Verleih uns Frieden gnädiglich, Graciously grant us peace, Herr Gott, zu unsern Zeiten; Lord God, in our time. Es ist doch ja kein andrer nicht, There is no one else Der für uns könnte streiten, who could fight for us Denn du, unsr Gott, alleine. except You, our God, alone. Gib unsern Fürsten und all‘r Obrigkeit Grant to our princes and those in authority Fried und gut Regiment, peace and good government Daß wir unter ihnen so that we under them Ein geruhig und stilles Leben führen mögen may lead a calm and peaceful life In aller Gottseligkeit und Ehrbarkeit. Amen. in all godliness and respectability.

4. Chorale duet (Soprano, Tenor) Verzage nicht, o Häuflein klein, Do not lose heart, O my dear little flock, Obschon die Feinde willens sein, even if your enemies intend Dich gänzlich zu verstören, to destroy you completely Und suchen deinen Untergang, and seek your downfall, Davon dir wird recht angst und bang: so that you’re really distressed and fearful. Es wird nicht lange währen. It will not last long. 5. Recitative (Bass) Man kann hiervon ein schön Exempel sehen One can here see an excellent example of this An dem, was zu Jerusalem geschehen; in what happened in Jerusalem; 8

This Joyful Eastertide (LSB 482)

Dr. Maurice Boyer Music Director

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 a 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.

Benton Blasingame

Assistant Music Director and Associate Organist Cathedral Basilica of St. Louis

Benton Blasingame is the assistant music director and associate organist at the Cathedral Basilica of St. Louis. He hails from Collinsville, Ill., and is a member of Good Shepherd Lutheran Church. He is a graduate of the Interlochen Arts Academy, the Eastman School of Music, the Yale School of Music and the Yale Institute of Sacred Music. His organ teachers include Martin Jean, David Higgs, Thomas Bara and John Romeri. He has been the first prize winner of the Albert Schweitzer Organ Competition in the high school division, the John R. Rodland Memorial Scholarship competition and the Taylor Organ Competition. Other awards include Interlochen Arts Academy’s Young Artist Award, the Yale School of Music’s Charles Ives Prize and the Yale Institute of Sacred Music’s Director’s Prize.

The American Kantorei Chorus Soprano Emily Truckenbrod Principal Lea Herdler Assistant Principal Kathryn Crumrine Katherine Gastler Megan Glass Sarah Gulseth Marita Hollander Camille Marolf Lynn D. Morrissey

Alto Katharine Lawton Brown Principal Stephanie Ruggles Assistant Principal Mona Hauser Anna Otterman Jennifer Spohr Kimberly Werner Amy Will Lisa Young

Tenor Scott Kennebeck* Principal Jeral Becker* Associate Principal Greg Gastler Bill Larson Ryan Markel Steve Paquette

Bass Jeffrey Heyl Principal David Berger* Associate Principal Thomas Jarrett Bolain Everett Gossard Luther Gulseth John Spomer Greg Upchurch Kyle Will

Orchestra Violin I Wanda Becker* Concertmaster Christine Sasse*

Cello Andrew Ruben

Violin II Kaoru Wada Principal Marilyn Park Ellington

Double Bass Wendy Hyman-Fite

English Horn Ann Homann Principal Diane Lieser

Oboe / Oboe d’amore Ann Homann Principal Eileen Burke*

Continuo Organ John Walsh

Viola Sarah Borchelt

Bassoon Robert Mottl*

Chapel Organ Benton Blasingame Flute (No flute in this concert) Paula Kasica* Trumpet (No trumpet in this concert) Robert Souza*

* “Charter” members (participated in the first Bach at the Sem Feb. 7, 1993)

WELCOME TO BACH AT CONCORDIA SEMINARY! Thank you for attending this afternoon’s concert. On behalf of the Seminary, I express our sincere appreciation to the American Kantorei — the chorus and the instrumentalists — and Music Director Maurice Boyer for the love and labor they have put into today’s concert. Their offering to us this afternoon is rich with meaning. Reflecting on the massive changes in our culture, columnist Peggy Noonan wrote, “Everyone’s in the dark looking for the switch. When you’re in the middle of history the meaning of things is usually unclear. … In real time most things are obscure” (Wall Street Journal, Feb. 11-12, 2017; A13). As the light wanes this afternoon, J.S. Bach takes us to the evenings and darkness we all experience, our regrets, our fears, our limitations, to inevitable change and our yearnings for light. “Bleib’ bie uns, denn es will Abend werden.” “Am Abend aber desselbigen Sabbats.” The way forward, the way toward light is the way of following. “Du Hirte Israel, höre” invites us to the Good Shepherd, the One we bid stay with us whenever darkness settles around or within us. Daylight to dusk to darkness, life moves forward and change comes. Today’s program marks a transition from the past to the future of Bach on Concordia’s campus. Next year’s musical offerings by Concordia Seminary will take a different form, presenting in various formats the influence and legacy of J.S. Bach along with many other musicians whose combination of Word and music have proclaimed Christ. The cause for this change primarily is the lack of ongoing donor support for the existing concert series. It is our prayer that the new program will be meaningful to the community. Watch for more information to be shared later this summer about next year’s musical offerings. An indescribable debt of gratitude goes to those whose vision conceived Bach at the Sem and whose gifts made the series possible for so many years. To the musicians who performed from their hearts — the American Kantorei and the leaders among them — we express deepest appreciation for their sacrifices of time and labors of love. And to the music directors, especially the sainted Robert Bergt and more recently and wonderfully Maurice Boyer, I express the gratitude of the Seminary community. They all brought together a series that has been a profound blessing to many hearts and lives over the years. “Abide with us.” Life moves forward and change necessarily comes, but through these changes Bach and the best of music will continue at Concordia Seminary. “Through the church the song goes on.”

Dale A. Meyer President Concordia Seminary, St. Louis

Bach at the Sem Repertoire 2016-17 The following works have been performed in the Bach at the Sem series this season. The Bach Werke Verzeichnis (Bach Works Registry) numbers are followed by performance dates, titles and performing forces or type of work. Choral Works BWV 6 BWV 42 BWV 104 BWV 121 BWV 147 BWV 151 BWV 182

5/7/17 5/7/17 5/7/17 12/11/16 12/11/16 12/11/16 12/11/16

Bleib’ bie uns, denn es will Abend werden Cantata Am Abend aber desselbigen Sabbats Cantata Du Hirte Israel, höre Cantata Christum wir sollen loben schon Cantata Herz und Mund und Tat und Leben Cantata from Süsser Trost, mein Jesus kömmt 1. Aria (soprano) from Himmelskönig, sei willkommen 1. Sonata concerto

Organ Works From Clavier-Übung III (BWV 669-689) 676 5/7/17 Allein Gott in der Höh’ sei Ehr’

From Schübler Chorales (BWV 645-650) 645 12/11/16 Wachet auf! ruft uns die Stimme For a full repertoire between 1993-2017, visit www.csl.edu/bach.

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