Bach at the Sem | December 2014 Program

2014–2015 Series

December 14, 2014 The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis

Schedule of Concerts BACH AT THE SEM – 2014-2015 Dr. Maurice Boyer, Music Director OCTOBER 19, 2014, 3:00 p.m.

(TRINITY 24) J. S. Bach: Chorus from BWV 137, Lobe den Herrn, den mächtigen König; Cantata BWV 33, Allein zu dir, Herr Jesu Christ; Soprano aria from BWV 10, Meine Seele erhebt den Herren; Cantata BWV 74, Wer mich liebet, der wird mein Wort halten; Chorus from BWV 69, Lobe den Herrn, meine Seele DECEMBER 14, 2014, 3:00 p.m.

(ADVENT 3) Michael Praetorius: Works for brass; J. S. Bach: Cantata BWV 62, Nun komm, der Heiden Heiland; Alto aria from BWV 147, Herz und Mund und Tat und Leben; Cantata BWV 36, Schwingt freudig euch empor MARCH 15, 2015, 3:00 p.m.

(LENT 4) J. S. Bach: Sinfonia from BWV 75, Die Elenden sollen essen; Cantata BWV 187, Es wartet alles auf dich; Chorus from BWV 102, Herr, deine Augen sehen nach dem Glauben; Cantata BWV 72, Alles nur nach Gottes Willen MAY 17, 2015, 3:00 p.m.

(EASTER 7) J. S. Bach: Missa in g-moll, BWV 235; Sinfonia from BWV 42, Am Abend aber desselbigen Sabbats; Cantata BWV 249, Oster-Oratorium

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 and “Eye-full Tower Records” for supporting Bach at the Sem by contributing a portion of the fees related to the archival-only recording of the program.

Concordia Seminary 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.

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Bach at the Sem December 14, 2014, 3:00 p.m.

Third Sunday in Advent

Dr. Maurice Boyer, Music Director The American Kantorei Dr. Jeral Becker, Assistant Conductor In Nomine Jesu Prelude – Clarion Brass Cantata: Nun komm, der Heiden Heiland, BWV 62

(Now Come, Savior of the Gentiles) 1. Chorus 2. Tenor Aria (Dennis Willhoit) 3. Bass Recitative (David Berger) 4. Bass Aria (David Berger) 5. Soprano-Alto Recitative (Stephanie Ruggles / Marita Hollander) 6. Chorale

Johann Sebastian Bach

Hymn: “Lo, How a Rose E’er Blooming” The assembly stands to sing the hymn provided on page 8 or in Lutheran Service Book (LSB) 359: stanzas 1, 2, 4.

The choir sings stanza 3 in a setting by Hugo Distler.

Alto Aria: Schäme dich, o Seele, nicht (Katharine Lawton Brown) From Herz und Mund und Tat und Leben, BWV 147 Johann Sebastian Bach

The offerings are received in support of the Bach at the Sem concert series Cantata: Schwingt freudig euch empor, BWV 36

(Soar in Your Joy) Part I 1. Chorus 2. Chorale: Soprano-Alto Duet (Stephanie Ruggles / Marita Hollander) 3. Tenor Aria (Dennis Willhoit) 4. Chorale Part II 5. Bass Aria (Jeffrey Heyl) 6. Chorale: Tenor 7. Soprano Aria (Emily Truckenbrod) 8. Chorale Postlude – Clarion Brass Soli Deo Gloria

Johann Sebastian Bach

Program Notes “The darkness does not distress us, for we have seen your unending light”

received its first performance during Bach’s second Advent in Leipzig (Dec. 3, 1724), 10 years almost to the day after the first Nun komm, der Heiden Heiland (BWV 61), written in Weimar and first heard Dec. 2, 1714. Cantata 36, in its present form, was first heard Dec. 2, 1731.

Advent marks the beginning of the liturgical year.

As the days darken, a period of waiting for the Light begins. The readings for this season move away from the immediate concerns of daily living “in Christ” to the mystery of the Incarnation itself, the cosmic event that initiated, in the here and now, God’s loving act of salvation, the renewal of all creation. It is a time of hope and preparation, but also one of urgency, portent, and tremendous expectation. It is a time of celebrating the first Advent and anticipating the final Advent when Christ returns to draw all things to Himself.

Cantata: Nun komm, der Heiden Heiland BWV 62 A blustery instrumental ritornello heads off Cantata BWV 62. With violins and violas standing in as a quasi-bass line (called bassetchen or little bass), there is a feeling both of groundlessness and tremendous expectation. Something of great import is at hand. When the bass line bursts in dramatically in the third measure, it startles. While it enters with clarity and vigor, its melodic contour is not immediately recognized. Only by the fourth note does one know it to be the chorale tune in long note values. Here, Bach is subtly depicting the arrival of the Savior whose coming is sensed as groundswell, as telluric current, unseen but undeniably felt. As if emanating from the depths, He breaks into the very core of humanity. Once uttered in the bass, the chorale melody travels upward to the oboes before it is declaimed by the sopranos. One could thus also interpret the rising of the chorale tune from the depths to its clarion utterance in the sopranos as a groundswell of desire in all creation for the coming of the Christ. Both readings complement one another, for Christ is the One who is at once the object and the subject of the desire. He is the source of the desire and the One who plants the desire in humanity to begin with.

For Advent I, the Gospel is the narrative of Jesus’ triumphal entry into Jerusalem (Matthew 21:1-9) foretold by the prophets Isaiah and Zechariah, and the Epistle is from Paul’s letter to the Romans (13:11-14). Coming on the heels of the passage ending with “Love is the fulfilling of the law,” this text is a vivid exhortation to wakefulness: “Now is the moment to wake from sleep. For salvation is nearer to us now than when we became believers; the night is gone, the day is near. Let us then lay aside the works of darkness and put on the armor of light. (…) put on the Lord Jesus Christ…”

In today’s cantata movements, Christ is described by some 20 titles and a proliferation of images— Savior, King, little Jesus, hero, bridegroom, divine manna, love, splendor, treasure, etc. With them, the composer and his librettist cast light on the mystery of the Incarnation from many perspectives, a veritable polyphony of meanings befitting the wonder of this event that boldly inhabits paradox and quickens the imagination.

After such a powerful opening in B minor, the tenor aria in G major takes a surprising expressive turn. The mood is bright and innocent, and the focus less on mystery per se (the libretto’s “Große Geheimnis”) than on wide-eyed joy at the advent of the Savior. In response to a text rich in theological implication, laden with biblical allusion, Bach opts for something fresh and simple—something of a child’s reaction to such an event, perhaps not fully comprehending its scope, but perceiving in it the cause of great joy. Bach here shows that the Incarnation means, at the most fundamental level, joy, and that joy is a way of hallowing it. In 3/8, the

Nun komm, der Heiden Heiland At the core of both BWV 62 and BWV 36 is the hymn “Nun komm, der Heiden Heiland” (Savior of the Nations, Come), Martin Luther’s recasting of Ambrose of Milan’s fourth-century hymn, “Veni, Redemptor Gentium.” Dating from 1524, it had become the favorite Advent hymn in Bach’s time.

In addition to these cantatas, Bach wrote no less than five organ pieces based upon it. Cantata 62

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aria dances along gently. The opening and recurring ornament (an upward three-note flourish, called a “Schleifer”) adds to the excitement. The B section of the aria in E minor is more chromatic. The presence of more sharps (“Kreuze” in German, or crosses) hints that the true manna is Christ Himself, who is present symbolically “on the page.” The return of the A section reveals that the ground of this joy is one’s having been fed with divine food, having partaken of divine life.

After the mountaintop experience of witnessing the Hero of Judah’s fight, time suddenly stops. Here, with the soprano-alto recitative, one’s gaze is drawn to the beginning of the narrative: the marvel of the Hero’s birth, “unending light” that quells all fear of the darkness—an allusion to the day’s Epistle reading. The string accompaniment embodies the “unending light” emanating from the crib; subtract it and the duet pales, losing its symbolic dimension and thus its emotional and theological depth. The “halo” of strings enfolds the voices, which sing almost exclusively in sweet parallel thirds and sixths. Suffused in light before the crib, they offer praise and adoration with disarming tenderness and quiet adoration. This duet may be heard in expressive counterpoint to the tenor aria—the latter a joyful extraverted response, the former inward, so overwhelmed with awe and effulgent with joy that it can only utter a few words. As the duet unfolds, the music gradually wends its way downward to regain the opening key of B minor.

The bass recitative and da capo aria (ABA) function as a pair. Thus, what appears to be a six-movement structure is in fact a five-part structure, with the bass recitative-aria, about Christ’s heroically fighting and conquering at the center. This is the first of three ways that Bach reveals the Christo-centrism of his faith.

In the overall harmonic plan of the cantata, the music gradually rises from the opening chorus to the bass aria and progressively winds down to the final chorale (see below). One could say that it begins and ends on the human plain where one both calls for the Savior (opening chorus) and praises the Triune God, the Author of Salvation (closing chorale), rising in the middle to the heights where Christ has fought and continues to fight for us (bass aria). With this pyramidal structure, Bach highlights the overarching significance of the Incarnation: Christ in His fight to redeem all “flesh.”

B minor

D Major

Unlike its predecessor (BWV 61), which closes in a jubilant utterance of “Wie schön leuchtet der Morgenstern” (How Brightly Shines the Morning Star), BWV 62 ends doxologically with the last verse of “Nun komm, der Heiden Heiland.” As the opening movement, it is in B minor but ends with a “Picardy third” on a bright B major chord— light shining in the darkness of the here and now, illuminating the succeeding days of Advent.

B minor

Aria: “Schäme dich, o Seele, nicht” from Herz und Mund und Tat und Leben, BWV 147

God’s redeeming act is not an abstraction, an idea or a principle, requiring assent. God recreates from within by re-infusing His life into His beloved creation. It is the entirety of the human person that is transformed. To highlight this understanding, Bach slows the music considerably at the end of the bass aria’s A section for two words: “[Sei vor uns] im Fleische kräftig” (be for us strong in the flesh).

Herz und Mund und Tat und Leben (BWV 147) from which comes the beloved “Jesu, Joy of Man’s Desiring,” was composed in Weimar (1716) for the fourth Sunday of Advent. (The original work is now lost.) In his first year as kantor in Leipzig, Bach, perhaps knowing that he would not be able to use it for its intended date but recognizing its merits, revised and adapted the work for the Feast of the Visitation of Mary (July 2, 1723).

The orchestration for this aria is unusual in that it calls for all the strings to play what is clearly a bass line in octaves. All chthonic forces in consort (the strings) conspire to fight the mighty Hero. The fight is set, however, in D major, a key associated with royalty and victory. These dark forces are no match for the Hero.

The alto aria with oboe d’amore obbligato and continuo, strikes a sobering note. Given the starkness of the text, one might expect angular music. Instead, Bach couches the aria in a delicately unfolding triple meter, utters its message through the warmth of the 3

alto voice, and selects the sweet-sounding oboe d’amore as an obbligato instrument. With these choices, Bach emphasizes that generosity and love are the underlying reality. One might further suggest that the oboe d’amore (oboe of love) represents the loving Christ—beckoning sustaining, seeking.

nlike BWV 62, whose structure was one of ascent U followed by descent, this cantata follows a less obvious trajectory. Part I rises from D major to F# then falls to B minor before returning to D major.

Part II begins in D major then slides downward to B minor and drops further to G major before settling upward in B minor. Ending harmonically below the initial key, it stills and focuses the attention.

It should be added that F# minor and B minor are keys often associated with the cross and suffering, respectively. B minor is also the key both of “Et incarnatus est” in the Mass in B minor and of “Es ist vollbracht” (It is finished) in the St. John Passion.

Cantata: Schwingt freudig euch empor, BWV 36 Originating in 1725 as a secular piece celebrating the birthday of a Leipzig academic, this cantata was re-used and significantly revised for two other secular performances (1726 and 1735), as well as two sacred ones (latter 1720s and 1731). The present version (1731) is in eight movements divided into two equal parts. Here, Bach sidesteps the usual alternation of recitative and aria and instead opts to insert three chorale verses—two settings of “Nun komm, der Heiden Heiland” and one of “Wie schön leuchtet der Morgenstern”—a structural feature that is unique in his oeuvre. That five versions of the cantata are known testifies to the high valuation Bach must have had of the material.

The opening movement, in the bright key of D major, is all lightness and jubilation. The final line of its text, “the Lord of Glory Himself draws near to you,” is a clear allusion to the day’s Gospel reading of Jesus’ triumphal entry into Jerusalem. Given that the music was written for a different occasion, it is somewhat dubious to speak of text painting.

But one may conjecture that one of the reasons for which Bach may have chosen to adapt this work was the rhetorical suitability of its musical material.

For instance, the four-note recurring motive heard throughout in the instruments and in simplified form in the voice—a descending step-wise triplet followed by a leap and a rest—is well-suited to evoke the idea of interruption: “Doch haltet ein!” Likewise, the longer rising figurations seem naturally fit for evoking the idea of “soaring aloft.”

The fact that Bach adapted a secular work of his for sacred use may seem merely a practical consideration on his part or one that stemmed from his being particularly satisfied with it. However, Bach parodying himself is never just recycling.

In this case, by refashioning a birthday cantata for local dignitaries into an Advent cantata foretelling the birth of Christ, Bach is subtly saying: “Yes, these people are in charge and are worthy of our devotion in some measure, but here is the One whose rule is over all!” Since these officials would have potentially heard both the secular and the sacred versions of the piece, it is at least worth entertaining the notion that Bach may have intended to remind them of their place in the overall ordering of things.

After such a delightful and consonant opening, the chorale duet from its spare beginning is almost jarringly stark. The harmonic shift from D major to F# minor is unexpected and startling, especially with the first few notes circling around F# and being confined to the ambitus of a diminished fourth (E#-A). The choice of this key can hardly have been accidental. Indeed, Bach could very well have chosen B minor, as he did for the other two settings of “Nun komm, der Heiden Heiland.” The harmonic transition would, however, have been too smooth and predictable. The rise to F# minor lifts the gaze from the Incarnation to the cross in the background. This musical gesture symbolically sets the Incarnation within the overarching purposes of God, but it also infuses the cross with the beauty of the Incarnation. God in Christ reconciling the world

The harmonic architecture of this bi-partite parallel structure may be diagramed as follows: Part I

Part II

F#m DM

DM Bm

//

DM

Bm

Bm GM

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to Himself is one continuous act. As was seen in the previous concert, some of this musical symbolism is not necessarily perceivable aurally without prior knowledge, but it was clearly sufficient for Bach that it be visibly present on the page.

Just as the bass aria’s mighty “battle scene” in BWV 62 was followed by the arresting stillness and contemplation of the soprano-alto recitative, so here in BWV 36 does the fierceness of the tenor chorale give way to utter vulnerability in the soprano aria.

Set in an easy-flowing 12/8 meter, the aria brings together a soprano and a solo muted violin (“muted, weak voices”). Its text alludes to a number of biblical passages, but perhaps most specifically and poignantly to Romans 8:26, “Likewise the Spirit helps us in our weakness, for we do not know how to pray as we ought, but that very Spirit intercedes with sighs too deep for words” (emphasis mine). In the consonant A section of this da capo aria (ABA), voice and instrument unfold simultaneously often in sweet sounding thirds. In the more harmonically unstable B section, the violin answers the voice canonically, at the same pitch level, for the words “then resounds.” Heard as an echo slightly “on top” of the voice, it symbolizes the Spirit’s interceding.

This brilliantly crafted movement is a three-part texture of sophisticated imitative polyphony. The melodic material is based upon the chorale tune, but it is elaborated upon, embellished, fragmented, heard in augmentation and diminution, and manipulated, so as to permeate every strand of the texture. The implication is that the plea for Christ’s advent reverberates from the very core of creation.

The reflective, third person tenor aria depicts the Christ as Bridegroom, seeking His beloved and the bride with inner delight following after Him. Part I closes with a jubilant setting of “Wie schön leuchtet der Morgenstern,” which paradoxically sets the infant Jesus alongside the “wondrously beautiful Bridegroom,” who is the King of Glory. Building on the preceding two movements and recalling musically the cantata’s first movement (the two motives mentioned above), the bass aria ushers in Part II with freshness and joy. The “dear treasure” is invited to enter into the pure heart.

In the overall harmonic architecture of the piece (see diagram), the soprano aria represents the lowest point, the point of greatest humility. The beauty of the transition to the last movement is that, while the motion is from a major key to a minor key, it is one of rising. This harmonic rising “enacts” the rising of the weak voice’s cry to heaven. At the core, this cry, translated through the Spirit, becomes praise of the Triune God.

The succeeding movement seems to come almost as a non sequitur. What is implied, but not directly stated, is that the purity of heart that is necessary in order to receive Love itself can only be granted through the One who has fought and continues to fight for us: Christ. A brilliant chorale fantasia for tenor (the tenor section in this performance), two oboes d’amore and basso continuo, vividly depicts this fight. The autograph score bears the tempo marking “Molt’ allegro,” which is in Bach’s hand.

In theological content, its text is not unlike that of the bass recitative-aria in BWV 62—“bring forth victory in the flesh.” Musically, it is also similar in that the utterance seems to take place from within the vortex of a fierce battle. However, the expressive core is rendered darker by the key (B minor). The chorale melody, adjusted to fit a triple meter, is declaimed heroically in long note values, not unlike the first movement of BWV 62. Piercing valiantly through the middle of the texture, under the oboes and above the bass line, it may well represent the victorious Christ (Christus Victor).

Cantata BWV 36, like BWV 62, ends with a fourpart setting of “Nun komm, der Heiden Heiland” in B minor. In both cases, the final bright B major chord on the word “Ewigkeit” (eternity) lifts the gaze upward and outward in quiet joy to meet, greet, and welcome the One who is Light.

Maurice Boyer

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Text and Translation Nun komm, der Heiden Heiland, BWV 62 5. Recitative Duet (Soprano, Alto) Now come, Savior of the Gentiles Wir ehren diese Herrlichkeit – J. S. Bach We honour this glory Und nahen nun zu deiner Krippen 1. Chorus (S A T B) and now draw near to Your crib Nun komm, der Heiden Heiland, Und preisen mit erfreuten Lippen, Now come, Savior of the Gentiles, and praise with joyful lips Der Jungfrauen Kind erkannt, Was du uns zubereit’; known as the Virgin’s Child, what You have prepared for us.

Des sich wundert alle Welt, Die Dunkelheit verstört uns nicht at whom the whole world marvels, The darkness does not disturb us Gott solch Geburt ihm bestellt.

Und sahen dein unendlich Licht. that God ordained for Him such a birth. for we have seen Your unending light.

2. Aria (Tenor) Bewundert, o Menschen, dies große Geheimnis: Marvel, o people, at this great mystery, Der höchste Beherrscher erscheinet der Welt. the highest Ruler appears to the world.

Hier werden die Schätze des Himmels entdecket, Here the treasures of heaven are revealed, Hier wird uns ein göttliches Manna bestellt, here a divine manna is presented to us, O Wunder! die Keuschheit wird gar nicht beflecket.

O wonder! Chastity is not at all defiled.

6. Chorale (S A T B) Lob sei Gott, dem Vater, ton, Praise be to God, the Father, intoned; Lob sei Gott, sein’m eingen Sohn, Praise be to God, His only Son; Lob sei Gott, dem Heilgen Geist, Praise be to God, the Holy Spirit, Immer und in Ewigkeit! always and in eternity!

Herz und Mund und Tat und Leben, BWV 147 (selection) – J. S. Bach Heart and mouth and deed and life

3. Recitative (Bass) So geht aus Gottes Herrlichkeit und Thron Thus goes forth from God’s glory and throne Sein eingeborner Sohn.

His only begotten Son. Der Held aus Juda bricht herein, The Hero from Judah bursts in Den Weg mit Freudigkeit zu laufen to run His course with joy Und uns Gefallne zu erkaufen. and to redeem us fallen ones.

O heller Glanz, o wunderbarer Segensschein!

Oh, bright splendor. Oh, wondrous blaze of blessing!

3. Aria (Alto) Schäme dich, o Seele, nicht, Do not be ashamed,O my soul, Deinen Heiland zu bekennen, to acknowledge your Savior Soll er dich die seine nennen should He call you His own Vor des Vaters Angesicht! before His Father’s countenance!

Doch wer ihn auf dieser Erden Yet whoever on this earth Zu verleugnen sich nicht scheut, does not hesitate to deny Him Soll von ihm verleugnet werden, will himself be denied by Him Wenn er kommt zur Herrlichkeit. when He comes in glory.

4. Aria (Bass) Streite, siege, starker Held!

Fight, conquer, strong Hero!

Sei vor uns im Fleische kräftig!

Be mighty for us in the flesh!

Sei geschäftig, Be vigorous, Das Vermögen in uns Schwachen Stark zu machen! in making the will within us weak ones strong!

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Schwingt freudig euch empor, BWV 36 Soar in your joy – J. S. Bach

In steter Liebe wallen!

I may always simmer with constant love!

Singet, springet, Sing, spring, Jubilieret, triumphieret, dankt dem Herren! rejoice, triumph, thank the Lord!

Groß ist der König der Ehren.

Great is the King of glory.

Part I 1. Chorus (S A T B) Schwingt freudig euch empor zu den erhabnen Sternen, Soar joyfully aloft to the exalted stars, Ihr Zungen, die ihr itzt in Zion fröhlich seid! you tongues that are now joyous in Zion!

Doch haltet ein! Der Schall darf sich nicht weit entfernen, But pause! The sound need not spread so far, Es naht sich selbst zu euch der Herr der Herrlichkeit. for the Lord of glory Himself draws near to you.

Part II 5. Aria (Bass) Willkommen, werter Schatz!

Welcome, precious Treasure!

Die Lieb und Glaube machet Platz Love and faith make room Vor dich in meinem Herzen rein, for You in my pure heart, Zieh bei mir ein!

Enter into me!

2. Choral duet (Soprano, Alto) Nun komm, der Heiden Heiland, Come now, Saviour of the Gentiles Der Jungfrauen Kind erkannt, known as the Virgin’s Child, Des sich wundert alle Welt, at whom the whole world marvels Gott solch Geburt ihm bestellt. that God ordained for Him such a birth.

6. Chorale (Tenor) Der du bist dem Vater gleich, You who are equal to the Father, Führ hinaus den Sieg im Fleisch, bring forth victory in the flesh, Daß dein ewig Gott’s Gewalt so that Your eternal divine strength In uns das krank Fleisch enthalt. may be contained in our sickly flesh.

3. Aria (Tenor) Die Liebe zieht mit sanften Schritten Love approaches with gentle steps, Sein Treugeliebtes allgemach. little by little, his true beloved.

Gleichwie es eine Braut entzücket, Just as a bride is enraptured Wenn sie den Bräutigam erblick when she glimpses/catches sight of her bridegroom, So folgt ein Herz auch Jesu nach. so too does a heart follow after Jesus.

7. Aria (Soprano) Auch mit gedämpften, schwachen Stimmen Even with muted, weak voices Wird Gottes Majestät verehrt.

God’s majesty is honored.

Denn schallet nur der Geist darbei, For even if only the spirit resounds, So ist ihm solches ein Geschrei, there is such a cry to Him Das er im Himmel selber hört. that He Himself hears it in heaven.

4. Chorale (S A T B) Zwingt die Saiten in Cythara Strike the strings [of the zither] Und laßt die süße Musica and let the sweet music Ganz freudenreich erschallen, ring out joyfully, Daß ich möge mit Jesulein, so that, with my dear little Jesus, Dem wunderschönen Bräutgam mein, my wondrously beautiful Bridegroom,

8. Chorale (S A T B) Lob sei Gott, dem Vater, ton, Praise be to God, the Father, intoned; Lob sei Gott, sein’m eingen Sohn, praise be to God, His only Son; Lob sei Gott, dem Heilgen Geist, praise be to God, the Holy Spirit, Immer und in Ewigkeit! forever and in eternity!

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Lo,Lo, How a aRose E’er 359 How Rose E'er Blooming, Blooming 359

All All Choir All

Public domain

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Dr. Maurice Boyer, Music Director Dr. Maurice Boyer is associate professor of music at Concordia University Chicago (CUC), where he conducts the chamber orchestra and Laudate, a women’s choir, and teaches all levels of Ear Training. Although born in the United States, he began his musical training (piano, voice, and solfège) in Aix-en-Provence, France, where he lived until the age of 18.

Boyer 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, New Jersey, where he also studied theology at Princeton Theological Seminary. He holds a Doctor of Musical Arts in orchestral conducting from the University of Maryland, College Park. His principal conducting teachers have been Joseph Flummerfelt, Kenneth Kiesler, and James Ross.

Boyer also is artistic director of Aestas Consort of Chicago, the Heritage Chorale of Oak Park, and assistant conductor of the Symphony of Oak Park River Forest. He has served as guest conductor of the Chicago Choral Artists and guest chorus master for Chicago’s Music of the Baroque. Additionally, he has been chorus master of the New Jersey State Opera and director of music at several churches.

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Title page from volume 1 (Old Testament) of the Calov Bible commentary from the library of J. S. Bach.

Bach’s monogram signature is at the bottom right corner of the page. This Bible is on display in Concordia Seminary’s library.

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The American Kantorei Chorus Soprano Emily Truckenbrod, Principal Jean Baue Kathryn Crumrine Katherine Gastler Megan Glass Krista Hartmann Marita Hollander Camille Marolf Jenny Maske Lynn D. Morrissey

Alto Katharine Lawton Brown, Principal Stephanie Ruggles, Assistant Principal Danielle Gines Mona Hauser Sarah J. Ludwig AnnaWoell Lisa Young

Tenor Dennis Willhoit, Guest Jeral Becker, Assoc. Principal Thomas Jarrett (Jerry) Bolain Bill Larson Ryan Markel Steve Paquette Spencer Stephens

Bass Jeffrey Heyl, Principal David Berger, Associate Principal Joe Beran Dan Maske Michael Wenz Kyle Will

Orchestra Violin I Wanda Becker, Concertmaster Cynthia Bowermaster Jane Price Violin II Kaoru Wada, Principal Marilyn Park Ellington Margret Heyl

Cello Andrew Ruben Double Bass Frederick DeVaney Oboe / Oboe d’amore Ann Homann, Principal Eileen Burke

Viola Sarah Borchelt

Clarion Brass Mary Weber (Director), Trumpet Lisa Blackmore, Trumpet Steve Hanrahan, French horn George Manning. Trombone Wayne Coniglio, Bass trombone Positiv (Continuo) Organ John Walsh Chapel Organ David Johnson

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Welcome to Bach at the Sem! Joy soars through today’s concert, and we pray your spirits will be lifted by the celebration of this season. The humble birth of the Son of God speaks hope to every life, there being no circumstance too mean for His loving care or too well-off not to kneel at the manger. The King of Glory offers forgiveness, life and salvation for all. This is the joy that animates the mission of Concordia Seminary throughout the entire year and comes to special focus as we celebrate the birth of Jesus Christ. “Marvel, O people, at this great mystery­—the highest Ruler appears to the world!”

Thank you for joining us this afternoon. Your presence affirms our efforts through this series and your financial support will enable this cultural and spiritual offering to continue in our community.

We express our deep appreciation to Music Director and Conductor Maurice Boyer and the American Kantorei for blessing us in the joy of this holy season. As you give of yourselves to us, may you be blessed in even greater measure!

“O let the harps break forth in sound!

Our joy be all with music crowned, Our voices gladly blending!

For Christ goes with us all the way – Today, tomorrow, ev’ry day!

His love is never ending!

Sing out! Ring out!

Jubilation! Exaltation! Tell the story!

Great is He, the King of Glory!

Dale A. Meyer President

Join Us! A Special Reception with Dr. Maurice Boyer

Music Director for the Bach at the Sem Concert Series After the 3:00 p.m. concert Koburg Hall on the Seminary Campus All are welcome!

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Always and Forever season XIV

O Holy Night

December 6 Salem United Methodist Church

Shalom House benefit

with Christine Brewer

March 7, 2015 St. Gabriel the Archangel Catholic Church

Requiem O For !e Lov"...

December 7 Resurrection Lutheran Church

Feed My People benefit with special guests

St. Gabriel Chancel Choir Mary Beth Wittry, Director

Salem UMC Chancel Choir

a concert in honor of women and mothers

May 9, 2015 Venue TBA

check website for details

american chamber chorale Stephen Morton

american chamber chorale ������������������������������� season XIV

2014 - 2015 For tickets and information, visit americanchamberchorale.com americanchamberchorale.com or call (314) 638-0793 Philip Barnes Artistic Director

23rd annual

SC H OL A CANTOR UM

Join one of the country's best a cappella choirs for our 59th season!

ad ult c hoir member workshop a n d h y m n f e s t i va l

AT CO NCO R DIA SEMINARY, ST. LOUI S

2014~2015 Mendelssohn & Judith Bingham

Sc hol a Ca ntorum S at urd a y, Fe b r u a r y 7, 2015 9: 00 a .m . - 1:30 p.m .

October 5 • 3pm St. Louis Abbey • 500 S Mason Road • Creve Coeur • 63141

Juan Gutierrez de Padilla & Heitor Villa-Lobos November 9 • 3pm St. Cecilia Catholic Church • 5418 Louisiana Ave • St. Louis • 63111

Palestrina & Herbert Howells

December 21 • 3pm First Presbyterian Church Kirkwood • 100 E. Adams Ave • Kirkwood • 63122

Schola Cantorum culminates with all participants leading the hymn festival

“ Epiph any Joy ”

ep i pha ny hy m n f e st iva l S at urd a y, Fe b r u a r y 7, 2015 2:00 - 3:00 p.m .

for more information and to register, visit www.csl.edu/resources/continuinged/schola-cantorum/

Milhaud & Purcell

February 15 • 3pm Christ Church Cathedral • 1210 Locust Street • St. Louis • 63103

Kodály & Vaughan Williams

April 12 • 3pm St. Mary of Victories Catholic Church • 744 S 3rd St • St. Louis • 63102

William Billings & Richard Rodney Bennett

May 31 • 3pm Union Avenue Christian Church • 733 Union Blvd • St. Louis 63108

SEASON TICKETS ON SALE NOW Subscribe and Save! For tickets or a brochure call

636-458-4343 chamberchorus.org

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 314-505-7000 www.csl.edu