2015–2016 Series
DECEMBER 13, 2015 The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis
Schedule of Concerts 23rd Season
BACH AT THE SEM – 2015-16 Dr. Maurice Boyer, Music Director OCTOBER 4, 2015, 3 p.m. (PENTECOST 19, TRINITY 18) J.S. Bach: Cantata, 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 p.m. (ADVENT 3) Hugo Distler: Organ prelude on Wie schön leuchtet der Morgenstern; BWV 1; Cantata BWV 61, Nun komm, der Heiden Heiland; Cantata BWV 133, Ich freue mich in dir; Cantata BWV 40, Dazu ist erschienen der Sohn Gottes; Chorus from BWV 1, Wie schön leuchtet der Morgenstern FEBRUARY 7, 2016, 3 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 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 information 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 December 13, 2015, 3:00 p.m. Third Sunday in Advent
Dr. Maurice Boyer, Music Director The American Kantorei Dr. Jeral Becker, Assistant Conductor In Nomine Jesu Cantata: Nun komm, der Heiden Heiland, BWV 61 (Now come, Savior of the nations) 1. Chorus 2. Recitative (Jeral Becker) 3. Tenor Aria (Jeral Becker) 4. Recitative (David Berger) 5. Soprano Aria (Marita Hollander) 6. Chorus
Johann Sebastian Bach
Hymn: “O Morning Star, How Fair and Bright” The assembly stands to sing the hymn provided on Page 11 or in Lutheran Service Book 395 (orchestra and choir perform verses 3 and 5 in settings by Hugo Distler and J.S. Bach) Cantata: Ich freue mich in dir, BWV 133 (I rejoice in You)
Johann Sebastian Bach
1. Chorale 2. Alto Aria (Stephanie Ruggles) 3. Recitative (Zachary Devin) 4. Soprano Aria (Emily Truckenbrod) 5. Recitative (Jeffrey Heyl) 6. Chorale Organ Voluntary: Wie schön leuchtet der Morgenstern Hugo Distler (James Marriott, organist) The offerings received at this time support the Bach at the Sem concert series. Cantata: Dazu ist erschienen der Sohn Gottes, BWV 40 (For this reason the Son of God appeared)
Johann Sebastian Bach
1. Chorus 2. Recitative (Zachary Devin) 3. Chorale 4. Bass Aria (Jeffrey Heyl) 5. Recitative (Katharine Lawton Brown) 6. Chorale 7. Tenor Aria (Zachary Devin) 8. Chorale Chorus: Wie schön leuchtet der Morgenstern from Cantata BWV 1 (How brightly shines the Morning Star) Soli Deo Gloria
Johann Sebastian Bach
Program Notes “Come, O beautiful crown of joy, I wait for you with longing!”
rich harmonies with sweet suspensions in thirds and sixths — all express multifariously the wondrous beauty of the Incarnation. The opening’s regal style returns for the final line of the verse, with the choir declaring in clear homophony that this birth was elected by God. The orchestra then launches into a fiercely driving rush to the final cadence.
Cantata: Nun komm, der Heiden Heiland, BWV 61 Composed for the First Sunday of Advent 1714 while Bach was employed at the ducal court in Weimar, BWV 61 was revived in 1723 — Bach’s first Advent in Leipzig. The autographed manuscript of this score, as well as its sister piece (BWV 62), contains priceless information about the liturgical unfolding of the services in Leipzig. Although Bach had begun as cantor in the previous spring, he saw fit to place such information in the cantata that would usher in the new church year. Inside the cover page, Bach clearly spells out the place of all musical components in worship. He was beginning to fulfill his desire to compose “a wellregulated or orderly church music to the Glory of God.”
The tone changes dramatically with the tenor’s entrance. The Savior who had been called has now arrived in the flesh, adopting “us” as blood relations and bearing light and blessing. The recitative moves seamlessly to an arioso whose downward flowing 16th notes, canonically unspooling between the cello and the tenor, embody the bestowal of divine blessing. The succeeding da capo aria is in fact a trio for tenor, violins and violas in unison, and bass. It is a bright, light-footed, gigue-like dance in triple meter in C major. In the A section, a descending line in all voices effectively translates musically the descent of Jesus Himself to His church and His bestowal of a blessed New Year. The B section, in the minor mode, is more reflective and theological in nature, as it addresses the preservation of sound teaching and the blessing of pulpit and altar.
The Gospel for the First Sunday of Advent is Matt. 21:1-9, the narrative of Jesus’ triumphal entry into Jerusalem. “Tell the daughter of Zion, / Look, your king is coming to you, humble, and mounted on a donkey, and on a colt, the foal of a donkey.” The modest performance forces (five-part strings) align with the outward modesty of the circumstances. However, the French Overture that opens the cantata dispels unequivocally any notion that this “Savior of the nations” who is invoked might be a weakling. The form itself, one reserved for the entrance of royalty at the French court, is stately and ceremonial. But here, its jagged rhythms, sharp upward flourishes and dark-hued minor mode paint a picture of a fierce warrior king, not a self-aggrandizing powdered potentate. In descending order (soprano-alto-tenorbass), the voices cry out in long note values for the coming of the “Savior of the nations.” All join in homophonic euphony to sing: “recognized as the Child of the virgin.”
The bass, as Vox Christi, then enters with words from Revelation (3:20): “Look, I stand at the door and knock. If anyone will hear My voice and open the door, I shall go in and have supper with him and he with me.” Hitherto, all had been forward thrust. Suddenly time stops. Here is the heart of the matter. The knocking is vividly conjured in the strings’ pizzicato accompaniment, as well as in the voice’s staccato articulation. The arresting nature of this visitation is captured in the harmony. In effect, the recitative begins with a dominant seventh chord of E minor over a tonic pedal — a dissonant sonority. However, when Jesus speaks of entering, the harmony turns sweet and the vocal line fluid, creating a sense of gentleness and generosity.
The contrasting middle section of this tri-partite form is for the expression of wonder and marvel: “at whom all the world is amazed.” The fleet triple meter with a bright shift to the major mode, the piling up of fugal entrances with melismatic treatment of “all,”
With the soprano aria, all adornment is stripped away. Before Jesus, there is only the single individual. Supported only by the bass line, the singer responds in sheer delight to His call with the disarming innocence
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and vulnerability of a child. Couched in an easy triple meter, the A section of this da capo aria seems to flow effortlessly but for a delicate rhythmic tension created by a profusion of hemiolas. In effect, it feels at times almost as if the music is notated in the wrong meter, as if below the written meter lies a deeper meter governing the whole. Bach is musically averring that, because of this encounter with Christ, there is now a different relation to time. Chronos has given way to Kairos. The B section, by contrast, shifts to a slow duple meter (4/4, “adagio”). The pace is steady and measured as the singer contemplates in wonder and gratitude the mystery of God’s choosing to make His dwelling place within her.
hymn in simple homophony. Within the space of one verse, Jesus is addressed affectionately as “my lovely little Jesus” and “my little brother,” and the “great Son of God” described as “friendly.” The ensuing tri-partite (ABA’) alto aria prolongs the joyful affect of the first movement. One gets the impression that the “I” of this aria is so elated that it cannot contain itself. Bach translates this musically in the motives governing the entire movement. First, there is the out-of-breath quality of the threefold repetition of “Be confident,” each interrupted by a 16th rest. Second are the flowing 16th-note runs. Finally, there is a sudden drop to piano for the parenthetical statement: “how blessed am I!” — whispering with excitement at its apex.
The closing chorus is a sudden eruption of joy. Its text, culled from “Wie schön leuchtet der Morgenstern,” is the last three lines of the seventh and final verse. The chorale melody is heard soaring high above the texture in the soprano. Higher still is the violin obbligato line, which rises stratospherically high as if reaching up to heaven. In this gesture, Bach brilliantly makes musical allusion to the fourth and fifth lines of this verse: “He will indeed to His Glory / Take me up into Paradise.” Longing is the final affect of the cantata. It is expectant, even ecstatic, for it knows that the fierce royal “Savior of the nations” and the “beautiful Crown of Joy” are one and the same, “Alpha and Omega,” the loving God ever knocking at the door, desiring communion with His creation.
From a textual standpoint, a couple of biblical allusions bear noting. “I have seen God … face to face. Ah! My soul must be restored to health (must be preserved)” is an allusion to Jacob’s wrestling with the angel (lit. “a man,” Gen. 32:31). In the German of Bach’s time, the scriptural passage would have read almost exactly as the cantata libretto. “The incomprehensible being of the Almighty” seems to be a reference to the day’s appointed Epistle reading from Hebrews: “He is the reflection of God’s glory and the exact imprint of God’s very being” (1:3). Although not centrally located, the soprano da capo aria (ABA) is the heart of the cantata. In the hands of a lesser composer, this text might have inspired a bright and flowing A section in the major mode and an angular and admonitory B section in the minor mode. Bach thwarts expectations. He takes as the affective ground for the A section the piercing of the heart, which may be an allusion to Luke 2:35, where the angel tells Mary that a sword will pierce her own soul. He chooses the key of B minor, a key associated with suffering and passion. That Jesus is born is tremendous news in the root meaning of the word: astonishing and terrifying. On two occasions, Bach gives a series of repeated pitches to the violins as if to simulate the sound of bells ringing. He also uses silence twice after “My Jesus is born,” each time interrupting a phrase, as if to allow the words to echo in the ear.
Cantata: Ich freue mich in dir, BWV 133 BWV 133 was first heard on Dec. 27, 1724, the third day of Christmas. As is typical for a chorale cantata, it is framed by choral movements that state both melody and text verbatim. The inner movements offer paraphrases of the text. Interestingly, in this piece, there are a few instances in which the anonymous librettist inserts direct quotation of the hymn text. These occur in the tenor and bass recitatives and are highlighted by being set in arioso form. The opening movement of the cantata is a jubilant chorale fantasia in which a fast-moving instrumental ritornello is overlaid with the chorale. Except for fleeting instances of polyphony, the choir sings the
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In marked contrast to the A section’s duple meter with disjunct lines is the B section’s gentle triple meter, marked Largo, with lilting and flowing lines. Additionally, Bach subtracts the bass line. The second violins and violas in unison take over its role with a quasi-bass part that pulsates like a heartbeat. A solo violin unfolds in duet with the singer. Tonally, the section is sweeter, but also more chromatic and harmonically unstable. The tone is anything but hard; rather, it is disarmingly vulnerable. Bach here paints the picture of the individual who, having yielded to God in trust, like Mary, apprehends the confounding mystery of the Incarnation.
no direct mention of this story in BWV 40. However, Bach correctively and subtly weaves a connection into the very fabric of his new work. He does so by adding two horns (flugelhorns in today’s performance) to his basic orchestral palette: two oboes and strings. With these instruments and the movement’s key (F major), Bach paints a pastoral setting. In overall form, this cantata is unusual for its use of three different chorales and for the parallel structure of its inner movements grouped in threes: Chorus —[Recitative-Chorale-Aria] —[Recitative-Chorale-Aria]—Chorale
The following bass recitative contains striking text painting to depict death and resurrection. For example, the vocal line, “He will also think of me in my tomb,” rises then plunges down one octave and a half only to spring back up immediately. In similar fashion, “stirbt” (die) is given a low, long-held note, while the sudden naming of Jesus involves a wide leap upward.
The presence of three different chorales would have brought greater immediacy to the community’s experience of this complex music by introducing an element of familiarity. Indeed, the hymns would purportedly have been known. They would thus potentially contextualize the overall trajectory of the cantata, and conversely the cantata would shed new light on the familiar hymns.
In the Synoptic Gospels, Jesus says to those mourning the death of Jairus’ daughter: “Do not weep; for she is not dead but sleeping.” He then wakens the child. With this backdrop, the final verse of the chorale in simple four-part harmony quietly and comfortingly draws the cantata to a close. The work began at the crib of the infant Jesus and ends at the grave of the individual. The arc of God’s boundless love runs from Incarnation through death to Resurrection.
The masterful tri-partite opening chorus (ABA’) moves from exuberant homophony to a stately fugue and joyful free polyphony before returning to the opening material. The fugue subject of the middle section is essentially the movement’s head motive in augmentation. As seen above, recitative, chorale and aria form a single unit. The text of the tenor recitative, with its reference to the “sweet word in every ear,” is remindful of the soprano aria of BWV 133. Multiple Johannine allusions underline that the Word of God made flesh is not disembodied knowledge. It is act: comfort and salvation. The chorale focuses on the opposing forces of sin and Christ: the former making sorrow, the latter joy.
Cantata: Dazu ist erschienen der Sohn Gottes, BWV 40 Just a year and a day before the debut of BWV 133, on the second day of Christmas (Dec. 26, 1723), Leipzig parishioners would have heard BWV 40. BWV 61 would have been performed only a few weeks earlier, on the First Sunday of Advent. This was Bach’s first Christmas in Leipzig, and, by the messy look of the manuscript, he was very busy and working at break-neck pace!
The bass aria is a fiendish dance in a fast triple meter in which the violent stomps on downbeats render musically the crushing of the serpent’s head (Gen. 3:14ff). The slithering creature’s perniciousness and tenacity are vividly heard in the first violins’ fast and near incessant chromatic line. This very material drops to the bass for the following line of text: “the One
The appointed Gospel reading would have been Luke 2:15-20, the narrative of the shepherds’ hasty journey to Bethlehem to witness with their own eyes the wondrous birth of the Savior. Curiously, there is
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who as a conqueror crushes your head.” Such a gesture would seem to represent the Christ taking away the power of the serpent.
Palm Sunday, and a cantata would be performed. The readings would be those assigned for Annunciation, and the Passion would not be read or intoned. During Bach’s Cantorate in Leipzig, the feast in fact coincided twice with Palm Sunday: 1725 and 1736. It was for the earlier of those dates that he wrote the present masterful work with which we close today’s program. With it, we come full circle, returning to the chorale that has essentially been the Hymn of the Day.
The accompagnato recitative is given to the alto, often the voice bearing words of comfort in Bach’s music. A 16th-note broken chord figuration in the upper strings creates the sense of a cooling air or perhaps of the protecting wings of Christ (see tenor aria). The succeeding chorale returns to the persistence of the snake and Christ’s victory over him.
Just like BWV 133, BWV 1 is a chorale cantata; it is in fact the last of 52 such works that Bach composed in 1724-25. However, the two works could not be more different in scale, compositional style and expressive scope. The present movement is at once intimate and grand as it shifts from quiet serenity to ebullient joy.
The virtuosic tenor aria is an exhortation to rejoice. Its exuberant 12/8 rustic dance embodies this very spirit. Florid 16th-note lines appositely portray exultation, while jagged lines, reminiscent of the bass aria, capture the fear of Satan’s fury. A further rapprochement with the earlier aria is heard when the bass line takes over the aforementioned floridity. This occurs when the text refers to Jesus as the One who can save. In the very same section, the librettist makes an allusion to Jesus’ stirring lament over Jerusalem as recorded in Matt. 23:37-39. The exact reference is found in verse 37: “Jerusalem, Jerusalem … How often have I desired to gather your children together as a hen gathers her brood under her wings.”
While the chorale is traditionally associated with the Feast of the Epiphany, in Bach’s time it was also sung for the Feast of the Annunciation. The hymn’s author, Philipp Nicolai, described his hymn as “a spiritual bridal song of the believing soul concerning Jesus Christ, her heavenly bridegroom, founded on the 45th Psalm of the prophet David.” However, the text addresses directly neither the narrative of the Angel Gabriel and Mary nor that of the journey of the Magi. Rather its central theme is the eschatological wedding of Christ and His church. Thus, we began with the first Advent of Christ — the defeat of sin and death. We end with a celebration of His second Advent, when He will bring all things unto Himself — the heavenly wedding banquet.
After the crushing defeat of Satan, the final chorale seems almost like a non-sequitur, beginning as it does in F minor, until one realizes that it is a prayer addressed to Jesus. Eschewing triumphalism, it returns the listener to everyday life. Bach’s harmonization of this melody, which is reminiscent of “Jesus, Priceless Treasure,” has a chiaroscuro quality in its seamless minor-major shifts. In the last three lines, the harmonic language grows brighter and brighter until the final cadence is reached: “He is the Sun of mercy.”
Bach here paints with a richly colorful instrumental palette: pairs of high horns, oboes da caccia (flugelhorns and English horns in this performance) and concertante violins, as well as the usual full string complement. The choice of instruments, tonality (F major) and meter (a broadly swinging 12/8) suggest a pastoral scene. The folk-like thematic material first heard in the solo violin at the outset, akin to fiddling, only strengthens this assertion. Given what was posited above, I would offer that the scene is in fact that of a country wedding.
Chorus: Wie schön leuchtet der Morgenstern, BWV 1 A significant feast in the church year, the Feast of the Annunciation most often falls during Lent. In Leipzig during Bach’s time, Lent, like Advent, was a tempus clausum during which there was no concerted music; the feast would thus only be “quietly” observed. If however the feast fell during Holy Week — when Easter had an early date — it would be observed ceremoniously on
Throughout, the chorale tune is declaimed in long note values in the soprano voice doubled by the first horn. All the while, the lower voices unfold independently
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in imitative polyphony thematically related to the instrumental parts. However, at two salient moments, the tenor and alto voices break away from this pattern to sing the chorale melody in shorter note values. In this interruptive gesture, Bach highlights two significant lines of text: “full of grace and truth from God” and “my King and my Bridegroom.” Polyphony dominates the texture, except toward the end where the words “lovely, friendly” are sung by all voices together in simple homophony. At the core of this movement is joy born of knowing the loving-kindness and generosity of God. Bach wonderfully weaves together a tapestry in which joy’s protean and multifarious expressions are colorfully brought to light: intimate and serene, full-throated and rustic, lyrical and expansive. Five days later, on Good Friday, the St. Thomas Church would powerfully witness the extent of that love in the second version of the St. John Passion. “Having loved His own who were in the world, He loved them to the end.” Dr. Maurice Boyer Note: Thanks to Dr. Robin Leaver for providing details about the observance of the Feast of the Annunciation on Palm Sunday (email correspondence).
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Text and Translation Nun komm, der Heiden Heiland, BWV 61 Now come, Savior of the Gentiles – J.S. Bach
4. Recitative (Bass) Siehe, ich stehe vor der Tür und klopfe an. See, I stand before the door and knock. So jemand meine Stimme hören wird If anyone will hear My voice und die Tür auftun, and open the door, zu dem werde ich eingehen I shall go in und das Abendmahl mit ihm halten und er mit mir. and have supper with him and he with me.
1. Chorus (S A T B) Nun komm, der Heiden Heiland, Now come, Savior of the Gentiles, Der Jungfrauen Kind erkannt, recognized as the Child of the Virgin, Des sich wundert alle Welt, at whom all the world is amazed Gott solch Geburt ihm bestellt. that God decreed such a birth for Him.
5. Aria (Soprano) Öffne dich, mein ganzes Herze, Open, my whole heart! Jesus kömmt und ziehet ein. Jesus comes and enters in. Bin ich gleich nur Staub und Erde, Though I am only like dust and earth, Will er mich doch nicht verschmähn, He does not want to scorn me Seine Lust an mir zu sehn, but to see His pleasure in me Daß ich seine Wohnung werde. so that I become His dwelling. O wie selig werd ich sein! Oh, how blessed I shall be!
2. Recitative (Tenor) Der Heiland ist gekommen, The Savior has come, Hat unser armes Fleisch und Blut and has our humble flesh and blood An sich genommen taken on Himself Und nimmet uns zu Blutsverwandten an. and accepts us as His blood relations O allerhöchstes Gut, O Highest Good of all, Was hast du nicht an uns getan? what have You not done for us? Was tust du nicht What do You not do Noch täglich an den Deinen? still daily for Your people? Du kömmst und läßt dein Licht You come and let Your light Mit vollem Segen scheinen. shine with full blessing.
6. Choral (S A T B) Amen, amen! Komm, du schöne Freudenkrone, bleib nicht lange! Come, you beautiful Crown of Joy. Do not delay long! Deiner wart ich mit Verlangen. I wait for You with longing.
3. Aria (Tenor) Komm, Jesu, komm zu deiner Kirche Come, Jesus, come to Your church Und gib ein selig neues Jahr! and grant a blessed New Year! Befördre deines Namens Ehre, Increase the honor of Your name, Erhalte die gesunde Lehre Preserve sound teaching Und segne Kanzel und Altar! and bless pulpit and altar!
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Ich freue mich in dir, BWV 133 I rejoice in You – J.S. Bach
4. Aria (Soprano) Wie lieblich klingt es in den Ohren, How lovely sounds in my ears Dies Wort: mein Jesus ist geboren, this word: my Jesus is born. Wie dringt es in das Herz hinein! How it pierces to my heart! Wer Jesu Namen nicht versteht [He] who does not apprehend Jesus’ name Und wem es nicht durchs Herze geht, and through whose heart it does not go Der muß ein harter Felsen sein. must be a hard rock.
1. Chorus (S A T B) Ich freue mich in dir I rejoice in You Und heiße dich willkommen, and bid You welcome, Mein liebes Jesulein! my dear little Jesus! Du hast dir vorgenommen, You have undertaken Mein Brüderlein zu sein. to be my little brother. Ach, wie ein süßer Ton! Ah, what a sweet sound! Wie freundlich sieht er aus, How friendly He appears, Der große Gottessohn! the great Son of God!
5. Recitative (Bass) Wohlan, des Todes Furcht und Schmerz Now then, the fear and sorrow of death Erwägt nicht mein getröstet Herz. are given no thought by my comforted heart. Will er vom Himmel sich If He is willing to journey Bis zu der Erde lenken, from heaven to earth, So wird er auch an mich then He will also In meiner Gruft gedenken. think of me in my tomb. Wer Jesum recht erkennt, [He] who truly recognizes Jesus Der stirbt nicht, wenn er stirbt, does not die when he dies, Sobald er Jesum nennt. the moment he names Jesus.
2. Aria (Alto) Getrost! es faßt ein heilger Leib Be confident! A Holy Body contains Des Höchsten unbegreiflichs Wesen. the incomprehensible being of the Almighty. Ich habe Gott — wie wohl ist mir geschehen! — I have seen God — how blessed am I! — Von Angesicht zu Angesicht gesehen. face to face. Ach! meine Seele muß genesen. Ah! my soul must be restored to health! 3. Recitative (Tenor) Ein Adam mag sich voller Schrecken An Adam might be filled with terror Vor Gottes Angesicht and from God’s face Im Paradies verstecken! hide himself in Paradise! Der allerhöchste Gott kehrt selber bei uns ein: The most high God Himself comes to dwell among us, Und so entsetzet sich mein Herze nicht; and so my heart is not afraid. Es kennet sein erbarmendes Gemüte. It knows His compassionate nature. Aus unermeßner Güte Out of His immeasurable kindness, Wird er ein kleines Kind He becomes a small child Und heißt mein Jesulein. and is called my little Jesus.
6. Chorale (S A T B) Wohlan, so will ich mich Now then, I want An dich, o Jesu, halten, to hold on to you, Jesus, Und sollte gleich die Welt even should the world suddenly In tausend Stücken spalten. split into a thousand pieces. O Jesu, dir, nur dir, O Jesus, for You, only for You, Dir leb ich ganz allein; for You may I live wholly; Auf dich, allein auf dich, in You, alone in You, Mein Jesu, schlaf ich ein. my Jesus, may I sleep. 8
Dazu ist erschienen der Sohn Gottes, BWV 40 For this reason the Son of God appeared – J.S. Bach
4. Aria (Bass) Höllische Schlange, Infernal serpent, Wird dir nicht bange? are you not afraid? Der dir den Kopf als ein Sieger zerknickt, The One who as a conqueror crushes your head Ist nun geboren, is now born, Und die verloren, and those who were lost Werden mit ewigem Frieden beglückt. will be made happy with everlasting peace.
1. Chorus (S A T B) Dazu ist erschienen der Sohn Gottes, For this reason the Son of God appeared, daß er die Werke des Teufels zerstöre. so that He might destroy the works of the devil. 2. Recitative (Tenor) Das Wort ward Fleisch und wohnet in der Welt, The Word became flesh and dwells in the world; Das Licht der Welt bestrahlt den Kreis der Erden, the Light of the world illuminates the circle of the earth. Der große Gottessohn The great Son of God Verläßt des Himmels Thron, forsakes the throne of heaven, Und seiner Majestät gefällt, and it pleases His majesty Ein kleines Menschenkind zu werden. to become a little human child. Bedenkt doch diesen Tausch, wer nur gedenken kann; Think then about this exchange, whoever can think. Der König wird ein Untertan, The King becomes a subject. Der Herr erscheinet als ein Knecht The Lord appears as a slave, Und wird dem menschlichen Geschlecht and for the human race - o süßes Wort in aller Ohren! - o sweet word in every ear Zu Trost und Heil geboren. is born to be their comfort and salvation.
5. Recitative (Alto) Die Schlange, so im Paradies The serpent that in Paradise Auf alle Adamskinder on all the children of Adam Das Gift der Seelen fallen ließ, let fall the poison of souls Bringt uns nicht mehr Gefahr; causes us danger no more. Des Weibes Samen stellt sich dar, The woman’s Seed is present; Der Heiland ist ins Fleisch gekommen the Savior has come in the flesh Und hat ihr allen Gift benommen. and has taken all the poison away. Drum sei getrost! betrübter Sünder. Therefore, be comforted, troubled sinner. 6. Chorale (S A T B) Schüttle deinen Kopf und sprich: Shake your head and say: Fleuch, du alte Schlange! Flee, you old serpent! Was erneurst du deinen Stich, Why do you renew your sting Machst mir angst und bange? and make me anxious and fearful? Ist dir doch der Kopf zerknickt, Now your head is crushed, Und ich bin durchs Leiden and through the suffering Meines Heilands dir entrückt of my Savior I am taken from you In den Saal der Freuden. into the hall of joy.
3. Chorale (S A T B) Die Sünd macht Leid; Sin causes sorrow; Christus bringt Freud, Christ brings joy, Weil er zu Trost in diese Welt ist kommen. since He has come into this world for our consolation. Mit uns ist Gott God is with us Nun in der Not: now in our need. Wer ist, der uns als Christen kann verdammen? Who is there who can condemn us as Christians?
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7. Aria (Tenor) Christenkinder, freuet euch! Children of Christ, rejoice! Wütet schon das Höllenreich, The kingdom of hell now rages. Will euch Satans Grimm erschrecken: Satan’s fury wants to frighten you. Jesus, der erretten kann, Jesus, who can rescue you, Nimmt sich seiner Küchlein an takes care of His little chicks Und will sie mit Flügeln decken. and wants to cover them with His wings.
Wie schön leuchtet der Morgenstern, BWV 1 How beautifully shines the Morning Star – J.S. Bach 1. Chorus (S A T B) Wie schön leuchtet der Morgenstern How beautifully shines the Morning Star Voll Gnad und Wahrheit von dem Herrn, full of grace and truth from the Lord, Die süße Wurzel Jesse! the sweet Root of Jesse! Du Sohn Davids aus Jakobs Stamm, You, Son of David from the line of Jacob, Mein König und mein Bräutigam, my King and my Bridegroom, Hast mir mein Herz besessen, have taken possession of my heart Lieblich, freundlich [You who are] lovely, friendly, Schön und herrlich, groß und ehrlich, reich von Gaben, beautiful and glorious, great and loyal, rich in gifts, hoch und sehr prächtig erhaben. lofty and greatly exalted in splendor.
8. Chorale (S A T B) Jesu, nimm dich deiner Glieder Jesus, embrace Your members Ferner in Genaden an; in the future in Your mercy; Schenke, was man bitten kann, Grant what can be asked for Zu erquicken deine Brüder: to refresh Your brother: Gib der ganzen Christenschar Give to the Christian flock Frieden und ein selges Jahr! peace and a blessed year! Freude, Freude über Freude! Joy, joy upon joy! Christus wehret allem Leide. Christ protects from all suffering. Wonne, Wonne über Wonne! Delight, delight upon delight! Er ist die Genadensonne. He is the Sun of mercy.
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O Morning Star, How Fair and Bright LSB 395
395 O Morning Star, How Fair and Bright
chorus
5 chorus
O let the harps break forth in sound! 5 O let theOur joy be all with music crowned, harps break forth in sound! Our voices gladly blending! Our joy For Christ goes with us all the way— be all with music crowned, Our voices gladly blending! Today, tomorrow, ev’ry day! His love is never ending! For Christ goes with us all the way ó Sing out! Ring out! Today, tomorrow, evíry day! Jubilation! His love is never ending! Exultation! Sing Tell the story! out! Ring out! Jubilation! Great is He, the King of Glory! Exultation! 6 TellWhat joy to know, when life is past, the story! The Lord we love is first and last, Great is The end and the beginning! He, the King of Glory! He will one day, oh, glorious grace, Transport us to that happy place Beyond all tears and sinning! Amen! Amen! Come, Lord Jesus! Crown of gladness!
6 What joy to know, when life is past, The Lord we love is first and last, The end and the beginning! He will one day, oh, glorious grace, Transport us to that happy place Beyond all tears and sinning! Amen! Amen! Come, Lord Jesus! Crown of gladness! We are yearning For the day of Your returning!
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Dr. Maurice Boyer, Music Director Dr. Maurice Boyer is associate professor of music at Concordia University Chicago, River Forest, Ill. (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, N.J., while 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 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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The American Kantorei Chorus Soprano Emily Truckenbrod, Principal Kathryn Crumrine Katherine Gastler Megan Glass Brittany Graham Lea Herdler Krista Hartmann Marita Hollander Camille Marolf Lynn D. Morrissey Tenor Jeral Becker, Assoc. Principal Greg Gastler Thomas Jarrett Bolain Zachary Devin, Guest Soloist Bill Larson Ryan Markel Steve Paquette
Alto Katharine Lawton Brown, Principal Stephanie Ruggles, Assistant Principal Danielle Gines Mona Hauser Anna Otterman Amy Will Mary Ulm Lisa Young Bass Jeffrey Heyl, Principal David Berger, Assoc. Principal Everett Gossard Gary Lessmann Charles McCall Alex Marque Kyle Will
Orchestra Violin 1 Wanda Becker, Concertmaster Cynthia Bowermaster Hannah Frey Tova Braitberg
Oboe / Oboe d’amore / English Horn Ann Homann, Principal Eileen Burke Flugelhorn John Korak, Principal Robert Souza
Violin II Kaoru Wada, Principal Marilyn Park Ellington Margret Heyl
Positiv (Continuo) Organ John Walsh
Viola Sarah Borchelt, Principal Laura Reycraft
Timpani Chris Treloar Chapel Organ James Marriott
Cello Andrew Ruben Double Bass Frederick DeVaney
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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. (Courtesy of Concordia Seminary Library)
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Welcome to Bach at the Sem! “When all was still, and it was midnight, Your almighty Word, O Lord, descended from the royal throne.” This verse from the Christmas liturgy invites us into reflection, into an outlook born from the inner peace available this holiday season. The almighty Word that descended was the coming of God into our human life through the birth of Jesus Christ. Minute after minute this afternoon, J.S. Bach will invite our attention and awe to the mystery of Christmas. “Das Wort ward Fleisch… The Word became flesh and dwells in the world; The Light of the world illuminates the circle of the earth. The great Son of God forsakes the throne of heaven, And it pleases His majesty to become a little human child. Think about this exchange!” (Nun komm, der Heiden Heiland, BWV 61) Yes, we will think. Grateful for today’s offering by Music Director Maurice Boyer and the American Kantorei, we will ponder the mystery of the Word become flesh. We thank you for your attendance and support for Bach at the Sem. Concordia Seminary’s theme this academic year comes from Heb. 4:12, “The word of God is living and active.” The essence of that “living and active” Word is the mystery of the coming of Christ, a “sweet word in every ear” to quote Bach again. “Great indeed, we confess, is the mystery of godliness: He was manifested in the flesh, vindicated by the Spirit, seen by angels, proclaimed among the nations, believed on in the world, taken up in glory” (1 Tim. 3:16 ESV).
Dale A. Meyer President Concordia Seminary, St. Louis
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Join Us! A Special Reception with Dr. Maurice Boyer Music Director for the Bach at the Sem Concert Series After today’s concert In Koburg Dining Hall All are welcome!
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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
CATHEDRAL CONCERTS 2015 - 2016 SEASON Experience Great Music in a Great Space!
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Sunday, Janaury 31, 2016 2:30 PM
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Join one of the country’s best a cappella choirs for our 60th season! Sing A New Song!
Languish With Love
In Every Corner Sing!
All Manner of Gods
Cathedra
Michael McCarthy, Conductor
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
Friday, May 13, 2016 8:00 PM
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In Memoriam
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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 23 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 800-822-5287.
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