Bach at the Sem | October 2013 by Concordia Seminary

American Mosaic songs of our people

American Chamber Chorale Season XIII

Season XIII Concerts Season Preview Gathering Saturday, Oct. 19, 7:30pm Candlelight Christmas Saturday, Dec. 7, 2013 7:30pm Family Christmas Sunday, Dec. 15, 3:00pm Witness

with special guest Denise Thimes Saturday, March 1, 7:30pm & Sunday, March 2, 2014, 3pm

Skip To My Lou Saturday, May 10, 2014, 7:30pm

2013 - 2014

The American Chamber Chorale is unique among area choruses, frequently incorporating other artistic mediums into concerts through collaborations with other area arts organizations. Concerts are designed to engage and inspire audiences of all backgrounds as the Chorale and Orchestra present a mix of masterworks from the past and the very best of modern choral repertoire, often giving premiere performances of great works in St. Louis.

Stephen Morton Artistic Director and Conductor

Mindful of our responsibilities as members of the community, the ACC performs concerts each season to beneﬁt local charities serving the less fortunate in the St. Louis area. In the words of Artistic Director Stephen Morton,

Concerts this season beneﬁt:

Kingdom House Feed My People & Let’s Start

“In a world teeming with forces that divide, choral singing encourages, expresses, and exempliﬁes a true sense of community”.

Special discounts for seniors, students, and children

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Philip Barnes Artistic Director

Join one of the country’s best a cappella choirs for our 58th season!

Greek

2013~2014

Latin

October 6 • 3 pm Ethical Society of St Louis 9001 Clayton Road • St. Louis • 63117

February 23 • 3 pm 560 Music Center 560 Trinity Ave • University City • 63130

Hebrew

Egyptian

Old English

Old Church Slavonic

November 10 • 3 pm United Hebrew Congregation 13788 Conway Road • St Louis • 63141 December 22 • 3 pm St Luke the Evangelist Catholic Church 7230 Dale Ave • St. Louis • 63117

2013–2014 Series

April 13 • 3 pm John Burroughs School Theatre 755 S Price Road • Ladue • 63124 May 25 • 3 pm Saint Stanislaus Kostka Church 1413 N 20th St • North St Louis • 63106

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

www.chamberchorus.org slcc58 3.75x5Concordia.indd 1

October 20, 2013

8/29/13 1:34 PM

Schedule of Concerts Bach at the Sem 2013–2014 October 20, 2013, 3:00 p.m. Guest conductor and organist: Bálint Karosi J. S. Bach: Cantatas BWV 79, Gott, der Herr, ist Sonn’ und Schild; BWV 147, Herz und Mund und Tat und Leben Max Reger: Choral-Phantasie über “Ein’ feste Burg ist unser Gott,” Op.27 December 1, 2013, 3:00 p.m. Guest conductor: Martin Dicke J. S. Bach: Christmas Oratorio, BWV 248, III, Herrscher des Himmels, erhöre das Lallen; BVW 248, VI, “Herr, wenn die stolzen Feinde schnauben” Tomás Luis de Victoria: O magnum mysterium Martin Dicke: O come, O come, Emmanuel; Of the Father’s love begotten February 16, 2014, 3:00 p.m. April 6, 2014, 3:00 p.m.

Guest conductor: Maurice Boyer J. S. Bach: Cantatas BWV 43, Gott fähret auf mit Jauchzen; BWV 243, Missa Brevis in A Major Johann Pachelbel: Jauchzet dem Herrn (motet) Guest Conductor: Jeffrey Wilson J. S. Bach: Cantatas BWV 22, Jesu nahm zu sich die Zwölfe; BWV 182, Himmelskönig sei willkommen; BWV 143, Lobe den Herrn, meine Seele (chorus) G. F. Handel: “Worthy is the Lamb” (from Messiah)

The Chapel of St. Timothy and St. Titus Concordia Seminary, 801 Seminary Place, St. Louis, MO 63105 bach.csl.edu | www.csl.edu

We are grateful to the generous donors who make the Bach at the Sem series possible. Special thanks to: “Friends of Bach at the Sem” The major sponsors for today’s concert are the wonderful “Friends of Bach at the Sem” who responded to last season’s generous challenge grant. 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 for continuing to provide space and valuable services for the Bach at the Sem series. Concordia Seminary is privileged to make Johann Sebastian Bach’s music available to the St. Louis community and invites your generous support for these inspiring 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.

Welcome to a new season of Bach at the Sem! This year marks the 175th anniversary of Concordia Seminary. Founded in 1839 by German immigrants to Perry County, Mo., the Seminary was begun with a commitment to excellence in education, and that necessarily includes music. In 1849 the school moved to Jefferson Avenue in St. Louis and moved again to this Clayton campus in 1926. Through all these years, Concordia Seminary has provided almost 13,000 pastors to serve The Lutheran Church—Missouri Synod. Today these pastors are prepared for ministry through seven different formation programs, two residential on this campus and five programs that are distance and contextual, with on-campus intensives. Our Graduate School welcomes students from all denominations and from many countries. In more recent years we have undertaken also to provide deaconesses for service in the church. From generation to generation our core values have continued: Faithfulness, Servanthood, Responsiveness, and Excellence. Concordia Seminary is honored to be a member of this outstanding community and to host another season of Bach at the Sem. Our thanks especially to today’s guest conductor, Bálint Karosi. As always, the offerings of the American Kantorei under Interim Director Jeral Becker are deeply appreciated by all. Those German immigrants 175 years ago knew the precious musical and spiritual heritage of J.S. Bach. In this new season and for years to come, Concordia Seminary is committed to continue to offer Bach at the Sem to you and to our community. Most cordially yours, Dale A. Meyer President

Bach at the Sem October 20, 2013, 3:00 p.m. Bálint Karosi, Guest Conductor The American Kantorei Dr. Jeral Becker, Interim Director In Nomine Jesu Cantata, Gott, der Herr, ist Sonn’ und Schild, BWV 79 (God, the Lord, is Sun and Shield) 1. Chorus 2. Alto Aria (Stephanie Ruggles) 3. Chorale 4. Bass Recitative (Jeffrey Heyl) 5. Duet (Jean Baue, Soprano; Jeffrey Heyl, Bass) 6. Chorale

Johann Sebastian Bach

The offerings are received in support of the Bach at the Sem concert series. Organ: Fantasy on the Chorale,“Ein’ feste Burg ist unser Gott” Bálint Karosi, Organist

Max Reger

Hymn: “A Mighty Fortress is Our God” The assembly stands to sing the hymn provided on page 8 and in Lutheran Service Book (LSB) 657 Cantata, Herz und Mund und Tat und Leben, BWV 147 (Heart and Mouth and Deed and Life) 1. Chorus 2. Tenor Recitative (Jeral Becker) 3. Alto Aria (Katharine Lawton Brown) 4. Bass Recitative (David Berger) 5. Soprano Aria (Emily Truckenbrod) 6. Chorale 7. Tenor Aria (Scott Kennebeck) 8. Alto Recitative (Katharine Lawton Brown) 9. Bass Aria (David Berger) 10. Chorale Soli Deo Gloria

Johann Sebastian Bach

Program Notes Gott der Herr ist Sonn’ und Schild Bach composed Gott der Herr ist Sonn’ und Schild (BWV 79) in Leipzig for a performance on Reformation Day in 1725. This cantata features a number of striking orchestral effects, including a timpani part that suggests its common interpretation as the hammering of Luther’s 95 theses to the door of the Wittenberg cathedral. The text, written by an unknown poet, uses a powerful light-dark imagery that is perhaps a poetic allusion to the Lutheran distinction between Law (the commandments) and Gospel (God’s forgiveness through Jesus’s blood). This duality is echoed in clever compositional devices and in Bach’s colorful orchestration throughout the cantata. It includes the opposition of high, but dark-colored natural horn parts (replaced by trumpets in today’s performance) and the low, bright timpani rolls.

In the 5th movement, the soprano and bass, in their duet, confess our weakness without God’s help, using an unusually large gap between the two vocal ranges, as if to emphasizes the opposition of light and darkness or weakness and power. It is interesting that Jesus’s name is mentioned only at the very end of the final chorale. It is perhaps the climax of opposing forces that intersect and reconcile only in the name of Jesus Christ, the last words of the cantata. Fantasy on Ein’ feste Burg ist unser Gott Reger’s Fantasy on Ein’ feste Burg ist unser Gott, Op. 27, is a surprising piece that struggles to reconcile its advanced musical language with the powerful harmonic gravity of the most famous of all Luther’s hymns. Reger finds a couple solutions: first, he sets up a musical contrast between the baroque-like opening and the loud chordal presentation of the melody harmonized with scratchy, diminished chords; then he uses this stylistic contrast as a rhetorical device, further emphasized with growing intensity, sudden changes in texture and his asymmetrical treatment of the melody. The longer, quieter middle section is much needed for balance, followed by the majestic treatment of the melody in a loud, yet often dissonant climax.

The text of the opening chorus (dictum) is a theological statement later referred to in the subsequent recitatives and arias. The words describing God’s protecting power, “God the Lord is our sun and Shield,” accompanied by brass and timpani, are followed by “The Lord gives mercy and honor” in a softer, more lyrical section accompanied by the strings. The opening chorus, with its light-dark imagery, its colorful instrumentation and opposing sections, forecasts contrast as the main rhetorical device of the cantata.

An early version of his later and more successful Op. 40 and Op. 52 Chorale Fantasies, Op. 27 mostly owes its fame to the great melody that bears its name. Truth be told, however, only the late 19th – and early 20th –century orchestrallyvoiced German romantic organs can do justice to most of Reger’s mature works. On those instruments Reger’s dissonant chords sound full and balanced. For today’s performance, I employ an appropriate registration of mostly 16’, 8’, and 4’ stops to mimic the sound of the 1899 Sauer organ at the St. Thomas Church in Leipzig, with which Reger was very familiar.

The subsequent alto aria (no. 2) restates the words of the opening chorus and expands them, emphasizing a militaristic overtone, evocative of Luther’s “A Mighty Fortress is our God.” In the 3rd movement, the powerful music of the opening chorus accompanies the chorale, “Now Thank We All our God,” in a rhetorical contrast between thanksgiving peace (chorale) and of God’s supreme, military power (orchestral accompaniment). The subsequent recitative prays for redeeming faith for the enemy, with a desire to share the message with all people so that they also confess Jesus Christ as their Savior.

Herz und Mund und Tat und Leben The cantata, Herz und Mund und Tat und Leben (BWV 147), is in a two-part form, typical of Bach’s first cantata cycle in Leipzig that accommodated an hour-long sermon in the middle, which would have been preached at the three-hourlong weekly worship services. Bach reworked an earlier Advent cantata from his Weimar period that consisted of the odd-numbered movements of BWV 147 with a different concluding chorale. In Leipzig no music was allowed between Advent II and IV in the observance of tempus clausum (time of silence). In reworking the cantata for the feast of the Visitation of Mary, Bach added the recitatives and the two chorale movements.

The tenor aria, “Hilf, Jesu hilf,” presents a bit of a performance issue, one that we solved with the use of two continuo instruments. The organ part has a descending triplet figure in the bass that is inaudible if the organ plays chords above it. To resolve that problem, I use the harpsichord and have the organ play the bass triplet figure as a solo line. I play and conduct from the harpsichord in most arias and recitatives, following the performance practice of Bach at the St. Thomas Church, where he led the ensemble either from the harpsichord or the organ. Contrary to the belief that the harpsichord was used only when the organ was broken, both keyboard instruments were most likely used simultaneously.

The opening chorus sounds like a fugue, but it is really a free, imitative fantasia using a triadic ascent followed by quick figures in the trumpet, repeated in a simplified form by the choir. Much like the first chorus of BWV 79, this movement opens with a strong theological statement; however, lacking the contrast in the middle section, its form is a more homogeneous AA’A, rather than the normal ABA da capo form.

The two chorale movements are known in AngloSaxon countries as “Jesu Joy of Man’s Desiring,” mostly from poor keyboard arrangements and as sung at weddings. They are often performed in a slow, pastoral character alien to most 18th -century musicians. Today’s performance emphasizes their dance-like character, highlighting the relationship between the chordal presentation of the chorale “Werde munter mein Gemüte,” hidden in the triplets of the opening, and the simple four-part hymn setting in dialogue. The hidden chorale text translates as follows:

Most of the recitatives are through-composed with instrumental accompaniment. A particularly notable instance of word painting is the descending cello line in the bass recitative (no. 4), under the words, “the arm of the Highest throws them down from their thrones.” Each aria features a solo instrument. The alto aria (no. 3) opens with a melancholic oboe line, and the aria for soprano (no. 5) features the violin in a joyful ritornello, although in a minor key with triplets over a walking bass that might depict the words “prepare the way.” The bass aria (no. 9) features the full orchestra with trumpet, appropriately accompanying the words, “I will sing of Jesus’ wonders.”

Be alert, my soul, and direct your thoughts to praise the good things that God has done for me, for throughout the whole day from so much vexation, sorrow, disgrace and harm he has faithfully guarded me in his mercy. Bálint Karosi

Text and Translation Gott der Herr ist Sonn’ und Schild, BWV 79 God the Lord is sun and shield

4. Recitative (Bass) Gottlob, wir wissen God be praised, we know den rechten Weg zur Seligkeit; the right way to salvation; denn, Jesu, du hast ihn uns durch dein Wort gewiesen, for, Jesus, You have shown it to us through Your Word; drum bleibt dein Name jederzeit gepriesen. thus Your name is still praised at all times. Weil aber viele noch zu dieser Zeit But since many still at this time an fremdem Joch aus Blindheit ziehen müssen, must bear an alien yoke through blindness, Ach! so erbarme dich auch ihrer gnädiglich, ah! have mercy on them graciously daß sie den rechten Weg erkennen so that they come to know the right way und dich bloß ihren Mittler nennen. and name You as their mediator.

1. Chorus (SATB) Gott der Herr ist Sonn’ und Schild. God the Lord is sun and shield. Der Herr gibt Gnade und Ehre, The Lord gives grace and honour, er wird kein Gutes mangeln lassen den Frommen. He will not let the righteous lack any good things. 2. Aria (Alto) Gott ist unsre Sonn’ und Schild! God is our sun and shield! Darum rühmet dessen Güte unser dankbares Gemüte, Therefore our grateful spirit praises the kindness die er für sein Häuflein hegt. with which He cares for His little flock. Denn er will uns ferner schützen, For He will continue to protect us ob die Feinde Pfeile schnitzen although our enemies sharpen their arrows und ein Lästerhund gleich billt. and a blasphemous dog should bark.

5. Aria-Duet (Soprano, Bass) Gott, ach Gott, verlaß die Deinen nimmermehr! God, O God, forsake your people nevermore! Laß dein Wort uns helle scheinen; Let Your Word over us shine brightly; obgleich sehr wider uns die Feinde toben, although our enemies rage greatly against us, so soll unser Mund dich loben. yet our mouths will praise you.

3. Chorale (SATB) Nun danket alle Gott Now all thank God mit Herzen, Mund und Händen. with hearts, mouth and hands. Der große Dinge tut He does great things an uns und allen Enden. for us and all our purposes. Der uns von Mutterleib He for us from our mother’s womb und Kindesbeinen an and from infancy on unzählig viel zugut countless [things] for our good und noch itzund getan. has done and still continues to do.

6. Chorale (SATB) Erhalt uns in der Wahrheit, Keep us in the truth; gib ewigliche Freiheit, give us eternal freedom zu preisen deinen Namen, to praise Your Name, durch Jesum Christum. Amen. through Jesus Christ. Amen

Herz und Mund und Tat und Leben, BWV 147 Heart and mouth and deed and life

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.

1. Chorus (SATB) Herz und Mund und Tat und Leben Heart and mouth and deed and life Muss von Christo Zeugnis geben must bear witness to Christ Ohne Furcht und Heuchelei, without fear or hypocrisy Dass er Gott und Heiland sei. that He is God and Savior. 2. Recitative (Tenor) Gebenedeiter Mund! Blessed mouth! Maria macht ihr Innerstes der Seelen Mary makes the innermost part of her soul Durch Dank und Rühmen kund; known through thanks and praise; Sie fänget bei sich an, by herself she begins, Des Heilands Wunder zu erzählen, to recount to the wonders of the Savior, Was er an ihr als seiner Magd getan. all that He has done for her as His handmaid. O menschliches Geschlecht, O human race, Des Satans und der Sünden Knecht, servant of Satan and sin, Du bist befreit you are set free Durch Christi tröstendes Erscheinen through Christ’s comforting appearance Von dieser Last und Dienstbarkeit! from this burden and servitude! Jedoch dein Mund und dein verstockt Gemüte However, your mouth and your stubborn spirit Verschweigt, verleugnet solche Güte; keep silent and deny such kindness; Doch wisse, dass dich nach der Schrift but be aware, that, according to scripture, Ein allzuscharfes Urteil trifft! an all-too-severe judgment will strike you!

4. Recitative (Bass) Verstockung kann Gewaltige verblenden, Stubbornness can blind the mighty Bis sie des Höchsten Arm vom Stuhle stößt; until the arm of the Highest thrusts them from their seat; Doch dieser Arm erhebt, yet this arm, Obschon vor ihm der Erde Kreis erbebt, even though the round earth trembles before it, Hingegen die Elenden, on the other hand raises the wretched, So er erlöst. whom He redeems. O hochbeglückte Christen, O highly-favored Christians, Auf, machet euch bereit, rise up, make yourself ready! Itzt ist die angenehme Zeit, Now is the acceptable time; Itzt ist der Tag des Heils: der Heiland heißt now is the day of salvation; the Savior calls Euch Leib und Geist you to arm body and spirit Mit Glaubensgaben rüsten, with the gifts of faith. Auf, ruft zu ihm in brünstigem Verlangen, Arise! Call to Him in ardent longing Um ihn im Glauben zu empfangen! in order to receive Him in faith!

5. Aria (Soprano) Bereite dir, Jesu, noch itzo die Bahn, Prepare the way to You, Jesus, even now; Mein Heiland, erwähle die gläubende Seele my Saviour, choose the believing soul, Und siehe mit Augen der Gnade mich an! and look upon me with eyes of mercy!

8. Recitative (Alto) Der höchsten Allmacht Wunderhand The miraculous hand of the Almighty Wirkt im Verborgenen der Erden. works in the secret places of the earth. Johannes muss mit Geist erfüllet werden, John must be filled with the Spirit; Ihn zieht der Liebe Band the bond of love draws him Bereits in seiner Mutter Leibe, already in his mother’s womb Dass er den Heiland kennt, so that he recognizes the Savior. Ob er ihn gleich noch nicht Although he could not yet Mit seinem Munde nennt, name Him with his mouth, Er wird bewegt, er hüpft und springet, he is moved, he leaps and jumps Indem Elisabeth das Wunderwerk ausspricht, while Elizabeth declares the miracle, Indem Mariae Mund der Lippen Opfer bringet. while Mary’s mouth brings the offering of lips. Wenn ihr, o Gläubige, des Fleisches Schwachheit merkt If you, O believer, note the weakness of the flesh; Wenn euer Herz in Liebe brennet, if your hearts burn with love Und doch der Mund den Heiland nicht bekennet, and yet your mouth does not confess the Savior, Gott ist es, der euch kräftig stärkt, it is God who powerfully strengthens you. Er will in euch des Geistes Kraft erregen, He will stir up in you the power of the Spirit, Ja Dank und Preis auf eure Zunge legen. yes, thanks and praise will place on your tongues.

6. Chorale (SATB) Wohl mir, dass ich Jesum habe, Blessed am that I have Jesus. O wie feste halt ich ihn, Oh how firmly I hold on to Him Dass er mir mein Herze labe, so that He refreshes my heart, Wenn ich krank und traurig bin. when I am sick and sorrowful. Jesum hab ich, der mich liebet I have Jesus, who loves me Und sich mir zu eigen gibet; and gives Himself to me for his own. Ach drum lass ich Jesum nicht, Ah, therefore I shall not let go of Jesus Wenn mir gleich mein Herze bricht. even if my heart should break. 7. Aria (Tenor) Hilf, Jesu, hilf, Dass ich auch dich bekenne Help, Jesus, help, so that I may confess You In Wohl und Weh, in Freud und Leid, in weal and woe, joy and sorrow, Dass ich dich meinen Heiland nenne so that I may call You my Savior Im Glauben und Gelassenheit, in faith and calmness, Dass stets mein Herz von deiner Liebe brenne. so that my heart may always burn with your love. Hilf, Jesu, hilf! Help, Jesus, help!

9. Aria (Bass) Ich will von Jesu Wundern singen I shall sing of the wonders of Jesus Und ihm der Lippen Opfer bringen, and bring to Him the offering of my lips, Er wird nach seiner Liebe Bund He will, according to the covenant of His love Das schwache Fleisch, den irdischen Mund subdue the weak flesh [and] the earthly mouth Durch heilges Feuer kräftig zwingen. powerfully through His holy fire.

10. Chorale (SATB) Jesus bleibet meine Freude, Jesus remains my joy, Meines Herzens Trost und Saft, the comfort and sustenance of my heart. Jesus wehret allem Leide, Jesus hinders all sorrows; Er ist meines Lebens Kraft, He is my life’s strength, Meiner Augen Lust und Sonne, the delight and sun of my eyes, Meiner Seele Schatz und Wonne; my soul’s treasure and bliss; Darum lass ich Jesum nicht therefore, I shall not let Jesus go Aus dem Herzen und Gesicht. from my heart and sight.

A Mighty Fortress Is Our God, LSB 657 657 A Mighty Fortress Is Our God

ÂŠ 1978 Lutheran Book of Worship. Used by permission: LSB Hymn License .NET, no. 100010935. Public domain

Bálint Karosi Hungarian composer and organist, Bálint Karosi, is currently Minister of Music at First Lutheran Church of Boston, where he has directed an active music program since 2007. As a candidate for the MMA in composition at the Yale School of Music, he is working on his compositions and on a doctoral thesis on baroque improvisation techniques. Mr. Karosi is the first-prize winner of the 2008 International J. S. Bach Competition in Leipzig, Germany, amongst other competitions. He has performed in many of the United States and in Europe, playing a variety of instruments and repertoire. As an internationally acclaimed performer of J. S. Bach, he has been invited as a guest conductor for the 2013-14 season of Bach at the Sem in St. Louis, Missouri, has been featured as a soloist and lecturer at the 2013 Baldwin Wallace Bach Festival in Ohio, and has performed at the 2010 international J. S. Bach festival in Leipzig, Germany. As an organ instructor, Mr. Karosi taught at Boston University for the spring semester of 2012, at the University of Massachusetts, Boston, for the academic year of 2011-2013, and is scheduled to teach a theory course at the Yale Department of Music in 2014. His compositions are published by Wayne Leopold Editions and Concordia Publishing House and have been aired on Pipedreams and the Hungarian National Radio. His current projects include a CD recording of Bach’s Clavier-übung III for the Hungaroton (Naxos) label. Mr. Karosi is a graduate of the Oberlin Conservatory, the Conservatoire de Musique de Geneve, and the Liszt Academy in Budapest. Besides playing music, he enjoys cooking, skiing, and fishing.

Title page from volume 1 (Old Testament) of the Calov Bible commentary from the library of J. S. Bach. Bachâ&#x20AC;&#x2122;s monogram signature is at the bottom right corner of the page. (Courtesy of Concordia Seminary Library) 10

The American Kantorei Jeral Becker, Interim Director and Conductor, Choir Personnel Director Wanda Becker, Concertmaster and Orchestra Personnel Director Chorus Soprano Emily Truckenbrod, Principal Jean Baue, Assistant Principal Kathryn Crumrine Katherine Gastler Marita Hollander Melissa Kinsey Camille Marolf Deanna Merz Lynn D. Morrissey Halle Warmbier Sylvia Witt

Tenor Jeral Becker, Principal Scott Kennebeck, Assistant Principal Jerry Bolain Willard Cobb Greg Gastler William Larson Ryan Markel Steve Paquette Spencer Stephens

Alto Katharine Lawton Brown, Principal Stephanie Ruggles, Assistant Principal Loretta Ceasar-Striplin Lisa Gines Mona Houser Christa Steinbacher Xiaoying Wang Lisa Young

Bass David Berger, Principal Jeffrey Heyl, Assistant Principal Joe M. Beran Robin Fish, Jr. Andy Jones Gary Lessmann Matthew Warmbier

Orchestra Violin I Wanda Becker, concertmaster Jane Price Christine Sasse Cynthia Bowermaster

Cello Andrew Ruben

Bassoon Robert Mottl

Double Bass Frederick DeVaney

Trumpets John Korak, Principal Robert Souza

Violin II Kaoru Wada, principal Marilyn Park Ellington Tova Braitberg

Flute Paula Kasica

Viola Dee Sparks, principal Jennifer Goodman

Oboe / English Horn Ann Homann, principal Eileen Burke Oboe dâ&#x20AC;&#x2122;amore Ann Homann

Timpani Michael Faris Positiv (Continuo) Organ Joan Bergt Conducting from the Harpsichord BĂĄlint Karosi

Bach at the Sem Enriches Lives! Bach at the Sem is brought to you by Concordia Seminary and the generous patrons of this series, including the “Friends of Bach at the Sem.” Children, students, families, and members of the community are all enriched by the professional, live performances of the music of Johann Sebastian Bach and other master composers of the Christian musical heritage. The excellent guest conductors and skilled musicians bring this music to life for us to savor. To support Bach at the Sem, as well as the search for a new permanent music director of the American Kantorei, and to ensure the future viability of the series, we have inaugurated a sponsorship program called “Friends of Bach at the Sem.” We are inviting you to become a Friend and one of the important patrons of this concert series. Your gift of $1,000, $500, or $100 is welcomed and encouraged. We were very blessed to have received a new challenge grant for the 2013-2014 season. Today, your gift is especially good stewardship because every dollar you give or pledge will be matched dollar for dollar up to the first $30,000. This is a terrific opportunity to give thanks for the many years of wonderful concerts and to give a gift to join the Friends support program. Please respond as the Lord leads. Every gift to Bach at the Sem is important!

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