Bach Bash

Bach Birthday Bash Friday, March 18, 2022 – 7:30 pm LUTHERAN CHURCH OF THE REDEEMER 731 Peachtree St. NE, Atlanta, Georgia, 30308. 404-874-8664 – www.redeemer.org This evening’s concert is sponsored by Kerry Keisler.

Johann Sebastian Bach March 21, 1685 – July 28, 1750 Prelude and Fugue in D Major, BVW 532

Sam Long, organ

Bach composed this work around 1710 when he lived in Weimar. The prelude begins dramatically with a D major scale played by the feet. The fugue has a lengthy but joyful subject, making the entire work exuberant.

Cantata 147, Herz und Mund und Tat und Leben vi. Wohl mir, dass ich Jesum habe

Choir David Hansen, Director; Sam Long, organ

The obligato instrumental melody in this cantata movement perhaps has become more well-known than the chorale sung by the choir. The beautiful melody weaves in and around the choir as they sing what we know as Jesu, Joy of Man’s Desiring.

Cantata 146, Wir müssen durch viel Trübsal vii. My Spirit Be Joyful

The Carillon Ringers arr. Douglas E. Wagner

The Easter cantata no. 146 contains a jubilant duet for tenor and bass. It has been arranged for many different combinations of voices and instruments, most notably E. Power Biggs’ arrangement for two trumpets and organ. It is a testament to the original composition that it can be effectively arranged in so many ways, even for handbells!

Cantata 140, Wachet auf, ruft uns die Stimme iv. Zion hört die Wächter singen

Tenors of the Choir Sarah Hawbecker, organ

This cantata movement, written for the tenor section of the choir, is another example of Bach’s instrumental accompaniment becoming the memorable melody. The strings of the orchestra, played this evening on the organ, play the lyrical melody while the men sing about the night watchmen.

Von Gott will ich nicht lassen, BWV 658

Sarah Hawbecker, organ

This is one of the “Great Eighteen” or “Leipzig” chorale preludes. We hear the chorale tune played in longer note values in the pedals, accompanied by three voices in the manuals. The hymn text translates to “I will not leave (forsake) God, because God does not leave me.”

Cantata 208, Was mir behagt, ist nur die muntre Jagd ix. Schafe können sicher weiden

Sopranos of the Choir Sam Long, organ; Jonathan Fuller, cello

Also known as “The Hunting Cantata,” Bach wrote this secular cantata for the birthday of a Duke.

“Sheep May Safely Graze” is the most famous movement. The aria originally featured two flutes along with the soprano soloist.

Harpsichord Concerto no. 1 in D minor, BWV 1052 i. Allegro

Sarah Hawbecker and Sam Long, piano arr. Paul Waldersee

BWV 1052 is the first of Bach’s concertos for harpsichord and orchestra. It begins with a unison melody line and continues with unbounding energy. As Bach himself arranged this particular movement for use in two separate cantatas, we think it is entirely appropriate to offer this version for piano duet.

Mit Fried' und Freud' ich fahr dahin, BWV 616

Sarah Hawbecker, organ

This chorale prelude from Das Orgelbüchlein will serve as the introduction to the singing of the hymn below. Martin Luther wrote the hymn as a metrical version of the Nunc dimittis (Song of Simeon) and it was intended for use at funerals. The translation below is from our hymnal Evangelical Lutheran Worship, and the harmonization is by Bach. Please remain seated to sing.

Without pause

Cantata 60, O Ewigkeit, du Donnerwort v. Es is genug

Choir

Cantata 60 was written in 1723 and was inspired by the story of Jesus raising from the dead Jairus’ daughter. The first four movements are duets, dialogues between the two allegorical figures of Fear and Hope. The final movement uses the hymn by Franz Joachim Burmeister. Fearing death no longer, we long for the day when we say goodnight to the world and go with joy to heaven.

Cello Suite no. 2 in D minor, BWV 1008 i. Prelude vi. Gigue

Jonathan Fuller, cello

The six unaccompanied cello suites are among Bach’s best loved works and among the most performed works in the cello repertoire. Each suite begins with a prelude followed by five dance movements. A gigue is a lively dance originating from the English jig.

Cantata 29, Wir danken dir, Gott, wir danken dir Sinfonia Sei Lob und Preis mit Ehren

Sarah Hawbecker, organ choir and audience

Bach wroe “We Thank You, God, We Thank You” for the inauguration of the new town council in Leipzig and performed at a festival church service. The sinfonia is an overture that sets the tone for the celebration. Bach derived the music from a violin partita he had composed earlier. In the original version, the organist is the soloist in the orchestra. This arrangement by S. Drummond Wolff is for organ alone. At the conclusion of the Sinfonia, please stand and join the choir in singing the final chorale of the cantata. The music is on the next page.

All are invited to a reception in Sims Atrium following the concert.

This evening’s reception is sponsored by Tim Eastling.