DECEMBER 13, 2015

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.
/BachAtTheSem
@BachAtTheSem
csl.edu/bach
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).
6
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?
9
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.
10
O Morning Star, How Fair and Bright LSB 395
395OMorningStar,HowFairandBright
chorus
5
chorus
Olettheharpsbreakforthinsound!
5 O let theOurjoybeallwithmusiccrowned,
harps break forth in sound!
Ourvoicesgladlyblending!
Our joy ForChristgoeswithusalltheway—
be all with music crowned,
Our voices
gladly blending!
Today,tomorrow,ev’ryday!
Hisloveisneverending!
For Christ
goes with us all the way ó
Singout!Ringout!
Today, tomorrow,
evíry day!
Jubilation!
His love
is never ending!
Exultation!
SingTellthestory!
out! Ring out!
Jubilation!
GreatisHe,theKingofGlory!
Exultation!
6
TellWhatjoytoknow,whenlifeispast,
the story!
TheLordweloveisfirstandlast,
Great is Theendandthebeginning!
He, the King of Glory!
Hewilloneday,oh,gloriousgrace,
Transportustothathappyplace
Beyondalltearsandsinning!
Amen!Amen!
Come,LordJesus!
Crownofgladness!
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!
11
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.
12
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
13
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)
14
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
15
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!
16
celebrating the music
of j.s. bach since 1955.
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Bach’s amazing music continues to bless and enrich lives because people like you have not only appreciated
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highest quality performances of not only his music but also that of other master composers of the Christian
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