MAY 15, 2016 - Concordia Seminary

2015–2016 Series
MAY 15, 2016
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 ewiges Feuer
We are grateful to the “Friends of Bach at the Sem” for their continuing generosity that helps to
make 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 performed Feb. 7, 2016.
/BachAtTheSem
@BachAtTheSem
csl.edu/bach
Bach at the Sem
May 15, 2016, 3 p.m.
Pentecost
Dr. Maurice Boyer, Music Director
The American Kantorei
Dr. Jeral Becker, Assistant Conductor
In Nomine Jesu
Himmelfahrtsoratorium: Lobet Gott in seinen Reichen, BWV 11 (Ascension Oratorio: Praise God in His kingdoms)
1. Chorus
2. Tenor Recitative (Scott Kennebeck)
3. Bass Recitative (Jeffrey Heyl)
4. Alto Aria (Katharine Lawton Brown)
5. Tenor Recitative (Scott Kennebeck)
6. Chorale
7a. Recitative (Scott Kennebeck/Jeffrey Heyl)
7b. Alto Recitative (Katharine Lawton Brown)
7c. Tenor Recitative (Scott Kennebeck)
8. Soprano Aria (Emily Truckenbrod)
9. Chorale
Johann Sebastian Bach
Bass Aria: “Es ist vollbracht”
Johann Sebastian Bach
(It is accomplished)
From Cantata: Sehet! Wir geh’n hinauf gen Jerusalem, BWV 159 (Jeffrey Heyl)
(See! We are going up to Jerusalem)
Hymn: “Come, Holy Ghost, Spirit Blessed”
Prelude: Komm, Gott, Schöpfer, heiliger Geist, BWV 667
Johann Sebastian Bach
The assembly stands to sing stanzas 1, 3, 5, 7 of the hymn provided on page 11
or in Lutheran Service Book (LSB 498)
The choir sings stanzas 2, 4, 6 of the chant version (LSB 499)
Organ Voluntary: Fantasia super Komm heiliger Geist, Herre Gott, BWV 651
Johann Sebastian Bach
(Dr. Steven Wente, organist) The offerings received at this time support the Bach at the Sem concert series.
Cantata: O ewiges Feuer, o Ursprung der Liebe, BWV 34
(O eternal fire, o source of love)
1.
2.
3.
4.
5.
Chorus
Tenor Recitative (Scott Kennebeck)
Alto Aria (Stephanie Ruggles)
Bass Recitative (Jeffrey Heyl)
Chorus
Soli Deo Gloria
Johann Sebastian Bach
Program Notes
“I will not leave you as orphans; I will come to you.
Yet a little while and the world will see me no more,
but you will see me. Because I live, you also will live.
[…] But the Helper, the Holy Spirit, whom the Father
will send in my name, He will teach you all things and
bring to your remembrance all that I have said to you.
Peace I leave with you; My peace I give to you. Not as
the world gives do I give to you. Let not your hearts be
troubled, neither let them be afraid” (John 14:18-20;
26-27 ESV).
upon it, they translate it to the present, to the sphere of
personal relevance.
Ascension Oratorio: Lobet Gott in seinen Reichen,
BWV 11
Although the text, which calls to mind any number
of the psalms of praise, does not mention Christ’s
Ascension, its enjoinder to praise God “in His
kingdoms” and “in His glory” hints at the event.
In a sense functioning outside the narrative, this
opening movement is an exuberant response to the
significance of the Ascension: Christ now reigns over
all. Its dance-like character recalls the form of the
Gavotte, a popular Baroque dance in duple meter.
The movement is governed by a richly varied texture:
homophonic, freely polyphonic and imitative. As
ever, Bach’s treatment of the text is multifarious. The
imperative of the verb “praise” is set in three different
rhetorical gestures, each capturing a facet of the act of
praising: a stately descending broken chord spelling
out reverence, a lightly rising motive expressing
joyfulness and a swift descending scale canonically
spun in all the voice parts denoting the echo of a
multi-voiced laud. A syncopated second theme (“seek
to express His praise rightly”), with its tug against the
beat, adds a note of mirthful insistence to the overall
festive tone.
As would have been fitting for a Feast Day, the
scoring is full festival scoring: two flutes, two
oboes, three trumpets, timpani and strings. The full
complement of instruments is reserved for the outer
movements, whose character is celebratory: ebullient
and extroverted. The inner movements are intimate:
reflective and introverted.
The final of four works written for the Feast of the
Ascension of Christ, BWV 11 was likely performed
Thursday, May 19, 1735 — a few months after the
Christmas Oratorio. Based upon pre-existing material,
it is a parodied work. Indeed, the opening chorus
was composed in 1732 as part of a cantata for the
consecration of the rebuilt Thomasschule and the two
arias for a now lost wedding cantata in 1725. All that
survives of these original works are the libretti, whose
author remains unknown; frequent Bach collaborator
Picander has been suggested. It is thus impossible
to reconstruct the extent of the musical material’s
transformation from original to parodied context.
On the title page of the manuscript score, Bach wrote
“Oratorium Festo Ascensionis Christi.” Though short
in length (30 minutes), the piece qualifies or functions
as an oratorio in that the biblical text is delivered in
secco recitatives. However, it is a “harmonization”
of several sources: a melding of Luke, Acts and
Mark, assembled by Luther’s colleague and personal
confessor, Johann Bugenhagen. The poetic verses
constituting the accompagnato recitatives, choruses
and arias do not follow the linear progression of the
biblical story. Rather, interrupting it and commenting
With the tenor recitative (Luke 24:50-52), the
Ascension narrative proper begins: as Jesus blesses
His disciples, He departs from them. The ensuing
accompagnato recitative for bass steps outside of
the narrative flow and in fact seems to precede the
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Ascension itself. The singer expresses fear, confusion
and sadness (“hot tears”) at Jesus’ absence and pleads
for Him not to go away. The addition of a pair of
flutes, either in flowing 16th note thirds or sustaining
long notes, yields a softness of color. In the first half,
a descending pattern of slurred staccatos (a gently
articulated sound) provides text painting, as they
seem to be depictive of falling tears. For “hot tears,”
a series of anticipations in the descending vocal line
add a keening quality, which is only heightened by the
supporting diminished chord.
movements separately and does not group the three final
recitatives into one (there are no numbers in Bach’s
autograph manuscript), one sees that the chorale stands
at the center of the cantata. This communal utterance is
in fact the heart of the work. It reveals that there is
comfort to be found in Christ’s departure, for it means
that He reigns from “on high” over all things. Cast
in Bach’s harmonization, the fourth verse of the light
triple-meter Ascension hymn, “Du Lebensfürst, Herr
Jesu Christ” (You Prince of Life, Lord Jesus Christ)
becomes a generous word of comfort. How does the
Prince of Life govern? — with gentleness, not coercion
or force. It is a soothing assertion and reminder to
restive souls that all is under Christ’s “control”: things
in heaven, earthly rulers and even the elements.
The succeeding alto aria is known most famously
in its later incarnation as the Agnus Dei of the B
minor Mass, where it is transposed, substantially
abbreviated (it is 49 bars in length as compared to 79),
and reworked. As noted above, it originated in a now
lost wedding cantata. Typically, the text precedes the
music and orders its flow. Here, however, a new text
was composed to fit the music. Music and text are
startlingly well wedded, which is a clear testament to
the anonymous librettist’s exceptional skill in writing
a text that reaches deeply into the expressive core of
this aria.
Again, the tenor returns with the biblical narrative
(Acts 1:10-11). He is suddenly joined by the bass
and, from evangelist, temporarily becomes one of
the two angels mentioned in the Gospel narrative.
The two voices move in step then canonically. The
second “man in white” echoes the first, as if to confirm
or reinforce his words: He really will come back.
Believe! You can trust this! The alto accompagnato
recitative for two flutes and continuo is in a sense
an aside that draws one into the present: “Ah, yes!
Return again soon!” The tenor resumes the narrative
ending with the disciples’ joyful return to Jerusalem
(Acts 1:12/Luke 25:50-53).
The ascending leaps poignantly capture the vulnerable
upward gaze of the one praying for Christ to stay. The
spare texture (a duet for alto and violins in unison),
the minor mode, and the slow pace intimate loneliness,
disorientation and longing. These are intensified by
the chromatic harmony, the ascending/descending
half step sighing motive in the violin and the disjunct
melodic contour of the head motive. The latter,
associated with the first line of text, “Ah, stay yet,
my dearest life,” permeates the entirety of the aria.
In this duet, might the unison violin line represent
Christ who remains with us even when we don’t sense
His presence?
With the soprano aria in a gently lilting, minuet-like
triple-meter, a dramatic shift occurs. In effect, the
aria is scored for two flutes in unison, oboe da caccia
(English horn in today’s orchestra) and violins and
violas in unison as “bassettchen” or little bass. The
continuo group (cello and organ) has dropped out.
Without the grounding of a bass line and the keyboard
instrument filling in the harmony, it is all upward feel:
innocent, yielding, open. Like a child in trust looking
up at a loving parent, the soprano sings of continually
seeing “Jesus’ gracious gaze.”
The tenor then returns with a more pictorial and
dramatic account of the Ascension narrative (Acts 1:9/
Mark 16:19), leading to the chorale. If one considers all
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The oratorio closes with the final verse of the Ascension
chorale, “Gott fähret auf gen Himmel” (God goes
up with jubilation), in a brilliant, dance-like fantasia
in 6/4. Given the longing that is at the heart of the
text, one might have expected a languid setting —
indeed the chorale tune is in the minor mode and
is full of such sentiment. Instead, Bach brilliantly
casts the melody unchanged in the brightness of
D major. The recurring syncopated figure in the
instrumental accompaniment recalls the similarly
jaunty second theme of the opening chorus and
intensifies the sense of joyous anticipation. The
whole is enveloped in the knowledge that the Savior
is present as He promised — “Your love remains
behind” as the soprano aria states.
with Christ). The chorale settles down in D major.
Gradually sliding down over the three recitatives,
the music finally rests in G major (one sharp) for
the tender and trusting soprano aria. It is important
to note that this key does mark an ascent from
the alto aria’s A minor. This “slight” ascent
symbolically captures the nature of our present reality,
in the here and now of first fruits, the already-not-yet,
where all has been accomplished but its face-to-face
reality is yet to come. Through patterns of harmonic
ascent and descent, the music embodies the dramatic
arc of the oratorio.
An aside on tonal allegory –
BWV 159 was likely first performed Feb. 27, 1729,
for the last Sunday before Lent or Quinquagesima.
Thereafter no more concerted music would have
been heard in the Leipzig churches until Good
Friday’s performance of the St. Matthew Passion
(April 15).
Aria from Sehet! Wir geh’n hinauf gen Jerusalem,
BWV 159
In the musical poetics of the Baroque period,
the succession of keys had symbolic meaning: at
the most basic level, increased sharps meant ascent,
increased flats meant descent. The diagram below
spells out the tonal trajectory of the Ascension
Oratorio. Note: upper case stands for major key, lower
case for a minor key.
One might say that BWV 159 functions as a prelude
to, or even a prolepsis of, the Great Passion. In the
cantata’s bass aria, the singer relates the words of
Jesus from the cross and opens up their salvific
efficacy. In a way, it is as if Christ Himself (the bass
as Vox Christi) were speaking through the individual.
“It is fulfilled” means that suffering is over and “the
world” (all that separates one from God) no longer
holds sway.
D – b/A – f#/a – a – e/f# - D – D – b – G – G – D
D major (two sharps) is the “home” key: the human
plain on which victory has been accomplished; it
is associated with triumph and victory. Each of the
choral movements marks a return to it. Following
the opening chorus, one observes an ascent to A
major (three sharps), which fittingly coincides with
the biblical narrative of the Ascension. A sudden
and dramatic drop ensues (F# minor to A minor)
for the plangent and keening alto aria. In the overall
unfolding of the work, the key of A minor (alto aria)
is the lowest harmonic point (no sharps or flats).
With the resumption of the biblical narrative, the key
center rises dramatically to F# minor (three sharps,
a key associated with the cross and by extension
Bach’s use of the string group (long sustained notes
except in the B section) recalls the way in which the
strings “envelop” Jesus in the St. Matthew Passion
accompagnato recitatives. There they function
symbolically as a halo that is gradually subtracted
as Jesus comes closer and closer to his crucifixion
and cry of dereliction — “My God, my God, why
have You forsaken me?” — at which point it is
withdrawn altogether.
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Cantata: O ewiges Feuer, o Ursprung der Liebe,
BWV 34
Interestingly, in BWV 159, the halo is withdrawn
when the singer no longer relates the saving work of
Christ but becomes the subject of the sentence: “I shall
hasten and give thanks to my Jesus.” It resumes with
“World, good night.” It is only because of Christ’s
redemption that the “I” can be freed from the world
and gently, without acrimony, bid it good night.
First performed for Pentecost in 1746 or 1747, thus
very late in Bach’s career, this work is based almost
entirely on pre-existing material. In effect, all but the
tenor recitative are culled from a cantata of the same
title composed some 20 years earlier for the wedding
of a Leipzig clergyman. The extent of revisions
or alterations to the instrumental parts, if any, is
impossible to ascertain, given the paucity of sources.
Few performing parts from the earlier work are extant.
Necessary textual adjustments to suit the Feast of
Pentecost fell to the anonymous librettist. Fittingly,
Bach pulls out all the stops for the Feast Day with full
festival orchestration: pairs of flutes and oboes, three
trumpets, timpani and strings.
A few instances of text painting bear mention. The
“fall into sin” is a downward line. The first two
utterances of “World, good night” are motivically
identical and outline a tonic chord in a descending
pattern, evincing a putting-to-rest. At “now shall I
hurry,” rhythmic diminution (faster note values) and
imitation animate the surface, and the stillness of the
halo is withdrawn.
Finally, the movement is organized around a
head motive that is bi-partite in structure (“It is finished”
twice), the second part being the inversion of the first,
i.e., the same intervals but in the opposite direction:
The opening chorus is one of the Bach’s most
effervescent. The musical material is wonderfully
vivid and pictorial. Ascending flashes to depict fire,
fast-moving passages for the choir on the word
“Feuer” (fire), with broken chords in the strings
to capture flickering of flames, a long-held note
for “ewiges” (eternal) — all musically embody the
text. A brilliant instrumental ritornello heads off the
work. It surrounds the choir’s singing in free and
imitative polyphony, but also in homophony where
the communal desire to be the temple of the Most
High is expressed. This prayer to be set on fire by “the
Source of love” is anything but dignified: It is ecstatic!
The motive itself, returning as it does to its opening
pitch, has a circularity to it, which is a way of depicting
or signifying musically the idea of completeness:
“coming full circle.” It occurs a total of 12 times, either
in the oboe or in the vocal line. Given Bach’s interest
in number symbolism, this is not haphazard; rather it
is a clear example of his thinking theologically. In
effect, the number 12 is significant in the Bible: 12
tribes of Israel, 12 disciples, 12 walls of the New
Jerusalem, to name a few instances. It symbolizes
completeness and fullness. Bach has woven into the
very fabric of this aria the notion that Christ has
brought His work to completion: He has renewed all
things. “It is finished” are the singer’s first and final
words. The aria ends exactly as it had begun. “In my
end is my beginning.”
The short tenor recitative leads to the alto aria, which,
in the cantata’s chiastic structure (X in Greek), stands
at the center; it is the heart of the work. In Bach’s
music, the alto is often the voice of consolation and
comfort, and as such often represents the Holy Spirit.
In this aria, flutes are added to the string complement
and play much of the time in octaves with the violins,
almost like a soft overtone. Pastoral in feeling, it is a
quieting song of blessing.
5
The short recitative, in which the bass stands as Vox
Christi, flows directly into the final chorus, which
bursts forth with God’s merciful declaration: “Peace be
upon Israel!” The embracive and expansive depiction of
God’s loving “yes” is arresting in its all-encompassing
scope and breadth. Then immediately erupts one of
the most thrilling movements in all of Bach’s oeuvre:
unhinged gratitude for God’s gift of peace. In the midst
of the bustling excitement, the way in which Bach
generously treats the words “Peace upon Israel/you” is
of particular beauty. The fast-moving accompaniment
does not slow down; rather, it is overlaid with the calm
of peace having been granted. “I will not leave you
as orphans; I will come to you. Yet a little while and
the world will see Me no more, but you will see Me.
Because I live, you also will live.”
At the center of today’s program, which has gone from
exultation to longing to comfort and back to exultation,
stands the ascended and ever-present Christ. This Prince
of Life, having “led captivity captive and given gifts
to men” (Ephesians 4:8), has accomplished all things:
“Loving His own who were in the world, He loved them
to the end.”
Maurice Boyer
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Text and Translation
Lobet Gott in seinen Reichen, BWV 11
Praise God in His kingdoms – J.S. Bach
(Ascension Oratorio)
3. Recitative (Bass)
Ach, Jesu, ist dein Abschied schon so nah?
Ah Jesus, is Your departure already so near?
Ach, ist denn schon die Stunde da,
Ah, is it already the hour
Da wir dich von uns lassen sollen?
when we must let You leave us?
Ach, siehe, wie die heißen Tränen
Ah, see how the hot tears
Von unsern blassen Wangen rollen,
roll down our pale cheeks,
Wie wir uns nach dir sehnen,
how we yearn for You,
Wie uns fast aller Trost gebricht.
how all our comfort is nearly destroyed.
Ach, weiche doch noch nicht!
Ah, do not go away yet!
1. Chorus (S A T B)
Lobet Gott in seinen Reichen,
Praise God in His kingdoms;
Preiset ihn in seinen Ehren,
praise Him in His glory.
Rühmet ihn in seiner Pracht;
Acclaim Him in His splendor.
Sucht sein Lob recht zu vergleichen,
Seek to express His praise rightly
Wenn ihr mit gesamten Chören
when with assembled choirs
Ihm ein Lied zu Ehren macht!
you make a song to His honor!
2. Recitative (Tenor – Evangelist)
Der Herr Jesus hub seine Hände auf
und segnete seine Jünger,
The Lord Jesus raised His hands
and blessed His disciples;
und es geschah, da er sie segnete,
schied er von ihnen.
and it happened that as He was
blessing them He parted from them.
4. Aria (Alto)
Ach, bleibe doch, mein liebstes Leben,
Ah, stay yet, my dearest Life;
Ach, fliehe nicht so bald von mir!
ah, do not flee so soon from me.
Dein Abschied und dein frühes Scheiden
Your departure and Your early leaving
Bringt mir das allergrößte Leiden
bring me the greatest sorrow.
Ach ja, so bleibe doch noch hier;
Ah yes, still stay here;
Sonst werd ich ganz von Schmerz umgeben.
otherwise I shall be enveloped in pain.
7
5. Recitative (Tenor – Evangelist)
Und ward aufgehoben zusehends und
fuhr auf gen Himmel,
And in their sight He was lifted up and
ascended toward heaven.
eine Wolke nahm ihn weg vor ihren Augen,
und er sitzet zur rechten Hand Gottes.
A cloud took Him away from their eyes,
and He sits at the right hand of God.
Tenor and Bass (Two Men)
Ihr Männer von Galiläa, was stehet ihr
und sehet gen Himmel?
You men of Galilee, why do you stand here
and gaze toward heaven?
Dieser Jesus, welcher von euch ist
aufgenommen gen Himmel,
This Jesus, who has been taken
from you to heaven,
wird kommen, wie ihr ihn gesehen habt
gen Himmel fahren.
will come again, as you have seen Him
ascend to heaven.
6. Chorale (S A T B)
Nun lieget alles unter dir,
Now all lies beneath You,
Dich selbst nur ausgenommen;
with the exception of Yourself.
Die Engel müssen für und für
The angels must for ever and ever
Dir aufzuwarten kommen.
come to wait on You.
Die Fürsten stehn auch auf der Bahn
Princes also stand along the way
Und sind dir willig untertan;
and are willingly subject to You;
Luft, Wasser, Feuer, Erden
air, water, fire and earth
Muß dir zu Dienste werden.
must all be at Your service.
7b. Recitative (Alto)
Ach ja! so komme bald zurück:
Ah, yes! Return again soon:
Tilg einst mein trauriges Gebärden,
one day wipe away my sad bearing;
Sonst wird mir jeder Augenblick
otherwise, for me each moment
Verhaßt und Jahren ähnlich werden.
will be hateful and become like years.
7c. Recitative (Tenor – Evangelist)
Sie aber beteten ihn an, wandten um gen
Jerusalem von dem Berge,
But they worshiped Him, then went back to
Jerusalem from the mount
der da heißet der Ölberg, welcher ist nahe bei
Jerusalem und liegt einen Sabbater-Weg davon,
that is called the Mount of Olives and is near
Jerusalem and lies a Sabbath’s journey away;
und sie kehreten wieder gen Jerusalem mit großer Freude.
and they returned again to Jerusalem with great joy.
7a. Recitative (Tenor, Bass)
Tenor (Evangelist):
Und da sie ihm nachsahen gen
Himmel fahren,
And as they gazed after
Him ascending to heaven,
siehe, da stunden bei ihnen zwei Männer
in weißen Kleidern, welche auch sagten:
behold, there stood by them two men
in white robes, who also said:
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8. Aria (Soprano)
Jesu, deine Gnadenblicke
Jesus, Your gracious gaze
Kann ich doch beständig sehn.
I can still see continually.
Deine Liebe bleibt zurücke,
Your love remains behind,
Daß ich mich hier in der Zeit
so that here in this present time
An der künftgen Herrlichkeit
Schon voraus im Geist erquicke,
I may already in advance refresh myself
in spirit with the glory that is to come
Wenn wir einst dort vor dir stehn.
when we one day shall stand before You.
Sehet! Wir geh’n hinauf gen Jerusalem, BWV 159
See! We are going up to Jerusalem – J.S. Bach
4. Aria (Bass)
Es ist vollbracht,
It is finished;
Das Leid ist alle,
the suffering is over.
Wir sind von unserm Sündenfalle
From our fall into sin
In Gott gerecht gemacht.
we are made just in God.
Nun will ich eilen
Now I shall hasten
Und meinem Jesu Dank erteilen,
and give thanks to my Jesus.
Welt, gute Nacht!
World, good night!
Es ist vollbracht!
It is finished!
9. Chorale (S A T B)
Wenn soll es doch geschehen,
When will it happen?
Wenn kömmt die liebe Zeit,
When comes the dear time
Daß ich ihn werde sehen,
that I shall see Him
In seiner Herrlichkeit?
in His glory?
Du Tag, wenn wirst du sein,
You day, when will you be
Daß wir den Heiland grüßen,
that we may greet the Savior,
Daß wir den Heiland küssen?
that we may kiss the Savior?
Komm, stelle dich doch ein!
Come, be present soon!
O ewiges Feuer, o Ursprung der Liebe, BWV 34
O eternal Fire, O Source of love – J.S. Bach
1. Chorus (S A T B)
O ewiges Feuer, o Ursprung der Liebe,
O eternal Fire, O Source of love,
Entzünde die Herzen und weihe sie ein.
enkindle our hearts and consecrate them.
Laß himmlische Flammen durchdringen und wallen,
Make heavenly flames penetrate and flow through us.
Wir wünschen, o Höchster, dein Tempel zu sein,
We wish, o most High, to be Your temple.
Ach, laß dir die Seelen im Glauben gefallen!
Ah, make our souls pleasing to You in faith!
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2. Recitative (Tenor)
Herr, unsre Herzen halten dir
Lord, our hearts hold
Dein Wort der Wahrheit für:
Your Word to be the truth.
Du willst bei Menschen gerne sein,
You want willingly to be among men;
Drum sei das Herze dein;
therefore, let my heart be Yours.
Herr, ziehe gnädig ein.
Lord, graciously enter in.
Ein solch erwähltes Heiligtum
Such a chosen sanctuary
Hat selbst den größten Ruhm.
has itself the greatest glory.
4. Recitative (Bass)
Erwählt sich Gott die heilgen Hütten,
If God chooses the sacred dwellings/tabernacles
Die er mit Heil bewohnt,
that He inhabits with salvation,
So muß er auch den Segen auf sie schütten,
so must He also pour blessings on them [and]
So wird der Sitz des Heiligtums belohnt.
so will the seat of His sanctuary be rewarded.
Der Herr ruft über sein geweihtes Haus
The Lord proclaims over His consecrated house
Das Wort des Segens aus:
the word of His blessing:
5. Chorus (S A T B)
Friede über Israel.
“Peace upon Israel.”
Dankt den höchsten Wunderhänden,
Thank the exalted, wondrous hands.
Dankt, Gott hat an euch gedacht.
Give thanks: God has thought of you.
Ja, sein Segen wirkt mit Macht,
Yes, His blessing works with power
Friede über Israel,
to send peace upon Israel [and]
Friede über euch zu senden.
peace upon you.
3. Aria (Alto)
Wohl euch, ihr auserwählten Seelen,
Happy are you, you chosen souls,
Die Gott zur Wohnung ausersehn!
whom God has selected for His dwelling!
Wer kann ein größer Heil erwählen?
Who can choose a greater salvation?
Wer kann des Segens Menge zählen?
Who can count the abundance of blessings?
Und dieses ist vom Herrn geschehn.
And this has come to pass from the Lord.
10
“Come, Holy Ghost, Spirit Blessed” LSB 498
498Come,HolyGhost,CreatorBlest
choir
choir
choir
6
Teach us to know the Father, Son,
And You, from both, as Three in One
That we Your name may ever bless
And in our lives the truth confess.
7Praise we the Father and the Son
And Holy Spirit, with them One,
And may the Son on us bestow
The gifts that from the Spirit flow! Amen.
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.
Steven Wente
Steven Wente is professor of music and organist to the Chapel of Our Lord at Concordia
University Chicago, River Forest, Ill.. In 2012, he was named distinguished professor
of music. At Concordia University, he serves as chair of the music department, coordinates
graduate programs in music, and teaches organ and courses in music history. He
holds undergraduate and graduate degrees from Concordia University and Doctor of
Music degree in organ performance from Northwestern University. His organ teachers
have included David J. Wilson, Herbert Gotsch, Robert Lodine, Richard Enright and
Wolfgang Rübsam.
Wente is active as an organist, presenting recitals widely; participating in various
recordings, most recently Pillars of Concordia: Hymns and Prayers by Concordia
Composers; and attending summer seminars in France, Switzerland and Montreal.
As a teacher and workshop leader, he has presented at the Institutes on Liturgy,
Preaching and Church Music (LCMS) and at conferences of the Association of
Lutheran Church Musicians. Also, he has taught in the Pipe Organ Encounters
(POE) of the American Guild of Organists.
Wente also serves as cantor at First Saint Paul’s Lutheran Church, the oldest Lutheran
congregation in Chicago. He has written organ preludes and settings of hymns for the
Concordia Hymn Prelude Series and the Concordia Organ Prelude Library. In recent years
he has contributed to various publications: Grace Notes (ALCM); Concordia Historical
Institute Quarterly; Key Words in Church Music; Thine the Praise: Essays on Lutheran
Church Music in honor of Carl Schalk; Lutheran Forum; and the upcoming Encyclopedia
of Martin Luther and the Reformation (Rowman & Littlefield Publishers, 2017).
12
The American Kantorei
Soprano
Emily Truckenbrod, Principal
Lea Herdler, Assistant Principal
Kathryn Crumrine
Katherine Gastler
Megan Glass
Brittany Graham
Krista Hartmann
Camille Marolf
Alto
Katharine Lawton Brown, Principal
Stephanie Ruggles, Assistant Principal
Danielle Gines
Mona Hauser
Anna Otterman
Kimberly Werner
Amy Will
Lisa Young
Chorus
Tenor
Scott Kennebeck, Principal
Jeral Becker, Assoc. Principal
Greg Gastler
Bill Larson
Ryan Markel
Steve Paquette
Bass
Jeffrey Heyl, Principal
David Berger, Assoc. Principal
Thomas Jarrett Bolain
Everett Gossard
Greg Upchurch
Kyle Will
Orchestra
Oboes
Ann Homann, Principal
Eileen Burke
Violin I
Wanda Becker, Concertmaster
Cynthia Bowermaster
Christine Sasse
Hannah Frey
Bassoon
Robert Mottl
Violin II
Kaoru Wada, Principal
Marilyn Park Ellington
Tova Braitberg
Margret Heyl
Trumpets
John Korak, Principal
Robert Souza
Jason Harris
Timpani
Ted Rubright
Viola
Sarah Borchelt, Principal
Laura Reycraft
Positiv (Continuo) Organ
Melissa Kalbfleisch
Cello
Andrew Ruben
Chapel Organ
Steven Wente
Double Bass
Adam Anello
Flutes
Paula Kasica, Principal
Jennifer Adams
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!
This final concert of the 2015-2016 season offers the opportunity to
express heartfelt thanks. The masterful leadership of Music Director
Maurice Boyer has been evident in every concert. Dr. Boyer, we thank
you! The excellence of the American Kantorei has been experienced
in every concert because of their dedication of long hours and diligent
preparation in presenting the very best of God’s gift of music. We thank
you! On behalf of Dr. Boyer, the musicians, and the Concordia Seminary
community, I am honored to thank you who have attended our concerts,
supported this effort with your gifts and shared the good word about
Bach at the Sem with family and friends.
Today’s concert invites you to think about one of the great mysteries,
the hiddenness of God. God’s handiwork is seen all about us in the
marvels of creation, especially rich in this springtime of the year, but
God has chosen to veil His direct presence to us, at least for the time
being. This is a great theme in theology and Bach’s texts invite you
to ponder for yourself the hiddenness of God, how He quietly reveals
Himself today and the promised grand revelation at the end of time.
The culture of Concordia Seminary is a culture of joy in faith and
thankfulness to God and people. It is in that spirit that we welcome
you and close out this wonderful season of Bach at the Sem.
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 Hall
All are welcome!
16
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
Experience
Great Music in
a Great Space
in 2016!
Philip Barnes
Artistic Director
2015~2016
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
Christmas – Auf Deutsch!
In Memoriam
September 27 • 3 pm
February 14 • 3 pm
Third Baptist Church
Second Presbyterian Church
620 North Grand Blvd • St. Louis • 63103 4501 Westminster Place • St. Louis • 63108
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
Visit www.CathedralConCerts.org
for complete concert information
Group Rates Available 314-533-7662
Cathedral Basilica of St. Louis
4431 Lindell Boulevard 63108
December 20 • 3 pm
Trinity Lutheran Church
812 Soulard Street • St. Louis • 63104
May 29 • 3 pm
St. Francis de Sales Oratory
2653 Ohio Avenue • St. Louis • 63118
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9/3/15 12:48 PM
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.
Bach at the Sem Sponsorship
“Friends of Bach at the Sem”
Concert Sponsor
Conductor Sponsor
Reception Sponsor
Board Sponsor $1,000
Guest Sponsor $500
Friend Sponsor $100
$10,000
$5,000
$2,500
For more information about sponsoring Bach at the Sem,
please call 314-505-7009 or email [email protected].
Concordia Seminary
801 Seminary Place
St. Louis, MO 63105
www.csl.edu