Vox Luminis - The Friends of Chamber Music

the friends of cha mber music endowment early music series
Vox Luminis
Friday, October 24
Grace and Holy Trinity Cathedral
8 pm
ARTISTIC DIRECTOR: LIONEL MEUNIER
Soprano:
Zsuzsi Tóth
Armelle Froeliger
Kristen Witmer,
Kerlijne Van Nevel
Alto:
Jan Kullmann
Barnabás Hegyi
Organ: Masato Suzuki
Tenor:
Olivier Berten
Philippe Froeliger
Robert Buckland
Michael Barrett
Bass:
Bertrand Delvaux
Lionel Meunier
Viola da gamba: Ricardo Rodríguez Miranda
SCHÜTZ AND THE BACH FAMILY
HEINRICH SCHÜTZ Mit Fried und Freud ich fahr dahin (by Martin Luther)
Musikalische Exequien
i. Concert in Form einer teutschen Begräbnis, Missa, SWV 279
ii. Motette: Herr, wenn ich nur dich habe, SWV 280
iii. Herr, nun lässest du deinen Diener in Friede fahren, SWV 281
INTERMISSION
Johann BACH
Johann Michael BACH
Johann Michael BACH
Johann Christoph BACH Sei nun wieder zufrieden meine Seele
Herr wenn ich nur dich habe
Ich weiß, daß mein Erlöser lebt
Herr nun lässest du deinen Diener
Johann Christoph BACH
Johann Ludwig BACH
Johann Sebastian BACH
Fürchte dich nicht
Das Blut Jesu Christi
Ich lasse dich nicht, BWV 159a
The Early Music Series is underwritten, in part, by The Friends of Chamber Music Endowment Funds
Additional support is also provided by:
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program notes
Musicalische Exequien
Heinrich Schütz (1585 – 1672)
Heinrich Schütz was a German composer and organist,
generally regarded as the most important German
composer before J.S. Bach and is often considered to
be one of the most important composers of the 17th
century along with Claudio Monteverdi. He wrote
what is thought to be the first German opera, Dafne,
performed in the city of Torgau in 1627; however, the
music has since been lost.
His musical talents were discovered by Moritz von
Hessen-Kassel in 1599. After being a choir-boy, he
studied law at Marburg before going to Venice from
1609 to 1613 to study music with Giovanni Gabrieli.
After a short stint as organist at Kassel, Schütz moved
to Dresden in 1615 to work as court composer to the
Elector of Saxony. In 1628, he returned to Venice, most
likely meeting Claudio Monteverdi, and in 1633, after
the Thirty Years' War had disrupted life at the court, he
took a post at Copenhagen. In 1641 he returned full
time to Dresden and remained there for the rest of his
life.
Heinrich Schütz's compositions show the influence
of his two main teachers, Gabrieli (displayed most
notably with Schütz's use of resplendent polychoral and
concertanto styles) and Monteverdi. He was instrumental
in bringing new musical ideas to Germany from Italy,
and had a large influence on the German music which
was to follow. The style of the north German organ
school derives largely from Schütz; a century later this
music was to culminate in the work of J.S. Bach.
The Musicalische Exequien were written for the
burial service of Prince Heinrich Posthumus von Reuss,
a local Dresden nobleman. Although the music was
commissioned by the widow and sons after his death in
December of 1635, it had been planned in some detail
by the Prince himself well before his death. His will
specifies which biblical texts he wanted, and even the
character of the music to be used in setting them. He
even detailed the decorations on the coffin, as well as
the positioning of the attendants and participants in the
service.
Heinrich von Reuss died on December 3, 1635, and
his funeral rites were celebrated on February 4, 1636.
Schütz therefore had very little time in which to compose
this score, unless we assume that the prince had already
commissioned the work before his death.
Heinrich Schütz, 1627
When the work was published, Schütz addressed its
dedication to the man who to him had been much more
than a simple local ruler:
What good does it do, if I say here that you
appreciated my modest song
And my rustic music just as much as the finest things?
What favour, grace
And kindness you have so often shown to me
Because of my art: this you did immediately
Because of my origins — I was born
In the lands that you rule; you considered this an honour
For yourself and for this reason you loved me even more.
The composition was intended for an ensemble of six to
eight voices plus ripieno singers, with the basso continuo
accompaniment with the organ. The work is divided into
three parts that correspond to the three sections of the
liturgy. And funeral procession was accompanied at the
start of the office by the chorale work written by Martin
Luther, Mit Fried und Freud, and was sung by all present.
39th season 2014-15
33
program notes
Part I - Concert in Form einer Teutschen Begräbnis
Missa
The first part of Musicalische Exequien is the longest
of the three, and is made up of two sections that Schütz
associated with two sections of the Deutsche Messe - the
Kyrie and the Gloria - as can be seen from the title
itself: Concert in Form einer Teutschen Missa, nach art
des Lateinischen Kyrie, Christe, Kyrie Eleyson. Gloria in
excelsis. Et in terra pax etc. The two sections are easily
recognizable, each one being introduced with a
plainsong incipit.
The texts used here are not those of the Mass as
used by Lutherans, but come from the collection of texts
compiled by Prince Heinrich Posthumus von Reuss for
his own service. The two sections are easily recognisable,
each one being introduced with a plainsong incipit.
Part II - Herr, wenn ich nur dich habe
The second part, composed for a double choir of
eight voices (of four voices each) in an homophonic style,
uses a pattern of systematic alternation between the two
ensembles that accords with the performance practice that
Schütz would have experienced during his first period
in Venice. Schütz’s subtitle for the motet is Concerto per
choros; its place in the liturgy would have been after the
sermon.
Part III - Herr, nun lässest du deinen Diener in Friede
fahren
The text of the Nunc dimittis or Song of Simeon is
frequently used for funeral music. The vocal layout of
this third part is linked to the organisation of the liturgy:
the piece was composed for a choir of low voices in five
parts (AATT B) and for a choir of high voices (SSB)
in three parts; the three-part choir is set at a distance,
seemingly in the vault close to the sarcophagus. Each of
the three solo voices is allocated an identity: the baritone
represents the soul in bliss, the “beata anima”, whilst
the two sopranos are both seraphim. We may therefore
imagine that this choir represents the soul of de Reuss
ascending to heaven accompanied by seraphim. The
distant choir, however, sings a different text: “Selig
sind die Toten, die in dem Herren sterben”.
Program notes, in part, by Jérôme Lejeune ©2014
Translation: Peter Lockwood
Bach Family Motets
Johann Bach (1604 – 1673)
Johann Michael Bach (1648 – 1694)
Johann Christoph Bach (1642 – 1703)
Johann Ludwig Bach (1677 – 1731)
Johann Sebastian Bach (1685 – 1750)
Johann Sebastian Bach did not appear out of
nowhere. There had been musicians in his family tree
at least as far back as his great-great-grandfather in
the sixteenth century. Most were Stadtpeifer or town
bandsmen, but some were instrument-makers and a
significant number of them were church organists and
composers. The Bach family was close. If they didn’t
actually intermarry, they took partners from other
musical families. They remained largely in their home
province of Thuringia in old East Germany and gathered
frequently for music-making. In Arnstadt, where the
notable Johann Sebastian had his first job, they met at
the Goldene Sonne hotel, which still stands. Gatherings
began with a serious chorale or motet, but the musicmaking would eventually evolve from the serious into
comic, bawdy folksongs and quodlibets, a Bach specialty,
typically mixing lines from different songs to amusing
effect. (The final Goldberg variation is a quodlibet
on homecoming and turnips.) Johann Sebastian Bach
was proud of his ancestors and, in 1735, at age 50,
he compiled a Bach genealogy. He also possessed a
collection, the Altbachisches Archiv, begun by his father,
the court trumpeter Johann Ambrosius, which contained
twenty motets by different members of the Bach family,
six of them presented on this program.
The Archiv begins with works by Johann Sebastian’s
great-uncle, Johann Bach, the clan’s first composer. Born
at Wechmar, he studied with a local bandsman and then
married his daughter. In 1635, aged 31, he went to Erfurt
as head Stadtpfeifer and church organist, an important
double position, although he was overshadowed by a
cousin of his wife who had written the Swedish army’s
marching song. Supposedly an ally in the Thirty Years
War, the Swedes occupied towns, paid no rent, imposed
taxes. ‘God save us from our friends, never mind our
enemies,’ was the Thuringian joke.
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program notes
Johann’s appointment coincided with the Peace
of Prague which ended the war, and was perhaps the
occasion for his festive motet Sei nun wieder zufrieden
meine Seele (‘Be happy again, my soul’), a setting of
verses from Psalm 116 scored for double choir, one
topped by sopranos, the other by altos. The simplicity
of this style appealed to the early Lutherans and other
reformists as a reaction to the complex polyphony of
Roman Catholicism. The new emphasis on homophony
gave birth to the Lutheran Chorale, the heart of the
Lutheran service. Founder Martin Luther had studied
at Erfurt University in the previous century and
Thuringians were enthusiastic Lutherans. Biblical texts
were set in the motet, which the choir alone sang. This
was not a style designed for soloists.
It was likely a tribute to Johann that almost every
male of the next several generations of Bach’s took
his name although they were naturally known by the
variable part. Johann employed his brothers Christoph
and Heinrich in the Erfurt town band and although his
sons did not follow him as organists, his nephews did.
(Johann) Michael and (Johann) Christoph, the progeny
of brother Heinrich, became the next Bachs to achieve
lasting renown as composers. Michael’s brother Johann Christoph Bach,
meanwhile, was showing the irascibility which (Johann)
Sebastian inherited. At 23, he moved to Eisenach,
employed by the Duke as court keyboardist and by the
council as church organist. He constantly complained
about accommodations and pay, and died impoverished
at age 61. His cousin and court trumpeter at Eisenach
was Ambrosius, father of Sebastian, who would one day
perform his music at Leipzig.
Christoph’s Fürchte dich nicht (‘fear not’) is
a dramatic chorale motet with a text from Isaiah
combining with the chorale O Jesu du mein Hilf und Ruh
(‘O Jesus, my help and rest’), the text of which (Johann)
Sebastian would later use in the lost St Mark Passion.
(Only the libretto is extant.) The low voices make playful
use of rests, and sing a fugal passage on Christ’s life
calling before the sopranos sing the cantus firmus hymn.
No works by Johann Ludwig Bach make the Archiv,
presumably because he came from separate branch of the
family in western Thuringia. Though ten years older, he
was the same generation as (Johann) Sebastian and held
a position as court composer to the Duke of Meiningen.
He wrote music in all forms, though only his vocal works
survive. His son was a student in Leipzig during the
At 25, Johann Michael Bach became organist of Gehren 1730s and stayed with (Johann) Sebastian, who copied
in south Thuringia and stayed there until his death
out Ludwig’s compositions and performed them at St
twenty years later. He composed, built instruments and
Thomas’.
sat on the town council. His daughter Maria Barbara
married her cousin-once-removed Johann Sebastian.
Michael specialised in the chorale motet, eleven of
which are included in the Archiv. In his Herr wenn ich
nur dich habe, the lower voices sing texts from Psalm 73
(‘Lord, if you were all I had’), while the soprano sings
a chorale Jesu du edler Bräutigam wert (‘Jesus the noble
bridegroom’) which expressed the same longing. The
strands of text converge in meaning on identical last
verses, sung together in presto.
In Michael’s Ich weiss dass mein Erlöser lebt (‘I know
that my redeemer liveth’), the soprano sings the chorale
Christus der ist mein Leben (‘Christ is my life’) in the
long, bell-like notes of cantus firmus technique, which
(Johann) Sebastian would use so effectively in the
opening of the St Matthew Passion.
Morning Hymn At Sebastian Bach's by T. E. Rosenthal, 1877
39th season 2014-15
35
program notes
The Bach Family Tree
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biography
Ludwig’s Das Blut Jesu Christi is a double choir motet
on a verse from the First Epistle of John, reassuring early
Christians that Christ’s sacrifice was indeed paramount
in the new creed. He sets it with antiphonal choirs of
four parts each, volleying the same phrases back and
forth.
By 1723 when Johann Sebastian Bach was accepted
as Cantor at St Thomas’ Leipzig, the motet had become
a special item for use mainly at weddings and funerals,
its place in regular services taken by the multi-movement
solo cantata. Thus (Johann) Sebastian composed motets
only for important events and though small in number
(the catalogue counts fewer than ten), they are among
his greatest works. There were even fewer when Ich lasse
dich nicht was attributed to an ancestor – a dynastic
hazard. (Johann) Sebastian composed it probably for
the 1713 funeral of the Mayor of Arnstadt’s wife. It is
a double-choir chorale motet of which the main text
from Genesis is God’s promise not to abandon mankind.
At first, Choir II echoes Choir I, but then their parts
conflate until, after a rapid ping-pong on the word
‘mich’, they unite, the sopranos taking the chorale with
its self-effacing ‘ich bin ein armer Erdenkloss’ (‘I am
a poor clod of earth’) while the lower voices run with
polyphonic independence on the text from Genesis.
.
Program Notes by Richard Jones ©2014
Found a word or phrase that you are unfamiliar with? Check out our extensive
Glossary beginning on page 118 to discover the meaning.
Vox Luminis
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the brightest
young
instrumental
talents
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Luminis,
founded
in 2004
in Namur,
Belgium,
is an ensemble
Finland
today,
Juho
Pohjonen
has
attracted
great
attention
as one
specializing in the performance of 16th – 18th century vocal
of
the Nordic
countries’has
most
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music.
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wasvoices,
selectedexquisite
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Schiff
as clarity
the winner
of the
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have
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the
ensemble’s
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2009 Klavier Festival Ruhr Scholarship. In addition, he has won
sharing itsprizes
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musicand
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an audience.
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numerous
in for
both
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international
competitions,
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significant
centers for early
including:
First
Prize
at the
2004
Nordic
Piano Competition
in
music
in
Europe:
the
Royal
Conservatory
in
The
Nyborg, Denmark, First Prize at the InternationalHague.
Young Artists
2000 Concerto Competition, Stockholm, the Prokofiev Prize at
VoxAXA
Luminis
has International
performed inPiano
festivals
and venues2003,
in Belgium
the
Dublin
Competition
and prize
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de Stavelot,
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winner
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HelsinkideInternational
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Competition
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de
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festival
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in 2012-13,
andde
in Saintes,
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France (festival
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festival
year,
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selected
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of
fourteen
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Rencontres Musicales de Vézelay, festival de Saint-Michel enthe
Chamber
Music
Society offestival
Lincoln’s
‘CMS Two
Residency
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Bauges,
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en recitals
Combrailles);
Germany
(Ratingen
Bachtage
Mr.
Pohjonen
given
in Hong
Kong, Dresden,
Hamburg,
festival, Muziekfest
Stuttgart);Hall),
The Netherlands
(Oude Muziek
Helsinki,
London (Wigmore
New York (Carnegie
Hall), San
Utrecht, Den
Haag, Delft);
Portugal
Cultural
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Vancouver,
Warsaw
and at (Centro
the Lucerne
Piano,
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andfestivals.
Croatia (Varazdin
Baroque with
Evenings).
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Bergen
He has performed
orchestras including
the Los Angeles Philharmonic, San Francisco Symphony, Atlanta
The ensemble
records exclusively
for the
Belgian Label
Ricercar.
Symphony,
Philharmonia
Orchestra,
Bournemouth
Symphony,
Their first
CD, released
the end
of 2007, features
vocal
Danish
National,
FinnishatRadio
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Swedishfour
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HughworldWolff and
premieres.
Vox Luminis’ most recent CD, released in June 2012,
Lionel
Bringuier.
attracted much attention for its interpretation of Heinrich Schütz’s
His debut recording Plateaux featured a performance of
Musicalische Exequien. This recording has received several prestigious
Scandinavian composer Pelle Gudmundsen-Holmgreen’s piano
awards such as the Gramophone ‘Recording of the Year’, the ‘Baroque
concerto Plateaux pour Piano et Orchestre with the Danish National
Vocal Gramophone Award’ and the ‘International Classical Music
Symphony Orchestra and a solo piano piece For Piano. His
Award’.
sensational opening recital at the 2010’s Music@Menlo Festival led
to a recording for the Music@Menlo Live 2010 series entitled Maps
and Legends: Disc 8.
For more information visit: www.voxluminis.com
For more information visit www.juhopohjonen.com
Vox Luminis appears courtesy of Aaron Concert Artists
Juho Pohjonen appears courtesy of Kirshbaum Demler and Associates
39th season 2014-15
37
t e xt s a n d t r a n s l at i on s
Mit Fried und Freud ich fahr dahin ( by Martin Luther)
Mit Fried und Freud ich fahr dahin
In Gottes Wille.
Getrost ist mir mein Herz und Sinn,
Sanft und stille.
Wie Gott mir verheißen hat,
Der Tod ist mein Schlaf worden.
With Peace and Joy I go on My Way ( by Martin Luther)
With peace and joy I go on my way
in God’s will.
My heart and mind are comforted,
peaceful and calm.
As God promised me
death has become my sleep.
Das macht Christus, wahr Gottes Sohn,
Der treue Heiland,
Den du mich, Herr, hast sehen lon
Und macht bekannt,
Daß er sei das Leben
Und Heil in Not und Sterben.
This is the work of Christ, God’s true son,
the faithful saviour,
whom you, Lord, have allowed me to see
and made known
that He is our life
and salvation in need and in dying.
Den du hast allen vorgestellt
Mit groß Gnaden,
Zu seinem Reich die ganze Welt
Heißen laden
Durch dein teur heilsams Wort,
An allen Ort erschollen
You have set him before everybody
with great mercy,
that to his kingdom the whole world
may be called and invited
through your precious healing Word
that has resounded everywhere.
Er ist das Heil und selig Licht
Für die Heiden,
Zu erleuchten, die dich kennen nicht,
Und zu weiden.
Es ist deins Volks Israel
Der Preis, Ehr, Freud und Wonne.
He is salvation and the blessed light
unto the Gentiles,
to enlighten those who do not know you,
and to give them pasture.
For your people Israel He is
their reward, honour, joy and delight.
Musikalische Exequien
Heinrich Schütz
Musikalische Exequien
Heinrich Schütz
i. Concert in Form einer teutschen Begräbnis-Missa,
SWV 279
i. Concert in Form einer teutschen Begräbnis-Missa,
SWV 279
Intonatio
Nacket bin ich von Mutterleibe kommen.
Intonation
Naked came I from my mother's womb.
Soli
Nacket werde ich wiederum dahinfahren.
Der Herr hat's gegeben, der Herr hat's genommen,
der Name des Herren sei gelobet.
Soli
Naked shall I return thither.
The Lord has given, the Lord hath taken away,
blessed be the name of the Lord.
Cappella
Herr Gott Vater im Himmel, erbarm dich über uns.
Cappella
Lord God, Father in Heaven, have mercy upon us.
Soli
Christus ist mein Leben, Sterben ist mein Gewinn.
Siehe, das ist Gottes Lamm, das der
Welt Sünde trägt.
Soli
Christ is my life and to die is to gain.
Behold the Lamb of God who
carries the sins of the world.
Cappella
Jesu Christe, Gottes Sohn, erbarm dich über uns.
Cappella
Jesus Christ, Son of God, have mercy upon us.
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t e xt s a n d t r a n s l at i on s
Soli
Leben wir, so leben wir dem Herren;
Sterben wir,so sterben wir dem Herren.
Darum wir leben oder sterben, so sind wir des Herren.
Soli
When we live, we live for the Lord;
when we die, we die for the Lord:
therefore, whether we live or die, we are the Lord’s.
Cappella
Herr Gott, heiliger Geist, erbarm dich über uns.
Cappella
Lord God, Holy Ghost, have mercy upon us.
Intonatio
Also hat Gott die Welt geliebt, daß er seinen
eingebornen Sohn gab.
Intonation
God so loved the world that he
gave his only begotten Son.
Soli
Auf daß alle, die an ihn glauben, nicht verloren
werden, sondern das ewige Leben haben.
Soli
That whosoever believeth in him
Should not perish but have everlasting life.
Cappella
Er sprach zu seinem lieben Sohn:
die Zeit ist hie zu erbarmen,
fahr hin, mein's Herzens werte Kron
und hilf ihn aus der Sünden Not, erwürg für sie
den bittern Tod und laß sie mit dir leben.
Capella
He spake to his beloved Son:
The time to be merciful has come,
Go forth, my heart’s precious crown
and redeem them from the dangers of sin,
destroy for them the bitter death and let them abide with thee.
Soli
Das Blut Jesu Christi, des Sohnes Gottes,
machet uns rein von allen Sünden.
Soli
The blood of Jesus Christ, God’s Son,
cleanseth us from all sin.
Cappella
Durch ihn ist uns vergeben
die Sünd, geschenkt das Leben,
im Himmel soll'n wir haben,
o Gott, wie große Gaben.
Cappella
Through Him our sins are forgiven,
life is restored to us.
What happy retribution shall be ours,
O God, in Heaven!
Soli
Unser Wandel ist im Himmel,
von dannen wir auch warten des Heilandes Jesu Christi,
des Herren, welcher unser‘n nichtigen
Leib verklären wird,
daß er ähnlich werde seinem verklärten Leibe.
Soli
Our future lieth in Heaven,
where we shall await our Savior, Jesus Christ,
who will transfigure our corruptible body,
that it may be like his transfigured body.
Cappella
Es ist allhier ein Jammertal:
Angst, Not und Trübsal überall.
Des Bleibens ist ein kleine Zeit, voller Mühseligkeit,
und wers bedenkt, ist immer im Streit.
Cappella
This life is but a vale of tears:
fear, misery and affliction everywhere.
Our brief stay upon this earth is but woe,
and whosoever thinketh on it is in constant strife.
Soli
Wenn eure Sünde gleich blutrot wäre,
so soll sie doch schneeweiß werden.
Wenn sie gleich ist wie rosinfarb,
soll sie doch wie Wolle werden.
Soli
If your sin be as scarlet,
it shall become as white as snow.
Were it red like crimson,
it shall become as white as purest wool.
39th season 2014-15
39
t e xt s a n d t r a n s l at i on s
Cappella
Sein Wort, sein Tauf, sein Nachtmahl
dient wider allen Unfall;
der Heilge Geist im Glauben lehrt uns darauf vertrauen.
Cappella
His word, his Baptism, his Communion
serve against all misfortune;
belief in the Holy Ghost teacheth us to set our trust therein.
Soli
Gehe hin, mein Volk, in eine Kammer
und schleuß die Tür nach dir zu.
Verbirge dich einen
kleinen Augenblick, bis der Zorn vorrübergehe.
Soli
Go hence my people into a chamber
and bolt the door behind you.
Hide yourselves for a brief while until the wrath hath passed.
Soli
Der Gerechten Seelen sind in Gottes Hand
Und keine Qual rühret sie an, aber sie sind in Frieden.
Soli
The souls of the righteous are in God’s hand
and no torment shall touch them, but they are in peace.
Soli
Herr, wenn ich nur dich habe,
so frage ich nichts nach Himmel und Erden.
Soli
Lord, if I have none but thee,
so shall I ask nothing of Heaven or Earth.
Soli
Wenn mir gleich Leib und Seele verschmacht,
so bist du Gott allzeit meines Herzens Trost und mein Teil.
Soli
And if my body and my soul should so perish,
yet thou art God everlasting, my heart’s comfort and part of me.
Cappella
Er ist das Heil und selig Licht für die Heiden,
zu erleuchten,
die dich kennen nicht und zu weiden.
Er ist seines Volkes Israel der Preis, Ehr, Freud und Wonne.
Cappella
He is the Salvation and the Blessed Light unto the heathens,
to enlighten them,
who know thee not and delight not in thee.
He is the praise, the honour, the joy and the delight of his people
Israel.
Soli
Unser Leben währet siebenzig Jahr,
und wenn's hoch kommt, da sind's achtzig Jahr,
und wenn es köstlich gewesen ist, so ist es Müh und Arbeit
gewesen.
Soli
The duration of our lives is threescore years and ten,
though some men may come to fourscore years, and
though it be their delight, it is but labour and sorrow.
Cappella
Ach, wie elend ist unser Zeit allhier auf dieser Erden,
gar bald der Mensch darniederleit,
wir müssen alle sterben.
Allhier in diesem Jammertal,
auch wenn dirs wahl gelinget.
Cappella
O how wretched is our time upon this earth,
man is soon overthrown
and we all must die.
Here in this vale of tears,
All is but toil and labour, though ye be prosperous.
Soli
Ich weiß, daß mein Erlöser lebt, und er wird mich
hernach aus der Erden auferwecken,
und werde darnach mit dieser meiner Haut umgeben
werden,
und werde in meinem Fleisch Gott sehen.
Soli
I know that my Redeemer liveth,
And herealter he shall awaken me from
out of the earth, then, in this my
Skin and in my flesh shall I see God.
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t e xt s a n d t r a n s l at i on s
Cappella
Weil du vom Tod erstanden bist,
werd ich im Grab nicht bleiben.
Mein höchster Trost dein Auffahrt ist.
Todsfurcht kannst du vertreiben,
denn wo du bist, da komm ich hin, daß ich
stets bei dir leb und bin,
drum fahr ich hin mit Freuden.
Cappella
Since thou hast risen from the dead,
I shall not tarry in the grave.
Thine Ascension is my greatest comfort.
Thou canst drive out the fear of death,
for where thou art there shall I be also,
that I may be with thee and I live forever,
therefore I depart in joy.
Soli
Herr, ich lasse dich nich!, du segnest mich denn.
Soli
Lord, I shall not forsake thee, for thou wilt bless me.
Cappella
Er sprach zu mir: halt dich an mich,
es soll dir itzt gelingen,
ich geb mich selber ganz für dich,
da will ich für dich ringen.
Den Tod verschlingt das Leben mein,
da bist du selig worden.
Cappella
He spake unto me: Cleave to me
and thou shalt now accomplish it,
I give myself wholly to thee
and for thee shall I struggle.
Death will devour my life,
then thou shalt be blessed.
ii. Motette: Herr, wenn ich nur dich habe SWV 280
Herr, wenn ich nur dich habe,
so frage ich nichts nach Himmel und Erden.
Wenn mir gleich Leib und Seele verschmacht,
so bist du doch, Gott,
allezeit meines Herzens Trost, und mein Teil.
ii. Motette: Lord, if I Have But Thee SWV 280
Lord, if I have none but thee,
so shall I ask nothing of Heaven or Earth,
and if my body and my soul should perish,
yet thou art God everlasting,
my heart’s comfort and part of me.
iii. Herr, nun lässest du deinen Diener in Friede fahren
SWV 281
iii. Herr, nun lässest du deinen Diener in Friede fahren
SWV 281
Intonatio
Herr, nun lässest du deinen Diener.
Intonation
Lord, now lettest thou thy servant depart.
Cappella
In Friede fahren, wie du gesagt hast.
Denn meine Augen haben deinen Heiland gesehen,
welchen du bereitet hast für allen Völkern,
ein Licht, zu erleuchten die Heiden
und zum Preis deines Volks Israel.
Cappella
In peace, according to thy word.
For mine eyes have seen thy salvation
which thou hast prepared before the face of all people,
a light to lighten the Gentiles,
and the glory of thy people Israel.
Seraphim 1 et 2, Beata anima
Selig sind die Toten, die in dem Herren sterben.
Sie ruhen von ihrer Arbeit
und ihre Werke folgen ihnen nach.
Sie sind in der Hand des Herren
Und keine Qual rührt sie.
Selig sind die Toten, die in dem Herren sterben.
Seraphim 1 et 2, Beata anima
Blessed are the dead which die in the Lord.
They may rest from their labours
and their works do follow them.
They are in the hands of God
and there shall no torment touch them.
Blessed are the dead which die in the Lord.
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t e xt s a n d t r a n s l at i on s
Sei nun wieder zufrieden meine Seele
Johann Bach
Now Again be Content My Soul
Johann Bach
Sei nun wieder zufrieden, meine Seele,
denn der Herr tut dir Guts.
Denn du hast meine Seele
aus dem Tode gerissen,
meine Augen von Tränen,
meinen Fuß vom Gleiten.
Ich will wandeln vor dem Herrn
im Lande der Lebendigen.
Now again be content, my soul,
for the Lord does good things for you.
For you [Lord] have snatched
my soul from death,
my eyes from tears,
my foot from slipping.
I will walk in the Lord’s presence
in the land of the living.
Herr wenn ich nur dich habe
Johann Michael Bach
Lord, if Only I Have You
Johann Michael Bach
Herr, wenn ich nur dich habe,
so frage ich nichts nach Himmel und Erden.
Wenn mir gleich Leib und Seele verschmacht,
so bist du doch, Gott,
allezeit meines Herzens Trost und mein Teil.
Psalm LXXIII:25-26
Lord, if only I have you,
I ask nothing else from Heaven or earth.
If my body and soul alike languish,
then are You, O God,
always my heart's comfort and part of me.
Unser leben währet 70 Jahr
Johann Michael Bach
Unser Leben währet siebenzig Jahr,
und wenn's hoch kömmt,
so sind's achtzig Jahr,
und wenn es köstlich gewesen ist,
so ist es Müh und Arbeit gewesen.
Denn es fähret, schnell dahin, Als flögen wir davon.
Unser leben währet 70 Jahr
Johann Michael Bach
Unser Leben währet siebenzig Jahr,
und wenn's hoch kömmt,
so sind's achtzig Jahr,
und wenn es köstlich gewesen ist,
so ist es Müh und Arbeit gewesen.
Denn es fähret, schnell dahin, Als flögen wir davon.
The Duration of Our Lives is Threescore Years
Johann Michael Bach
The duration of our lives is threescore years and ten,
though some men be so strong,
that they come to fourscore years,
and though it be their delight,
yet is it but labour and sorrow.
Because it passes quickly
as though they fly away.
I Know That My Redeemer Lives
Johann Michael Bach
I know that my redeemer lives,
and that in the end,
he will stand on the earth.
And after my skin has been destroyed,
In my flesh I will see God.
I will see him with my own eyes
I, and not another.
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t e xt s a n d t r a n s l at i on s
Herr nun lässest du deinen Diener
Johann Christoph Bach
Lord, Now Lettest Thou Thy Servant Depart
Johann Christoph Bach
Herr, nun lässest du deiner Diener
in Frieden fahren, wie du gesagt hast.
Denn meine Augen haben deinen Heiland gesehen
welchen du bereitet hast für allen Völkern,
ein Licht, zu erleuchten die Heiden
und zum Preis deines Volks Israel.
Lord, now lettest thou thy servant
Depart in peace, according to thy word.
For mine eyes have seen thy salvation
which thou hast prepared for all people,
a light to lighten the Gentiles
and the glory of thy people Israel.
Herr, nun lässest du deiner Diener
in Frieden fahren,
Herr, in Friede, Herr, Herr!
Lord, now lettest thou thy servant
Depart in peace,
Lord, in peace, Lord, Lord!
Das Blut Jesu Christi
Johann Ludwig Bach
The Blood of Jesus Christ
Johann Ludwig Bach
Das Blut Jesu Christi, des Sohnes Gottes,
machet uns rein von allen Sünden.
The blood of Jesus Christ, the Son of God,
purifies us from all sins.
Ich lasse dich nicht (BWV 159a)
Johann Sebastian Bach
I Will Not Let You Go (BWV 159a)
Johann Sebastian Bach
Ich lasse dich nicht, du segnest mich denn.
I will not let you go unless you bless me.
Weil du mein Gott und Vater bist,
dein Kind wirst du verlassen nicht,
du väterliches Herz!
Ich bin ein armer Erdenkloß,
auf Erden weiss ich keinen Trost.
Since You are my God and Father,
this child of yours hopes,
You don’t forget your Fatherly heart!
I am a clod of earth,
I do not trust earthly things.
Law and Grace by Lucas Cranach, c. 1550 (Lutherhaus Wittenberg)
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