bach at the sem may 2015

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MaY 17, 2015The Chapel of St. Timothy and St. Titus at Concordia Seminary, St. Louis

2014–2015 Series

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Schedule of Concerts23rd Season

BACH AT THE SEM – 2015-2016 Dr. Maurice Boyer, Music Director

OCTOBER 4, 2015, 3:00 p.m. (PENTECOST 19, TRINITY 18) J. S. Bach: Chorus from BWV 96, Herr Christ, der einge Gottessohn; Duet for soprano & alto, ”Herr, du siehst statt guter Werke,” from BWV 9, Es ist das Heiland kommen her; Cantata BWV 67, Halt im Gedächtnis Jesum Christ; Chorus from BWV 148, Bringet dem Herrn die Ehren seines Namen

DECEMBER 13, 2015, 3:00 p.m. (ADVENT 3) J. S. Bach: Organ prelude on Wie schön leuchtet der Morgenstern, BWV 1; Cantata BWV 61, Nun komm, der Heiden Heiland; Aria for bass, “Johannis freudenvolles springen,” from BWV 121, Christum wir sollen loben schon; Cantata BWV 40, Darzu ist erschienen der Sohn Gottes; Chorus from BWV 1, Wie schön leuchtet der Morgenstern

FEBRUARY 7, 2016, 3:00 p.m. (TRANSFIGURATION) J. S. Bach: Cantata BWV 127, Herr Jesu Christ, wahr Mensch und wahrer 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 gehen hinauf gen Jerusalem; Cantata BWV 161, Komm, du süße Todesstunde; Cantata BWV 23, Du wahrer Gott und Davids Sohn

MAY 15, 2016, 3:00 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 gehen 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 makes the Bach at the Sem series possible.

Special thanks to:

Wayne Coniglio and “Eye-full Tower Records” for supporting Bach at the Sem by contributing a portion of the fees related to the archival-only recording of the program.

Concordia Seminary 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 mailings from Bach at the Sem and would like to be placed on the mailing list, please call 314-505-7009.

@BachAtTheSem/BachAtTheSem bach.csl.edu


Bach at the SemMay 17, 2015, 3:00 p.m.

Seventh Sunday of Easter

Dr. Maurice Boyer, Music Director

The American KantoreiDr. Jeral Becker, Assistant Conductor

In Nomine Jesu

Sinfonia: from Am Abend aber desselbigen Sabbats, BWV 42 Johann Sebastian Bach Missa in G-Moll, BWV 235 Johann Sebastian Bach (Mass in G minor) Kyrie 1. Kyrie (Chorus) Gloria 2. Gloria in excelsis Deo (Chorus) 3. Gratias agimus (Bass Aria – Jeffrey Heyl) 4. Domine Fili (Alto Aria – Stephanie Ruggles) 5. Qui tollis (Tenor Aria – Scott Kennebeck) 6. Cum Sancto Spiritu (Chorus)

Hymn: “This Joyful Eastertide” The assembly stands to sing the hymn provided on page 9. or in Lutheran Service Book (LSB) 482

Adagio and Fugue in D minor Wilhelm Friedemann BachThe offerings received at this time support the Bach at the Sem concert series

Osteroratorium: Komm, eilet und laufet, BWV 249 Johann Sebastian Bach (Easter Oratorio: Come, hasten and run)1. Sinfonia2. Adagio3. Chorus4. Recitative (Emily Truckenbrod, Katharine Lawton Brown, Scott Kennebeck, Jeffrey Heyl)5. Soprano Aria (Emily Truckenbrod)6. Recitative (Katharine Lawton Brown, Scott Kennebeck, Jeffrey Heyl)7. Tenor Aria (Scott Kennebeck)8. Recitative (Emily Truckenbrod, Katharine Lawton Brown)9. Alto Aria (Katharine Lawton Brown)10. Recitative (Jeffrey Heyl)11. Chorus

Soli Deo Gloria

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Program NotesBoth of today’s pieces fall into a category that has long plagued their valuation: that of parody. As re-workings of pre-existing material, they have unjustly been perceived as lesser utterances. Thankfully, in recent years they have gained greater appreciation as the subtleties of Bach’s remodeling or remolding of his own works have been further explored and better understood.

In the corpus of Bach’s oeuvre, one encounters at least three types of parodies: from secular to secular, secular to sacred, and sacred to sacred, but never sacred to secular. Today’s program gives examples of the sacred-to-sacred type (the Mass) and the secular-to-sacred type (the Oratorio). With the latter, the situation is elusive, but one can aver that the sacred text embodies more fully the richness of the music. With the Mass, one stands on firmer ground. Here, the Latin text is subtly backlit by the original German text. Such layering creates multiple strata of meaning, semantic polyphony.

MASS IN G MINOR

Sometime between 1737-8 and 1747-8, J.S. Bach composed four concerted Missae: F major (BWV 233), A major (BWV 234), G minor (BWV 235) and G major (BWV 236). Unlike the B minor Mass, these so-called Lutheran Masses, or Missae breves, comprise only the Kyrie and the Gloria of the Ordinary of the Mass. While no actual performance dates are on record, it is known that in Bach’s time in Leipzig a concerted setting of these portions of the liturgy would have been expected on primary festival days: Advent Sunday, Christmas, Easter, Ascension, Pentecost, Trinity and a few other celebrations. It is therefore probable that these pieces were heard on a number of occasions before the end of the composer’s life.

All four Masses follow a similar structure: a three-part Kyrie—either seamlessly flowing or with pauses between sections—and a five-part Gloria. While the latter’s text is not broken up the same way in each piece, what remains consistently at the center, in the second aria, is the One who takes away the sins of the world, the Christ. This overall symmetrical design, of which Bach makes much use in his oeuvre, is cross-shaped or chiastic, from the Greek letter X ([ch]), the first letter of Christ in Greek.

Chorus – “Gloria in excelsis Deo” Aria – “…Domine Deus, Rex coelestis…” Aria – “…qui tollis peccata mundi…” Aria – “…tu solus sanctus…” Chorus – “Cum Sancto Spiritu”

In the G minor Mass, this cruciform structure of the Gloria is embedded in the overall harmonic unfolding. In the Baroque Period, the succession of keys had allegorical significance. Increasing numbers of sharps or decreasing numbers of flats implied ascent. Conversely, fewer sharps or increasing flats signified descent (see diagram below).

On March 15, the American Kantorei performed the three cantatas that form the basis of the present work. All were composed within a few months of each other in 1726: January 27, August 4, and August 25 (see below for the provenance of each movement).

Kyrie – BWV 102/1 Gloria Gloria in excelsis Deo – BWV 72/1 Gratias agimus tibi – BWV 187/4 Domine Deus – BWV 187/3 Qui tollis – BWV 187/5 Cum Sancto Spiritu – BWV 187/1

KYRIEFor the Kyrie, Bach turned to the masterful opening chorus from Cantata BWV 102 (“Herr, deine Augen sehen nach dem Glauben” – Lord, Your eyes look for faith). The original text from Jeremiah portrays God as seeking faith in His people. Finding none, He tries by all means to call His own back, but without success. Backlit by such words, the plea for mercy gains in poignancy and specificity: one asks for mercy for having wandered away in lack of faith. Throughout the original movement, “Herr!” (Lord) is uttered imploringly. Here, it fittingly becomes “Kyrie” (Lord). Bach must have felt that text and music were so well matched that little revision was needed. In effect, the movement is exactly the same length as its predecessor and remains largely untouched apart from necessary adjustments to suit the new text and some details of voice leading.


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GLORIA

“Gloria in excelsis Deo” For the first section of the Gloria, Bach turned to the opening movement of BWV 72 (“All solely according to God’s will”). Here, the original 17-bar instrumental introduction is abandoned, and the chorus bursts in immediately with the joyous song of the angels. It is astonishing how well the new text fits the affect of the pre-existing music. Ebullient upward melismatic material is given to “Gloria in excelsis Deo” and “Laudamus te.” “Adoramus te” is in longer note values. The most strikingly potent marriage of text and music is for “Et in terra pax.” In Cantata BWV 72, the corresponding text is “God’s will should calm me.” It had been pointed out last March that two quarter notes (“al-les” – all) permeate nearly every bar of the movement. The figure has been altered in the choral parts to accommodate the three syllables of “Gloria,” but the orchestra still utters this figure throughout. The symbolism is that all creation sings “Glory to God in the highest.”

“Gratias agimus tibi”In its original context (BWV 187/4), this movement was in G minor and also sung by a bass, who, as the Vox Christi, exhorts not to worry about what one may eat, drink, or wear because “your heavenly Father” already knows about these needs. While it would not have been necessary to do so (the Mass is in G minor), Bach nonetheless chooses to transpose the aria down a fourth to D minor. While the tessitura of the vocal line drops, the choice of keys represents in fact a harmonic ascent (as seen above). The harmonic ascent may well be depictive of the height of the “Domine Deus, Rex coelestis” (Lord God, King of Heaven) but also of the lifting up of thanks. This offering up of gratitude is further evinced in Bach’s rewriting of one of the recurring thematic strands played by the violins at cadential points. In the cantata, this line is a descending figure in direct correspondence with the notion of God’s bestowal of care. In the Mass, Bach uses the same material but inverts it into an ascending figure. Furthermore, the kinship of the German and Latin texts is plain: the Father of the German text, who knows the needs of His children, is the Mass’s “Pater omnipotens,” the One who is revealed through the Vox Christi—the Father is known through the Son.

“Domine Fili” At the heart of the Gloria and more broadly of Christian theology stands the Christ, the Lamb of God, who takes away the sins of the world to redeem humanity. Bach underlines this Christo-centrism by placing the present text/aria at the point of articulation of the Gloria. It is the axis around which everything else turns.

This aria is a substantial revision of the alto aria from BWV 187. Bach does not merely “paste” a new text upon pre-existing material. Rather, the entire fabric of the aria—instrumental accompaniment, vocal line, structure—is reworked. The original aria depicts God’s “crowning the year with good,” fructifying the land, and “by [His] grace, [bestowing] goodness upon all.” For the new aria, Bach retains the lean instrumentation (oboes and strings), the settled key (B-flat major) and the easily lilting meter (3/8). Overall affect is thus preserved.

However, in addition to many detailed alterations, the composer extends the aria’s length by 38 bars, from 171 to 209. Furthermore, the harmonic vocabulary is substantively chromaticized, and the overall harmonic trajectory becomes one of steady downward progression into increasing numbers of flats. Beginning in B-flat major, it unspools downward the whole way to the parallel minor, B-flat minor (6 flats), only to be pulled back up quite suddenly to B-flat major in the last 12 bars. In Baroque theoretical discourse, flat keys were termed “mollis” (soft) and sharp keys “durus” (hard). This “flat-ward” descent embodies the abasement of the Son of God who made Himself weak to redeem humanity “from below,” from within.

One might add that, despite the manifold revisions’ darker hues, the bright original text and its generous affect bespeaking mercy echo through the new setting—even if only for Bach and those who perceive the provenance of the new work. Behind the plea for mercy addressed to the “Lamb of God” stands God’s abundant and merciful provision. Humanity’s fundamental plea has been answered, its fundamental need having been met/ encountered in Christ.

“Qui tollis peccata mundi” For the next two lines of text, Bach recasts the soprano aria of BWV 187 (“God cares for all life”) as a tenor aria. Instrumentation (oboe and basso continuo) and key (E-flat major) remain the same.


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This aria and the “Domine Fili,” out of which it flows, are textually connected: they deal with the identity of the One who takes away the sins of the world and give voice to the community’s prayer for mercy. Bach solidifies their unity by relating them harmonically: the alto aria’s B-flat is the dominant of the tenor aria’s E-flat. While the former explores the lowest harmonic depths of the entire Mass at the micro level, i.e., within a single movement, the latter is the lowest harmonic point at the macro level, i.e., in the overall unfolding of the Mass. It further depicts symbolically the abasement of the Christ. However, being in the major mode, its affect is sweetened. With nothing but musical means, Bach highlights that this is Good News.

The regal French Overture’s A section reminds the listener that the One who takes away the sins of the world is King. Employing modest forces (tenor, oboe, and bass line), Bach shows that this King redefines royalty. Behind the B section’s fleet-footed lightness in 3/8 meter is the text of the original aria: “Vanish you anxieties; His faithfulness keeps me also in mind.” The One who “alone is the Lord, is the Most High, Jesus Christ” has indeed heard the pleas for mercy.

“Cum Sancto Spiritu”This movement is a reworking of the first movement of Cantata BWV 187, “Everything waits upon You,” whose expansive instrumental introduction (27-bar) has been eliminated in favor of a 7-bar introductory choral statement. Beginning in C minor, the relative minor of the previous movement’s key (E-flat), it eventually wends its way upward to the Mass’s opening key, G minor, finally cadencing on a G major chord. Apart from this alteration, a few minor changes and the natural adjustments necessitated by the change of text, the movement remains to a great extent untouched.

The German text has to do with God sustaining His creation and providing what it needs “in due season.” In choosing BWV 187/1 for the “Cum Sancto Spiritu,” Bach reveals his rich theological understanding. In effect, the persons of the Trinity – Father, Son and Holy Spirit – are also known respectively as Creator, Redeemer, and Sustainer. While speaking of text painting in a parodied work may be a bit of a tenuous endeavor, it seems possible to suggest that the fugue subject in BWV 187/1, “When You give to them, they gather,” with its repeated quarter notes and fast-moving sixteenth notes becomes depictive of the wind of the Spirit in this new setting.

The final chord of the movement, and of the Mass, is a mere quarter note long (just like the final chord of the Easter Oratorio) with no fermata extending its length. In Cantata BWV 187/1, the text is about everything waiting upon the Lord, who will provide in due season. There, the short final chord opens up onto the rest of the cantata, where substantiation of God’s provision is given. Here, Bach might have added a fermata to bring summative finality. Instead he chooses not to alter the ending, which opens up onto silence. The wind of the Spirit blows whither it will…

EASTER ORATORIO

The genesis of the Easter Oratorio is complex due in part to the multiplicity of the source materials and the historical record. The work originated during Lent 1725 (February 23) as a secular cantata in celebration of the Duke of Weiβenfels’ birthday. Within a few weeks, it was refashioned into a sacred cantata for performance on Easter Sunday (April 1, 1725), three days after the second version of the St. John Passion. Over time, Bach would revisit and revise the piece for one more secular and three sacred occasions. The second known performance of the sacred version was in 1738, for which he created a fair copy of the score, referring to it for the first time as an “Oratorio.” Between 1743 and 1746, he returned to the piece once more for final revisions, the most notable of which was assigning the A section of the third movement to the chorus rather than two soloists (tenor and bass). The poet for the original cantata was Picander (pen name of Christian Friedrich Henrici) who would go on to collaborate with Bach for a number of years. It is conjectured, though not proven, that Bach commissioned him to write a new text for the existing music. Despite the degree of Bach’s involvement (if any) remaining lost to history, it is possible to entertain the notion that Bach may have guided the poet along in the process. The Gospel reading for Easter Sunday in the Historical Lectionary is Mark 16:1-8, the shorter ending of the Gospel. Mary Magdalene, Mary the mother of James, and Salome arrive at the tomb to embalm Jesus. There, they are met by a young man who tells them that Jesus is not there – He has risen from the dead. The man enjoins them to share the news with “the disciples and Peter.” The women run away trembling and amazed (or in astonishment; the Greek word “ecstasis” did eventually yield the word “ecstasy”). There are no post-resurrection appearances in Mark.


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Unlike the Passions, where an Evangelist tells the story directly from Scripture and soloists reflect upon it in arias, the Easter Oratorio is a poetic paraphrase of the Easter narrative. While the libretto alludes to all the Gospels, it does not unfold chronologically or even logically. In fact, it re-imagines what it may have been like for the anxious followers of Jesus who, confounded by the harrowing events of the preceding days, did not yet know what to make of them or how to fathom the news of their master and friend’s resurrection.

In its initial version, the Easter Cantata (BWV 249a), the soloists were characters in the biblical narrative: Mary the mother of James (soprano), Mary Magdalene (alto), Peter (tenor), and John (bass). These names appear neither in the 1738 autograph score nor in any materials thereafter. Today, although we will largely be performing the final version of the piece, we will retain the names of the characters for dramatic reasons.

The opening three movements (Sinfonia-Adagio-Chorus) function as a unit, something of a hybrid concerto. The outer movements, dance-like in 3/8, depict the running to the tomb and capture the exhilaration brought about by the news of Jesus’ rising from the dead. The inner movement is inward and plangent—the significance of the last days hasn’t fully registered. The text of the third movement enjoins the listener to rush to the cavern that held Jesus. This is an allusion to Luke’s Gospel where, in response to the startling news, Peter runs to the tomb to see for himself. The “laughing and jesting” of the B section is a reference to Psalm 126:

When the Lord restored the fortunes of Zion, we were like those who dream. Then our mouth was filled with laughter, and our tongue with shouts of joy; […] The Lord has done great things for us and we rejoiced.

After this jubilant triptych, the four recitatives and three arias zoom in on individual characters and their dealing with the significance of Jesus’ death. Mary the mother of James (soprano) wonders what she is to do with the spices she has brought. Embalming with myrrh is an act of caring for the deceased one and, in a sense, also a way of finding comfort in handling the body of the departed. Addressing her own anxious soul, she comes to understand that only recognizing this death as victory (“blazing with laurel”) will still her anguished heart.

If one accepts that the first three movements act as one, then the tenor aria finds itself at the heart of the Oratorio. Here, Peter beholds the shroud, or more literally the “sweat cloth” (viz. Jesus’ brow sweating drops of blood in Luke’s Gospel). Alluding to Revelation 22:4 – “And God shall wipe all tears from their eyes, and there shall be no more death, neither sorrow, nor crying” – the soloist asserts in a startling image that the very cloth that absorbed Jesus’ sweat will provide ultimate consolation. The cloth stands metonymically for Christ’s suffering and travail to vanquish death and redeem humanity. Death has become but a slumber.

The impassioned alto aria turns to the Gospel of John. There, Mary Magdalene finds the tomb empty and, believing that Jesus’ body has been taken away (stolen), weeps. Eventually Jesus Himself comes to her and asks her why she is weeping. Not recognizing Him, she pleads with the man to tell her where the body of Jesus has been taken so that she can take it away herself. All Jesus needs to do is call her by her name for her to recognize Him.

The final movement, bi-partite in structure, erupts grandly with joy in 4/4 meter. Its B section then returns to the fast-paced 3/8 meter of the first and third movements, with voices entering canonically as if ecstatically interrupting one another. It bursts forth and rushes to its end. Returning to the Gospel of Mark, one can see that it has no neat ending: it doesn’t wrap things up. The lens having first increasingly narrowed and the vice tightened toward the Crucifixion, in the final lines of the Gospel, the lens opens wide and the vice forcefully releases. In the ensuing silence, the echoes of all that has transpired reverberate like aftershocks. The trembling is not only fear or terror, it is also unfathomable expectation – shaking with wonder. With no fermata on the final chord, the Easter Oratorio similarly opens out onto the victory of “the Lion of Judah.”

Maurice Boyer


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Messe in G moll, BWV 235 Mass in G Minor – J. S. Bach

1. Chorus (S A T B)Kyrie eleison,Lord, have mercy,Christe eleison,Christ, have mercy,Kyrie eleison.Lord, have mercy.

2. Chorus (S A T B) Gloria in excelsis Deo,Glory be to God on high,et in terra pax hominibus bonae voluntatis.and on earth peace to men of good will.Laudamus te, benedicimus te,We praise Thee, we bless Thee.adoramus te, glorificamus te.We worship Thee, we glorify Thee.

3. Aria (Bass)Gratias agimus tibi propter magnam gloriam tuam.We give thanks to Thee for Thy great glory.Domine Deus, Rex coelestis,O Lord God, heavenly King,Deus Pater omnipotens,God the Father Almighty,

4. Aria (Alto)Domine Fili unigenite Jesu Christe,O Lord, the only-begotten Son, Jesus Christ,Domine Deus, agnus Dei, Filius Patris.O Lord God, Lamb of God, Son of the Father. Qui tollis peccata mundi,Thou that takest away the sins of the world,miserere nobis.have mercy upon us.

5. Aria (Tenor)Qui tollis peccata mundi,Thou that takest away the sins of the world,suscipe deprecationem nostram.Receive our prayer.Qui sedes ad dexteram patris,Thou that sittest at the right hand of the Father,miserere nobis.have mercy upon us. Quoniam tu solus sanctus,For Thou only art holy;tu solus Dominus,Thou only art the Lord;tu solus altissimus Jesu Christe.O Jesus Christ, art most high,

6. Chorus (S A T B)Cum Sancto Spiritu in gloria Dei Patris, amen.with the Holy Ghost in the glory of God the Father. Amen.

Kommt, eilet und laufet. BWV 249: Come, Hurry and RunOster-Oratorium: Easter Oratorio – J. S. Bach

1. Sinfonia 2. Adagio

3. Chorus (S A T B)Kommt, eilet und laufet, ihr flüchtigen Füße,Come, hurry and run, you swift feet,Erreichet die Höhle, die Jesum bedeckt!reach the cave that sheltered Jesus ! Lachen und Scherzen Laughter and banter Begleitet die Herzen, accompany our hearts, Denn unser Heil ist auferweckt. for our Saviour is raised from the dead.Kommt, eilet und laufet, ihr flüchtigen Füße,Come, hurry and run, you swift feet,Erreichet die Höhle, die Jesum bedeckt!reach the cave that sheltered Jesus !

Text and Translation


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4. Recitative (A S T B)Mary MagdaleneO kalter Männer Sinn!O men of cold heart,Wo ist die Liebe hin,where has the love goneDie ihr dem Heiland schuldig seid?that you owe to the Savior ?Mary, mother of JamesEin schwaches Weib muß euch beschämen!A weak woman puts you to shame!PeterAch, ein betrübtes GrämenAh, a distressing griefJohn Und banges Herzeleidand anxious heartachePeter, John Hat mit gesalznen Tränenhas, with salty tearsUnd wehmutsvollem Sehnenand melancholy longing,Ihm eine Salbung zugedacht,intended an anointing for Him,Mary Magdalene; Mary, mother of James Die ihr, wie wir, umsonst gemacht.which you, as we, have prepared in vain.

5. Aria (Soprano - Mary, mother of James)Seele, deine SpezereienSoul, your spicesSollen nicht mehr Myrrhen sein.need no longer be myrrh, Denn allein for only Mit dem Lorbeerkranze prangen, with the crowning of the laurel wreath Stillt dein ängstliches Verlangen. will your anxious longing be calmed.Seele, deine SpezereienSoul, your spicesSollen nicht mehr Myrrhen sein.need no longer be myrrh.

6. Recitative (T B A)PeterHier ist die GruftHere is the tomb,JohnUnd hier der Stein,and here the stoneDer solche zugedeckt.that covered it.Wo aber wird mein Heiland sein?But where might my Savior be?Mary MagdaleneEr ist vom Tode auferweckt!He has risen from the dead!Wir trafen einen Engel an,We met an angel Der hat uns solches kundgetan.who proclaimed this to us.PeterHier seh ich mit VergnügenI behold here with delightDas Schweißtuch abgewickelt liegen.the shroud [lit. sweat-cloth] lying unwound.

7. Aria (Tenor – Peter)Sanfte soll mein TodeskummerGently shall my death’s sorrow beNur ein Schlummer,only a slumber,Jesu, durch dein Schweißtuch sein.Jesus, through Your shroud [lit. sweat-cloth]. Ja, das wird mich dort erfrischen Yes, that will refresh me there Und die Zähren meiner Pein and the tears of my suffering Von den Wangen tröstlich wischen. it will wipe comfortingly from my cheeks.Sanfte soll mein TodeskummerGently shall my death’s sorrow beNur ein Schlummer,only a slumber,Jesu, durch dein Schweißtuch sein.Jesus, through Your shroud.


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8. Recitative / Arioso (S A)Mary, mother of James ; Mary MagdaleneIndessen seufzen wirMeanwhile we sighMit brennender Begier:with ardent desire:Ach, könnt es doch nur bald geschehen,Ah, might it only soon happen,Den Heiland selbst zu sehen!to see the Savior Himself!

9. Aria (Alto - Mary Magdalene)Saget, saget mir geschwindeTell me, tell me quickly,Saget, wo ich Jesum finde,tell where I may find JesusWelchen meine Seele liebt!whom my soul loves! Komm doch, komm, umfasse mich; Come then, come, embrace me, Denn mein Herz ist ohne dich for without You my heart is Ganz verwaiset und betrübt. completely orphaned and distressed.Saget, saget mir geschwindeTell me, tell me quickly,Saget, wo ich Jesum finde,tell where I may find JesusWelchen meine Seele liebt!whom my soul loves!

10. Recitative (Bass - John)Wir sind erfreut,We are overjoyedDaß unser Jesus wieder lebt,that our Jesus lives againUnd unser Herz,and our heart,So erst in Traurigkeit zerflossen und geschwebtat first dissolved and suspended in grief,Vergißt den Schmerzforgets the painUnd sinnt auf Freudenlieder;and imagines songs of joy;Denn unser Heiland lebet wieder.for our Savior lives again.

11. Chorus (S A T B)Preis und DankPraise and thanksBleibe, Herr, dein Lobgesang.remain, Lord, Your song of praise.Höll und Teufel sind bezwungen,Hell and the devil are conquered;Ihre Pforten sind zerstört.their gates are destroyed.Jauchzet, ihr erlösten Zungen,Shout for joy, you rescued tongues,Daß man es im Himmel hört.that it may be heard in heaven.Eröffnet, ihr Himmel, die prächtigen Bogen,Open, you heavens, the splendid vaults!Der Löwe von Juda kommt siegend gezogen!The Lion of Judah comes, raised in triumph!


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This Joyful Eastertide LSB 482


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Dr. Maurice Boyer, Music DirectorDr. Maurice Boyer is associate professor of music at Concordia University Chicago (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, New Jersey, where 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, the Heritage Chorale of Oak Park, 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.


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The American Kantorei

Chorus

OrchestraViolin 1Wanda Becker, ConcertmasterChristine SasseTova Braitberg

Violin IIKaoru Wada, PrincipalMarilyn Park EllingtonMargret Heyl

ViolaSarah Borchelt, PrincipalStephen Luehrman

CelloAndrew Ruben

Double BassFrederick DeVaney

FlutePaula Kasica, PrincipalJennifer Adams

Oboe / Oboe d’amoreAnn Homann, PrincipalOboeEileen Burke

BassoonRobert Mottl

TrumpetJohn Korak, PrincipalRobert SouzaMary Weber

TimpaniChris Treloar

Positiv (Continuo) OrganMelissa Niemeyer

Chapel OrganDavid Johnson

SopranoEmily Truckenbrod, Principal Jean BaueKatherine GastlerMegan GlassKrista HartmannMarita HollanderCamille MarolfJenny Maske

TenorScott Kennebeck, PrincipalJeral Becker, Assoc. PrincipalGreg GastlerThomas Jarrett (Jerry) BolainBill LarsonRyan MarkelSteve Paquette

AltoKatharine Lawton Brown, PrincipalStephanie Ruggles, Assistant PrincipalDanielle GinesMona HauserSarah J. LudwigAshley MommensAnna WoellLisa Young

BassJeffrey Heyl, PrincipalJoe BeranGary LessmannDan MaskeGreg UpchurchMichael Wenz Kyle Will


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Welcome to Bach at the Sem!Today’s concert marks the close of Music Director Maurice Boyer’s inaugural season. On behalf of Concordia Seminary, I am pleased to thank Dr. Boyer and the American Kantorei for their leadership and excellence as Bach at the Sem enters this new era in its valued contribution to our community. Following the distinguished service of Maestro Robert Bergt and the interim conductors after his death, the future now is filled with promise. For this promise to be realized, for this wonderful series to continue, we express our appreciation for your attendance today and seek your financial support, as you are able and in appreciation for these concerts.

Relatively untrained in music, I cannot grasp the genius of Bach’s music but I can appreciate it, and do. What I do understand full well are Bach’s texts, because they describe the emotions of life and faith, and in them I can see my own spiritual struggles and journey to God. “We are delighted that our Jesus lives once more and our hearts, at first dissolved and suspended in grief, forget the pain and imagine songs of joy” (Easter Oratorio). Again, we thank you for your presence. Please enjoy today’s concert.

Dale A. MeyerPresident

Join Us!

A Special Reception with Dr. Maurice BoyerMusic Director for the Bach at the Sem Concert Series

After the 3:00 p.m. concert Koburg Hall on the Seminary Campus

All are welcome!


Join one of the country's best a cappella choirs for our 59th season!

Mendelssohn & Judith BinghamOctober 5 • 3pmSt. Louis Abbey • 500 S Mason Road • Creve Coeur • 63141

Juan Gutierrez de Padilla & Heitor Villa-LobosNovember 9 • 3pmSt. Cecilia Catholic Church • 5418 Louisiana Ave • St. Louis • 63111

Palestrina & Herbert HowellsDecember 21 • 3pm First Presbyterian Church Kirkwood • 100 E. Adams Ave • Kirkwood • 63122

Milhaud & PurcellFebruary 15 • 3pm Christ Church Cathedral • 1210 Locust Street • St. Louis • 63103

Kodály & Vaughan WilliamsApril 12 • 3pm St. Mary of Victories Catholic Church • 744 S 3rd St • St. Louis • 63102

William Billings & Richard Rodney BennettMay 31 • 3pm Union Avenue Christian Church • 733 Union Blvd • St. Louis 63108

SEASON TICKETS ON SALE NOWSubscribe and Save! For tickets or a brochure call

636-458-4343chamberchorus.org

Philip Barnes Artistic Director

2014~2015

season XIV

american chamber choraleamerican chamber chorale

2014 - 2015

O Holy Night with Christine Brewer

December 6Salem United

Methodist ChurchShalom House benefit

December 7Resurrection

Lutheran ChurchFeed My People benefit

RequiemMarch 7, 2015

St. Gabriel the Archangel

Catholic Church

with special guestsSt. Gabriel Chancel ChoirMary Beth Wittry, Director

Salem UMC Chancel Choir

O For !e Lov"... a concert in honor of women

and mothers

StephenMorton��

Always and Foreverseason XIV

May 9, 2015

Venue TBAcheck website for details

americanchamberchorale.comFor tickets and information, visit americanchamberchorale.com

or call (314) 638-0793

APPLAUSE!Providing a showcase for the St. Louis arts to thrive and flourish for years to come is the mission of RAF-STL.

Donate on-line today at rafstl.org/support-raf.

7711 Carondelet | Suite 302 | Saint Louis, MO 63105314-881-3523 | RAFSTL.ORG

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Concordia Seminary801 Seminary PlaceSt. Louis, MO 63105 314-505-7000www.csl.edu

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 21 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: 1-800-822-5287.

Bach at the Sem Sponsorship

Concert Sponsor $10,000Conductor Sponsor $5,000Reception Sponsor $2,500

Friends of Bach at the Sem

Board Sponsor $1,000Guest Sponsor $500Friend Sponsor $100

For more information about sponsoring Bach at the Sem, please call 314-505-7009, visit bach.csl.edu, or email [email protected].


bach at the sem may 2015

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