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A Voice of Awakening Wachet Auf, Ruft Uns Die Stimme, BWV 140 Sunday, September 13, 2020 at 5 P.M

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A Voice of Awakening Wachet Auf, Ruft Uns Die Stimme, BWV 140 Sunday, September 13, 2020 at 5 P.M WASHINGTON BACH CONSORT Dana Marsh, Artistic Director A Voice of Awakening Wachet auf, ruft uns die Stimme, BWV 140 Sunday, September 13, 2020 at 5 p.m. BACH INTERACTIONS Nine virtual programs offer some of the finest works in the cantata and oratorio repertory. You’ll ORCHESTRA enjoy the Washington Bach Consort as you’ve never Violino piccolo Andrew Fouts, concertmaster heard them before, but you’ll also gain revelations Violin Tatiana Chulochnikova and insights into the music itself coming from our Marika Holmqvist two resident Bach scholars, Michael Marissen and Viola Risa Browder Daniel R. Melamed. Supported in part by grants Violoncello John Moran from the National Endowment for the Humanities Violone Jessica Powell Eig and the J. Reilly Lewis Legacy Fund, Bach Oboe Margaret Owens Interactions is a new digital concert experience Geoffrey Burgess offering the expressive heights of Bach’s musical Taille Sarah Weiner language as well as the story behind its creation. Horn Brad Tatum The series features three renowned cantatas, Bassoon Anna Marsh Wachet auf, ruft uns die Stimme, BWV 140, Aus der Organ Adam Pearl Tiefen rufe ich, Herr, zu dir, BWV 131, and Nun komm der Heiden Heiland, BWV 61, followed by all six parts of Bach’s beloved Christmas Oratorio, BWV 248. CHORUS Each part will be presented on its intended day Soprano Margot Rood, soloist of liturgical observance, over the twelve days of Laura Choi-Stuart Christmas to the Feast of the Epiphany (January 6). Alto Sarah Davis Issaelkhoury Kristen Dubenion-Smith Bach Interactions is supported by gifts from the Tenor Matthew Loyal Smith, soloist J. Reilly Lewis Legacy Fund and the National Matthew Hill Endowment for the Humanities. Bass Jason Widney, soloist Jonathan Woody OUR MISSION NOTES Founded in 1977 by the late Dr. J. Reilly Lewis, the Wachet auf, ruft uns die Stimme, BWV 140, one of J.S. Washington Bach Consort is a professional choral Bach’s best-known church compositions, was kept by and orchestral ensemble based in Washington, the composer together with his cycle of cantatas from DC that is committed to ensuring that current and the liturgical year 1724-25, largely based on hymns. But future audiences experience the music of Johann it was a late addition to that set because the date for Sebastian Bach and his contemporaries, by: which it was intended, the 27th Sunday after Trinity, 1. performing the music of Bach and his came around for the first time in Bach’s Leipzig tenure contemporaries to the highest artistic only in 1731. It sets all three verses of a hymn from the standards, last years of the sixteenth century whose text invokes 2. sharing the joy of Bach’s music by broadening the parable of the Wise and Foolish Virgins (the gospel audiences in the nation’s capital, text for that Sunday). In that story, only the Wise Virgins 3. nurturing the appreciation of Bach’s music are prepared to greet an arriving bridegroom with lamps through education and community outreach filled with oil. The new poetic movements in the cantata activities, and text expand on the amorous topic, presenting a dialogue 4. interpreting the music of Bach for audiences and love duet between Jesus and the personified Soul. of today, thereby ensuring his legacy. Bach’s musical setting presents the chorale melody in opening and closing fully-scored numbers (a grand chorus cast as a concerto to start, with the melody in long notes in the soprano; and a simple harmonization at the end). The cantata’s middle movement presents the tune in the tenor voice against a melody in unison 2 upper strings, one of Bach’s most famous pieces that he duet for the same characters with solo oboe has a published in an organ arrangement late in his career. The text that is shared between the two voices, but Bach dialogue between Jesus and the Soul, conventionally treats it as if it were a dialogue, musically reinforcing represented by bass and soprano, is scored as a duet the love images that saturate the cantata. aria with the special color of a solo violino piccolo. The Daniel R. Melamed PROGRAM Wachet auf, ruft uns die Stimme, BWV 140 Johann Sebastian Bach (1685–1750) Chorale Michael Marissen, presenter Recitativo Aria duetto Chorale Recitativo Aria duetto Choral 1. Wachet auf, ruft uns die Stimme “Wake up,” the voice of the watchmen calls to us Der Wächter sehr hoch auf der Zinne, Very high on the pinnacle [of the city wall]; Wach auf, du Stadt Jerusalem! “Wake up, you city of Jerusalem.” Mitternacht heißt diese Stunde; This hour is named midnight; Sie rufen uns mit hellem Munde: They call to us, declaiming brightly: Wo seid ihr klugen Jungfrauen? “Where are you, Wise Virgins?” Wohlauf, der Bräutgam kömmt; Cheer up, the bridegroom is coming; Steht auf, die Lampen nehmt! Stand up, take your lamps. Alleluja. Hallelujah. Macht euch bereit Make yourselves ready Zu der Hochzeit, For the wedding; Ihr müsset ihm entgegen gehn. You must go to meet him. 2. Er kommt, er kommt, He comes, he comes, Der Bräutgam kommt! The bridegroom comes! Ihr Töchter Zions, kommt heraus, You Daughters of Zion, come forth; Sein Ausgang eilet aus der Höhe His exodus hastens from on high, In euer Mutter Haus. Into your mother’s house. Der Bräutgam kommt, der einem Rehe The bridegroom comes, who like a roe Und jungen Hirsche gleich And like a young stag Auf denen Hügeln springt Leaps upon the mountains, Und euch das Mahl der Hochzeit bringt. And brings you the wedding meal. Wacht auf, ermuntert euch Wake up, rouse yourselves Den Bräutgam zu empfangen! To receive the bridegroom. Dort, sehet, kommt er hergegangen. Look, there he comes along. 3. Seele: Wenn kömmst du, mein Heil? Soul: When will you come, my salvation? Jesus: Ich komme, dein Teil. Jesus: I am coming, your portion [bestowed by God]. S: Ich warte mit brennendem Öle. S: I wait with burning oil [in my lamp]. S, J: {Eröffne, Ich öffne} den Saal S, J: {Open up, I open} the hall S & J: Zum himmlischen Mahl, S & J: For the heavenly meal; S: Komm, Jesu! S: Come, Jesus. J: Ich komme; komm, liebliche Seele! J: I am coming; come, lovely Soul. 3 Normal = free poetry Bold = chorale text PROGRAM (cont’d.) 4. Zion hört die Wächter singen, Zion hears the watchmen singing; Das Herz tut ihr vor Freuden springen, Her heart takes to leaping for joy; Sie wachet und steht eilend auf. She wakes and hurriedly stands up. Ihr Freund kommt vom Himmel prächtig, Her beloved comes from heaven: magnificent, Von Gnaden stark, von Wahrheit mächtig, Strong in grace, mighty in truth; Ihr Licht wird hell, ihr Stern geht auf. Her light becomes bright, her star rises. Nun komm, du werte Kron, Now come, you valuable crown, Herr Jesu, Gottes Sohn! Lord Jesus, God’s Son! Hosianna! Hosanna! Wir folgen all We all follow [God’s Son] Zum Freudensaal To the hall of joy Und halten mit das Abendmahl. And join in keeping the Lord’s Supper. 5. Jesus: So geh herein zu mir, Jesus: So go in, unto me [for the heavenly meal], Du mir erwählte Braut! You, my chosen bride. Ich habe mich mit dir I have betrothed myself to you Von Ewigkeit vertraut. Out of eternity. Dich will ich auf mein Herz, I will place you just like a seal upon my heart, Auf meinem Arm gleich wie ein Siegel setzen Just like a seal upon my arm; Und dein betrübtes Aug ergötzen. And your sad eye I will make joyful. Vergiß, o Seele, nun Forget now, o Soul, Die Angst, den Schmerz, The fear, the agony Den du erdulden müssen; That you have to endure; Auf meiner Linken sollst du ruhn, Upon my left [hand] shall you rest [your head], Und meine Rechte soll dich küssen. And my right [hand] shall cushion you. 6. Seele: Mein Freund ist mein, Soul: My beloved is mine, Jesus: Und ich bin sein, Jesus: And I am his [God the Father’s]; S & J: Die Liebe soll nichts scheiden. S & J: Nothing shall separate the love [of God from us]. S, J: {Ich will, du sollst} mit {dir, mir} in Himmels S, J: {I will, you shall} revel with {you, me} in [the Rosen weiden, beloved’s garden of] roses-of-heaven, S & J: Da Freude die Fülle, da Wonne wird sein. S & J: Where fullness of joy, where gladness will be. 7. Gloria sei dir gesungen Let “Gloria” be sung to you Mit Menschen und Englischen Zungen, With the tongues of men and of angels, Mit Harfen und mit Zimbeln schon. Even with harps and with cymbals. Von zwölf Perlen sind die Pforten Of twelve pearls are the gates An deiner Stadt sind wir Konsorten In your city [where] we are consorts Der Engel hoch um deinen Thron. Of the angels high around your throne. Kein Aug hat je gespürt, No eye has ever perceived, Kein Ohr hat je gehört No ear has ever heard Solche Freude. Such joy. Des sind wir froh, Of this, we are glad; Io, io! “Io, io!” [we exclaim] Ewig in dulci jubilo. In sweet jubilation, eternally. (transl. Daniel R. Melamed and Michael Marissen) Normal = free poetry Bold = chorale text 4 DANA MARSH, ARTISTIC DIRECTOR Daniel R. Melamed is professor at the Indiana University Jacobs School of Dana Marsh began his musical training as a boy chorister at St. Thomas Music and president of the American Church Choir School in New York and Bach Society. His book Hearing Bach’s at Salisbury Cathedral in England.
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