Shawn Portell, Organist , April 10, 2020 Virtual Concert Lent and Easter Chorale Preludes from Orgelbüchlein Johann Sebastian Bach (1685-1750) Slides of religious art prepared by Peggy Carothers

PROGRAM

“Were You There” Leo Sowerby (1895-1968)

Chorale Preludes from Orgelbüchlein Johann Sebastian Bach (1685-1750)

THE PASSION OF CHRIST

“O Lamm Gottes, unschuldig” (O Lamb of God, pure, spotless, who on the cross didst languish, who suffered man’s unkindness and knew the bitterest anguish, our sin Thou bearest for us, else hell had triumphed o’er us: Have mercy on us, O Jesu.)

Agony in the Garden Italian Agony in the Garden Bresanone Workshop

“Christe, Du Lamm Gottes” (O Christ, Lamb of God, that takest away the sins of the world, have mercy upon us.)

Pact of Judas Workshop of Simone Martini Italian Giotto di Bondone Italian “Christus, der uns selig macht” (Christ, who died mankind to right, suffered for us guiltless, taken as a thief at night that we might go blameless. Judged was He by wicked men shamefully who used Him and spat on Him, mocked Him and bruised Him.)

Ecce Homo Titian Italian Mocking of Christ Mattias Grunewald German Crowning with Thorns Titian Italian Ludovico Cigoli Italian Christ Before Pilate Tintoretto Italian Road to Calvary Juan de Flandes Spanish

“Da Jesus an dem Kreuze stund” (When Jesus on the cross was bound, His body pierced with many a wound, with torture very bitter, the dying words which then He spake, with a still heart consider.)

Way to Calvary Simone Martini Italian Ascent to Calvary Tintoretto Italian Lo Spasimo di Sicilia Raphael Italian Carrying of the Cross Albrecht Durer German

“O Mensch, bewein’ dein’ Sunde gross” (O man, bewail thy grievous fall, for which Christ left His Father and came to earth from heaven.)

Three Crosses Rembrandt Dutch Entombment Juseppe Ribera Spanish Diego Velasquez Spanish Crucifixion, San Zeno Andrea Mantegna Italian Crucifixion, Isenheim Altarpiece Mattias Grunewal German Crucifixion Flemish The Entombment Rogier Vander Weyden Flemish Descent from the Cross Rembrandt Dutch

“Wir danken dir, Herr Jesu Christ” (We thank Thee now, Lord Jesus Christ that through Thy glorious passion and through Thy precious blood our souls are free from sin.)

Entombment Caravaggio Italian Crucifixion Michelangelo Buonarotti Italian Lamentation Giotto di Bondone Italian Deposition Peter Paul Rubens Flemish

“Hilf Gott, dass mir’s gelinge” (O help me, Lord, to praise Thee, great Shepherd of Thy sheep.)

Descent from the Cross Rogier Vander Weyden Flemish Pieta Giovanni Bellini Italian Roettgen Pieta German Pieta Paolo Veronese Italian Pieta Engurrand Quarton French

THE RESURRECTION OF CHRIST

“Christ lag in Todesbanden” (Christ lay in death’s grim prison; he for our sins was given. But now today He is risen and brings us life from heaven.)

Entombment Raphael Italian Resurrection Albrecht Altdorfer German

“Jesus Christus, unser Heiland, der den Tod” (Jesus Christ, our Lord Redeemer o’er death is now victor! To heaven He’s risen and Death hath imprisoned.)

The Resurrection Piero della Francesca Italian

“Christ ist erstanden” (I. Christ is arisen from the grave’s dark prison.) (II. Had he not arisen, we had been still in prison.) (III. Alleluia, come let us all be joyful.)

Apse Mosaic Cathedral of Cefalu Sicilian Last Judgment Albrecht Durer German Deisis, Hagia Sophia Istanbul

“Heut’ triumphieret Gottes Sohn” (Jesus today rose triumphing, He over death is proclaimed King, Alleluia, alleluia!)

Resurrection, Isenheim Altarpiece Mattias Grunewald German

“Erstanden ist der Heilige Christ” (Lord Christ from death is risen today. Alleluia, alleluia! And has to heaven led the way, Alleluia, alleluia!)

Resurrection, Isenheim Altarpiece Mattias Grunewald German About Johann Sebastian Bach’s Orgelbüchlein:

J. S. Bach wrote the 46 organ chorales of the Orgelbüchlein “for the glory of God and the edification of my neighbor” around 1714. He had planned one hundred sixty-five chorales for the collection, and why fewer than one-third reached completion is not known. The work was essentially pedagogical, giving the organist guidance in playing on the pedals and providing models for chorale compositional style.

It is uncertain whether Bach used these settings as introductions to hymn singing during the course of a church service. In fact, no specific liturgical use for these pieces can be ascertained, due to their exceeding brevity. Given Bach’s skills as a gifted improviser, it is unlikely that he would have used such small settings for his own use.

Most of the pieces in the Orgelbüchlein were composed in Weimar. While the compositional technique was based upon conventional procedures of the day, the eloquence and simplicity of these works challenges the most serious and critical organist and composer of the present day.