x at Concordia Seminary, St. Louis The Chapel of St. T imothy and . St T itus MAY 7, 2017 2016-17

Series Schedule of Concerts 24th Season BACH AT THE SEM – 2016-17 Dr. Maurice Boyer, Music Director DECEMBER 11, 2016, 3 p.m. (ADVENT 3) J.S. Bach: , BWV 121, Christum wir sollen loben schon; Sinfonia: from Cantata, BWV 182, Himmelskönig, sei willkommen; : from Cantata, BWV 151, Süßer Trost, mein kömmt; Organ Voluntary, BWV 645, Wachet auf, ruft uns die Stimme; Cantata, BWV 147, Herz und Mund und Tat und Leben

MAY 7, 2017, 3 p.m. (FEAST OF EASTER) J.S. Bach: Cantata, BWV 6, Bleib’ bei uns, denn es will Abend werden; Cantata, BWV 104, Du Hirte Israel, höre!; Cantata, BWV 42, Am Abend aber desselbigen Sabbats

We are greatful to our corporate sponsors and the “Friends of Bach at the Sem” for their generosity which has helped to make the concert series possible.

For a history of Bach at the Sem and a complete listing of its repertoire dating to its inaugural concert in 1993, please visit www.csl.edu/bach.

Cover image – from the autograph score of J.S. Bach’s autograph manuscript of “Herz und Mund und Tat und Leben” BWV 147, which the American Kantorei performed Dec. 11, 2016.

Join Us! A Special Reception with Dr. Maurice Boyer, Music Director for the Bach at the Sem Concert Series, and the members of the American Kantorei

After today’s concert in Koburg Hall

All Are Welcome!

www.csl.edu/bach /BachAtTheSem @BachAtTheSem Bach at the Sem May 7, 2017, 3 p.m. Fourth Sunday of Easter

The American Kantorei

Dr. Maurice Boyer, Music Director Dr. Jeral Becker, Assistant Conductor

In Nomine Jesu

Cantata: Bleib’ bei uns, denn es will Abend werden, BWV 6 (Stay with us, for evening is coming) 1. Chorus 2. Aria (Katharine Lawton Brown) 3. 4. (Jeffrey Heyl) 5. Aria (Scott Kennebeck) 6. Chorale

Hymn: “This Joyful Eastertide” The assembly stands to sing stanzas 1 and 3 of the hymn provided on Page 8 or in Lutheran Service Book (LSB) 482 The sings stanza 2 in a setting by Maurice Boyer

Cantata: Du Hirte Israel, höre, BWV 104 Johann Sebastian Bach (You Shepherd of Israel, listen) 1. Chorus 2. Tenor Recitative (Scott Kennebeck) 3. Tenor Aria (Scott Kennebeck) 4. Bass Recitative (Jeffrey Heyl) 5. Bass Aria (Jeffrey Heyl) 6. Chorale

Organ Voluntary: Allein Gott in der Höh’ sei Ehr’ BWV 676 Johann Sebastian Bach (Benton Blasingame, organist)

Cantata: Am Abend aber desselbigen Sabbats, BWV 42 Johann Sebastian Bach (On the evening of the same Sabbath) 1. Sinfonia 2. Tenor Recitative (Scott Kennebeck) 3. Alto Aria (Stephanie Ruggles) 4. Chorale Duet (Emily Truckenbrod, Scott Kennebeck) 5. Bass Recitative (Jeffrey Heyl) 6. Bass Aria (Jeffrey Heyl) 7. Chorale

Soli Deo Gloria Program Notes

“Stay with us, for evening is coming” imploring, reverent and elegiac — full of yearning. By “Jesus appears in the midst of them its key (C minor) and head-motive, this chorus recalls And says to them: Amen.” the penultimate movement of the St. John Passion, the burial chorus “Ruht wohl, ihr heilige Gebeine” (rest Easter is exultation in the resurrection of Jesus Christ well, you holy body). — rejoicing in the wondrous message of victory over death, sin and the devil. But for the disciples, initially The word “bleib” (stay) is set both as a single long-held the response was also fear, anguish and even doubt pitch and a falling gesture, the latter capturing perhaps a — fear for their lives; anguish at the thought of Jesus’ reverent downward cast of the eyes or a bow or simply departing; doubt as to the very reality of the resurrec- the idea of “here below.” To depict the gradual fading tion (Thomas). Today’s concert follows the emotional of the light, Bach gradually unwinds the line down- trajectory of the disciples’ wrestling with the new real- ward, allowing one to follow the sun’s declivity. A suc- ity that had just been ushered in: at once the resurrected cession of inner pedal points, with repeated pitches then Lord and His looming absence or “hiddenness.” long notes, evoke at once stasis and disquiet.

The three clearly evince that Christ’s “hid- In contrast to the measured clarity of the largely homo- denness” is not abandonment. His generous presence, phonic A section, the much shorter B section’s jag- though sometimes unrecognized, meets the anguished ged multi-subject registers as chaotic. Conjunct one beset with doubt in the midst of his/her fear. motion and plangent chromaticism yield to disjunct According to St. John, Jesus steps right into it, even motion and jarring dissonance (the prevalence of the passing through its locked doors. Our final concert tritone). The disciples’ imploring is here anguished and begins with a plea, “stay with us,” and ends with a urgent. prayer, “grant us peace.” At the heart stands the good and faithful Shepherd, whose “Word of grace” leads “to “Bleib’ bei uns” (stay with us) is uttered on a single fresh waters to revive the soul mightily.” pitch in long note values. If one counts the unison state- ment by the choir as four, it appears that this motive Cantata: Bleib’ bei uns, denn es will Abend werden, is heard a total of 12 times. The number is biblically BWV 6 significant as it implies completeness (12 tribes of Israel, 12 disciples, 12 gates of the New Jerusalem …). Written for Easter Monday, April 2, 1725, this cantata According to the biblical narrative, only two disciples was heard only three days after the second version of were with Jesus. Bach, however, poignantly extends the the St. John Passion. It likely struck quite a note of plea to all the disciples and, by implication, all believ- sobriety after the previous day’s rendition of the fes- ers. The cry is universal. tive Easter (first version). However, it is one fitting for the day’s Gospel reading about the disciples’ The beat of silence that follows the section’s final uni- journey to Emmaus (Luke 24:13-35). Interestingly, the son outcry (“Stay with us!”) allows its echo to die away cantata focuses on a single part of the narrative: that of and the mood to return to that of the opening. This Jesus’ departing. Indeed, the disciples’ plea, “Stay with interstice of time is pregnant with meaning. It is as if, in us, for evening is coming and the day draws to an end,” this silence, a reminder of the breaking of the bread and is restated three times, once in each of the first three the generous, comforting presence of the Master and movements. No explicit mention is made of the joy Friend has quelled the anguish and transformed it into experienced when the disciples recognize Jesus in the longing. breaking of the bread. The delicate minuet-like aria for alto and English horn The structure of the grand opening movement is tri- obbligato with cello/bass playing pizzicato is a marked partite. Its outer sections are cast in the form of a expressive turn from the opening chorus. It captures the sarabande. Elegant, noble and expressive, this dance libretto’s light/darkness antithesis in subtle harmonic unfolds in a slow triple meter (3/4), with the stress, shifts. Although the key is E-flat major, mode mixture unlike that of a minuet, on beat two. The tone here is abounds, with chord borrowings from parallel minor

2 keys, thus creating a kind of musical chiaroscuro. reading would have been John 10:12-16, the fourth Downward harmonic motion to surprising flat keys of Jesus’ seven “I am” statements: “I am the Good (B-flat minor and A-flat minor), symbolizing encroach- Shepherd.” ing darkness, is interrupted at cadences, which deftly slide back to the major mode — like suddenly reaching Bach’s instrumentation as heard in the opening chorus a clearing in the densest forest. The petition has been — the usual string complement joined by a quartet of granted. double reeds (two oboes, English horn and bassoon) — immediately conjures a pastoral setting. The lilting The chorale is scored for violoncello piccolo obbligato 3/4 meter and fluid triplets, as well as the mostly dia- and basso continuo and soprano (here the section), sing- tonic harmonic language in the bright key of G major, ing the tune in augmentation (long notes), descant-like. consort to paint a tranquil scene. The limpid choral The virtuoso solo line’s opening motive, in its contour, texture unfolds in a seamless and consistent pattern: is an embellished version of the melody. The emotional homophony, pairs of voices in thirds and sixths, fugue, tenor is one of simple, childlike trust. homophony, pairs of voices in thirds and sixths, fugue, homophony. There is no anguish in the pleas to “hear” In the ensuing bass recitative, the darkness of the open- and “appear.” Bach writes from the vantage point of the ing line is musically depicted by a descending leap of one hearing the prayer: the good Shepherd. a seventh and the lamps’ being overturned in the final line by the singer’s line tumbling from high E-flat to The succeeding tenor recitative begins secco and turns low G (an octave and a sixth below). to an for the final line: “God is faithful, faithful, God is faithful.” Bach chooses to repeat the text, espe- The tenor aria’s opening motive could be seen as a cially highlighting the adjective “faithful” by placing it cross-motive (two intersecting intervals), which would centrally. The cadence in B minor sets the stage for the be a fitting interpretation of this pervasive motive. succeeding aria. Indeed, looking up to Jesus is looking to His Cross. A repetitive sigh-motive (descending half step) is heard Here, the first and second oboes shift to oboes d’amore. throughout in association with the “way of sin” — it That Bach chooses these “oboes of love” and the ever curls back on itself. This aria, which is in G minor, Passion-colored key of B minor communicates a desire descends as the alto aria had into progressively sombre to stress that the Shepherd does not abandon His own. minor keys, only to be suddenly pulled back up to the The opening motive associated with the text “Verbirgt light of the major mode at cadences. The florid 16th mein Hirte” (should my Shepherd hide) permeates the note triplets could be interpreted as a Trinitarian refer- movement. Indeed, it is uttered by all the voices canon- ence or, perhaps, the flickering flame of the Holy Spirit, ically. This canonic writing with entrances “chasing” which Jesus, according the Gospel of the day, breathes one another also depicts hurrying steps. The upward on His disciples. reaching anticipations that make up this head-motive capture the yearning of the individual. Chromaticism The cantata closes in G minor with the second verse and surprising harmonic turns are employed to express of Luther’s hymn “Erhalt uns, Herr, bei deinem Wort” fearfulness, yielding also a sense of being dispirited: a (Lord, keep us steadfast in Your Word). A sturdy har- “sinking feeling.” In contrast, pleasing thirds and sixths monization captures the fervor of this communal prayer between various strands of the texture, as well as pro- that the Lord of lords would protect all of Christendom fuse 9-8 suspensions, disclose the underlying generosity with His might. of the Shepherd who, in spite of seeming hiddenness, is ever present. Cantata: Du Hirte Israel, höre, BWV 104 With the entrance of the bass, the aforementioned BWV 104 was composed during Bach’s first year in is confirmed. Here, the Vox Christi speaks words of Leipzig and first heard on the Second Sunday after utmost consolation and peace. All anguish is dispelled Easter, April 23, 1724, thus a little over two weeks after through the comforting presence of the Shepherd. The the first version of the St. John Passion. The Gospel instrumentation joins the full string complement with

3 a single oboe d’amore doubling the first violins. The The cantata opens with a brilliant Sinfonia in da capo instrument not only colors the sound but also connects form. In D major, the key associated with triumph, it is this movement to the tenor aria, thereby providing an a burst of vitality and joy but not without an undercur- answer to it. The lilting pastoral meter (12/8) embod- rent of restlessness and disquiet (the minor mode of the ies the same tranquility and absolute calm heard in the B section and the pulsating eighth notes in the inner opening chorus. The tonality of D major, one associated voices). with victory and triumph, is here given new meaning. The victory of Christ brings peace to His flock. The tenor recitative in B minor quotes the Gospel of A salient detail of text-painting bears mention. Two the day. A tonic pedal point in unquiet 16th notes and a words are set over a long-held note: “hoffet” (hope) and single diminished chord govern two thirds of the recita- “Todesschlafe” (sleep of death). The former word is tive, thereby capturing the disciples shackled in fear. heard four times, twice before each of the utterances of With the appearance of Jesus, harmonic motion begins, “Todesschlafe.” The latter word is sung both times over giving the sense that Jesus breaks through the locked a Neapolitan chord: a major chord most often given in doors of the disciples’ anguished hearts. The restless first inversion (gentler than root position), built upon 16th notes remain, indicating that their anxiety has not the flatted second scale degree, e.g., C natural in B yet been appeased. minor. The major chord and the “softness” of the har- mony signify that this “sleep of death” is nothing to be With the alto da capo aria, time stops and disquiet feared. Given the musical apposition of the two afore- vanishes. The aria and the transition to it are one of the mentioned words, the harmonic choice and the fact that most arresting and comforting moments in all of Bach’s hope is heard twice as many times as sleep of death, vocal works. The selection of the alto voice is not inci- one understands that the “death sleep” is enveloped by dental, as Bach typically capitalizes on its warmth to or, one might say, means hope. express consolation and its function as the mouthpiece of the Holy Spirit. The text of the closing chorale is a metrical paraphrase of Psalm 23 set to the tune: “Allein Gott in der Höh’ sei Rather than stay within the Gospel of the day, the Ehr’” (to You alone God in the highest be praised). The unknown librettist here makes allusion to the words melody would have been very familiar to congregants of Jesus as recorded in the Gospel according to St. since it functioned as the German (vernacular) “Gloria” Matthew: “Where two or three are gathered in My in Luther’s Deutsche Messe (1526) and was used as name, there am I among them” (18:20). In the John such in Leipzig. In a manner befitting the comforting reading, Jesus says, “Peace be with you,” which the text, Bach’s harmonization is uncomplicated and direct, librettist, conflating the two Gospel readings, translates with mild suspensions conveying the gentle leading of as “Amen,” God’s “Yes.” the Shepherd. The A section, in 4/4 time and in G major, unfolds Cantata: Am Abend aber desselbigen Sabbats, slowly and expansively in unalloyed calm. The sense BWV 42 of being outside of time is only heightened by the slow harmonic rhythm, the “halo-like” functioning of the This cantata was written for the First Sunday after Easter, strings, and the rhythmic variety of the overlaid solo April 8, 1725, just six days after BWV 6, a week after wind lines — two oboes weaving in and out of canonic the first version of the and 10 days after writing and twined motion in thirds and sixths. These the second version of the St. John Passion. The day’s are musically related to the alto line, thereby bringing to Gospel tells of Jesus’ second and third post-resurrection light what “two [or three]” gathered in “Jesus’ precious appearances (John 20:19-31). The disciples for fear are name” signifies: “Imitatio Christi” or, even more so, hiding behind locked doors. Jesus suddenly appears, say- Christ being formed in them. Oboes and upper strings ing “Peace be with you” and breathes on them the Holy drop out for the words, “and then speaks the Amen,” as Spirit. Thomas is absent and doesn’t believe his fellow if to strip away any distraction: Jesus’ bare words are disciples. A week later, Jesus appears again. This time sufficient. Thomas is present. The story is familiar.

4 This assertion receives further grounding in the B sec- making the address through the “two or three gathered tion. Indeed, here also, all instruments but the continuo in His name” — here the soprano and the tenor. He is group (bass line and organ) disappear. With the change ever at work, even when not immediately perceived. of meter (12/8) and a turn to chromatic harmony mainly in the minor mode, one feels that one has “stepped” Starting in E minor and cadencing in A major, the bass back into time. The words of the libretto are here some- recitative restates the Gospel of the day. In the penulti- what cryptic. Bach provides a musical interpretation. mate bar, at “therefore, let the enemies rage,” the con- Christ, through the mere fact of His “Amen,” frees the tinuo anticipates the descending broken chord figuration disciples from the shackles of their fear to perform acts that pervades the succeeding aria. It thereby spells out of love and mercy in the spare here and now. its meaning: the raging of the enemies.

Then follows a return to the timeless A section with its Continuing in A major, the bass aria operates in coun- highly ornamented lines and florid runs, spelling gener- terbalance to the alto aria. There, Jesus is the One osity, an overflowing of beauty (Jesus’ dear or precious whose presence is peace. Here He is the One who name) and goodness — blessing, Christ’s “Amen,” His defends His own. The music presents a fight, but it is “Yes.” One might say that the “Amen” is Christ’s very one with a delicate instrumentation: a string trio of first presence among the two or three gathered. violins divisi (probably, as here, two soloists) and bass line. Boring through the middle of the musical texture In spite of its length, the chorale duet in B minor could is the singer, as Vox Christi. Jesus steps right into the be considered the heart of the cantata. Structurally, it thick of “rage” and “persecution” to protect His own. stands right at the middle — if not temporally (the alto aria is nearly 10 minutes long), then at least numeri- Harmonically, the A section is the least complex move- cally. Its scoring is unusual: a unison cello and bassoon ment of the cantata. While the surface activity of the obbligato line, which, though independent, is in fact an music is fast, its harmonic rhythm (the pace at which embellished form of the continuo’s line (here double harmonies change) is in fact slow. Bach is hereby bass only). The two lines intersect in most bars. This unmasking the enemies as impotent — all bluster no bass line, which is locked throughout in two alternating substance — before Jesus, “the shield of His own.” patterns, could stand for the enemies who are seeking to destroy the faithful. In effect, the “downfall” of which The B section is more harmonically unstable. Here, the the text speaks is heard linearly in a descending motive singer adopts the descending broken chord material, that falls by tiers on accented dissonance and harmoni- but in augmentation (longer note-values); Jesus works cally in a downward harmonic pattern, either through according to a different temporal unfolding: God’s step-wise motion or by circle of fifths. time.

A second striking feature of this jagged and richly lay- The close of the cantata, in F# minor, marks a return to ered movement is that, while Bach names it “chorale” the words of Martin Luther in his version of the Latin in his autograph score (and indeed the text is a chorale “Da pacem, Domine.” This text, at some point, became text), he withholds any clearly discernible iteration of incorporated into another Luther hymn heard at the its melody. Fragments are merely and only intermit- end of BWV 6: “Erhalt uns Herr, bei deinem Wort.” tently perceptible in the bass line and the vocal lines, This stirring final chorale fans out beyond the realm thus buried deep below the musical surface. of the church itself and becomes a prayer even for those in governance. The pedal point under beautiful Also surprising is the choice of voices, soprano and suspensions startlingly evokes a vision of “a calm and tenor, for words that seem to come directly from God peaceful life.” Ending on an F# major chord, the final to the “little flock.” Indeed, the “little flock” is twice “Amen” recalls Jesus’ “Amen” to the disciples in the addressed comfortingly in gentle sixths, then thirds. I earlier alto aria. He Himself, the Alpha and the Omega, would aver that there is a theological reason behind this is Peace. choice on Bach’s part. He is saying in a veiled way that which the alto aria had stated overtly: it is Christ who is Maurice Boyer

5 Text and Translation

Bleib’ bei uns, denn es will Abend werden, BWV 6 4. Recitative (Bass) Stay with us, for evening is coming (Luke 24:29) Es hat die Dunkelheit Darkness has 1. Chorus (S A T B) An vielen Orten überhand genommen. Bleib’ bei uns, denn es will Abend werden, spread over many places. Stay with us, for evening is coming Woher ist aber dieses kommen? und der Tag hat sich geneiget. How has this come about? and the day draws to an end. Bloß daher, weil sowohl die Kleinen als die Großen 2. Aria (Alto) Simply for this reason: both the lowly and the great Hochgelobter Gottessohn, Nicht in Gerechtigkeit Most praiseworthy Son of God, have not justly Laß es dir nicht sein entgegen, Vor dir, o Gott, gewandelt Let it not be against Your will walked before You, O God; Daß wir itzt vor deinem Thron Und wider ihre Christenpflicht gehandelt. that we now before Your throne and they have acted against their Christian duty. Eine Bitte niederlegen: Drum hast du auch den Leuchter umgestoßen. lay down a request: Thus have You also overturned their candlestick. Bleib’, ach bleibe unser Licht, 5. Aria (Tenor) Stay, ah stay as our light, Jesu, laß uns auf dich sehen, Weil die Finsternis einbricht. Jesus, let us look towards You since darkness comes over us. Daß wir nicht 3. Chorale (Soprano) so that we may not Ach bleib’ bei uns, Herr Jesu Christ, Auf den Sündenwegen gehen. Ah, stay with us, Lord Jesus Christ, go along the way of sin. Weil es nun Abend worden ist, Laß das Licht since evening has now come. Let the light Dein göttlich Wort, das helle Licht, Deines Worts uns heller scheinen Let not Your divine Word, the clear light, of Your Word shine clearly for us Laß ja bei uns auslöschen nicht. Und dich jederzeit treu meinen. be extinguished among us. and always bring You to mind faithfully. (Vespera iam venit, translated 6. Chorale (S A T B) by Philipp Melanchthon 1579) Beweis dein Macht, Herr Jesu Christ, Show Your might, Lord Jesus Christ. In dieser letzt’n betrübten Zeit Der du Herr aller Herren bist; In these last troubled times, You, who are the Lord of lords, Verleih uns, Herr, Beständigkeit, Beschirm dein arme Christenheit, grant us, Lord, constancy protect Your poor Christendom [or Christian people] Daß wir dein Wort und Sakrament Daß sie dich lob in Ewigkeit. so that Your Word and Sacrament so that they may praise You forever. Rein b’halten bis an unser End. we may keep purely until our end. (Martin Luther 1542) (Nikolaus Selnecker 1572)

6 Du Hirte Israel, höre, BWV 104 4. Recitative (Bass) You Shepherd of Israel, listen (Psalm 80:1-2) Ja, dieses Wort ist meiner Seelen Speise, Yes, this Word is the food of my soul, 1. Chorus (S A T B) Ein Labsal meiner Brust, Du Hirte Israel, höre, a refreshment for my breast, You Shepherd of Israel, listen. Die Weide, die ich meine Lust, der du Joseph hütest wie der Schafe, the pasture that I call my delight, You who guard Joseph like the sheep, Des Himmels Vorschmack, ja mein alles heiße. erscheine, der du sitzest über Cherubim. a foretaste of heaven, indeed, my all. appear, You who are seated above the cherubim. Ach! sammle nur, o guter Hirte, 2. Recitative (Tenor) Ah! Gather now, O good Shepherd, Der höchste Hirte sorgt vor mich, Uns Arme und Verirrte; The highest Shepherd takes care of me. us poor and straying ones. Was nützen meine Sorgen? Ach laß den Weg nur bald geendet sein What use are my cares? Ah, let our path soon be ended Es wird ja alle Morgen Und führe uns in deinen Schafstall ein! Indeed, every morning. and lead us into Your sheepfold! Des Hirten Güte neu. 5. Aria (Bass) the kindness of the Shepherd is new. Beglückte Herde, Jesu Schafe, Mein Herz, so fasse dich, Happy flock, Jesus’ sheep, My heart, compose yourself, Die Welt ist euch ein Himmelreich. Gott ist getreu. the world is for you a heavenly kingdom. God is faithful. Hier schmeckt ihr Jesu Güte schon 3. Aria (Tenor) Here you already taste the goodness of Jesus Verbirgt mein Hirte sich zu lange, Und hoffet noch des Glaubens Lohn If my Shepherd stays hidden too long and hope for the reward of faith Macht mir die Wüste allzu bange, Nach einem sanften Todesschlafe. and the wilderness makes me too fearful, after a sweet sleep in death. Mein schwacher Schritt eilt dennoch fort. [Da Capo] my weak steps still hurry forward. 6. Chorale (S A T B) Mein Mund schreit nach dir, Der Herr ist mein getreuer Hirt, My mouth cries to you, The Lord is my faithful Shepherd Und du, mein Hirte, wirkst in mir dem ich mich ganz vertraue, and you, my Shepherd, bring about in me to whom I entrust myself completely. Ein gläubig Abba durch dein Wort. Zu Weid er mich, sein Schäflein, führt, a trustful Abba through Your Word. He leads me, His lamb, to pasture Auf schöner grünen Aue, in beautiful green meadows; Zum frischen Wasser leit’ er mich, He leads me to fresh water Mein Seel zu laben kräftliglich to revive my soul mightily Durchs selig Wort der Gnaden. through His blessed Word of grace.

7 Am Abend aber desselbigen Sabbats, BWV 42 Denn da die Jünger sich versammlet hatten On the evening of the same Sabbath (John 20:19) for when the disciples had gathered together Im finstern Schatten, 1. Sinfonia in dark shadows 2. Recitative (Tenor) Aus Furcht für denen Jüden, Am Abend aber desselbigen Sabbats, for fear of the Jews, On the evening of the same Sabbath So trat mein Heiland mitten ein, Da die Jünger versammlet then my Savior came into the midst of them as the disciples were gathered together Zum Zeugnis, daß er seiner Und die Türen verschlossen waren as witness that He and the doors were locked Kirche Schutz will sein. Aus Furcht für den Jüden, will be the protection of His church. for fear of the Jews, Drum laßt die Feinde wüten! Kam Jesus und trat mitten ein. Therefore, let the enemies rage. Jesus came and stood in the midst of them. 6. Aria (Bass) 3. Aria (Alto) Jesus ist ein Schild der Seinen, Wo zwei und drei versammlet sind Jesus is a shield for His people Where two or three are gathered together Wenn sie die Verfolgung trifft. In Jesu teurem Namen, when persecution strikes them. in Jesus’ beloved name, Ihnen muß die Sonne scheinen Da stellt sich Jesus mitten ein For them the sun must shine there Jesus appears in the midst of them Mit der güldnen Überschrift: Und spricht darzu das Amen. with the golden superscription: and says to them, Amen. Jesus ist ein Schild der Seinen, Denn was aus Lieb und Not geschicht, Jesus is a shield for His people For what happens from love and necessity Wenn sie die Verfolgung trifft. Das bricht des Höchsten Ordnung nicht. when persecution strikes them. does not break the order of the most high God. 7. Chorale (S A T B) [Da Capo] Verleih uns Frieden gnädiglich, 4. Chorale duet (Soprano, Tenor) Graciously grant us peace, Verzage nicht, o Häuflein klein, Herr Gott, zu unsern Zeiten; Do not lose heart, O my dear little flock, Lord God, in our time. Obschon die Feinde willens sein, Es ist doch ja kein andrer nicht, even if your enemies intend There is no one else Dich gänzlich zu verstören, Der für uns könnte streiten, to destroy you completely who could fight for us Und suchen deinen Untergang, Denn du, unsr Gott, alleine. and seek your downfall, except You, our God, alone. Davon dir wird recht angst und bang: Gib unsern Fürsten und all‘r Obrigkeit so that you’re really distressed and fearful. Grant to our princes and those in authority Es wird nicht lange währen. Fried und gut Regiment, It will not last long. peace and good government Daß wir unter ihnen 5. Recitative (Bass) so that we under them Man kann hiervon ein schön Exempel sehen Ein geruhig und stilles Leben führen mögen One can here see an excellent example of this may lead a calm and peaceful life An dem, was zu Jerusalem geschehen; In aller Gottseligkeit und Ehrbarkeit. Amen. in what happened in Jerusalem; in all godliness and respectability.

8 This Joyful Eastertide (LSB 482)

9 Dr. Maurice Boyer Music Director Dr. Maurice Boyer is in his second year of serving as music director for the American Kantorei / Bach at the Sem. He is associate professor of music at Concordia University Chicago, River Forest, Ill., where he conducts the chamber orchestra and Laudate, a women’s choir, and teaches all levels of ear training. Boyer also is the artistic director of Aestas Consort of Chicago and assistant conductor of the Symphony of Oak Park River Forest. He 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., where he also studied theology at Princeton Theological Seminary. Boyer also holds a Doctor of Musical Arts in orchestral conducting from the University of Maryland, College Park.

Benton Blasingame Assistant Music Director and Associate Organist Cathedral Basilica of St. Louis Benton Blasingame is the assistant music director and associate organist at the Cathedral Basilica of St. Louis. He hails from Collinsville, Ill., and is a member of Good Shepherd Lutheran Church. He is a graduate of the Interlochen Arts Academy, the Eastman School of Music, the Yale School of Music and the Yale Institute of Sacred Music. His organ teachers include Martin Jean, David Higgs, Thomas Bara and John Romeri. He has been the first prize winner of the Albert Schweitzer Organ Competition in the high school division, the John R. Rodland Memorial Scholarship competition and the Taylor Organ Competition. Other awards include Interlochen Arts Academy’s Young Artist Award, the Yale School of Music’s Charles Ives Prize and the Yale Institute of Sacred Music’s Director’s Prize.

The American Kantorei Chorus

Soprano Alto Tenor Bass Emily Truckenbrod Katharine Lawton Brown Scott Kennebeck* Jeffrey Heyl Principal Principal Principal Principal Lea Herdler Stephanie Ruggles Jeral Becker* David Berger* Assistant Principal Assistant Principal Associate Principal Associate Principal Kathryn Crumrine Mona Hauser Greg Gastler Thomas Jarrett Bolain Katherine Gastler Anna Otterman Bill Larson Everett Gossard Megan Glass Jennifer Spohr Ryan Markel Luther Gulseth Sarah Gulseth Kimberly Werner Steve Paquette John Spomer Marita Hollander Amy Will Greg Upchurch Camille Marolf Lisa Young Kyle Will Lynn D. Morrissey

Orchestra

Violin I Cello English Horn Chapel Organ Wanda Becker* Andrew Ruben Ann Homann Benton Blasingame Concertmaster Double Bass Principal Christine Sasse* Diane Lieser Wendy Hyman-Fite Flute (No flute in this concert) Violin II Oboe / Oboe d’amore Bassoon Paula Kasica* Kaoru Wada Robert Mottl* Ann Homann Trumpet Principal Principal Continuo Organ Marilyn Park Ellington (No trumpet in this concert) Eileen Burke* John Walsh Robert Souza* Viola Sarah Borchelt * “Charter” members (participated in the first Bach at the Sem Feb. 7, 1993)

10 WELCOME TO BACH AT CONCORDIA SEMINARY! Thank you for attending this afternoon’s concert. On behalf of the Seminary, I express our sin- cere appreciation to the American Kantorei — the chorus and the instrumentalists — and Music Director Maurice Boyer for the love and labor they have put into today’s concert. Their offering to us this afternoon is rich with meaning.

Reflecting on the massive changes in our culture, columnist Peggy Noonan wrote, “Everyone’s in the dark looking for the switch. When you’re in the middle of history the meaning of things is usually unclear. … In real time most things are obscure” (Wall Street Journal, Feb. 11-12, 2017; A13). As the light wanes this afternoon, J.S. Bach takes us to the evenings and darkness we all experience, our regrets, our fears, our limitations, to inevitable change and our yearnings for light. “Bleib’ bie uns, denn es will Abend werden.” “Am Abend aber desselbigen Sabbats.” The way forward, the way toward light is the way of following. “Du Hirte Israel, höre” invites us to the Good Shepherd, the One we bid stay with us whenever darkness settles around or within us.

Daylight to dusk to darkness, life moves forward and change comes. Today’s program marks a transition from the past to the future of Bach on Concordia’s campus. Next year’s musical offerings by Concordia Seminary will take a different form, pre- senting in various formats the influence and legacy of J.S. Bach along with many other musicians whose combination of Word and music have proclaimed Christ. The cause for this change primarily is the lack of ongoing donor support for the existing concert series. It is our prayer that the new program will be meaningful to the community. Watch for more information to be shared later this summer about next year’s musical offerings.

An indescribable debt of gratitude goes to those whose vision conceived Bach at the Sem and whose gifts made the series pos- sible for so many years. To the musicians who performed from their hearts — the American Kantorei and the leaders among them — we express deepest appreciation for their sacrifices of time and labors of love. And to the music directors, especially the sainted Robert Bergt and more recently and wonderfully Maurice Boyer, I express the gratitude of the Seminary commu- nity. They all brought together a series that has been a profound blessing to many hearts and lives over the years.

“Abide with us.” Life moves forward and change necessarily comes, but through these changes Bach and the best of music will continue at Concordia Seminary. “Through the church the song goes on.”

Dale A. Meyer President Concordia Seminary, St. Louis

Bach at the Sem Repertoire 2016-17 The following works have been performed in the Bach at the Sem series this season. The Bach Werke Verzeichnis (Bach Works Registry) numbers are followed by performance dates, titles and performing forces or type of work.

Choral Works BWV 6 5/7/17 Bleib’ bie uns, denn es will Abend werden Cantata BWV 42 5/7/17 Am Abend aber desselbigen Sabbats Cantata BWV 104 5/7/17 Du Hirte Israel, höre Cantata BWV 121 12/11/16 Christum wir sollen loben schon Cantata BWV 147 12/11/16 Herz und Mund und Tat und Leben Cantata BWV 151 12/11/16 from Süsser Trost, mein Jesus kömmt 1. Aria (soprano) BWV 182 12/11/16 from Himmelskönig, sei willkommen 1. Sonata concerto

Organ Works From Schübler (BWV 645-650) From Clavier-Übung III (BWV 669-689) 645 12/11/16 Wachet auf! ruft uns die Stimme 676 5/7/17 Allein Gott in der Höh’ sei Ehr’

For a full repertoire between 1993-2017, visit www.csl.edu/bach.

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