FESTIVAL CONCERT NEW ENGLAND CONSERVATORY’S JORDAN HALL | TUESDAY, JUNE 11 | 8PM J. S. Bach: The Arnstadt Connection Vox Luminis Lionel Meunier, Artistic Director with members of Quicksilver TUESDAY, JUNE 11

Ich danke dir Gott (Psalm 139:14) Sacred for the 17th Sunday after Trinity (1615–1692) Herr, der König freuet sich (Psalm 21:2–7) (1648–1694) Die Furcht des Herren Sacred concerto for the installation of the town council (1642–1703) Herzlich Lieb hab ich dich, o Herr, BuxWV 41 Cantata (ca. 1637–1707)

Herr, wende dich und sei mir gnädig Johann Christoph Bach Dialogue for four voices Christ lag in Todesbanden, BWV 4 Cantata (1685–1750)

W Continuo organ by Bennett & Giuttari, Rehoboth, Massachusetts, X provided by New England Conservatory.

Boston Early Music Festival extends heartfelt thanks to Miles Morgan partial sponsor of tonight’s performance by Vox Luminis and Drs. Peter Libby and Beryl Bennaceraf for their leadership support of tonight’s pre-concert talk by Christoph Wolff

2019 BOSTON EARLY MUSIC FESTIVAL 149 FESTIVAL CONCERT Vox Luminis Lionel Meunier, Artistic Director & bass Zsuzsi Tóth, Stefanie True, Kristen Witmer & Victoria Cassano, soprano Daniel Elgersma & Jan Kullmann, alto Robert Buckland & Philippe Froeliger, tenor Sebastian Myrus, bass Anthony Romaniuk, organ Benoît Vanden Bemden, violone Quicksilver artists: Robert Mealy & Julie Andrijeski, violin with Patrick Jordan & Daniel Elyar, viola Vox Luminis is represented exclusively in North America by Alliance Artist Management, 5030 Broadway, Suite 812, New York, NY 10034

St. Blasius in Mühlhausen on October 17, 1707; this organist Notes on the Program was none other than Johann Sebastian Bach.

Like his ancestors, who originated in present-day Hungary, Heinrich Bach (1615–1692) Johann Sebastian Bach was clearly not averse to travel. In the There are very few surviving compositions by Heinrich Bach, winter of 1704, he walked the 250 miles from Arnstadt to the organist of the Liebfrauenkirche and then of the Oberkirche Hanseatic city of Lübeck, to meet the famed organist and in Arnstadt from 1641 until his death in 1692. Apart from the composer Dieterich Buxtehude. On his return, Bach was Ich danke dir Gott, his only other extant works are a chorale reprimanded by his employers, having asked for four weeks’ for organ and two sonatas for fve parts. Ich danke dir Gott leave but being gone—in the words of the superintendent’s is very much in the tradition of the geistliches Konzert: it is in report—“almost four times as long.” A fgure associated with one movement with an introductory Sinfonia. The fve vocal both the north German school and the impressive musical lines (SSATB) are accompanied by a string ensemble (two establishments at the Danish and Swedish courts, Buxtehude violins and two violas) and continuo. We should note the would have introduced the young Bach to a series of new highly individual writing for the strings, for the two violins musical ideas. and the two violas play in dialogue with each other from the Sinfonia until the end of the piece. Within this continuous fow, Three members of a dynasty short homophonic passages alternate with more developed Johann Sebastian set himself the task, at ffty years of age, sections in which the fve voices call to and answer each other of collecting every piece of information that he could fnd in in virtuoso vocal writing. The text is a verse taken from Psalm order to trace the exact family relationships that connected the 119 and the work itself was intended to be performed on the impressive list of musicians to whom he was related, distantly seventeenth Sunday after trinity. or otherwise. This document remains the most important source of information available about all of these composers, Johann Michael Bach (1648–1694) organists, cantors and town musicians: three members of the Of all of the earlier members of the family of Johann Sebastian Bach dynasty are featured in tonight’s program. Bach, Johann Michael composed the greatest number of works that have survived: not only motets, but also various Johann Sebastian’s notes about these three run as follows: sacred vocal works with both smaller and larger instrumental “Heinrich Bach, the third son of Hans Bach, […] of the accompaniments, a Sonate à 4 for strings and a good twenty Company of Arnstadt, […] also carried out the functions of chorales for organ. municipal organist. He was born in Wechmar on 16 December 1615 and died in Arnstadt in 1692. Johann Christoph Bach, Herr, der König freuet sich. This geistliches Konzert is, like the eldest son of Heinrich, was born in Arnstadt in 1642 and many others, composed for a double vocal ensemble and died in Eisenach in 1703. He was a profound composer. He an instrumental ensemble: alongside the continuo there married Mademoiselle née Wiedemann, the eldest daughter of are not only fve solo voices but fve ripieno voices that Monsieur Wiedemann, the town clerk of Arnstadt; she bore double the solo voices in the tutti passages; there are also him four sons […]. Johann Michael Bach, the second son of fve instrumental lines, allocated to two violins, two violas, Heinrich Bach, was also born in Arnstadt, in the year 1648. and violone. The manuscript sources also allow for variety He was town clerk and organist to the town of Gehren and in the instrumentation, with the strings alternating with was, like his elder brother, an able composer. At his death he an ensemble of cornets, trumpets, and trombones. The left a widow, the second daughter of Monsieur Weidemann, instrumental writing here is clearly separated between the the town clerk of Arnstadt, and four unmarried daughters. violins, who have the most virtuoso line, and the two violas There were no sons.” Maria Barbara, one of these four and the violone who are generally confned to providing clear daughters, would later marry the organist of the church of and functional harmonies. 150 DREAMS & MADNESS FESTIVAL CONCERT Johann Christoph Bach (1642–1703) Herzlich Lieb hab ich dich, o Herr demonstrates Buxtehude’s It is clear that, out of all the earlier members of Johann take on the . It exhibits his impressive Sebastian Bach’s family, Johann Christoph Bach was the capabilities in taking a simple melody and using it as the basis most impressive composer of them all, thanks not only to generate a complex multi-movement musical structure. to the quality but also to the originality of his works. We The chorale Buxtehude selected was written around 1570 by should remember, after all, that Johann Christoph was the Martin Schalling, a protégé of Philipp Melanchthon. Bach in only earlier member of the whose talents were fact used the same chorale for the conclusion of Cantata 178, specifcally mentioned by Johann Sebastian Bach, who composed in Leipzig in 1729. termed him “ein profonder Componist.” It is highly likely that the young Johann Sebastian Bach felt closest to Johann Johann Sebastian Bach (1685–1750) Christoph of all his relations, given that Johann Christoph Johann Sebastian Bach reassumed his position of organist at was the resident organist in Eisenach and was also close to Arnstadt in February 1706, after the period of four months his cousin Johann Ambrosius, the father of Johann Sebastian. that he had spent with Dieterich Buxtehude in Lübeck. His ears were flled with everything that he had heard there, as TUESDAY, JUNE 11 Die Furcht des Herren is a typically imaginative composition. well as with everything that he had heard during his previous Likely performed at a grand civic occasion, its manuscript period in North Germany with Böhm in Lüneburg and with contains parts named for various city functionaries, who sing the master organists of Hamburg. We know that he then in dialogue with a soprano representing “Die Weisheit”— began to compose works for harpsichord, these including Wisdom. After this character’s frst entry, marked by soft, the suites composed in the French style with which he had tremolo strings, a dialogue ensues, in which the city offcials, become acquainted during his frst period in the north; why singing in fragmented disorder, petition to be given the gift of should we not imagine that he also began to compose vocal Wisdom. works at that time? The concentration of stylistic elements taken from the models he had closest to hand is, for us, Herr, wende dich und sei mir gnädig. This work, which the convincing proof that the cantata Christ lag in Todesbanden composer also termed a Dialog in its subtitle, once again is undoubtedly the sole vocal work of his from that time requires a double vocal and a double instrumental ensemble: to have survived. It is clear that it was one of his favored four voices in SATB layout on the one side, and two violins, works and that he found it to be successful, for he revived it two violas, and bass (the most frequent arrangement at that in Leipzig on April 9, 1724, adding extra lines for cornet and period) on the other. The piece has a strongly theatrical aspect three trombones for the occasion. with three repentant believers (SAT) who feel that their death is approaching—hence the frequent repetition of the phrase This work contains many elements that can be traced back to “das Grab ist da” (the tomb is there)—and the bass voice works by Bach’s earlier relations. As well as the fve-part string who represents the consoling voice of Christ, the Vox Christi. writing that was a characteristic of the period, there is also the principal role given to the frst violin: the brief cadenza given Dieterich Buxtehude (ca. 1637–1707) to it at the end of the Sinfonia; the extremely active string Buxtehude’s biography is somewhat patchy. No records writing during the vocal quartets, with the instrumental parts exist specifying the location or date of his birth, although being independent from the vocal lines; the virtuoso chains of a memorial printed after his death in 1707 tells that “he passage-work and the diminutions over the chorale theme—this recognized Denmark as his native country, whence he came to here being heard in the tenor’s verse with two violins in unison, our nation.” His father had been organist of the Maria Kyrka exactly as in the fnal chorale of Johann Christoph Bach’s in Helsingborg, moving across the sound to Helsingør (better cantata Herr, wende dich und sei mir gnädig. There is also the known as Elsinore, the setting for Shakespeare’s Hamlet). bass line in eighth notes of the frst duo, this being modelled on passages in works by Buxtehude, as well as the bass Like Bach, Buxtehude was educated at the local Latin School, accompanied by the strings that is immediately reminiscent of and probably trained in music by his father. By 1658, he Nicolaus Bruhns. We should add that this variety of vocal and had taken up his father’s former job in Helsinborg, but in instrumental ensembles was already present in the cantata Herr 1660 returned to Helsingør as organist at the Marienkirche, der König freuet sich by Johann Michael Bach. home to the city’s German-speaking congregation. On the death of Franz Tunder in 1688, the post of organist at the Bach is the German word for a stream: the Bach family is Marienkirche in Lübeck became vacant. Tunder had been a fne representation of its name, for the family developed one of the leading composers of the seventeenth century, in the same way that a brook develops into a major founding the so-called Abendmusiken in 1664. These were watercourse; the earlier members of the Bach family were a series of concerts of sacred music, held at the beginning the brooks, rivulets and streams that came together and of the liturgical year and over the four Sundays of Advent. formed the mighty river that was Johann Sebastian Bach. w Lübeck thus presented an excellent base for Buxtehude to expand the scope of his compositional activities, and over the remainder of his career he produced an impressive number of —Jérôme Lejeune large-scale and vocal (i.e., ) for Translation: Peter Lockwood the Abendmusiken. Text on Die Furcht des Herren: James Potter Text of frst paragraph and text on Buxtehude: David Lee 2019 BOSTON EARLY MUSIC FESTIVAL 151 FESTIVAL CONCERT Texts & Translations Ich danke dir Gott – Heinrich Bach

Ich danke dir, Gott, I thank you, God, daß ich wunderbarlich gemacht bin. for I am fearfully and wonderfully made. Herr, mein Gott, Lord my God, wunderbarlich sind deine Werk, how wonderful are your works; und das Erkennet meine Seele wohl. My soul acknowledges this in truth.

Herr, der König freuet sich – Johann Michael Bach

Herr, der König freuet sich in deiner Kraft, O Lord, the king rejoices in your strength, und wie sehr fröhlich ist er über deiner Hülfe. And exults greatly in your help.

Denn du gibest ihm seines Herzens Wunsch For you have given him his heart’s desire, und weigerst nicht was sein Mund bittet. Sela. And have not refused what his mouth requests. Selah.

Denn du überschüttest ihn mit gutem Segen For you have showered him with goodly blessings und setzest eine güldene Krone auf sein Haupt. And have set a golden crown upon his head.

Er bittet dich um das Leben; He asked life from you, and you granted him so gibst du ihm langes Leben immer und ewiglich. Long life for ever and ever.

Er hat große Ehre an deiner Hülfe; He has gained great glory through your help; du legest Lob und Schmuck auf ihn. you have bestowed praise and splendor on him.

Denn du setzest ihn zum Segen ewiglich, For you have set your blessing on him for eternity, und erfreuest ihn mit Freuden deines Antlitz’. And cause him to rejoice on beholding your face.

Herr, der König freuet sich in deiner Kraft, O Lord, the king rejoices in your strength, und wie sehr fröhlich ist deiner Hülfe. And exults greatly in your help.

Die Furcht des Herren – Johann Christoph Bach

Sopran: Die Weisheit Soprano: Wisdom Sopran 2: Der jüngere regierende Kämmerer Soprano 2: the younger incumbent chamberlain Altus: Der jüngere regierende Bürgermeister Alto: the younger incumbent burgomaster Tenor: Der ältere regierende Kämmerer Tenor: the older incumbent chamberlain Baß: Der ältere regierende Bürgermeister Bass: the older incumbent burgomaster Chor: Der ganze Rat Chorus: the entire council

Sopran Soprano Die Furcht des Herren ist der Weisheit Anfang, The fear of the Lord is the beginning of wisdom, das ist eine feine Klugheit; wer darnach tut, This is fne intelligence: whoever acts in this fashion, des Lob bleibt ewig. will be praised forever.

Sopran 2, Altus, Tenor, Bass, Chor Soprano 2, Alto, Tenor, Bass, Chorus O Gott meiner Väter und Herr aller Güte, O God of my fathers and Lord of all that is good, der du alle Dinge durch dein Wort gemacht Who created all things by your word und den Menschen durch deine Weisheit bereitet hast, daß and who in your wisdom prepared humanity er die Welt regieren soll mit Heiligkeit to rule the world with holiness und Gerechtigkeit and justice und mit rechtem Herzen richten: and to judge with a righteous heart: Gib mir die Weisheit, die stets um deinen Thron ist. Grant me the wisdom that still surrounds your throne.

Sopran Soprano Durch mich regieren die Könige, The kings rule through me, und die Ratsherrn setzen das Recht. and the councillors lay down the laws.

152 DREAMS & MADNESS FESTIVAL CONCERT Alle Anderen The Others Gib mir die Weisheit. Grant me wisdom.

Sopran Soprano Durch mich herrschen die Fürsten und alle Regenten auf The princes and all who govern on earth rule through me. Erden.

Alle Anderen The Others Gib mir die Weisheit, die stets um deinen Thron ist. Grant me the wisdom that still surrounds your throne.

Sopran Soprano Ich Weisheit, wohne bei dem Witze und weiß guten Rat zu geben. I, wisdom, dwell with reason and give good counsel.

Alle Anderen The Others TUESDAY, JUNE 11 Gib mir die Weisheit Grant me wisdom

Altus Alto denn ich bin zu gering. For I am low and humble.

Sopran Soprano Mein ist beide, Rat und Tat. Both counsel and action are mine to offer.

Sopran 2 Soprano 2 Ich bin zu gering im Verstand des Rechts und Gesetzes. I am too lowly to understand justice and the law.

Sopran Soprano Ich habe Verstand und Macht! I have knowledge and power!

Alle Anderen The Others Gib mir die Weisheit, die stets um deinen Thron ist. Grant me the wisdom that still surrounds your throne.

Herzlich Lieb hab ich dich, o Herr – Dieterich Buxtehude

Herzlich lieb hab’ ich dich, o Herr, Most dearly do I love thee, O Lord, Ich bitt’, woll’st sein von mir nicht fern I pray thee, be not far from me Mit deiner Hilf und Gnaden. with thy help and thy mercy.

Die ganze Welt nicht freuet mich, Nothing bringeth me joy in this world, nach Himmel und Erd’ nicht frag’ ich, I desire nothing on earth or in heaven, wenn ich dich nur kann haben. provided thou dwelleth in my heart, O Lord.

Und wenn mir gleich mein Herz zerbricht, And if my heart should break, So bist doch du mein’ Zuversicht, thou shalt be my comfort Mein Teil und meines Herzens Trost, and my hope, Der mich durch sein Blut hat erlöst. that hath redeemed me with thy blood.

Herr Jesu Christ, Lord Christ, Mein Gott und Herr, mein Gott und Herr, my God and Lord, In Schanden laß mich nimmermehr! do not ever bring me to shame!

Es ist ja, Herr, dein Geschenk und Gab Truly, Lord, thy gift and thy charity Mein Leib und Seel’ und was ich hab’ are my body and my soul and all that I possess In diesem armen Leben. in this poor life,

Damit ich’s brauch’ zum Lobe dein, That I might employ them to praise thee, Zu Nutz und Dienst des Nächsten mein, to be of use and service to my neighbor, Woll’st mir dein’ Gnade geben. vouchsafe me thy grace.

Behüt’ mich, Herr, vor falscher Lehr’, Protect me, Lord, from evil ways, Des Satans Mord und Lügen wehr, from the danger of Satan’s murder and lies,

2019 BOSTON EARLY MUSIC FESTIVAL 153 FESTIVAL CONCERT In allem Kreuz erhalte mich, in every cross do thou uphold me, Auf daß ich’s trag’ geduldiglich. that I might bear it patiently.

Herr Jesu Christ, Lord Jesus Christ, Mein Herr und Gott, mein Herr und Gott, my God and Lord, Tröst mir mein’ Seel’ in Todesnot. comfort my soul in the peril of death!

Ach Herr, laß dein’ lieb’ Engelein O Lord, let thy sweet angels Am letzten End’ die Seele mein at my last hour bear my soul In Abrahams Schoß tragen. even to Abraham’s bosom.

Der Leib in sein’m Schlafkämmerlein And let my body in its abode of sleep Gar sanft, ohn einig’ Qual und Pein, quietly without torment and pain rest Ruhn bis am Jüngsten Tage. until the day of judgment.

Als dann vom Tod erwecke mich Raise me then from death, Daß meine Augen sehen dich that my eyes may behold thee In aller Freud’, o Gottes Sohn, in blissful joy, O Son of God, Mein Heiland und mein Gnadenthron! my Savior and my Throne of Mercy. Herr Jesu Christ, Lord Jesus Christ, Erhöre mich, erhöre mich, hear my prayer. Ich will dich preisen ewiglich! I will praise thee in all eternity. Amen. Amen.

Herr, wende dich und sei mir gnädig – Johann Christoph Bach

DIALOG DIALOGUE Sopran, Altus, Tenor Soprano, Alto, Tenor Herr, wende dich und sei mir gnädig, Lord, turn unto me and be merciful, denn ich rufe täglich zu dir, For I call to you daily; mein Odem ist schwach my breath is weak und meine Tage sind abgekürzt: And my days are cut short:

Das Grab ist da. The grave is open.

Bass Bass Laß dir an meiner Gnade begnügen. Let yourself be content within my grace.

Altus Alto Meine Gestalt ist jämmerlich und elend, My state is pitiful and wretched, die bestimmten Jahre sind kommen, The term of my years is run; und ich gehe hin des Weges, I set out on a road den ich nicht wiederkomme: on which I shall not return.

Sopran, Altus, Tenor Soprano, Alto, Tenor Das Grab ist da. The grave is open.

Tenor Tenor Der demütiget auf dem Auge meine Kraft Death humbles my strength in my sight und verkürzet meine Tage: and shortens my days:

Sopran, Altus, Tenor Soprano, Alto, Tenor Das Grab ist da. The grave is open.

Altus Alto Meine Tage sind dahin wie ein Schatten, My days pass like shadows, und ich verdorre wie Gras: And I wilt away like the grass:

154 DREAMS & MADNESS FESTIVAL CONCERT Sopran, Altus, Tenor Soprano, Alto, Tenor Das Grab ist da, The grave is open, und meine Kräfte sind vertrocknet wie eine Scherbe. and my strength lies shattered like a potsherd.

Bass Bass Meine Kraft ist in den Schwachen mächtig. My might grants strength to the weak. Laß dir an meiner Gnade begnügen. Rejoice in my grace and mercy.

Sopran, Altus, Tenor Soprano, Alto, Tenor Mein Gott, nimm mich nicht weg My God, do not take me away in der Hälfte meiner Tage! in the middle of life! Stärke deinen Knecht, denn ich bin elend und arm; Strengthen your servant, for I am miserable and poor. neige deine Ohren und erhöre mich! Incline your ear unto me and hear me! TUESDAY, JUNE 11 Bass Bass Ich habe dich erhöret zur angenehmen Zeit I have heard you in the fullness of time und will deinen Tagen noch viel Jahr zusetzen. and will increase your lifespan by many years. Denn siehe, ich decke dich unter den Schatten For behold, I cover you with the shadow of meiner Hände my hands und habe dir am Tage des Heils geholfen. and I have helped you on the day of judgment. Laß dir meiner Gnade begnügen. Rejoice in my grace and mercy.

Sopran, Altus, Tenor Soprano, Alto, Tenor Der Herr züchtiget mich wohl, The Lord punishes me, aber er gibt mich dem Tode nicht, but does not kill me, denn die Toten werden dich, Herr, nicht loben, for neither the dead nor those that descend noch die hinunterfahren in die Hölle. into hell will praise the Lord.

Sopran, Altus, Tenor, Bass Soprano, Alto, Tenor, Bass Sondern wir loben den herrn, von nun an bis in Ewigkeit. But we praise the Lord, from now until eternity. Die Toten werden dich, Herr, nicht loben, For neither the dead nor those that descend noch die hinunterfahren in die Hölle. into hell will praise the Lord.

Choral Chorale Frisch auf mein’ Seel’ und zage nicht, Rise up, my soul, and do not hesitate, Gott will sich dein erbarmen. for God will have mercy on you. Rasch hilf’ will er dir teilen mit, He will swiftly come to your aid, er ist ein Schutz der Armen; for he is the protector of the poor. ob’s oft geht hart Although life is often im Rosengart’ no bed of roses, kann man nicht allzeit sitzen, we cannot remain always sitting down. Wer Gott vertraut, He who trusts in God fest auf ihn baut, and bases his life around him, den will er ewig schützen. God will protect forever.

Christ lag in Todesbanden, BWV 4 – Johann Sebastian Bach

1. SINFONIA 1. SINFONIA

2. CORO, Versus I 2. CHORUS, Verse I Christ lag in Todesbanden, Christ lay in death’s bonds für unsre Sünd gegeben, handed over for our sins, er ist wieder erstanden he is risen again und hat uns bracht das Leben; and has brought us life; des wir sollen fröhlich sein, for this we should be joyful, Gott loben und ihm dankbar sein praise God and be thankful to him und singen halleluja, and sing alleluia, Halleluja! Alleluia!

2019 BOSTON EARLY MUSIC FESTIVAL 155 FESTIVAL CONCERT 3. DUETT, Versus II [S, A] 3. DUETTO, Verse II Den Tod niemand zwingen kunnt Nobody could overcome death bei allen Menschenkindern, among all the children of mankind. Das macht’ alles unsre Sünd, Our sin was the cause of all this, Kein Unschuld war zu fnden. No innocence was to be found. Davon kam der Tod so bald Therefore death came so quickly und nahm über uns Gewalt, and seized power over us, hielt uns in seinem Reich gefangen. held us captive in his kingdom. Halleluja! Alleluia!

4. , Versus III [T] 4. ARIA, Verse III Jesus Christus, Gottes Sohn, Jesus Christ, God’s son, an unser Statt ist kommen, has come to our place und hat die Sünde weggetan, and has put aside our sins, damit dem Tod genommen and in this way from death has taken all sein Recht und sein Gewalt, all his rights and his power, da bleibet nichts denn Tod’s Gestalt, here remains nothing but death’s outward form, den Stach’l hat er verloren. it has lost its sting. Halleluja! Alleluia!

5. CORO, Versus IV 6. CHORUS, Verse IV Es war ein wunderlicher Krieg, It was a strange battle da Tod und Leben rungen, where death and life struggled. das Leben behielt den Sieg, Life won the victory, es hat den Tod verschlungen. it has swallowed up death. Die Schrift hat verkündigt das, Scripture has proclaimed wie ein Tod den andern fraß, how one death ate the other, ein Spott aus dem Tod ist worden. death has become a mockery. Halleluja! Alleluia!

6. ARIA, Versus V [B] 6. ARIA, Verse V Hier ist das rechte Osterlamm, Here is the true Easter lamb davon Gott hat geboten, that God has offered, das ist hoch an des Kreuzes Stamm, which high on the trunk of the cross in heißer Lieb gebraten, is roasted in burning love, das Blut zeichnet unsre Tür, whose blood marks our doors, das hält der Glaub dem Tode für, which faith holds in front of death, der Würger kann uns nicht mehr schaden. the strangler can harm us no more. Halleluja! Alleluia!

7. DUETT, Versus VI [S, T] 7. DUETTO, Verse VI So feiern wir das hohe Fest, Thus we celebrate the high feast mit Herzensfreud und Wonne, with joy in our hearts das uns der Herre scheinen lässt. and delight that the Lord lets shine for us; Er ist selber die Sonne, he is himself the sun der durch seiner Gnaden Glanz who through the brilliance of his grace erleuchtet unsre Herzen ganz, enlightens our hearts completely, der Sünden Nacht ist verschwunden. the night of sin has disappeared. Halleluja! Alleluia!

8. CHORAL, Versus VII 8. CHORALE, Verse VII Wir essen und leben wohl We eat and live well In rechten Osterfaden, on the right Easter cakes, Der alte Sauerteig nicht soll the old sour dough should Sein bei dem Wort der Gnaden, not be with the word grace, Christus will die Koste sein Christ will be our food Und speisen die Seel allein, and alone feed the soul, Der Glaub will keins andern leben. faith will live in no other way. Halleluja! w Alleluia! w

156 DREAMS & MADNESS