Lectures Mailer 04

Home , Carl Schalk, Jaroslav Vajda

LectuThe Vi Mersserli Meemorial s in Church Music Concordia University Chicago October 18 – October 20, 2009

Concerts Sunday, October 18

4:00pm Music of Carl Schalk I: Larger Choral Works

Chapel of Our Lord, Concordia University Chicago

8:00pm Music of Carl Schalk II: A Festival of Hymns

Grace Lutheran Church, River Forest

Monday, October 19

8:00pm Music of Carl Schalk III: Choral Music from Christmas to All Saints

Grace Lutheran Church, River Forest

1 TheLVieMescsetrli uMemroerial s in Church Music concerts

served as lead consultant for “Celebrating the Musical Heritage of the Lutheran Church,” an interactive CD-ROM with five audio CDs distrib - uted to Lutheran church - es and schools published in 2002 by Thrivent Financial for Lutherans.

Carl Flentge Schalk is distinguished Earlier in his career Schalk served as teacher professor of music emeritus at Concordia and director of music at Zion Lutheran Church University Chicago in River Forest, Illinois, and in Wausau, Wisconsin (1952-1958), and as served Grace Lutheran Church, River Forest, as director of music for the radio broadcasts of assistant director of music from 1968 until the International Lutheran Hour (1958-1965). 1997. He taught at Concordia University from 1965 until his retirement in 1994. He was born in Des Plaines, Illinois, where his father was the fifth and sixth grade teacher at A lecturer and clinician at numerous church Immanual Lutheran School. Schalk went to music workshops and pastoral conferences, Concordia High School and received his Schalk was editor of Church Music magazine Bachelor of Science degree in Education in (1966–80), and served as a member of the 1952 from Concordia University Chicago (then Inter-Lutheran Commission on Worship, Hymn Concordia Teachers College) in River Forest, Music Committee, which prepared Lutheran Illinois. Book of Worship (1978). He served on the Music Editorial Advisory Committee of Schalk holds advanced degrees from the Concordia Publishing House (1964–2003) and Eastman School of Music of the University of has served on various boards and committees Rochester in Rochester, New York (M. Mus.) of the Hymn Society of the United States and and from Concordia Seminary in St. Louis, Canada, the National Association of Pastoral Missouri (M.A.R.). He has received honorary Musicians, the Association of Lutheran Church degrees from Concordia University Nebraska in Musicians, and the Lutheran Music Program. Seward (LL. D.), Concordia University in St. Paul, Minnesota (L.H.D.) and Concordia It was during the preparation for the Worship Seminary in St. Louis, Missouri (L.H.D.). He Supplement (1969) that Schalk was asked to was named a Fellow of the Hymn Society of write a hymn tune to “Now the Silence,” text the United States and Canada in 1992 and an honorary life member of the Association of Lutheran Church Musicians in 1995. He was elected distinguished professor of music at Concordia University Chicago in 1993 by his faculty colleagues. In 1999 he received the prestigious Wittenberg Award from The Luther Institute, Washington, D.C., and in 2002 received the Distinguished Composer Award from the American Guild of Organists. He

2 written by Jaroslav Vajda. The text has an Land: Lutheran Hymnals in America (1995) and unusual meter, creating a challenging musical its companion Source Documents in American opportunity. The hymn caught on and has Lutheran Hymnody (1996); First Person Singular: appeared in many hymnals and was featured Reflections on Worship, Liturgy, and Children this past summer as a "theme hymn" through - (1998); The Praise of God in Song: An out the national conference of the Association Introduction to Christian Hymnody for of Lutheran Church Musicians. Schalk and Congregational Study (1993); Luther on Music: Vajda were often commissioned to write a Paradigms of Praise (1988); Key Words in Church hymn together. Vajda liked to write in unusual Music (1978, rev. ed. 2004) and Handbook of meters, and Schalk found the longer and more Church Music (1978; rev. ed. 2004). He is the irregular patterns to be interesting. “It gave me editor of the Concordia Book of American Carols room to do something musically with longer and has prepared a Catalog of the Hymnals and lines and longer hymns.” Chorale Books of the Klinck Memorial Library at Concordia University Chicago . His numerous Herb Brokering articles and reviews have appeared in Christian also provided Century, Church History, Concordia Theological texts and influ - Monthly, CrossAccent, Pastoral Music, Currents in enced Schalk’s Theology and Mission, Journal of Religion, work. Schalk Lutheran Education, Notes, and The Hymn . says, “It’s a challenge to Schalk has amassed one of the best collections write some - of Lutheran hymnals in this country, both in thing that is the German and Scandinavian languages of within the abil - recent immigrants as well as English. His ity of a congregation to sing, but yet always collection takes 80 shelving feet stretching them a bit in what they can do. and a room addition to house Congregations can sing beyond what they them. think they can do. I try to write keeping the congregation in mind.” During the years his daughter Jan Westrick taught at the Hong Kong Schalk’s numerous choral compositions and International School, Carl and hymn settings for congregational use—pub - Noël often traveled to Asia. From lished by Augsburg Fortress, Concordia there they were able to visit many Publishing House, MorningStar Music parts of Southeast Asia including Publishers, GIA Publications, Hope Publishing Angor Wat in Cambodia, Bali and Company, and Selah Publishing Company—are Easter Island. They have also widely used in many denominations. His origi - explored islands off Scotland nal hymn tunes and carols exceed 100 in num - tracing the Vikings, following ber, many of which can be found in over 30 routes to Greenland, denominational hymnals in the United States, Newfoundland to North America. Canada, Europe, Japan, and South East Asia. Schalk is married to Noël Four CDs of Schalk’s choral music have been Donata Roeder. They have recorded as Sing Ye Choirs Exultant: The James three children: Jan Marie Chorale Sings Music of Carl Schalk; Christ Be Our Westrick (Gregg), Valparaiso, Seed: The Choral Tradition of Carl F. Schalk sung Indiana; Rebecca Nagel by the American Repertory Singers; Hymns of (Edward), Columbia, South Grace recorded by the choirs of Grace Lutheran Carolina; and Timothy Schalk Church in River Forest, Illinois; and Shine Like (Ingrid), Knoxville, Stars recorded by the Kapelle of Concordia Tennessee.; and four grand - University Chicago in River Forest, Illinois. children, Aaron Michael Schalk, Brian Paul and Peter His publications include Music in Early Charles Westrick, and Samuel Lutheranism: Shaping the Tradition (1524-1672) Nagel. (2001); the award-winning God’s Song in a New 3 Sunday, October 18, 4:00 pm Let the Tender Girl Hold the Wonder Let the tender girl hold the wonder. Music of Carl Schalk I: Let the wonder sleep his infant sleep in cosmic peace, Larger Choral Works though godly thunder rolls gently distant and deep.

Let this tiny king enflesh our joy Chapel of Our Lord, Concordia University Chicago Who whirled the planets, made the earth and called it good. Creator, Lord, boy, our God incarnate at birth. Kapelle, Concordia University Chicago, Let his first night pricked with polished stars Charles Brown, conductor Mark new time exploding pent up bounds. The brightest light Männerchor, Concordia University Chicago, the heavens unbars and moonlight shadows confound. Charles Brown, conductor Schola Cantorum, Concordia University Chicago, Let the sleeping world dream the wonder. Jonathan Kohrs, conductor Let the wonder dream this planet’s drift, the stories merged, not ripped asunder, this world, this infant, God’s gift.

II Lord, When Your Glory I Shall See Epiphany (Matthew 2:1-12) Männerchor “When they saw that the star they rejoiced exceedingly with great joy; Lord, when your glory I shall see and when they entered the house they saw the child and taste your kingdom’s pleasure, with Mary his mother, and they knelt down and Your blood my royal robe shall be, worshiped him.” my joy beyond all measure! —Matthew 2:10-11 When I appear before your throne, your righteousness shall be my crown; Ahead the Star Spreads Light With these I need not hide me. And there, in garments richly wrought, Ahead the star spreads light As your own bride I shall be brought like a soft blanket. to stand in joy beside you. The darkness shoves them forward. “Where is he?” they ask, their odd robes desert dusty, Text: Paul Gerhardt, 1607-1676 Tune: WEDDING GLORY, Kurt J. Eggert, 1923-1993 their saddle bags packed firm with gifts for the child they find nuzzling Mary, who strokes his perfect head as gently as planted kisses. Scenes from the New Testament This infant their destination, their birth. Kapelle Jill Peláez Baumgaertner, reader III Poems by Jill Peláez Baumgaertner Jesus Visits Zacchaeus (Luke 19:1-10) I “Today salvation has come to this house, since he also Christmas (Luke 2:1-14) is a son of Abraham, for the Son of Man came to seek and to save the lost.” Glory to God in the highest heaven, —Luke 19:9a, 10 and on earth peace among those whom he favors! —Luke 2:14 Jesus Visiting Dark red fruit crushed Underfoot stains like blood. The branches cup Zacchaeus Gently and he yearns until the host Does not hold back, Reaches up to pluck him down, And invites himself to dinner. 4 IV Rachel’s children undone, The Stilling of the Tempest stems plucked while still greening. (Matthew 8:23-27) Tiny ankles, soft necks, delicate wrists, none to console, comfort resists. “Then he arose and rebuked the winds and the sea; Though the child’s cross awaits and there was a great calm.” Let his own travels down that dusty road lie —Matthew 8:26b far ahead not yet. Late snatched from sword’s blade, Jesus Stilling he’ll pay our debt. After the sway and pitch of small waves, and the deep solitude of sleep, Jesus dreams whatever God dreams: new languages, Eden, the clamps and chisels of a father’s The Passion According to St. John workshop, a boulder wedged into an entrance. Schola Cantorum Then the waves’ explosion, the frantic bailing, Maurice Boyer, soloist (Evangelist) and Jesus rebuke. All finally like God Charles Brown, soloist (Jesus) in the wind before creation, silent and deep. Prologue V The Passion of Our Lord and Savior Jesus Christ The Triumphant Entrance into Jerusalem according to the holy evangelist, Saint John. (Matthew 21:1-11) Betrayal and Arrest of Jesus “Hosanna to the Son of David! Blessed is he who comes in the name of the Lord! When Jesus had spoken these words, he went out with Hosanna in the highest!” his disciples across the Kidron Valley, where there was —Matthew 21:9b a garden, which he and his disciples entered. Now Judas, who betrayed him, also knew the place, for He Rides the Hosannas Jesus often met there with his disciples. So Judas, hav - He rides the hosannas ing procured a band of soldiers and some officers from into the city, the jubilant song the chief priests and the Pharisees, went there with an invitation, his name. lanterns and torches and weapons. Then Jesus, know - The path clean of stones. ing all that would happen to him, came forward and The cloaks spread under the neat said to them, “Whom do you seek?” They answered hooves of ass and colt. him, “Jesus of Nazareth.” Jesus said to them, “I am No stumble. he.” Judas, who betrayed him, was standing with them. No crown of thorns. When Jesus said to them, “I am he,” they drew back No burdened tread. and fell to the ground. So he asked them again, He comes, a King. He comes. “Whom do you seek?” And they said, “Jesus of Nazareth.” Jesus answered, “I told you that I am he. VI So, if you seek me, let these men go.” This was to ful - Holy Innocents (Matthew 2:13-23) fill the word that he had spoken: “Of those whom you gave me I have lost not one.” Then Simon Peter, having “A voice was heard in Ramah, wailing and loud a sword, drew it and struck the high priest’s ser - lamentation, Rachel weeping for her children; she refused vant and cut off his right ear. (The servant’s name was to be consoled, because they are no more.” Malchus.) So Jesus said to Peter, “Put your sword into —Matthew 2:18 its sheath; shall I not drink the cup that the Father has given me?” The Flight to Egypt Let the footprints vanish in drifts Jesus before the High Priest as the father, the maiden, the carpenter’s son of God So the band of soldiers and their captain and the offi - press for Egypt cers of the Jews arrested Jesus and bound him. First distancing Herod. they led him to Annas, for he was the father-in-law of Let the desert sands smooth the wrench of leaving home, Caiaphas, who was high priest that year. It was the perilous journey from children’s cries Caiaphas who had advised the Jews that it would be soothe with deep nights, expedient that one man should die for the people. the babe’s planned demise. 5 Peter Denies Jesus My Kingdom Is Not of This World Simon Peter followed Jesus, and so did another disci - So Pilate entered his headquarters again and called ple. Since that disciple was known to the high priest, Jesus and said to him, “Are you the King of the Jews?” he entered with Jesus into the court of the high priest, Jesus answered, “Do you say this of your own accord, but Peter stood outside at the door. So the other disci - or did others say it to you about me?” Pilate answered, ple, who was known to the high priest, went out and “Am I a Jew? Your own nation and the chief priests spoke to the servant girl who kept watch at the door, have delivered you over to me. What have you done?” and brought Peter in. The servant girl at the door said Jesus answered, “My kingdom is not of this world. If to Peter, “You also are not one of this man’s disciples, my kingdom were of this world, my servants would are you?” He said, “I am not.” Now the servants and have been fighting, that I might not be delivered over to officers had made a charcoal fire, because it was cold, the Jews. But my kingdom is not from the world.” Then and they were standing and warming themselves. Peter Pilate said to him, “So you are a king?” Jesus also was with them, standing and warming himself. answered, “You say that I am a king. For this purpose I was born and for this purpose I have come into the The High Priest Questions Jesus world—to bear witness to the truth. Everyone who is The high priest then questioned Jesus about his disci - of the truth listens to my voice.” Pilate said to him, ples and his teaching. Jesus answered him, “I have “What is truth?” spoken openly to the world. I have always taught in synagogues and in the temple, where all Jews come After he had said this, he went back outside to the together. I have said nothing in secret. Why do you Jews and told them, “I find no guilt in him. But you ask me? Ask those who have heard me what I said to have a custom that I should release one man for you at them; they know what I said.” When he had said these the Passover. So do you want me to release to you the things, one of the officers standing by struck Jesus with King of the Jews?” They cried out again, “Not this man, his hand, saying, “Is that how you answer the high but Barabbas!” Now Barabbas was a robber. priest?” Jesus answered him, “If what I said is wrong, Jesus Delivered to Be Crucified bear witness about the wrong; but if what I said is right, why do you strike me?” Annas then sent him Then Pilate took Jesus and flogged him. 2 And the sol - bound to Caiaphas the high priest. diers twisted together a crown of thorns and put it on his head and arrayed him in a purple robe. They came Peter Denies Jesus Again up to him, saying, “Hail, King of the Jews!” and struck Now Simon Peter was standing and warming himself. him with their hands. Pilate went out again and said to So they said to him, “You also are not one of his disci - them, “See, I am bringing him out to you that you may ples, are you?” He denied it and said, “I am not.” One know that I find no guilt in him.” So Jesus came out, of the servants of the high priest, a relative of the man wearing the crown of thorns and the purple robe. whose ear Peter had cut off, asked, “Did I not see you Pilate said to them, “Behold the man!” When the chief in the garden with him?” Peter again denied it, and at priests and the officers saw him, they cried out, once a rooster crowed. “Crucify him, crucify him!” Pilate said to them, “Take him yourselves and crucify him, for I find no guilt in Jesus before Pilate him.” The Jews answered him, “We have a law, and according to that law he ought to die because he has Then they led Jesus from the house of Caiaphas to the made himself the Son of God.” When Pilate heard this governor’s headquarters. It was early morning. They statement, he was even more afraid. He entered his themselves did not enter the governor’s headquarters, headquarters again and said to Jesus, “Where are you so that they would not be defiled, but could eat the from?” But Jesus gave him no answer. So Pilate said to Passover. So Pilate went outside to them and said, him, “You will not speak to me? Do you not know that “What accusation do you bring against this man?” I have authority to release you and authority to crucify They answered him, “If this man were not doing evil, you?” Jesus answered him, “You would have no we would not have delivered him over to you.” Pilate authority over me at all unless it had been given you said to them, “Take him yourselves and judge him by from above. Therefore he who delivered me over to you your own law.” The Jews said to him, “It is not lawful has the greater sin.” for us to put anyone to death.” This was to fulfill the word that Jesus had spoken to show by what kind of death he was going to die.

6 From then on Pilate sought to release him, but the Jews Epilogue cried out, “If you release this man, you are not Caesar’s O sinner, ponder, come and see friend. Everyone who makes himself a king opposes What Christ has wrought on Calvary’s tree Caesar.” So when Pilate heard these words, he brought For all the world’s salvation. Jesus out and sat down on the judgment seat at a place He of a virgin maiden pure, called The Stone Pavement, and in Aramaic Gabbatha. Was born for us, our Savior sure, Now it was the day of Preparation of the Passover. It And came His life to offer. was about the sixth hour. He said to the Jews, “Behold your King!” They cried out, “Away with him, away with The sick He loosed from strife and pain, him, crucify him!” Pilate said to them, “Shall I crucify The dead He raised to life again, your King?” The chief priests answered, “We have no Until the time appointed king but Caesar.” So he delivered him over to them to When for us He would shed His blood, be crucified. Take on our sin’s dark, heavy load, The Crucifixion Nailed to the cross, forsaken.

So they took Jesus, and he went out, bearing his own Then let us all with one accord cross, to the place called The Place of a Skull, which in Unite to praise our loving Lord Aramaic is called Golgotha. There they crucified him, Who took our guilt upon Him. and with him two others, one on either side, and Jesus Cast off from us the bonds of sin, between them. Pilate also wrote an inscription and put And strive His countenance to win, it on the cross. It read, “Jesus of Nazareth, the King of His Word and will fulfilling. the Jews.” Many of the Jews read this inscription, for the place where Jesus was crucified was near the city, Then let our hearts forever burn and it was written in Aramaic, in Latin, and in Greek. With love for all that He has done, So the chief priests of the Jews said to Pilate, “Do not To Him our thanks returning. write, ‘The King of the Jews,’ but rather, ‘This man said, God’s only Son, Eternal Word, I am King of the Jews.’” Pilate answered, “What I have Divine Redeemer, Risen Lord, written I have written.” We praise Your name forever.

When the soldiers had crucified Jesus, they took his garments and divided them into four parts, one part for Text: trans. Carl F. Schalk, b. 1929 each soldier; also his tunic. But the tunic was seamless, Tune: O MENSCH BEWEIN, Matthias Greiter, c. 1494-1550 woven in one piece from top to bottom, so they said to one another, “Let us not tear it, but cast lots for it to see whose it shall be.” This was to fulfill the Scripture which says, “They divided my garments among them, and for my clothing they cast lots.” So the soldiers did these things, but standing by the cross of Jesus were his mother and his mother’s sister, Mary the wife of Clopas, and Mary Magdalene. When Jesus saw his mother and the disciple whom he loved standing nearby, he said to his mother, “Woman, behold, your son!” Then he said to the disciple, “Behold, your mother!” And from that hour the disciple took her to his own home.

The Death of Jesus After this, Jesus, knowing that all was now finished, said (to fulfill the Scripture), “I thirst.” A jar full of sour wine stood there, so they put a sponge full of the sour wine on a hyssop branch and held it to his mouth. When Jesus had received the sour wine, he said, “It is finished,” and he bowed his head and gave up his spirit. —John 18-19 Concert I Program Notes follow on page 8

7 Concert I Program Notes

Lord, When Your Glory I Shall See The Passion According to St. John This setting for four-part male chorus was commis - The setting of the Passion according to St. John follows sioned by James F. Tiefel, director of the Wisconsin the pattern of the earliest setting of the Passion text Lutheran Seminary Chorus honoring the life and written for use by Lutheran choirs in the 16th century, ministry of Rev. Kurt Eggert. It was first performed by particularly, the two settings of the Matthew and John the Seminary Chorus on May 27, 1993. accounts by Johann Walter from the years between 1525-30. This pattern consisted of the Evangelist Scenes from the New Testament chanting the narrative, other solo voices chanting the A traditional Lutheran practice from the 15th and 17th parts of Jesus and other lesser roles and the choir centuries engaged the choir in participation of the singing the Turba, or crowd, choruses in parts. The musical presentation of the gospel. When the gospel St. John account of the passion history is traditionally was read or chanted the choir would interject by appointed as the Holy Gospel for Good Friday. This singing a portion of the story as a brief choral motet setting is intended at that time, although it may also be (Gospel motet). Upon the conclusion of the motet the used at other devotional services during the Lenten lector continued with the reading or chanting until the season as may be appropriate. The text used here is gospel reading was concluded. The current work that of the English Standard Version. This setting was follows this tradition and expands upon it. Six scenes commissioned by the Schola Cantorum, Concordia from the New Testament are provided here with two Theological Seminary, Fort Wayne, Indiana, Kevin choral settings each. The first musical setting sets a Hildebrand, director, and first performed there in 2006. brief portion of the particular story in gospel motet fashion using a traditional music style. The second setting sets a brief contemporary meditation, written by poet Jill Peláez Baumgaertner, on the particular gospel story. The second musical setting, also set in motet style for the four-part choir (SATB), except for the first and last settings which are set for choir (SATB), flute, and keyboard, is in a somewhat less conventional musical style.

8 Sunday, October 18, 8:00 pm

Music of Carl Schalk II: A Festival of Hymns

Grace Lutheran Church, River Forest

Grace Senior Choir and Children of Grace Lutheran School, Michael D. Costello, conductor Laura Zimmer, organist

Greg Fudala and Andrew Bruhn, trumpets Bradley Payne and Timothy Coffman, trombones Tina Laughlin, timpani Meg Busse, oboe The Rev. Kelly K. Faulstich, associate pastor of Grace Lutheran Church & School Adam Wood and Caroline Wood, lectors

Now Now the silence Both words and music Now the peace of this hymn were Now the empty hands uplifted written in 1968, Now the kneeling appearing together for Now the plea the first time in Now the Father’s arms in welcome Worship Supplement Now the hearing (1969). It was con - Now the power ceived as an entrance Now the vessel brimmed for pouring hymn for Holy Now the body Communion. This Now the blood choral setting was Now the joyful celebration written in 1986. Now the wedding Now the songs Now the heart forgiven leaping Now the Spirit’s visitation Now the Son’s epiphany Now Now the Father’s blessing Now Now Now Now Text: Jaroslav J. Vajda, 1919-2008 Tune: NOW, Carl F. Schalk, b. 1929 Now Welcome & Reading: Revelation 7:13–17

Stand

9 Sing with All the Saints in Glory

This new tune and concertato for congre - gation, choir, brass, and timpani, set to words by William J. Irons (1812–83), was commissioned by the family of the Rev. David L. Smith in memory of his 42 years of service to the church. It was first performed on Easter 2009 at St. John Lutheran Church, La Grange, Illinois, under the direction of David Christian.

Text: William J. Irons, 1812–1883, alt. Tune: LA GRANGE, Carl F. Schalk, b. 1929.

Sit

10 God of the Sparrow

God of the sparrow God of the whale God of the hungry God of the sick “God of the Sparrow” God of the swirling stars God of the prodigal is a simple tune How does the creature saw Awe How does the creature say Care named for Rev.Paul How does the creature say Praise How does the creature say Life Roeder, Noel Schalk’s father, whose faithful God of the earthquake God of the storm God of the neighbor God of the foe ministry is memorial - God of the trumpet blast God of the pruning hook ized in the naming of How does the creature cry Woe How does the creature say Love this tune. Written in How does the creature cry Save How does the creature say Peace 1983, it was first sung at the 1987 God of the rainbow God of the cross God of the ages God near at hand convention of the God of the empty grave God of the loving heart Hymn Society of How does the creature say Grace How do your children say Joy America in Houston, How does the creature say Thanks How do your children say Home Texas. It first appeared in Hymn Supplement (1987). Text: Jaroslav J. Vajda, 1919-2008 Tune: ROEDER, Carl F. Schalk, b. 1929

Christ Goes Before

“Christ Goes Before” was commissioned by Ascension Lutheran Church, Riverside, Illinois, on the occa - sion of their 50th anniversary. It was first performed under the Choir Where is that Way we near despaired of finding: direction of Paul the way that comes from God and leads to God, Westermeyer, the realm where God is love and love is King, director of music at the a whole new order for a world astray? church at that time, Who wants to live where there’s no love like this? the same church where Is this the Kingdom we are ready for and desperate to find? Schalk had served Cong. REFRAIN for two years while a college student. Choir Where is that Truth we near despaired of knowing: the truth that comes from God and leads to God, the power to set us free, the power to change, that faces Pilate and the cross and wins? Who wants to live where there’s no peace like this? Is this the Power we are ready for and desperate to know? Cong. REFRAIN

Choir Where is that Life we near despaired of having: the life that comes from God and leads to God, the hope of glory only Christ can give, that shatters death and grief with Easter joy? Who wants to live where there’s no joy like this? Is this the Glory we are ready for and desperate to have? Cong. REFRAIN

Text: Jaroslav J. Vajda, 1919-2008 Tune: RIVERSIDE, Carl F. Schalk, b. 1929 11 Reading: Ephesians 5:6–20

As Newborn Stars Were Stirred

Carl P. Daw, Jr.’s marvelous text and this tune were commissioned by Hope Publishing Co. This text traces the theme of the story of salvation.

Text: Carl P. Daw, Jr., b. 1944 Tune: NEWBORN STARS, Carl F. Schalk, b. 1929 So music bursts unbidden forth

12 Stand Shine Like Stars

Jaroslav Vajda’s text and this tune were both written for the 1993 Great Commission Convocation in Minneapolis, Minnesota. The concertato setting was commissioned in memory of Gene Frank Bishop, St. John Lutheran Church, Abingdon, Virginia. It was first performed there on May 8, 2005.

Text: Jaroslav J. Vajda, 1919–2008 Tune: STARS, Carl F. Schalk, b. 1929

Sit

13 Jesus, Jesus, Light from Light

“Jesus, Jesus, Light from Jesus, Jesus, light from light, Joseph take the turtle dove, Light” is the sixth in a Come to bring the nations sight, Mary take the Lord of love, series of carols written Light, light, sight, sight, Dove, dove, love, love, in the summer of 1981 Jesus is the light, Jesus Christ is love, at Holden Village, Nothing hidden, all is light. All is wonder, all is love. Chelan, Washington. This text by Jesus is the holy name, Simeon, your eyes are old, Herbert Brokering Cross and crown the only fame, Love the one your eyes behold, celebrates the events Name, name, fame, fame, Old, old, hold, hold, surrounding the Jesus is the name; Jesus Christ of old, Nativity of Our Lord. Nothing else will be the same. Whom the prophets once foretold.

Anna, Anna, prophesy, Holy Spirit give us sight, See all nations laugh and cry, Keep us looking for the light, Laugh, cry, why, why, Sight, sight, light, light, Jesus Christ is why, Jesus in the night. All salvation now is nigh. God is present, all is bright.

Text: Herbert F. Brokering, b. 1926 Tune: LIGHT, Carl F. Schalk, b. 1929

Reading: Romans 8:18–25

Thine the Amen

This tune was written for a text by Herbert Brokering, both writ - ten at Holden Village, Chelan, Washington, in the summer of 1981 as a counterpart to the Jaroslav Vajda text “Now the silence.” It is intended as a post-Communion canticle for the service of Holy Communion. The concertato setting performed here was commissioned by Concordia University Chicago and sung there throughout the 2008–2009 school year.

14 Text: Herbert F. Brokering, b. 1926 Tune: THINE, Carl F. Schalk, b. 1929

As the Dark Awaits the Dawn

As the dark awaits the dawn, As the moon reflects the sun This tune was So we await your light. Until the night’s decrease, commissioned by O Star of promise, scatter night, May we your healing light release, Augsburg Fortress Loving bright, loving bright, Living peace, living peace, Publishers in 1997 for Till shades of fear are gone. Unto your holy dawn. this text of Susan Palo Cherwien dealing with As the blue expectant hour Shine your future on this place, the subject of light. Before the silvering skies, Enlighten every guest, We long to see your day arise, That through us stream your holiness, Whole and wise, whole and wise, Bright and blest, bright and blest; O lucent Morning Star. Come dawn, O Sun of grace.

Text: Susan Palo Cherwien, b. 1953 Tune: LUCENT, Carl F. Schalk, b. 1929

Stand O Star of promise, scatter night 15 Add One More Song to That Unending One

The text by Jaroslav J. Vajda and this tune were the result of a joint commission in 1993 from the Part Ridge Community Church, Park Ridge, Illinois, celebrating its 150th anniversary year. The concertato performed here was commissioned for the 120th anniversary of St. John Lutheran Church, Knoxville, Tennessee, and first performed in November 2008 under the direction of Timothy Schalk.

Text: Jaroslav J. Vajda, 1919–2008 Tune: PARK RIDGE, Carl F. Schalk, b. 1929

Sit

Reading: Hebrews 12:1–2

16 Lord, It Belongs Not to My Care

Lord, it belongs not to my care, Come Lord, when grace has made me meet, “Lord, It Belongs Not whether I die or live, thy blessed face to see; to My Care,” text by To love and serve thee is my share, For if thy work on earth be sweet, Richard Baxter, was and this thy grace must give. what will thy glory be! written in 1977 and published the If life be long, I will be glad My knowledge of that life is small, following year. that I may long obey: the eye of faith is dim; If short, yet why should I be sad But ‘tis enough that Christ knows all, to soar to endless day? and I shall be with him.

Christ leads us through no darker rooms —Richard Baxter, 1615–1691 than he went through before, He that unto God’s kingdom comes must enter by this door.

Sing for Joy, Children of Heaven

“Sing for Joy, Children of Heaven” was a joint commission, text by Herbert Brokering and tune by Carl Schalk, to celebrate the 50th anniversary of the Cathedral School for Boys of the Episcopal Cathedral, San Francisco, California. It was first performed October 15, 2006.

Text: Herbert F. Brokering, b. 1926 Tune: CATHEDRAL SCHOOL, Carl F. Schalk, b. 1929 17 Reading: John 16:16–24

O Christ the Same

This tune was written in 2003 to Timothy Dudley-Smith’s text in order to honor the 26 years of service of Jan Westrick at the Hong Kong International School. The choral setting, written in 2006, was commissioned by St. Peter’s Lutheran Church, Mishawaka, Indiana, honoring the ministry of the Rev. Kenneth and Anne Mangelsdorf.

The choir sings stanzas two and three.

O Christ the same, the friend of sinners, sharing O Christ the same, secure within whose keeping Our inmost thoughts, the secrets none can hide; Our lives and lives, our days and years remain, Still as of old upon your body bearing Our work and rest, our waking and our sleeping, The marks of love in triumph glorified: Our calm and storm, our pleasure and our pain: O Son of Man, who stooped for us from heaven, O Lord of love, for all our joys and sorrows, O Prince of life, in all your saving power, For all our hopes when earth shall fade and flee, O Christ the same, to whom our hearts are given, O Christ the same, beyond our brief tomorrows, We bring our thanks for this the present hour. We bring our thanks for all that is to be.

Text: Timothy Dudley-Smith, b. 1926 Tune: RED HILL ROAD, Carl F. Schalk, b. 1929

18 Day of Arising

Day of arising, Christ on the roadway, Commissioned by Unknown companion walks with his own. David and Nancy When they invite him, as fades the first day, Raabe in 1999, this And bread is broken, Christ is made known. tune was written for Susan Palo Cherwien’s When we are walking, doubtful and dreading, text, “Day of Arising,” Blinded by sadness, slowness of heart, a description of the Yet Christ walks with us ever awaiting encounter with Christ Our invitation: Stay, do not part. on the road to Emmaus. Lo, I am with you, Jesus has spoken. This is Christ’s promise, this is Christ’s sign: When the church gathers, when bread is broken, There Christ is with us in bread and wine.

Christ, our companion, hope for the journey, Bread of compassion, open our eyes. Grant us your vision, set all hearts burning That all creation with you may rise.

Text: Susan Palo Cherwien, b. 1953 Tune: RAABE, Carl F. Schalk, b. 1929

Stand

Christ, our companion, hope for the journey, Bread of compassion, open our eyes.

19 O Day Full of Grace

The concertato on “O Day Full of Grace” brings this hymn festival to a fitting conclusion. Written in 1980, it has been sung frequently at Grace Lutheran Church on Pentecost, for congregational anniversaries, and at funerals. The final stanza reminds us that “When we on that final journey go,” that final day full of grace, the song of the church goes on as “we walk in the light of God’s own place with angels his name adoring.”

Text: Nikolai F. S. Grundtvig, 1783–1872, tr. Gerald Thorson, 1921–2001, alt. Tune: DEN SIGNEDE DAG, Christoph E. F. Weyse, 1774–1842 We’ll gather in song, our hearts aglow

20 Copyright Acknowledgements

Sing for Joy, Children of Heaven: Text © 2006 by Herbert F. Brokering, admin. Augsburg Fortress. Used by permission. Onelicense.net A-704570. Tune © 2007 by Augsburg Fortress. Used by permission. Onelicense.net A-704570.

O Christ the Same: Text © 1984 by Hope Publishing Company, Carol Stream, IL 60188. Used by permission. Onelicense.net A-704570. Tune © 2006 by Augsburg Fortress. Used by permission. Onelicense.net A-704570.

21 Monday, October 19, 8:00 pm The love that we have always known, our constant joy and endless light, Music of Carl Schalk III: now to the love-less world be shown, now break upon its deathly night. Choral Music from Into one song compress the love Christmas to All Saints that rules our universe above. Sing love, sing love, sing God is love, sing love, sing God is love. Grace Lutheran Church, River Forest —Jaroslav J. Vajda (1919-2008) Kapelle, Concordia University Chicago, Charles Brown, conductor Schola Cantorum, Concordia University Chicago, What Sweeter Music Can We Bring Jonathan Kohrs, conductor Kapelle Chamber Orchestra, Concordia University Chicago, Maurice Boyer, conduct or What sweeter music can we bring Than a carol, for to sing Steven Wente, organ The birth of this our heavenly King? Awake the voice! Awake the string! Dark and dull night fly hence away, And give the honor to this day That sees December turned to May. I. Incarnation/Christmas Why does the chilling winter’s morn Noël! Noël! Smile, like a field beset with corn? Or smell like a meadow newly shorn Combined choirs Thus on the sudden? Come and see The cause, why things thus fragrant be : Ricercare on an Old English ’Tis he is born, whose quickening birth Gives life and lustre, public mirth, Melody To heaven and the underearth. Chamber Orchestra and Favoritchor We see him come, and know him ours, Who, with his sunshine and his showers, Turns all the patient ground to flowers. Before the Marvel of This Night The darling of the world is come, And fit it is, we find a room Schola Cantorum and Chamber Orchestra To welcome him. The nobler part Of all the house here, is the heart, Before the marvel of this night Which we will give him; and bequeath adoring fold your wings and bow, This holly, and this ivy wreath, then tear the sky apart with light To do him honor; who’s our King, and with your news the world endow, And Lord of all this revelling. proclaim the birth of Christ and peace, What sweeter music can we bring that fear and death and sorrow cease. Than a carol, for to sing Sing peace, sing peace, sing gift of peace, The birth of this our heavenly King? sing peace, sing gift of peace. —Robert Herrick (1591-1674) Awake the sleeping world with song, this is the day the Lord has made, assemble here, celestial throng, in royal splendor come arrayed. Give earth a glimpse of heavenly bliss, a teasing taste of what they miss. Sing bliss, sing bliss, sing endless bliss, sing bliss, sing endless bliss.

22 Where Shepherds Lately Knelt III. Lamentation/Lent Schola Cantorum and Chamber Orchestra Four Choruses from the Lamentations of Jeremiah Where shepherds lately knelt and kept the angel’s word, Kapelle I come in half-belief, a pilgrim strangely stirred; but there is room and welcome there for me. The Lord is righteous, for I have rebelled against his commandment. In that unlikely place I find him as they said: Hear, I pray you, all people, and behold my sorrow. sweet, newborn Babe, how frail, and in a manger bed: —Lamentations 1:18 a still small Voice to cry one day for me. From above he hath sent fire into my bones; How should I not have known Isaiah would be there, and it prevailed against me. his prophecies fulfilled? With pounding heart I stare: He hath set a net for my feet. He hath turned me back: a Child, a Son, the Prince of Peace—for me. He hath made me desolate and faint all the day. —Lamentations 1:13 Can I, will I forget how Love was born and burned its way into my heart: unasked, unforced, unearned, For the sins of her prophets, and the iniquities to die, to live, and not alone for me. of her priests that have shed the blood of the just in the midst of her, —Jaroslav J. Vajda they have wandered as blind men in the streets, they have polluted themselves with blood, so that men could not touch their garments. II. Manifestation/Epiphany They cried unto them: Depart ye! It is unclean. Depart, depart, touch not! Four Choruses from Isaiah —Lamentations 4:13-15 Schola Cantorum Remember, O Lord, what is come upon us, I consider and behold our reproach. Our fathers have sinned and are not, Arise, shine; for your light has come; and we have borne their iniquities. and the glory of the Lord has risen upon you. The joy of our hearts is ceased, —Isaiah 60:1 our dance is turned into mourning. II The crown is fallen from our head, woe unto us that we have sinned! And the ransomed of the Lord shall return, —Lamentations 5:1, 7, 15, 16 and come to Zion with singing; and everlasting joy shall be upon their heads; they shall obtain joy and gla dness, and sorrow and sigh - ing shall flee away. —Isaiah 51:11

III I will give you as a light to the nations; that my salvation may reach to the end of the earth. —Isaiah 49:6

IV You shall go out in joy, and be led forth in peace. —Isaiah 55:12

23 IV. Revelation/All Saints Who Knows When Death May They Are before the Throne of God Overtake Me Schola Cantorum and Chamber Orchestra Combined Choirs

They are before the throne of God, and serve him day Who knows when death may overtake me! and night in his temple; and he who sits on the throne Time passes on, my end draws near. will shelter them with his presence. They shall hunger How swiftly can my breath forsake me! and thirst no more; the sun shall not strike them nor How soon can life’s last hour appear! any scorching heat; for the Lamb in the midst of the My God, for Jesus’ sake I pray throne will be their shepherd, and he will guide them Thy peace may bless my dying day. to springs of living water, and God will wipe away every tear from their eyes. Help me now set my house in order —Revelation 7:15-17 That always ready I may be To say in meekness on death’s border: Lord, as Thou wilt, deal Thou with me. Blessed Are the Dead My God, for Jesus’ sake I pray Who Die in the Lord Thy peace may bless my dying day. Kapelle Once in the blest baptismal waters I put on Christ and made him mine; And I heard a voice from heaven saying, “Write this: Now numbered with God’s sons and daughters, Blessed are the dead who die in the Lord henceforth.” I share his peace and love divine. “Blessed indeed,” says the Spirit, “that they may rest My God, for Jesus’ sake I pray from their labors, for their deeds follow them.” Thy peace may bless my dying day. —Revelation 14:13

Then may death come today, tomorrow, I Saw a New Heaven I know in Christ I perish not; He grants the peace that stills all sorrow, and a New Earth Gives me a robe without a spot. Kapelle My God, for Jesus’ sake I pray Thy peace may bless my dying day. Then I saw a new heaven and a new earth, for the first heaven and the first earth had passed away, and the —Emilie Juliae, 1686 (tr. composite) sea was no more. And I saw the holy city, new Jerusalem, coming down out of heaven from God, pre - pared as a bride adorned for her husband. And I heard a loud voice from the throne saying, “Behold the dwelling of God is with men. He will dwell with them, and they shall be his people, and God himself will be with them; he will wipe away every tear from their eyes, and death shall be no more, neither shall there be mourning nor crying nor pain anymore, for the for - mer things have passed away.” —Revelation 21:1-4

24 Program Notes for Concert III

I III Noël! Noël! Four Choruses from the Lamentations of The use of this original carol for choir (SATB), organ, Jeremiah and handbells or celesta first published in 1991, sung These four choruses were written in 1955 while the at the close of the annual Service of Lessons and composer lived in Wausau, Wisconsin, and were first Carols, has become a tradition at Concordia University published in 1961 and reissued in 2000. The pervasive Chicago. Its text repeats the word “Noël” exactly 81 note of impending doom finds its counterpart in the times. This evening it begins the concert on a quiet Four Choruses from Isaiah written some 44 years later, and reverent note. characterized by the note of hope and promise. Ricercare on an Old English Melody This instrumental piece on the melody “Lulle, lullay” IV was originally written for three violins for the string They Are Before the Throne of God ensemble at Zion Lutheran Church, Wausau, Written in 2004, this motet for choir (SATB) and organ Wisconsin, Schalk’s first placement after graduation commemorates the life and ministry of Rev. Lester H. from college and where he served from 1952-58. Kuker (1914-2004). It was first performed by the choir Originally published for three violins in 1963, it is of St. John Lutheran Church, La Grange, Illinois, under scored here for string orchestra. the direction of Gerald Kuker, son of Rev. Lester Kuker. It is scored here for string orchestra Before the Marvel of This Night This carol was originally written in response to a Blessed Are the Dead request from the editors of CHRISTMAS: An American This motet for All Saints’ Day for unaccompanied SATB Annual of Christmas Literature and Art for their 1981 voices was written in 1989 in memory of Louise Nolde edition. This choral setting followed in 1982. The text Ladwig, a long-time member of Grace Lutheran by Jaroslav J. Vadja describes how “the angel hosts Church, River Forest. might have prepared and rehearsed that first Christmas song with a handful of shepherds as their audience.” I Saw a New Heaven and a New Earth What Sweeter Music Can We Bring This motet for SATB and alto and tenor soli (opt.) was commissioned by the Dauphin Way United Methodist This Christmas carol text by Robert Herrick is set here Church, Mobile, Alabama, John Rickerts, director, to for choir (SATB) and organ. It was commissioned for commemorate the life of Margaret Campbell Patton. It the choirs of St. Lorenz Lutheran Church, was written at the Episcopal Seminary of the Frankenmuth, Michigan and was first performed there Southwest where Schalk was composer-in-residence in under the direction of Scott Hyslop in 2007. the spring of 1994. Where Shepherds Lately Knelt Who Knows When Death A second request from the editors of the Augsburg May Overtake Me Christmas Annual in 1987 resulted in this second carol This motet for unison and two-part treble voices and set to a text by Jaroslav J. Vajda. In the author’s words, two four-part mixed choirs was written in memory of “I placed myself at the opposite end of the event from Viola Gotsch Roeder (1902-1980), the composer’s Isaiah and his prophecy applying the same promise to mother-in-law. The work is based on the 19th-century myself as a late-arriving pilgrim.” tune Wer Weiss wie nah emir mein Ende with its 17th- century text by Amilie Juliane, countess of II Schwarzburg-Rudolstadt (1657-1766). Its theme is that we set in order our house yet in the knowledge that in Four Choruses from Isaiah our baptism we can rest securely in the peace and These four choruses are the counterpart to the Four confidence of God’s promise and love. Choruses from the Lamentations of Jeremiah, bringing a note of hope, and were commissioned by the Oak Park Concert Chorale, Victor Hildner, conductor, and first performed on April 9, 2000, at Grace Episcopal Church, Oak Park, Illinois. 25 Biographical Notes Michael D. Costello serves as cantor at Grace Lutheran Church and School in River Forest. He gradu - ated with a bachelor of arts degree from Lenoir-Rhyne Jill Peláez Baumgaertner received a bachelor of arts University in Hickory, North Carolina, where he stud - degree from Emory University, a master of arts degree ied sacred music with the Paul D. Weber and Florence from Drake University, and a doctor of philosophy in Jowers. In 1999 he won the Ruth and Paul Manz award renaissance and 17th-century British literature from and the Region IV Young Organists Competition of the Emory University. She previously taught at Valparaiso American Guild of Organists and performed during the University and joined the faculty of Wheaton College AGO’s 2000 national convention, a portion of which (Illinois) in 1980. She is the author of Finding Cuba, a aired on National Public Radio’s Pipe Dreams. Costello collection of poems that explores her Cuban ancestry, graduated in 2006 from Lutheran Theological Southern and three poetry chapbooks: Leaving Eden, Namings, Seminary with a master of divinity degree. Several of and My Father’s Bones. She was a Fulbright fellow to his pieces are published in a new series from Spain, was nominated for a Pushcart Prize and is the MorningStar Music Publishers, Sacred Music from winner of the Goodman Award, and an Illinois Arts Lenoir-Rhyne. He is an active member of the Council Award. She serves as poetry editor of The Association of Lutheran Church Musicians and the Christian Century and is past president of the American Guild of Organists. Conference on Christianity and Literature. Jonathan Kohrs is assistant professor of music at Maurice Boyer is assistant professor of music at Concordia where he teaches in the areas of church Concordia where he conducts the Chamber Orchestra music, music history and music technology and con - and teaches conducting and music theory. Although ducts Schola Cantorum . An active member of the born in the United States, Boyer began his musical Association of Lutheran Church Musicians, he has training in Aix-en-Provence, France, where he lived coordinated and presented at church music workshops until the age of 18. He holds a master of music in on the local and national level and has contributed choral conducting and a bachelor of music in sacred articles to ALCM’s Grace Notes and CrossAccent. His music (piano principal) from Westminster Choir music is published by Concordia Publishing House, College of Rider University. Currently he is a doctor of Augsburg Fortress Publishers, and Liturgy Solutions. He musical arts candidate in orchestral conducting at the is pursuing a Ph.D. in liturgical studies at Garrett- University of Maryland College Park. Areas of research Evangelical Theological Seminary. He also serves as and particular interest are Jean Sibelius—the subject of minister of music at Grace Lutheran Church in his doctoral dissertation is the Finn’s 7th Symphony — Northbrook. Benjamin Britten, and J.S. Bach. Steven Wente is professor of music and organist to Charles Brown is director of choral activities at the Chapel of Our Lord at Concordia where he teaches Concordia where he conducts Kapelle and organ and related courses. He serves as chair of the Männerchor, a newly formed men’s ensemble. He also music department and has been the coordinator of the teaches undergraduate and graduate courses in choral Master of Church Music program. He received under - conducting, literature, and choral music education. A graduate and master’s degrees from Concordia, River vocal soloist in his own right, Brown has been active Forest, and the doctor of music degree in organ per - both in the east and southwest regions of the country, formance from Northwestern University. His organ as well as in the Chicago area, singing bass-baritone teachers have included David J. Wilson, Herbert roles, particularly specializing in Baroque oratorio Gotsch, Richard Enright, and Wolfgang Rübsam. He music. Having received degrees from Westminster has contributed hymn harmonizations to Hymnal Choir College of Rider University, he is currently com - Supplement ’98 and Lutheran Service Book and articles to pleting requirements for a doctorate of musical arts the expanded and revised edition of Carl Schalk’s Key degree in choral conducting and voice performance at Words in Church Music and a festschrift in Schalk’s the University of Arizona. honor, Thine the Amen . He also serves as minister of music at United Lutheran Church, Oak Park.

26 Laura Zimmer received a bachelor of arts degree from Männerchor is Concordia’s newest choral ensemble Concordia University in River Forest, where she studied for men’s voices. Started in 2006, the choir performs organ with Carl Schalk and Herbert Gotsch. She has an eclectic array of men’s literature, from chant to served as teacher and assistant church music director vocal jazz. A major staple of the repertoire is German a in parishes in Illinois and Wisconsin. Studying organ cappella part-song literature. The men perform on and with Steven Wente and harpsichord with Natalie Jenne, off campus throughout the year, focusing on singing she received the master of church music degree from demonstrations for developing male voices in choral Concordia. She was the first recipient of the Carl F. programs throughout the Chicago area. Schalk Graduate Scholarship in Church Music in 2004 and was the winner of the Immanuel (Evanston, Schola Cantorum is primarily devoted to the music Illinois) Organ Award for 2006. Laura served as interim leadership of campus chapel services with additional organist at Grace Lutheran Church, River Forest, from performance opportunities in the preparation of larger 2006-2008 and since 2008 as been one of the assistant works during Advent and Holy Week as well as shared cantors at Grace. She is also the administrative assis - performances with the Chamber Orchestra and Kapelle tant in the music department at Concordia University during the annual Service of Lessons and Carols. The Chicago. largest musical ensemble of Concordia, Schola Cantorum continues to attract singers with diverse edu - cational goals and previous musical experiences united by a common purpose of enriching on a regular and About the choirs frequent basis the corporate worship of Concordia University Chicago while encountering and developing Concordia University Chicago’s Chamber a repertoire as rich and diverse as the students that Orchestra is the only such ensemble among the make up the choir. various schools in the Concordia University system. It covers a wide range of symphonic repertoire from The Senior Choir of Grace Lutheran Church in River Baroque to contemporary music and collaborates Forest consists of volunteer members of the congrega - regularly with the University’s choirs for large choral tion and has been led by such notable conductors as works. Its performance schedule involves two concerts, Carl Halter, Paul Bouman, Carl Schalk, and John appearances in chapel, and the Service of Lessons and Folkening. Cantor Michael D. Costello has led the choir Carols. The group also sponsors an annual concerto since 2008. The choir sings most Sundays from competition. September through May, for festival services, and for the monthly Bach Cantata Vespers, now in its 39th Kapelle is the premier choral ensemble of Concordia year. University Chicago. Chosen by audition, these singers prepare a variety of music for local and national audi - Children of Grace is an elective choir for children in ences. At Christmas Kapelle presents a Service of grades 5–8 at Grace Lutheran School. Students began Lessons and Carols and each spring the choir embarks rehearsing in mid-September and rehearse once week - on a 10-day tour which has taken them to all regions ly on Thursday afternoons. of the United States. International tours have recently taken Kapelle to Finland, Russia and the Baltic States, and to South America. This school year they will per - form in Mahler’s Symphony No. 8 with the Oak Park- River Forest Symphony at Chicago’s Orchestra Hall. The past few years have found them singing at the Grace Lutheran Bach Cantata series, continuing again a tradition from Kapelle’s earlier years, which will be highlighted next year as the choirs of Grace and Concordia combine to celebrate the 40th year of the series as a Lectures in Church Music concert.

Program Design: Kathryn Hillert Brewer Music Engraving: Michael D. Costello

27 45th Annual Vi Messerli Memorial Lectures in Church Music

Sunday, October 18, 2009 Monday, October 19, 2009, continued 3:45 p.m. Break and Exhibits (Lower Level KCC) 4:00 p.m. Music of Carl Schalk I: Larger Choral Works (Chapel of Our Lord) 4:15 p.m. Workshop Session III What Carl Schalk Teaches the Church 8:00 p.m. Music of Carl Schalk II: A Festival Paul Westermeyer (Kretzmann 200) of Hymns (Grace Lutheran Church) Developing Your Choir through Literature and Style Monday, October 19, 2009 Leo Nestor (McCormick Recital Hall) Singing a New Song 8:00 a.m. Choral Reading Session I: Carl Daw (Band Room) Time of the Church/General New Music for Organ Jonathan Kohrs (Chapel) Steven Wente (Chapel) Welcome 9:15 a.m. 5:45 p.m. Banquet Steven Wente, chair, music department Celebrating Carl Schalk’s Eighty Years: (Chapel) Scholarly Care, Practical Wisdom, Musical Keynote Address Integrity What Difference Does It Make What You Sing? Paul Westermeyer (OPRF Room KCC) Carl Daw Jr., keynote speaker (Chapel) 8:00 p.m. Music of Carl Schalk III: 11:00 a.m Chapel: Daily Prayer Music from Christmas to All Saints Schola Cantorum (Grace Lutheran Church) Jonathan Kohrs, conductor (Chapel) 11:30 a.m. Lunch (on your own) and Exhibits (Lower Level KCC) Tuesday, October 20, 2009

1:00 p.m. Workshop Session I 8:00 a.m. Choral Reading Session II: Jan Bender: Lutheran Church Musician Advent/Christmas/Epiphany in a Century of Tumult (also WSII) Charles Brown (Chapel) David Fienen (Band Room) Conversation with Carl Schalk 9:30 a.m. Plenary Session: Lecture-Recital Michael D. Costello, moderator A Centenary Tribute to Jan Bender (Alumni Room KCC) David Fienen (Chapel) Choral Music for Times and Seasons Chapel: Morning Prayer (also WSII) 11:00 a.m. Leo Nestor (McCormick Recital Hall) Laudate Maurice Boyer (Chapel) What a Hymnal Companion Teaches the Church (also WSII) 11:30 a.m. Lunch (on your own) and Exhibits Paul Westermeyer (Kretzmann 200) (Lower Level KCC) Workshop Session II 2:30 p.m. 1:00 p.m. Workshop Session IV Jan Bender: Lutheran Church Musician Music of Carl Schalk: Choral Music Reading in a Century of Tumult (also WSI) Session (also WSII) David Fienen (Band Room) Michael D. Costello (Chapel) Choral Music for Times and Seasons Composers Get-Together (also WSI) Jonathan Kohrs and Jonathan Stahlke Leo Nestor (McCormick Recital Hall) (Band Room) Music of Carl Schalk: Choral Music Reading 2:15 p.m. Choral Reading Session III: Session (also WSIV) Lent/Easter Michael D. Costello (Chapel) Maurice Boyer (Chapel) What a Hymnal Companion Teaches the Church (also WSI) 3:30 p.m. Itinerarium (Chapel) Paul Westermeyer (Kretzmann 200) 28