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BACH CLAVIERÜBUNG III the German Organ Mass

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BACH CLAVIERÜBUNG III the German Organ Mass BACH CLAVIERÜBUNG III The German Organ Mass Katherine Crosier, organ Scott Fikse, conductor Reformation Sunday, October 30, 2016 † 7:00 pm A benefit concert in memory of the Lutheran Church of Honolulu’s long-time director of music, Carl Crosier BACH CLAVIERÜBUNG III The German Organ Mass KATHERINE CROSIER, organ SCOTT FIKSE, conductor Lutheran Church of Honolulu In memory of Carl Crosier (1945-2014) Reformation Sunday October 30, 2016 † 7:00 pm Praeludium in E-flat BWV 552/1 kyrie Kyrie, Gott Vater in Ewigkeit BWV 669 Christe, aller Welt Trost BWV 670 Kyrie, Gott heiliger Geist BWV 671 gloria in excelsis Allein Gott in der Höh’ sei Ehr BWV 676 the ten commandments Dies sind die heil’gen zehn Gebot BWV 678 the creed Wir glauben all’ an einen Gott BWV 680 the lord’s prayer Vater unser im Himmelreich BWV 682 baptism Christ unser Herr zum Jordan kam BWV 684 penitence Aus tiefer Not schrei ich zu dir BWV 686 the communion Jesus Christus, unser Heiland BWV 688 Fuga in E-flat BWV 552/2 In consideration for your neighbors, please silence all electronic devices during the concert. Please reserve applause until the end of the program. 2 THE CHAMBER CHOIR Naomi Castro, Mihoko Ito Nakano, soprano Todd Beckham, Karyn Castro, alto Karol Nowicki, Bowe Souza, tenor David Del Rocco, Scott Fikse, bass Scott Fikse, conductor PROGRAM NOTES Johann Sebastian Bach’s Clavierübung III, also called “The German Organ Mass,” is considered a virtuosic masterpiece with some of his most musically complex and technically demanding compositions for the organ. Bach himself performed this work “to great applause,” in a two-hour concert on the afternoon of December 1, 1736, in celebration of the new Gottfried Silberman organ at the Frauenkirche, Dres- den, whose dedication took place on November 29, 1736. The title page (translated) read: “Third Part of Keyboard Practice, consisting of various preludes on the Catechism and other hymns for the organ. Prepared for music-lovers and particularly for connois- seurs of such work, for the recreation of the spirit, by Johann Sebastian Bach, Royal Polish and Electoral Saxon Court Composer, Capellmeister and director of the chorus musicus, Leipzig. Published by the author.” The word Clavierübung means “keyboard practice” and Bach’s composition was in part a response to musical requirements in church services. In addition to the Kyrie and Gloria, it contains the basic elements of the Lutheran Catechism: the Ten Commandments, the Creed, the Lord’s Prayer, the Sacrament of Baptism, and Holy Communion, and is bookended by the massive Praeludium and fuga in E-flat. The chorale melodies of the Clavierübung were composed between 1524 and 1539, some by Martin Luther, and are thought to be the most important hymns of the Lutheran Church. The Clavierübung III is thought to be a summation of Bach’s technique in writ- ing for the organ, and at the same time a personal religious statement. However, the technical difficulty of the compositions would have made the work too demanding for most Lutheran church organists, both then and now! Scholars have given the Clavierübung III numerological significance, with special emphasis on the number 3, as in the Holy Trinity. There are 21 chorale preludes, 4 duettos, and the Praeludium and fuga, totalling 27 pieces in all, which is 3 to the power of three. Both the Praeludium and fuga are in the key of E-flat, 3 flats. It was March 9 and 11, 1979, that Carl Crosier and I presented selections from Clavierübung III in two concerts here at the Lutheran Church of Honolulu. As I recall, I played half the selections and Carl played the remainder. Unfortunately, I have been unable to locate any programs from those concerts and cannot remember which pieces I played and which pieces Carl played. I do know, however, that we did not perform the complete work; we only picked a selection of the large and small settings. In tonight’s concert, I will be performing only the large settings, several of which I have had to learn especially for this concert. 3 Those 1979 concerts also marked the introduction of the Bach Chamber Choir, a hand-picked ensemble of singers who came together to perform the concert after only one rehearsal. The choir sang each of Bach’s four-part chorales immediately prior to the playing of the organ chorale prelude, a practice which we used in my Great Eighteen Chorales concerts three years ago on August 18 and 25, 2013. Tonight, however, I will perform the organ chorale preludes as introductions to the four-part chorales, which will then be sung a capella, which is more in keeping with the actual performance practice of 18th century St. Thomas Church in Leipzig. I invite you to join the choir in singing the Gloria in excelsis and the Credo. It is particularly fitting that I perform this concert on the great Lutheran festival of Reformation, the 499th commemoration of Martin Luther’s posting of the 95 Theses on the door of Wittenberg. I am most grateful to Scott Fikse for his willingness to tackle this project and lead this fine ensemble of singers. Finally, I wish to thank the Lutheran Church of Honolulu for their generosity to me in the continued use of the Beckerath organ. —Katherine Crosier Praeludium in E-flat bwv 552/1 Numerological symbolism is clearly evident in the Praeludium, the longest of Bach’s organ preludes, with three distinct themes representing God the Father, God the Son, and God the Holy Spirit — all in the key of three flats. Bach combined French, Ital- ian and German styles in this piece: The opening theme (The “Father”) is a French overture, recognizable for its dotted rhythms; followed by an Italian concerto with echo passages in the galant style (The “Son”), and closes with a North German-like fugal theme (The “Holy Ghost”). Kyrie, Gott Vater in Ewigkeit bwv 669 Kyrie! God our Father evermore, Mercy Thine in bounteous store, Thou of all things Ruler and Creator. Eleison. (tr. Henry S. Drinker) Bach’s three large organ settings of the German Kyrie correspond to the three parts of the Kyrie: “God the Father,” with the unornamented melody placed in the soprano; “God the Son,” with the melody in the tenor range; and “God the Holy Ghost,” with the melody in the pedal. They are in “stile antico,” reminiscent of the style of Palestrina. Each of the Kyrie organ settings will be preceded by the singing of the ancient chant,“Kyrie fons bonitatis,” c.800, ending with Bach’s four-part chorale setting. Albert Riemenschneider called this first Kyrie a piece of “utmost dignity, simplicity and serenity.” 4 Christe aller Welt Trost bwv 670 Christ, our hope and comfort, Thou has redeemed us from all sin. Jesus, Son of God, Me- diator. To Thee enthroned on high, We thy servants from our hearts beseech Thee. Eleison. (tr. Henry S. Drinker) The melody now moves to the tenor range, with “sweet-sounding consonant coun- terpoint to reflect the gentle compassion of Christ” (George B. Stauffer) Kyrie, Gott heiliger Geist bwv 671 Kyrie! O God, Holy Ghost, Keep us firm of faith and true to Thee, And when at last we die, Joyful, let us leave this vale of sorrow. (tr. Henry S. Drinker) Bach wrote this setting in five parts with the chorale melody in the bass. He indicated that this was to be played on full organ (con organo pleno). After setting the words “vale of sorrows,” Bach expresses the “Eleison” in dramatic chromaticism, reminis- cent of the “Crucifixus” of the B-Minor Mass. Allein Gott in der Höh sei Ehr bwv 676 This large setting of the German Gloria in excelsis is in the style of a trio, with the melody woven in and out of the three-part texture. It sounds deceptively easy, when in reality it is technically treacherous. It ends abruptly and somewhat inconclusively. To God on high all glory be, And thanks, that He’s so gracious, That hence to all eternity No evil shall oppress us: His word declares good-will to men, On earth is peace restored again, Through Jesus Christ our Savior. 5 O Jesus Christ, enthroned on high, the Father’s Son beloved, by whom lost sinners are brought nigh, And guilt and curse removed; Thou Lamb once slain, our God and Lord, to needy prayers Thine ear afford, And on us all have mercy. O Comforter, God Holy Ghost, Thou source of consolation, From Satan’s power Thou wilt, we trust, Protect Christ’s congregation, His everlasting truth assert, All evil graciously avert, Lead us to life eternal. You are invited to stand and sing at the conclusion of the chorale prelude. Please be seated. 6 Die sind die heil’gen zehn Gebot bwv 678 These are the holy ten commands, Which came to us from God’s own hands, By Moses who obeyed His will, on the top of Sinai’s hill. Kyrieleis. (tr. Charles Sanford Terry) Bach set the melody as a canon (“law”) between the alto and tenor, signifying that the Laws of God are laid before us, perhaps representing the new law of Christ and the old law of Moses. Intervals of a tenth (for the Ten Commandments) are numerous throughout. There is a pastoral quality throughout, representing the serenity before the Fall of Man. Wir glauben all’ an einen Gott bwv 680 We all believe in One true God, Maker of the earth and heaven; The Father who to us in love hath the claim of children given.
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