x at Concordia Seminary, St The Chapel of St DECEMBER 13,2015 . T imothy and St . L ouis . T itus 2015–2016

Series Schedule of Concerts 23rd Season BACH AT THE SEM – 2015-16 Dr. Maurice Boyer, Music Director

OCTOBER 4, 2015, 3 p.m. ( 19, TRINITY 18) J.S. Bach: , BWV 96, Herr Christ, der ein’ge Gottessohn; Duet for soprano & alto, “Herr, du siehst statt guter Werke,” from BWV 9, Es ist das Heil uns kommen her; Cantata BWV 67, Halt im Gedächtnis Jesum Christ; Chorus from BWV 148, Bringet dem Herrn Ehre seines Namens

DECEMBER 13, 2015, 3 p.m. (ADVENT 3) Hugo Distler: Organ prelude on Wie schön leuchtet der Morgenstern; BWV 1; Cantata BWV 61, Nun komm, der Heiden Heiland; Cantata BWV 133, Ich freue mich in dir; Cantata BWV 40, Dazu ist erschienen der Sohn Gottes; Chorus from BWV 1, Wie schön leuchtet der Morgenstern

FEBRUARY 7, 2016, 3 p.m. (TRANSFIGURATION) J.S. Bach: Cantata BWV 127, Herr Jesu Christ, wahr’r Mensch und Gott; Concerto for violin in A minor, BWV 1041, movement 2; for alto with chorale, “Ich folge dir nach,” from BWV 159, Sehet! Wir geh’n hinauf gen Jerusalem; Cantata BWV 161, Komm, du süße Todesstunde; Cantata BWV 23, Du wahrer Gott und Davids Sohn

MAY 15, 2016, 3 p.m. (PENTECOST) J.S. Bach: Cantata BWV 11, Lobet Gott in seinen Reichen; Aria for bass, “Es ist vollbracht,” from BWV 159, Sehet! Wir geh’n hinauf gen Jerusalem; Organ prelude on Komm, heiliger Geist; Cantata BWV 34, O Ursprung der Liebe

We are grateful to the “Friends of Bach at the Sem” for their continuing generosity that makes the Bach at the Sem series possible.

Special thanks to Wayne Coniglio for supporting Bach at the Sem by donating the archival-only recording of the program.

Concordia Seminary is privileged to make J.S. Bach’s music available to the St. Louis community and invites your generous support for these uplifting concerts. If you have not received information from Bach at the Sem and would like to be placed on the mailing list, please call 314-505-7009.

Cover image – from the autograph score of J.S. Bach’s Du wahrer Gott und Davids Sohn BWV 23, which the American Kantorei will perform Feb. 7, 2016.

/BachAtTheSem @BachAtTheSem csl.edu/bach Bach at the Sem December 13, 2015, 3:00 p.m. Third Sunday in Advent

Dr. Maurice Boyer, Music Director

The American Kantorei Dr. Jeral Becker, Assistant Conductor

In Nomine Jesu

Cantata: Nun komm, der Heiden Heiland, BWV 61 (Now come, Savior of the nations)

1. Chorus 2. (Jeral Becker) 3. Tenor Aria (Jeral Becker) 4. Recitative (David Berger) 5. Soprano Aria (Marita Hollander) 6. Chorus

Hymn: “O Morning Star, How Fair and Bright” The assembly stands to sing the hymn provided on Page 11 or in Lutheran Service Book 395 (orchestra and choir perform verses 3 and 5 in settings by Hugo Distler and J.S. Bach)

Cantata: Ich freue mich in dir, BWV 133 Johann Sebastian Bach (I rejoice in You)

1. Chorale 2. Alto Aria (Stephanie Ruggles) 3. Recitative (Zachary Devin) 4. Soprano Aria (Emily Truckenbrod) 5. Recitative (Jeffrey Heyl) 6. Chorale

Organ Voluntary: Wie schön leuchtet der Morgenstern Hugo Distler (James Marriott, organist) The offerings received at this time support the Bach at the Sem concert series.

Cantata: Dazu ist erschienen der Sohn Gottes, BWV 40 Johann Sebastian Bach (For this reason the Son of God appeared)

1. Chorus 2. Recitative (Zachary Devin) 3. Chorale 4. Bass Aria (Jeffrey Heyl) 5. Recitative (Katharine Lawton Brown) 6. Chorale 7. Tenor Aria (Zachary Devin) 8. Chorale

Chorus: Wie schön leuchtet der Morgenstern from Cantata BWV 1 Johann Sebastian Bach (How brightly shines the Morning Star)

Soli Deo Gloria Program Notes

“Come, O beautiful crown of joy, rich harmonies with sweet suspensions in thirds and I wait for you with longing!” sixths — all express multifariously the wondrous beauty of the Incarnation. The opening’s regal style returns for Cantata: Nun komm, der Heiden Heiland, BWV 61 the final line of the verse, with the choir declaring in clear homophony that this birth was elected by God. Composed for the First Sunday of Advent 1714 while The orchestra then launches into a fiercely driving rush Bach was employed at the ducal court in Weimar, to the final cadence. BWV 61 was revived in 1723 — Bach’s first Advent in Leipzig. The autographed manuscript of this score, The tone changes dramatically with the tenor’s entrance. as well as its sister piece (BWV 62), contains priceless The Savior who had been called has now arrived in the information about the liturgical unfolding of the flesh, adopting “us” as blood relations and bearing services in Leipzig. Although Bach had begun as light and blessing. The recitative moves seamlessly cantor in the previous spring, he saw fit to place such to an whose downward flowing 16th notes, information in the cantata that would usher in the new canonically unspooling between the cello and the tenor, church year. Inside the cover page, Bach clearly spells embody the bestowal of divine blessing. out the place of all musical components in worship. He was beginning to fulfill his desire to compose “a well- The succeeding da capo aria is in fact a trio for tenor, regulated or orderly church music to the Glory of God.” violins and violas in unison, and bass. It is a bright, light-footed, gigue-like dance in triple meter in C major. In The Gospel for the First Sunday of Advent is the A section, a descending line in all voices effectively Matt. 21:1-9, the narrative of ’ triumphal entry translates musically the descent of Jesus Himself to His into Jerusalem. “Tell the daughter of Zion, / Look, church and His bestowal of a blessed New Year. The your king is coming to you, humble, and mounted B section, in the minor mode, is more reflective and on a donkey, and on a colt, the foal of a donkey.” theological in nature, as it addresses the preservation The modest performance forces (five-part strings) of sound teaching and the blessing of pulpit and altar. align with the outward modesty of the circumstances. However, the French Overture that opens the The bass, as Vox Christi, then enters with words from cantata dispels unequivocally any notion that this Revelation (3:20): “Look, I stand at the door and “Savior of the nations” who is invoked might be a knock. If anyone will hear My voice and open the door, weakling. The form itself, one reserved for the entrance I shall go in and have supper with him and he with me.” of royalty at the French court, is stately and ceremonial. Hitherto, all had been forward thrust. Suddenly time But here, its jagged rhythms, sharp upward flourishes stops. Here is the heart of the matter. The knocking is and dark-hued minor mode paint a picture of a fierce vividly conjured in the strings’ pizzicato accompaniment, warrior king, not a self-aggrandizing powdered as well as in the voice’s staccato articulation. The potentate. In descending order (soprano-alto-tenor- arresting nature of this visitation is captured in the bass), the voices cry out in long note values for the harmony. In effect, the recitative begins with a coming of the “Savior of the nations.” All join in dominant seventh chord of E minor over a tonic pedal homophonic euphony to sing: “recognized as the Child — a dissonant sonority. However, when Jesus speaks of the virgin.” of entering, the harmony turns sweet and the vocal line fluid, creating a sense of gentleness and generosity. The contrasting middle section of this tri-partite form is for the expression of wonder and marvel: With the soprano aria, all adornment is stripped away. “at whom all the world is amazed.” The fleet triple Before Jesus, there is only the single individual. meter with a bright shift to the major mode, the piling up Supported only by the bass line, the singer responds in of fugal entrances with melismatic treatment of “all,” sheer delight to His call with the disarming innocence

2 and vulnerability of a child. Couched in an easy triple hymn in simple homophony. Within the space of one meter, the A section of this da capo aria seems to flow verse, Jesus is addressed affectionately as “my lovely effortlessly but for a delicate rhythmic tension created little Jesus” and “my little brother,” and the “great Son by a profusion of hemiolas. In effect, it feels at times of God” described as “friendly.” almost as if the music is notated in the wrong meter, as if below the written meter lies a deeper meter The ensuing tri-partite (ABA’) alto aria prolongs governing the whole. Bach is musically averring the joyful affect of the first movement. One gets the that, because of this encounter with Christ, there is now impression that the “I” of this aria is so elated that a different relation to time. Chronos has given way it cannot contain itself. Bach translates this musically to Kairos. The B section, by contrast, shifts to a slow in the motives governing the entire movement. First, duple meter (4/4, “adagio”). The pace is steady and there is the out-of-breath quality of the threefold measured as the singer contemplates in wonder and repetition of “Be confident,” each interrupted by a 16th gratitude the mystery of God’s choosing to make His rest. Second are the flowing 16th-note runs. Finally, dwelling place within her. there is a sudden drop to piano for the parenthetical statement: “how blessed am I!” — whispering with The closing chorus is a sudden eruption of joy. Its text, excitement at its apex. culled from “Wie schön leuchtet der Morgenstern,” is the last three lines of the seventh and final verse. The From a textual standpoint, a couple of biblical allusions chorale melody is heard soaring high above the texture bear noting. “I have seen God … face to face. Ah! My in the soprano. Higher still is the violin obbligato line, soul must be restored to health (must be preserved)” which rises stratospherically high as if reaching up to is an allusion to Jacob’s wrestling with the angel (lit. heaven. In this gesture, Bach brilliantly makes musical “a man,” Gen. 32:31). In the German of Bach’s time, allusion to the fourth and fifth lines of this verse: the scriptural passage would have read almost exactly “He will indeed to His Glory / Take me up into as the cantata libretto. “The incomprehensible being Paradise.” Longing is the final affect of the cantata. It of the Almighty” seems to be a reference to the day’s is expectant, even ecstatic, for it knows that the fierce appointed Epistle reading from Hebrews: “He is the royal “Savior of the nations” and the “beautiful Crown reflection of God’s glory and the exact imprint of God’s of Joy” are one and the same, “Alpha and Omega,” very being” (1:3). the loving God ever knocking at the door, desiring communion with His creation. Although not centrally located, the soprano da capo aria (ABA) is the heart of the cantata. In the hands Cantata: Ich freue mich in dir, BWV 133 of a lesser composer, this text might have inspired a bright and flowing A section in the major mode BWV 133 was first heard on Dec. 27, 1724, the third and an angular and admonitory B section in the day of Christmas. As is typical for a chorale cantata, minor mode. Bach thwarts expectations. He takes as it is framed by choral movements that state both the affective ground for the A section the piercing of melody and text verbatim. The inner movements offer the heart, which may be an allusion to Luke 2:35, where paraphrases of the text. Interestingly, in this piece, there the angel tells Mary that a sword will pierce her own are a few instances in which the anonymous librettist soul. He chooses the key of B minor, a key associated inserts direct quotation of the hymn text. These occur with suffering and passion. That Jesus is born is in the tenor and bass and are highlighted by tremendous news in the root meaning of the word: being set in arioso form. astonishing and terrifying. On two occasions, Bach gives a series of repeated pitches to the violins as if The opening movement of the cantata is a jubilant to simulate the sound of bells ringing. He also uses chorale fantasia in which a fast-moving instrumental silence twice after “My Jesus is born,” each time ritornello is overlaid with the chorale. Except for interrupting a phrase, as if to allow the words to echo fleeting instances of polyphony, the choir sings the in the ear.

3 In marked contrast to the A section’s duple meter with no direct mention of this story in BWV 40. However, disjunct lines is the B section’s gentle triple meter, Bach correctively and subtly weaves a connection into marked Largo, with lilting and flowing lines. the very fabric of his new work. He does so by adding Additionally, Bach subtracts the bass line. The second two horns (flugelhorns in today’s performance) to violins and violas in unison take over its role with his basic orchestral palette: two oboes and strings. With a quasi-bass part that pulsates like a heartbeat. A these instruments and the movement’s key (F major), solo violin unfolds in duet with the singer. Tonally, Bach paints a pastoral setting. the section is sweeter, but also more chromatic and harmonically unstable. The tone is anything but hard; In overall form, this cantata is unusual for its use of rather, it is disarmingly vulnerable. Bach here paints the three different chorales and for the parallel structure of picture of the individual who, having yielded to God in its inner movements grouped in threes: trust, like Mary, apprehends the confounding mystery of the Incarnation. Chorus—[Recitative-Chorale-Aria] —[Recitative-Chorale-Aria]—Chorale The following bass recitative contains striking text painting to depict death and resurrection. For example, The presence of three different chorales would have the vocal line, “He will also think of me in my tomb,” brought greater immediacy to the community’s rises then plunges down one octave and a half only to experience of this complex music by introducing spring back up immediately. In similar fashion, “stirbt” an element of familiarity. Indeed, the hymns would (die) is given a low, long-held note, while the sudden purportedly have been known. They would thus naming of Jesus involves a wide leap upward. potentially contextualize the overall trajectory of the cantata, and conversely the cantata would shed new In the Synoptic Gospels, Jesus says to those mourning light on the familiar hymns. the death of Jairus’ daughter: “Do not weep; for she is not dead but sleeping.” He then wakens the child. With The masterful tri-partite opening chorus (ABA’) this backdrop, the final verse of the chorale in simple moves from exuberant homophony to a stately fugue four-part harmony quietly and comfortingly draws the and joyful free polyphony before returning to the cantata to a close. The work began at the crib of the opening material. The fugue subject of the middle infant Jesus and ends at the grave of the individual. section is essentially the movement’s head motive in The arc of God’s boundless love runs from Incarnation augmentation. through death to Resurrection. As seen above, recitative, chorale and aria form a single Cantata: Dazu ist erschienen der Sohn Gottes, BWV 40 unit. The text of the tenor recitative, with its reference to the “sweet word in every ear,” is remindful of the Just a year and a day before the debut of BWV 133, on soprano aria of BWV 133. Multiple Johannine the second day of Christmas (Dec. 26, 1723), Leipzig allusions underline that the Word of God made flesh parishioners would have heard BWV 40. BWV 61 is not disembodied knowledge. It is act: comfort and would have been performed only a few weeks earlier, salvation. The chorale focuses on the opposing forces of on the First Sunday of Advent. This was Bach’s sin and Christ: the former making sorrow, the latter joy. first Christmas in Leipzig, and, by the messy look of the manuscript, he was very busy and working at The bass aria is a fiendish dance in a fast triple break-neck pace! meter in which the violent stomps on downbeats render musically the crushing of the serpent’s head The appointed Gospel reading would have been (Gen. 3:14ff). The slithering creature’s perniciousness Luke 2:15-20, the narrative of the shepherds’ hasty and tenacity are vividly heard in the first violins’ fast journey to Bethlehem to witness with their own eyes and near incessant chromatic line. This very material the wondrous birth of the Savior. Curiously, there is drops to the bass for the following line of text: “the One

4 who as a conqueror crushes your head.” Such a gesture , and a cantata would be performed. The would seem to represent the Christ taking away the readings would be those assigned for , and power of the serpent. the Passion would not be read or intoned. During Bach’s Cantorate in Leipzig, the feast in fact coincided twice The accompagnato recitative is given to the alto, often with Palm Sunday: 1725 and 1736. It was for the earlier the voice bearing words of comfort in Bach’s music. of those dates that he wrote the present masterful work A 16th-note broken chord figuration in the upper with which we close today’s program. With it, we come strings creates the sense of a cooling air or perhaps full circle, returning to the chorale that has essentially of the protecting wings of Christ (see tenor aria). The been the Hymn of the Day. succeeding chorale returns to the persistence of the snake and Christ’s victory over him. Just like BWV 133, BWV 1 is a chorale cantata; it is in fact the last of 52 such works that Bach composed The virtuosic tenor aria is an exhortation to rejoice. Its in 1724-25. However, the two works could not be more exuberant 12/8 rustic dance embodies this very spirit. different in scale, compositional style and expressive Florid 16th-note lines appositely portray exultation, scope. The present movement is at once intimate and while jagged lines, reminiscent of the bass aria, capture grand as it shifts from quiet serenity to ebullient joy. the fear of Satan’s fury. A further rapprochement with the earlier aria is heard when the bass line takes While the chorale is traditionally associated with over the aforementioned floridity. This occurs when the Feast of the Epiphany, in Bach’s time it was also the text refers to Jesus as the One who can save. In sung for the Feast of the Annunciation. The hymn’s the very same section, the librettist makes an allusion author, Philipp Nicolai, described his hymn as “a to Jesus’ stirring lament over Jerusalem as recorded in spiritual bridal song of the believing soul concerning Matt. 23:37-39. The exact reference is found in verse Jesus Christ, her heavenly bridegroom, founded on 37: “Jerusalem, Jerusalem … How often have I desired the 45th Psalm of the prophet David.” However, the to gather your children together as a hen gathers her text addresses directly neither the narrative of the brood under her wings.” Angel Gabriel and Mary nor that of the journey of the Magi. Rather its central theme is the eschatological After the crushing defeat of Satan, the final chorale wedding of Christ and His church. Thus, we began with seems almost like a non-sequitur, beginning as it does the first Advent of Christ — the defeat of sin and death. in F minor, until one realizes that it is a prayer addressed We end with a celebration of His second Advent, when to Jesus. Eschewing triumphalism, it returns the listener He will bring all things unto Himself — the heavenly to everyday life. Bach’s harmonization of this melody, wedding banquet. which is reminiscent of “Jesus, Priceless Treasure,” has a chiaroscuro quality in its seamless minor-major shifts. Bach here paints with a richly colorful instrumental In the last three lines, the harmonic language grows palette: pairs of high horns, oboes da caccia (flugelhorns brighter and brighter until the final cadence is reached: and English horns in this performance) and concertante “He is the Sun of mercy.” violins, as well as the usual full string complement. The choice of instruments, tonality (F major) and meter (a Chorus: Wie schön leuchtet der Morgenstern, BWV 1 broadly swinging 12/8) suggest a pastoral scene. The folk-like thematic material first heard in the solo violin A significant feast in the church year, the Feast of the at the outset, akin to fiddling, only strengthens this Annunciation most often falls during . In Leipzig assertion. Given what was posited above, I would offer during Bach’s time, Lent, like Advent, was a tempus that the scene is in fact that of a country wedding. clausum during which there was no concerted music; the feast would thus only be “quietly” observed. If however Throughout, the chorale tune is declaimed in long note the feast fell during Holy Week — when Easter had an values in the soprano voice doubled by the first horn. early date — it would be observed ceremoniously on All the while, the lower voices unfold independently

5 in imitative polyphony thematically related to the instrumental parts. However, at two salient moments, the tenor and alto voices break away from this pattern to sing the chorale melody in shorter note values. In this interruptive gesture, Bach highlights two significant lines of text: “full of grace and truth from God” and “my King and my Bridegroom.” Polyphony dominates the texture, except toward the end where the words “lovely, friendly” are sung by all voices together in simple homophony.

At the core of this movement is joy born of knowing the loving-kindness and generosity of God. Bach wonderfully weaves together a tapestry in which joy’s protean and multifarious expressions are colorfully brought to light: intimate and serene, full-throated and rustic, lyrical and expansive. Five days later, on Good Friday, the St. Thomas Church would powerfully witness the extent of that love in the second version of the St. John Passion. “Having loved His own who were in the world, He loved them to the end.”

Dr. Maurice Boyer

Note: Thanks to Dr. Robin Leaver for providing details about the observance of the Feast of the Annunciation on Palm Sunday (email correspondence).

6 Text and Translation Nun komm, der Heiden Heiland, BWV 61 4. Recitative (Bass) Now come, Savior of the Gentiles – J.S. Bach Siehe, ich stehe vor der Tür und klopfe an. See, I stand before the door and knock. 1. Chorus (S A T B) So jemand meine Stimme hören wird Nun komm, der Heiden Heiland, If anyone will hear My voice Now come, Savior of the Gentiles, und die Tür auftun, Der Jungfrauen Kind erkannt, and open the door, recognized as the Child of the Virgin, zu dem werde ich eingehen Des sich wundert alle Welt, I shall go in at whom all the world is amazed und das Abendmahl mit ihm halten und er mit mir. Gott solch Geburt ihm bestellt. and have supper with him and he with me. that God decreed such a birth for Him. 5. Aria (Soprano) 2. Recitative (Tenor) Öffne dich, mein ganzes Herze, Der Heiland ist gekommen, Open, my whole heart! The Savior has come, Jesus kömmt und ziehet ein. Hat unser armes Fleisch und Blut Jesus comes and enters in. and has our humble flesh and blood Bin ich gleich nur Staub und Erde, An sich genommen Though I am only like dust and earth, taken on Himself Will er mich doch nicht verschmähn, Und nimmet uns zu Blutsverwandten an. He does not want to scorn me and accepts us as His blood relations Seine Lust an mir zu sehn, O allerhöchstes Gut, but to see His pleasure in me O Highest Good of all, Daß ich seine Wohnung werde. Was hast du nicht an uns getan? so that I become His dwelling. what have You not done for us? O wie selig werd ich sein! Was tust du nicht Oh, how blessed I shall be! What do You not do Noch täglich an den Deinen? 6. Choral (S A T B) still daily for Your people? Amen, amen! Du kömmst und läßt dein Licht Komm, du schöne Freudenkrone, bleib nicht lange! You come and let Your light Come, you beautiful Crown of Joy. Do not delay long! Mit vollem Segen scheinen. Deiner wart ich mit Verlangen. shine with full blessing. I wait for You with longing.

3. Aria (Tenor) Komm, Jesu, komm zu deiner Kirche Come, Jesus, come to Your church Und gib ein selig neues Jahr! and grant a blessed New Year! Befördre deines Namens Ehre, Increase the honor of Your name, Erhalte die gesunde Lehre Preserve sound teaching Und segne Kanzel und Altar! and bless pulpit and altar!

7 Ich freue mich in dir, BWV 133 4. Aria (Soprano) I rejoice in You – J.S. Bach Wie lieblich klingt es in den Ohren, How lovely sounds in my ears 1. Chorus (S A T B) Dies Wort: mein Jesus ist geboren, Ich freue mich in dir this word: my Jesus is born. I rejoice in You Wie dringt es in das Herz hinein! Und heiße dich willkommen, How it pierces to my heart! and bid You welcome, Wer Jesu Namen nicht versteht Mein liebes Jesulein! [He] who does not apprehend Jesus’ name my dear little Jesus! Und wem es nicht durchs Herze geht, Du hast dir vorgenommen, and through whose heart it does not go You have undertaken Der muß ein harter Felsen sein. Mein Brüderlein zu sein. must be a hard rock. to be my little brother. Ach, wie ein süßer Ton! 5. Recitative (Bass) Ah, what a sweet sound! Wie freundlich sieht er aus, Wohlan, des Todes Furcht und Schmerz How friendly He appears, Now then, the fear and sorrow of death Der große Gottessohn! Erwägt nicht mein getröstet Herz. the great Son of God! are given no thought by my comforted heart. Will er vom Himmel sich 2. Aria (Alto) If He is willing to journey Getrost! es faßt ein heilger Leib Bis zu der Erde lenken, Be confident! A Holy Body contains from heaven to earth, Des Höchsten unbegreiflichs Wesen. So wird er auch an mich the incomprehensible being of the Almighty. then He will also Ich habe Gott — wie wohl ist mir geschehen! — In meiner Gruft gedenken. I have seen God — how blessed am I! — think of me in my tomb. Von Angesicht zu Angesicht gesehen. Wer Jesum recht erkennt, face to face. [He] who truly recognizes Jesus Ach! meine Seele muß genesen. Der stirbt nicht, wenn er stirbt, Ah! my soul must be restored to health! does not die when he dies, Sobald er Jesum nennt. 3. Recitative (Tenor) the moment he names Jesus. Ein Adam mag sich voller Schrecken An Adam might be filled with terror 6. Chorale (S A T B) Vor Gottes Angesicht Wohlan, so will ich mich and from God’s face Now then, I want Im Paradies verstecken! An dich, o Jesu, halten, hide himself in Paradise! to hold on to you, Jesus, Der allerhöchste Gott kehrt selber bei uns ein: Und sollte gleich die Welt The most high God Himself comes to dwell among us, even should the world suddenly Und so entsetzet sich mein Herze nicht; and so my heart is not afraid. In tausend Stücken spalten. Es kennet sein erbarmendes Gemüte. split into a thousand pieces. It knows His compassionate nature. O Jesu, dir, nur dir, Aus unermeßner Güte O Jesus, for You, only for You, Out of His immeasurable kindness, Dir leb ich ganz allein; Wird er ein kleines Kind for You may I live wholly; He becomes a small child Auf dich, allein auf dich, Und heißt mein Jesulein. in You, alone in You, and is called my little Jesus. Mein Jesu, schlaf ich ein. my Jesus, may I sleep.

8 Dazu ist erschienen der Sohn Gottes, BWV 40 4. Aria (Bass) For this reason the Son of God appeared – J.S. Bach Höllische Schlange, Infernal serpent, 1. Chorus (S A T B) Wird dir nicht bange? Dazu ist erschienen der Sohn Gottes, are you not afraid? For this reason the Son of God appeared, Der dir den Kopf als ein Sieger zerknickt, daß er die Werke des Teufels zerstöre. The One who as a conqueror crushes your head so that He might destroy the works of the devil. Ist nun geboren, is now born, 2. Recitative (Tenor) Und die verloren, Das Wort ward Fleisch und wohnet in der Welt, and those who were lost The Word became flesh and dwells in the world; Werden mit ewigem Frieden beglückt. Das Licht der Welt bestrahlt den Kreis der Erden, will be made happy with everlasting peace. the Light of the world illuminates the circle of the earth. 5. Recitative (Alto) Der große Gottessohn Die Schlange, so im Paradies The great Son of God The serpent that in Paradise Verläßt des Himmels Thron, Auf alle Adamskinder forsakes the throne of heaven, on all the children of Adam Und seiner Majestät gefällt, Das Gift der Seelen fallen ließ, and it pleases His majesty let fall the poison of souls Ein kleines Menschenkind zu werden. Bringt uns nicht mehr Gefahr; to become a little human child. causes us danger no more. Bedenkt doch diesen Tausch, wer nur gedenken kann; Des Weibes Samen stellt sich dar, Think then about this exchange, whoever can think. The woman’s Seed is present; Der König wird ein Untertan, Der Heiland ist ins Fleisch gekommen The King becomes a subject. the Savior has come in the flesh Der Herr erscheinet als ein Knecht Und hat ihr allen Gift benommen. The Lord appears as a slave, and has taken all the poison away. Und wird dem menschlichen Geschlecht Drum sei getrost! betrübter Sünder. and for the human race Therefore, be comforted, troubled sinner. - o süßes Wort in aller Ohren! - - o sweet word in every ear - 6. Chorale (S A T B) Zu Trost und Heil geboren. Schüttle deinen Kopf und sprich: is born to be their comfort and salvation. Shake your head and say: Fleuch, du alte Schlange! 3. Chorale (S A T B) Flee, you old serpent! Die Sünd macht Leid; Was erneurst du deinen Stich, Sin causes sorrow; Why do you renew your sting Christus bringt Freud, Machst mir angst und bange? Christ brings joy, and make me anxious and fearful? Weil er zu Trost in diese Welt ist kommen. Ist dir doch der Kopf zerknickt, since He has come into this world for our consolation. Now your head is crushed, Mit uns ist Gott Und ich bin durchs Leiden God is with us and through the suffering Nun in der Not: Meines Heilands dir entrückt now in our need. of my Savior I am taken from you Wer ist, der uns als Christen kann verdammen? In den Saal der Freuden. Who is there who can condemn us as Christians? into the hall of joy.

9 7. Aria (Tenor) Wie schön leuchtet der Morgenstern, BWV 1 Christenkinder, freuet euch! How beautifully shines the Morning Star – J.S. Bach Children of Christ, rejoice! Wütet schon das Höllenreich, 1. Chorus (S A T B) The kingdom of hell now rages. Wie schön leuchtet der Morgenstern Will euch Satans Grimm erschrecken: How beautifully shines the Morning Star Satan’s fury wants to frighten you. Voll Gnad und Wahrheit von dem Herrn, Jesus, der erretten kann, full of grace and truth from the Lord, Jesus, who can rescue you, Die süße Wurzel Jesse! Nimmt sich seiner Küchlein an the sweet Root of Jesse! takes care of His little chicks Du Sohn Davids aus Jakobs Stamm, Und will sie mit Flügeln decken. You, Son of David from the line of Jacob, and wants to cover them with His wings. Mein König und mein Bräutigam, my King and my Bridegroom, 8. Chorale (S A T B) Hast mir mein Herz besessen, Jesu, nimm dich deiner Glieder have taken possession of my heart - Jesus, embrace Your members Lieblich, freundlich Ferner in Genaden an; [You who are] lovely, friendly, in the future in Your mercy; Schön und herrlich, groß und ehrlich, reich von Gaben, Schenke, was man bitten kann, beautiful and glorious, great and loyal, rich in gifts, Grant what can be asked for hoch und sehr prächtig erhaben. Zu erquicken deine Brüder: lofty and greatly exalted in splendor. to refresh Your brother: Gib der ganzen Christenschar Give to the Christian flock Frieden und ein selges Jahr! peace and a blessed year! Freude, Freude über Freude! Joy, joy upon joy! Christus wehret allem Leide. Christ protects from all suffering. Wonne, Wonne über Wonne! Delight, delight upon delight! Er ist die Genadensonne. He is the Sun of mercy.

10 O Morning Star, How Fair and Bright LSB 395 395 O Morning Star, How Fair and Bright

chorus

chorus5 O let the harps break forth in sound! 5 O let theOur joy be all with music crowned, harps break forth in sound! 6 What joy to know, when life is past, Our joy beOur voices gladly blending! all with music crowned, The Lord we love is first and last, For Christ goes with us all the way— Our voicesToday, tomorrow, ev’ry day! gladly blending! The end and the beginning! For Christ His love is never ending! goes with us all the way ó He will one day, oh, glorious grace, Today, tomorrow, Sing out! Ring out! evíry day! Transport us to that happy place His love Jubilation! is never ending! Beyond all tears and sinning! Exultation! Sing out!Tell the story! Ring out! Amen! Amen! Jubilation!Great is He, the King of Glory! Come, Lord Jesus! Exultation! Crown of gladness! 6 TellWhat joy to know, when life is past, the story! We are yearning The Lord we love is first and last, Great is He,The end and the beginning! the King of Glory! For the day of Your returning! He will one day, oh, glorious grace, Transport us to that happy place Beyond all tears and sinning! Amen! Amen! Come, Lord Jesus! 11 Crown of gladness! Dr. Maurice Boyer, Music Director

Dr. Maurice Boyer is associate professor of music at Concordia University Chicago, River Forest, Ill. (CUC), where he conducts the chamber orchestra and Laudate, a women’s choir, and teaches all levels of ear training. Although born in the United States, he began his musical training (piano, voice and solfège) in Aix-en-Provence, France, where he lived until the age of 18.

Boyer earned a Bachelor of Music in sacred music, with piano as his principal instrument, and a Master of Music in choral conducting at Westminster Choir College of Rider University in Princeton, N.J., while he also studied theology at Princeton Theological Seminary. He holds a Doctor of Musical Arts in orchestral conducting from the University of Maryland, College Park. His principal conducting teachers have been Joseph Flummerfelt, Kenneth Kiesler and James Ross.

Boyer also is artistic director of Aestas Consort of Chicago and assistant conductor of the Symphony of Oak Park River Forest. He has served as guest conductor of the Chicago Choral Artists and guest chorus master for Chicago’s Music of the Baroque. Additionally, he has been chorus master of the New Jersey State Opera and director of music at several churches.

12 The American Kantorei

Chorus Soprano Alto Emily Truckenbrod, Principal Katharine Lawton Brown, Principal Kathryn Crumrine Stephanie Ruggles, Assistant Principal Katherine Gastler Danielle Gines Megan Glass Mona Hauser Brittany Graham Anna Otterman Lea Herdler Amy Will Krista Hartmann Mary Ulm Marita Hollander Lisa Young Camille Marolf Lynn D. Morrissey Bass Jeffrey Heyl, Principal Tenor David Berger, Assoc. Principal Jeral Becker, Assoc. Principal Everett Gossard Greg Gastler Gary Lessmann Thomas Jarrett Bolain Charles McCall Zachary Devin, Guest Soloist Alex Marque Bill Larson Kyle Will Ryan Markel Steve Paquette

Orchestra Violin 1 Oboe / Oboe d’amore / English Horn Wanda Becker, Concertmaster Ann Homann, Principal Cynthia Bowermaster Eileen Burke Hannah Frey Tova Braitberg Flugelhorn John Korak, Principal Violin II Robert Souza Kaoru Wada, Principal Marilyn Park Ellington Positiv (Continuo) Organ Margret Heyl John Walsh

Viola Timpani Sarah Borchelt, Principal Chris Treloar Laura Reycraft Chapel Organ Cello James Marriott Andrew Ruben

Double Bass Frederick DeVaney

13 Title page from volume 1 (Old Testament) of the Calov commentary from the library of J.S. Bach. Bach’s monogram signature is at the bottom right corner of the page. (Courtesy of Concordia Seminary Library)

14 Welcome to Bach at the Sem!

“When all was still, and it was midnight, Your almighty Word, O Lord, descended from the royal throne.”

This verse from the Christmas liturgy invites us into reflection, into an outlook born from the inner peace available this holiday season. The almighty Word that descended was the coming of God into our human life through the birth of Jesus Christ. Minute after minute this afternoon, J.S. Bach will invite our attention and awe to the mystery of Christmas.

“Das Wort ward Fleisch… The Word became flesh and dwells in the world; The Light of the world illuminates the circle of the earth. The great Son of God forsakes the throne of heaven, And it pleases His majesty to become a little human child. Think about this exchange!” (Nun komm, der Heiden Heiland, BWV 61)

Yes, we will think. Grateful for today’s offering by Music Director Maurice Boyer and the American Kantorei, we will ponder the mystery of the Word become flesh. We thank you for your attendance and support for Bach at the Sem. Concordia Seminary’s theme this academic year comes from Heb. 4:12, “The word of God is living and active.” The essence of that “living and active” Word is the mystery of the coming of Christ, a “sweet word in every ear” to quote Bach again.

“Great indeed, we confess, is the mystery of godliness: He was manifested in the flesh, vindicated by the Spirit, seen by angels, proclaimed among the nations, believed on in the world, taken up in glory” (1 Tim. 3:16 ESV).

Dale A. Meyer President Concordia Seminary, St. Louis

15 Join Us! A Special Reception with Dr. Maurice Boyer Music Director for the Bach at the Sem Concert Series

After today’s concert In Koburg Dining Hall

All are welcome!

16 celebrating the music of j.s. bach since 1955.

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