1947 Bach Festival Program

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1947 Bach Festival Program Lhe J3ach Socieb; of J(afamazoo THE BACH SOCIETY is dedicated to the high purpose of promoting an annual Bach Festival, so Presents its First A nnual that local music-lovers may have the opportunity of hearing and performing the BACH FESTIVAL immortal masterpieces of ] ohann Sebastian Bach. SIX DAYS-FEBRUARY 27TH THROUGH MARCH 5TH, 1947 THE EXECUTIVE COMMITTEE Dr. Paul Thompson, Honorary Chairman A COMMUNITY PROJECT Mrs. James B. Fleugel, General Chairman SPONSORED BY KALAMAZOO COLLEGE Mr. Harold B. Allen Mr. Irving Gilmore Mrs. William Race Mr. Willis B. Burdick Mr. Everett R. Hames Mr. Louis P. Simon PRESENTED IN STETSON CHAPEL Miss Francis Clark Mrs. Stuart Irvine Dr. Harold T. Smith, Treas. Mrs. A. B. Conn able, Jr. Mrs. M. Lee Johnson Mrs. Harry M. Snow HENRY OVERLEY, Director Mrs. Cameron Davis, Secy. Mrs. W. 0. Jones Mrs. Fred G. Stanley Mr. Harold DeWeerd Mrs. James Kirkpatrick Mr. L. W. Sutherland Dr. Willis F. Dunbar Mr. Henry Overley Mrs. A. J. Todd Dr. M. H. Dunsmore Mr. Frank K. Owen Mrs. Stanley K. Wood Mr. Ralph A. Patton CALENDAR OF EVENTS ORGAN RECITAL PATRON MEMBERS ARTHUR B. JENNINGS (We ~·egret that this list is incomplete. It contains all names received up to the date of the p1·inter's dead-line). assisted by th e Allen, G. H. Fowkes, Dr. and Mrs. A. Gordon Overley, Mr. and Mrs. Henry CENTRAL HIGH SCHOOL A CAPPELLA CHOIR Appeldoorn, Mrs. John Friedman, Martin Pitkin, Mrs. J. A. Barr, E. Lawrence Gilmore, Irving Pratt, Mrs. Arthur ESTHER NELSON , Director Barrett, Wilson Grinnell Bros. Pratt, Glenn J. Thursday, February 27, 8:15p.m. Friday, February 28, 8:15 p. m. Baxter, Kathryn Grinbarg, Morris S. Prentice, Dr. Hazel Beimer, Y. J. Griffin, Rev. Robert K. Race, Mr. and Mrs. ' Villiam Bol'am, Robert D. Hayward, Ralph A. RalstO!!, Mrs. Ralph :·· Brown, Mr. and Mrs. C. V Hamm, Mrs. Eleanor Rasmussen, Mr. and Mrs. I. A. CHAMBER MUSIC CONCERT Burdick, Larry B. Hammond, Mr. and Mrs. W. C. Ratcliffe, Mrs. Mabel Carpp, Donald Hootman, Eleanor Reed, Treva YELLA PESSL, Harpsichordist Carter, Dr. and Mrs. Elwyn Hornbeck, Dr. and Mrs. John Rood, Mrs. Josephine Chisholm, Florence Ingling, Mr. and Mrs. Glenn Rosenbaum, Mr. and Mrs. Lester BACH CHAMBER ORCHESTRA OF KALAMAZOO Clark, Mr. and Mrs. Ainsworth Irvine, Mr. and Mrs. Stuart Rosenbaum, Mr. and Mrs. Sylvar Clark, Frances Johnson, Mrs. M. Lee Schippers, Mr. and Mrs. Peter THE BACH CANTATA SINGERS Connable, Mr. Alfred B. Jones, Mrs. W . 0. Schrier, Dr. and Mrs. Paul Conn able, Mrs. Alfred B. Keller, Jean Schweitzer, Mr. and Mrs. H. E. Saturday, March 1, 8 :15 p. m. Sunday, March 2, 8 :15 p. m. Crabb, Mr. and Mrs. E. H. Kidder, Mrs. W. E. Snow, Mrs. H. M. Dam, Cecil Kirby, Mrs. Winifred S. Stanley, Mrs. Edna H. Davis, Mr. and Mrs. Cameron Kirkpatrick, Mrs. J. T. Stern, Maude E. DenBleyker, Clark Krudener, Mrs. Ola Surls, Mr and Mrs. Frank //THE PASSION ACCORDING TO Dexter, John Loomis, Mrs. Edmond , Thompson, Dr. and Mrs. P. L. Dewing, Mrs. Chapin A. Luther, Mr. and Mrs. E .. H. Todd, j.\1rs. A.J. ST. MATTHEW/I Dibble, Mrs. Louise Mehaffie, Mrs. H. F. Turnbull, Beth I. Dupon, Mrs. Lincoln Meyer Music Store Upjohn, Mrs. E. Gifford THE BACH FESTIVAL CHORUS Dykema, Raymond Milham, Mr. and Mrs. W. M. Upjohn, Mrs. W. E. Eilers, Mrs. Frank B. Mimms, Mr. and Mrs. Leon H. Vermeulen, Mrs. Harold assisted by Ewell , Roger Morris, Mr. and Mrs. Stanley Walton, Dr. and Mrs. Thomas 0 FIVE ARTIST SOLOISTS Finlay, Mr. and Mrs. James Nelson, Esther Woodhams, Mrs. Ethel Todd Ford, Mr. and Mrs. Henry, Jr. Norrix, Dr. and Mrs. Loy A group of St. Luke's cho irboys Fopeano, Dr. and Mrs. John Olson, Mr. and Mrs. Burdette Organ, Harpsichord and Chamber Orchestra • Tuesday, March 3, 8 :00p. m. Wednesday, March 4, 8 :00 p. m. [ 2] [ 3] FIRST CONCERT-ORGAN RECITAL IV Two Chorale Preludes Thursday Evening, February 27 Friday Evening, February 28 ( 1) Erbarm' dich mein', 0 Herre Gott. ( 2) Nun freut euch, lieben Christeng'mein. ARTHUR B. JENNINGS, Organist Erbarme dich mein (Have mercy upon me, 0 God) is played here with an added melody in the alto part, not found in the original score, But consistent with the harmonic and assisted by the melodic intent of the composition. Central High A Cappella Choir Nun freut euch (Rejoice now, good Christian men) has the melody in the pedals as a tenor part, the bass on the Great Manual; and the rapid figuration of the riglit hand ESTHER NELSON, Director imparts a dazzling happiness, giving the chorale a shining aura. (NOTE: Applause is permissab/e) Toccata, Adagio and Fugue in C major V Fantasie and Fugue in G minor During Bach's tenure as court organist at Weimar, he wrote many brilliant organ corn­ Next to the Toc'cata and Fugue in D manor, this probably ranks as the most played of positions designed for concert use. His interest in the three-movement Italian concerto Bach's organ works in the larger form. The symphony orchestras perform it, and even a form is evident in this work. jazz band has been known to present a shortened version of the fugue. The Toccata opens with a brilliant manual recitative, followed by a pedal so lo of strong t!es!gn containing two themes used in the development of the Toccata. The Adagio, well The Fantasie is a monument of musical architecture. Its freedom of harmonic progression must have amazed Bach's contempora.ries. The contrasting five sections of the Fantasie known through its many transcriptions, finds its best expression as part of the ardnitecture of the complete work. Before going to the happy fugue with its triple rhythm there are so different, and yet Bach has worked his material with such skill that the whole work is a unit. The fugue is based on a melody not original with Bach, having been is a remarkable Interlude of seven voices in which Bach uses suspensions freely resulting used as a theme by many for improvisations. The tune is probably of Dutch origin, in an harmonic scheme of great nobility. and before Bach was used by Reinken in a Sonata. But Bach by the invention of hi s c,ou nter melodies and also by hi s matchless sense of design has created an original work II Four Short Pieces of driving power. ( 1) Arioso from Cantata Number 156 (Program notes by Mr. Jennings) ( 2) Gigue from an Unfinished Suite ( 3) Sonatina from the cantata "God's Time is Best" (~OTE: Please bring this program with you to each concert. The first copy is free. ( 4) In dulci jubilo (from "The Little Organ Book") Additional copies may be purchased at lOc each) These four brief compositions, even though they are more within the appreciation of the general public, are none the less masterpieces of inspiratwn and fine workmanship. The preludes and fugues with their massive architecture and philosophy comprise only a small part of Bach's cbmpositions, whereas the shorter works such as these little pieces are many indeed. Year by year, one and then another appears and captures the public's fancy. The first three were not written for the organ. Here it is interesting to note that prac­ tically all Bach's music sounds good transcribed for another medium than that for which L'SHERING COMMITTEE-THE REv. ROLAND 0. PICKHARDT, Director. he wrote it. Much of the organ musiC! has been transcribed for symphony orchestra or the piano. And organists find much inspiration in transcribing some of his chamber " A" Team-H. Stewart Ross, Captain; Walter S. Tatem, Assistant Captain; Lois Armin­ music and clavichord pieces for the organ. trout; Mary Braithwaite; Marilyn Brattstrom; Florence Chisholm; Geraldine Lee; Margery Davis; Delorus DeVries; Patr'jcia, Dunbar; Louise Goss; Lois Green'e; Ill Choir and Organ Rosalyn Spencer. ( 1) Dearest Lord Jesus, Why Dost Thou Tarry? .. "B" Team-Donald K. Green, Captain; Bill B. Smith, Assistant Captain; Marjorie Hickman; JoAnn King; Jean Koopsen; lrmgard Kretzing; Betty Colvin; Norma Monroe; ( 2) Wachet Auf (Sleepers wake, a voice is calling) Bettie Olmsted; Verdonne Peterson; Carol Pletcher; Margery Sebright; Jean Smith. ( 3) Jesu, meine Freude ( 4) Passion Chorale f ( 5) Jesu, Joy of Man's Desiring Bach used his musical material freely. Many of his melodies, used ;n src~:lar works, he used again in his church cantatas. One ot his chief sources of pleasure was to compose his many organ Chorale Prelude~, using a well known hymntune to produce an instru­ mental composition. The accompainmental figures used in some of these were often THANK YOU!- rapid, and many moods of human experience made delightful and vivid. Very few of these melodies have been used in our American hymnal. But "Sleepers, wake, a THE EXECUTIVE COMMITTEE wishes to express its thanks to our patrons for their voice is calling" is well known, as is also the Passion Choral, known to the words of suppo"t, and to all others who have contributed in any way to the success of ou1· first annual "0 Sacred Head" in our hymnals. This latter melody was of secular origin, but Festival. It is impossible to make individual mention of the many persons who have helped Martin Luther, with his practical religious zeal, saw its spiritual potentiality; he in various ways; but special mention is due to Mr. Morris Grinbarg, who contributed the transformed it, changing it• rhythm, from a popular song of the time, to one of the most art work in the brochure and program; to the Beimer Printing Co.
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