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Chamber Choir CHAMBER CHOIR EUGENE ROGERS, DIRECTOR GRADUATE STUDENT CONDUCTORS SCOTT VANORNUM, ORGAN Sunday, April 25, 2021 Hill Auditorium 4:00 PM THREE BACH CANTATAS Aus der Tiefen rufe ich zu dir, BWV 131 Johann Sebastian Bach Aus der Tiefen rufe ich zu dir (1685–1750) So du willt, Herr Jacob Surzyn, bass Margaret Burk, conductor Ich harre des Herrn Meine Seele wartet Tyrese Byrd, tenor David Hahn, conductor Israel hoffe auf dem Herrn Julian Goods, conductor Nach dir, Herr, verlanget mich, BWV 150 Johann Sebastian Bach Sinfonia Nach dir, Herr, verlanget mich Doch bin und bleibe ich vergnügt Maia Aramburú, soprano Katherine Rohwer, conductor Leite mich in deiner Wahrheit Zedern müssen von den Winden Eliana Barwinski, alto; Jacob Carroll, tenor; Jacob Surzyn, bass Bryan Anthony Ijames, conductor Meine Augen sehen stets Meine Tage in dem Leide Maia Aramburu, soprano; Eliana Barwinski, mezzo-soprano Jacob Carroll, tenor; Julian Goods, bass Benjamin Gaughran, conductor THe use of all cameras and recording devices is strictly prohibited. Please turn off all cell phones and pagers or set ringers to silent mode. Nun komm, der Heiden Heiland, BWV 61 Johann Sebastian Bach Nun komm, der Heiden Heiland Der Heiland ist gekommen Tyrese Byrd, tenor Komm, Jesu, komm zu deiner Kirche Jacob Carroll, tenor Siehe, ich stehe vor der Tür Jacob Surzyn, bass Öffne dich, mein ganzes Herze Cecilia Kowara, soprano Amen, Amen, komm du schöne Freudenkrone Joseph Kemper, conductor BACH, AUS DER TIEFEN RUFE ICH ZU DIR, BWV 131 In July 1707, 22-year-old Johann Sebastian Bach began his short tenure as organist of the Bla- siuskirche in Mühlhausen, one of two major churches in the free imperial city. Young Sebastian was already gaining a stellar reputation for himself as a virtuoso organist and expert in organ construction and maintenance: already in his second professional appointment, he managed to secure both a massively expensive organ renovation project and a hefty pay raise! Perhaps most significantly, he would soon articulate his vision for “a regulated or orderly church music to the glory of God” by honing his compositional craft, as he already had begun doing at his previous appointment in Arnstadt. His cantata Aus der Tiefen (BWV 131) was most likely composed for a memorial service honoring the victims of a devastating fire that had blazed through Mühlhausen just before his arrival. The text of the work—most likely selected by its commissioner, Georg Christian Eilmar, pastor of the nearby Marienkirche—weaves pas- sages from Luther’s translation of Psalm 130 with verses of “Herr Jesu Christ, du höchstest Gut” (“Lord Jesus Christ, you highest good”), a chorale by sixteenth-century Lutheran pastor Bartholomäus Ringwaldt. Tapping into an already deep technical reservoir, Bach demonstrates in Aus der Tiefen his uncanny ability to marry musical rhetoric with theology to express the gamut of emotions present in the Psalm: despair, hope, and finally conviction. Unlike later cantatas in which Bach repurposed operatic forms, Aus der Tiefen reflects the profound influence of Dieterich Buxtehude and the North German organ school as a stylistic antecedent. These works often featured short, contrasting sections that matched the emotional expression of the text. Here, Bach follows suit: he opens with a slow, doleful Sinfonia capturing the hopelessness and anguish of “Out of the depths I cry to you.” Notable is his use of a de- scending fifth as the opening melodic gesture, which was employed by both Martin Luther and Jean Calvin in their respective settings of Psalm 130 to convey a sense of longing and despair. This bleak Andante, however, is not to last: an abrupt Vivace soon follows, and Bach inverts the same fifth heavenward to depict the text “Lord, hear my voice.” In the ensuing fughetta, the word flehens (“supplication”) is the rhetorical high point, set with both a descending scale and ascendant seventh leap. This musical material blends seamlessly into the second movement, an Andante duet between a bass soloist and obbligato oboe. The word Vergebung (“forgiveness”) receives special harmonic treatment: often, it falls on a highly dissonant chord (such as a major seventh or a minor ninth) that resolves downward by step. It seems that Bach is subtly suggest- ing that resolution in all struggles is only achieved when the believer trusts in God’s redemptive love above all else. This sentiment is reinforced by the chorus’s sopranos, who enter singing the text of the Ringwaldt chorale as a cantus firmus above the fray. The next two movements form a plea to the triune God of Israel with the strong statement of “I waited on the Lord.” Thrice-repeated choral declamations symbolic of God’s triune nature lead us to a somber fugue. Bach emphasizes the pleading nature of the text through long, descend- ing melodic lines featuring chains of suspensions and sighing motives. While the choir main- tains the fugal subject throughout, the instruments play insistent motivic duets that simulate the sound of a ticking clock, further characterizing the nature of waiting. In the fourth move- ment, the tenor soloist sings a lilting melody on meine Seele (“my soul”) while the altos sing the next stanza of the Ringwaldt chorale quietly in the background, reminiscent of a cantus firmus. The lilting melody weaves in and out of keys without resolution, expressing the restless nature of the speaker’s soul. Text painting occurs throughout, especially at the end when the tenor line soars to the heavens to evoke the rising of the new morning sun. Beginning with three strong chordal statements calling on Israel, the fifth movement is based on the verses in Psalm 130 encouraging the faithful to “hope in the Lord,” for He “will redeem them from their sins.” Bach utilizes a prelude and fugue form common in North German or- gan works: the prelude features a variety of rapidly changing textures, including homophonic sections and imitative sequences. In the virtuosic fugue, Bach uses themes derived from earlier in the cantata. The subject, introduced first in the soprano, is contrasted by a second main theme: a chromatic ascending line in the bass. These themes are developed in each vocal part while the continuo drives the momentum ever forward. The cantata comes to a close with a final ornamented Phrygian cadence. Ever the theologian, Bach faithfully reinforces the stead- fast presence of God with words from the psalm: “He shall redeem Israel from all of its sins.” Note by Margaret Burk, David Hahn & Julian Goods 1. Chor 1. Chorus Aus der Tiefen rufe ich, Herr, zu dir. Out of the depths, Lord, I cry to you. Herr, höre meine Stimme, Lord, hear my voice, laß deine Ohren merken Let your ears consider auf die Stimme meines Flehens! The voice of my supplication! 2. Arioso (Baß) und choral (Sopran) 2. Arioso (Bass) and Chorale (Soprano) Baß: So du willst, Herr, Sünde zurechnen, Bass: If you, Lord, kept a record of sins, Herr, wer wird bestehen? Lord, who could stand? Sopran: Erbarm dich mein in solcher Last, Soprano: Have mercy on me under such a burden, nimm sie aus meinem Herzen, Take it out of my heart, dieweil du sie gebüßet hast Because you have atoned for it am Holz mit Todesschmerzen, On the wood of the Cross with pangs of death, Baß: Denn bei dir ist die Vergebung, Bass: Because with you there is forgiveness, daß man dich fürchte. So that we can serve you. Sopran: auf daß ich nicht mit großem Weh So that I in great pain in meinen Sünden untergeh, Might not perish from my sins, noch ewiglich verzage. Nor eternally despair. 3. Chor 3. Chorus Ich harre des Herrn, I wait on the Lord, meine Seele harret, My soul waits, und ich hoffe auf sein Wort. And I hope in his word. 4. Aria (Tenor) und choral (Alt) 4. Aria (Tenor) and Chorale (Alto) Tenor: Meine Seele wartet auf den Herrn Tenor: My soul waits on the Lord von einer Morgenwache bis zu der andern. Like a watchman for the morning. Alt: Und weil ich denn in meinem Sinn, Alto: And since I, in my understanding, wie ich zuvor geklaget, As I complained before, auch ein betrübter Sünder bin, Also am a grieved sinner, den sein Gewissen naget, Gnawed by my conscience, und wollte gern im Blute dein And would gladly in your blood von Sünden abgewaschen sein From my sins be washed wie David und Manasse. Like David and Manasseh. 5. Chor 5. Chorus Israel hoffe auf den Herrn; Israel, put your hope in the Lord; denn bei dem Herrn ist die Gnade Because with the Lord is grace und viel Erlösung bei ihm. And full redemption in him. Und er wird Israel erlösen And he will redeem Israel aus allen seinen Sünden. From all its sins. Psalm 130:1–8; “Herr Jesu Christ, du höchstest Gut” (B. Ringwaldt, 1588) Translation by Margaret Burk BACH, NACH DIR, HERR, VERLANGET MICH, BWV 150 Another product from the young Sebastian is the cantata Nach dir, Herr, verlanget mich (BWV 150), scored for a small instrumental ensemble, chorus, and soloists. Recent scholarship sug- gests this plaintive, spiritual, and expressive work may be the earliest of Bach’s extant church cantatas, possibly composed just before or during his Mühlhausen appointment in 1707. With the original score lost, the music survived thanks to a copy made after Bach’s death by his stu- dent C. F. Penzel. While the circumstances of its inception remain obscure, Bach’s undeniable craftsmanship, sensitive treatment of the text, and evocative writing emanate throughout the cantata. Structured in seven movements, the cantata opens with a sinfonia followed by a chorus, both characterized by an intense, mournful descending chromatic line.
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