v; lJ:) ~ ~ ~ :::: en ....~ Co! 1:: - rl i4 .... Co! Q ~ tl)" ..1::< Q Q ~ a ,E ~ ~ N ..... Q tl\ Q a ~ t-...." ~ Ill - 1:: IJ:) ~ ~ ~ ~ - Co! ,.p 1:: :+.. ~ ~ ':!' ~ e ~ 1:: ~ tn ;:; tn :.... lJ:)" -;:; a a Q .s ...... @ ...e. 1:: i4 ....e" ~ (>! .... 1:: Q • (>! ...... i4 ..... 1:: Ill ~ ...e. ~ ~ :::: $::; tl\ ~ .... (>! ~ :.... M " - (>! 1:: ~ (>! ..1::< ...e. ...e. $::; ~ ~ ...!:! tl\ ~~ E (>! $::; (>! O,f (>! ..... 1:: - ....e" .... tl\ ~ - ~ ] ~ :+.. ..1::< Q $::; 1:: tl\ 2rv ~ :.... i4 Q - ~ ..a 1:: ~ ~ ~ ~ at ~ THE BACH FESTIVAL COUNCIL PROGRAM NOTES Dr. Russell Hammar, Director Dr. \Veimer K. Hicks, Honorary Chairman Miss Barbara \Veller, Administrative Secretary by Lawrence R. Smith Dr. James Miller, Honorary Member Dr. Henry Overley, Director Emeritus Dr. Harold Harris, Executive Co-Chairman ( 1962-65) First Concert Mrs. R. Bowen Howard, Executive Co-Chairman ( 1963-66) The fifth of Bach's six Brandenburg Concertos displays as dramatically as any other work his intense mastery in fusing the traditions of the past, which he derived from the works of the ARTISTS COMMITTEE PATRON-SPONSOR COMMITTEE Venetian masters; the currents of his own time, in which his greatest single inRuence was from Mr. E. Lawrence Barr 1962-65 Mrs. Lester Start, Chairman Vivaldi; and his own forward-looking inventiveness. The colorful instrumentation of the work, Dr. J. M. Calloway Mrs. Russell Carlton 1963-66 using a string instrument, the violin; a woodwind, the flute; and a keyboard instrument, the Mrs. Maynard Conrad 1964-67 Mr. Neill Currie 1964-67 harpsichord, as the concertina group against the mass of the string ripieno, reflects the polychoral Mrs. Marion Dunsmore 1964-67 Mrs. John Correll 1964-67 productions of Gabrieli and his followers at Venice at the juncture of the Renaissance and Mrs. H. F. Mehaffie 1963-66 Mrs. Cameron Davis 1963-66 Baroque periods. The structure and texture, characterized by the interaction of the continuo, Mr. Richard Niessink 1962-65 Mrs. Lincoln Dupon 1964-67 with its implicit chordal concept, and the contrapuntal flow of independent imitative lines, bear Mrs. John Fetzer 1963-66 witness to the influence of Vivaldi. The virtuoso part for the keyboard performer, presaging DEVELOPMENT COMMITTEE Mrs. Robert Friedmann 1964-67 the classical solo concerto, is purely Bach's invention. The six concertos were published in 1721, Dr. Lloyd Averill, Chairman 1962-65 Mr. Ben Morris, Jr. 1963-66 while Bach was capellmeister and director of chamber music to the court at Coethen. Mr. Irving Gilmore 1965-66 Mr. James B. Shumaker 1963-65 The cantata for Quinquagesima Sunday, "Du wahrer Gott," was also written while Bach Rev. Louis Grotl1er 1963-66 Mrs. George Slomp 1963-66 Mr. R. K. Jones 1964-67 was stationed at Coethen. But since the court at Coethen belonged to the austere Reformed Mrs. Harry Snow 1964-67 Church, which did not permit the use of music in the service, tl1e cantata remained unperformed Miss Sylvia Muehling 1964-67 Mr. Roger Longrie, Chorus President Dr. Harrison Nelson 1964-67 until 1724, after Bach had moved to . The chorale tune found in the last movement of Mrs. Harold Petering 1962-65 PUBLICITY COMMITTEE the cantata, "Christe, du Lamm Gottes," was a favorite of Bach. This last movement, in fact, Dr. Louis Rowland 1964-67 Dr. David Collins, Chairman 1964-67 was originally written to serve as the final movement of the "Passion According to St. John." Mrs. Fred Stanley 1962-65 Dr. Elwyn Carter 1962-65 The chorale prelude on this tune will be heard in the fourth concert. Mr. John Coats, Chorus Vice President Karl Heinrich Craun (1701-1759) and Johann Friedrich Fasch (1688-1758), the two FINANCE COMMITTEE Mrs. Lawrence Field 1963-66 contemporaries of Bach represented on this program, stand in a relationship to each other similar Mr. Troy Carpenter, Chairman 1964-67 Dr. \iVilliam Emblom to the relationship of Bach to Handel. Their musical interests moved in generally different Mr. Harold Davidson 1962-65 Mr. Martin Flavin 1963-66 directions. Fasch's interest, like Bach's, moved in the direction of church music and music Dr. John Evans 1963-66 Mr. Ralph Patton 1962-65 for chamber groups. Craun, like Handel, while he wrote concertos and a variety of other Mr. Stuart Simpson, Treasurer 1963-66 Mr. David Squires 1964-67 types of music, produced mostly in the Italian style. The Craun motet, "Lift Up Your Mrs. Edwin Steen 1962-65 TICKET Cm1MITTEE Heads," shows a strong Handelian cast. Bach is known to have studied some works of F'asch. Dr. Ralph Deal, Chairman Manuscripts of a set of orchestral suites of Fasch in Bach's handwriting were found in the HISTORY and RESEARCH COMMITTEE Mrs. Eric Brown 1962-65 archives of the Thomasschule at Leipzig after Bach's death. Dr. Louis Rowland, Chairman 1964-67 Dr. George McMorrow 1963-66 The motet, "Fuerchte dich nicht," dates from 1726, and was probably written soon after Mrs. Robert Angerman 1964-67 Mrs. Henry \Veenink 1964-67 Bach moved from Coethen to Leipzig. Mrs. Herbert Butler 1964-67 Mr. George Tucker 1963-66 USHER COMMITTEE Dr. Richard Stavig, Chairman 1963-66 HOSPITALITY COMMITTEE Dr. Harry Ray 1963-66 Second Concert Miss Mildred Prestrud, Chairman 1962-65 TRUSTEES The cantata, "Also Hat Gott die Welt Geliebt," was written for Whit Monday in 1735, in Mrs. Bernard Bennink 1963-66 Mr. Wm. Burke Leipzig. As he often did, Bach used material from earlier works in composing this cantata. Mrs. Henry Ford 1963-66 Mr. Cameron Davis The soprano and bass arias have been traced to a cantata that Bach wrote for a hunting festival Mrs. Weimer Hicks 1961-64 Miss Sylvia Muehling in 1716, at Weimar. Mrs. Harold Petering 1962-65 Dr. T. T. Wylie Third Conce 1·t BACH FESTIVAL COUNCIL welcomes you to this, the Nineteenth Bach Festival. In Northern Gennany, Christmas is celebrated from December 25 through January 6. We hope you will find Bach's music as pleasurable to listen to as it is for the many people Bach's Christmas , performed now as an extended concert work, was originally written involved in these concerts to perform. as six separate cantatas for use in services on six different days during this period. It is unlikely The Council also wishes to express its appreciation to all those people who, in a great that the six were ever performed on one day during Bach's lifetime. It is ,a little surprising to number of ways, have made this Festival possible. find, then, that this collection of cantatas does, indeed, hold together as a musical whole. In -DR. HAROLDJ. HARRIS; MRs. R. BowEN HowARD, Co-Chairmen fact, as a musical and dramatic work, the Christmas Oratorio is at least as effective as many of the hundreds of real written by other composers during the same era. I should like to express appreciation to the persons who have been instrumental in carrying The text of the Christmas Oratorio, since it was intended for cantatas, and not for ilie quasi­ out the responsibilities of presenting this annual series of concerts. TI1e Bach Chorus, the operatic situation of the real oratorio, calls for fewer recitatives than it would oilierwise, and members of the Council and their chairmen, have functioned admirably during the past several there is little of the dramatic interplay of characters that the operatic form demands. Bach months to produce this great experience for both listeners and perfom1ers. seems to have felt that this lack of conversation in recitative presented a musical problem, which - RussELL A. HAMMAR, Director he solved by passing the responsibility of narration around among the soloists instead of reserv­ ing it solely for the .

[ 2] [ 3] Bach wrote the Christmas Oratorio in 1734, his eleventh year at Leipzig. It was neces­ FIRSTCONCERT SUNDAY,FEBRUARY 28, 8:30 P.M. sarily a common practice with him to borrow from previous works in writing his cantatas, because he had to produce a cantata for every Sunday and feast day of the liturgical year. STETSON CHAPEL For the material of the Christmas Oratorio, he relied most heavily on the many secular cantatas he had composed for birthdays, weddings, and similar occasions. One can well imagine a dis­ tinguished visitor to the court of Coethen being formally greeted with the outburst of trumpets I. BRANDENBURGCONCERTO NO. 5 BWV1050 J. S. Bach and drums with which the oratorio opens. Bach, in his music, made no distinction between THEBACH FESTIVAL ORCHESTRA AND SOLOISTS "sacred" and "secular," so it cannot be considered inappropriate for him to have lifted a birthday Lynette Blanchard,flute; VoldemarsRushevics, violin; Sylvia Muehling, piano !cemb1lol; aria written for the celebration of some sponsor cr relative, and changed the words to fit a Muriel Matthews, continuo liturgical occasion.

II. CANTATA"Thou Very God" (Duwahrer Gott) BWV23 J. S. Bach Fourth Concert THEBACH CANTATA CHOIR AND SOLOISTS While Bach lived and worked at Weimar, his greatest energy went into playing and writing EdnaFarthing, soprano; Joyce Thompson,contralto; William Struck, tenor for the organ. He had a magnificent instrument to work with here, and he was court organist DUET: AdagioMolto- ThouVery God,and David'sSon in a vital and dynamic musical community. The Duke, Bach's employer, had a nephew, Prince RECITATIVEa tempo: Ah, passThou not now by me Johann Ernst, who was a talented young composer. Bach was attracted to three of the young CHORUS:Andante- All eyes are waiting, Lord, on Thee Prince's violin pieces, and transcribed them as concertos for organ and orchestra, just as he had CHORALE:Adagio , Andante- Lambof God, Lord Jesus, transcribed some violin concertos of Vivaldi and others. The Concerto in G major was originally Thou who bore the sins of man a work of Prince Johann Ernst. The six trio sonatas for organ, written between 1727 and 1733 at Leipzig, are literally trios for one performer. Bach designated them for "two claviers and pedal." He wrote them for his son Friedemann. Their style is a remarkable combination of the concerto form and melodic Ill. MOTET "Lift Up Your Heads,0 Gates" Carl Heinrich Graun content with very strict polyphonic part-writing. In the Trio Sonata in E minor, Bach was (for double chorus) truly writing chamber music for the organ. THEBACH FESTIVAL CHORUS The aria, "Wie Zittern und Wanken," from Cantata 105, is one of Bach's many delightful Moderato: Lift up your heads,0 gates coloratura arias. The vocal line is almost instrumental in character, with single phrases covering Adagio: That the King of glory may come in a range of more than an octave. At one point, the singer must take the leap of a ninth on two Allegro: He is the Lord, strong and mighty sixteenth-notes. There is also a considerable amount of Bach's tone-painting. Andante: Whois the King of glory? The Orgelbuechlein, which Bach produced at Coethen, was to have been a monumental Allegro: He is the Lord Godof hosts, He is the King of glory collection of 164 chorale preludes. Bach actually published only forty-five. All of the preludes in the collection reflect the meaning of the text in a very subjective manner. A particularly good example of this text portrayal is the exultant ostinato in the Easter chorale, "Heut' triumphieret Gottes Sohn." -INTERMISSION-10 Minutes- When played the Toccata in F major in an organ recital in 1831, he commented, "The toccata ... sounded as if it would bring the church down." It is a genuinely dramatic work, from the opening pedal tone, fifty-five measures long, through the rocking IV. SONATAIN G MAJOR JohannFriedrich Fasch chords and the magnificent vaulted arches of tonal design, to the final solid cadence. SusanGibson , recorder; Annette Casey,flute; Cheryl Kraft, oboe; The Concerto in D minor was not specifically designated by Bach as an organ concerto, but Mirth Marie Nelson, continuo; Melinda Ray, harpsichord for "clavier," which leaves the exact intention open to speculation. He was apparently very Andante fond of the composition, since he used it in several forms, including parts of it in various Allegro cantatas. This concerto was performed by piano and orchestra during last year's Bach Festival. Affettuoso Allegro

V. MOTET "Be Not Afraid" (Fuerchtedich nicht) BWV228 J. S. Bach Intermission dinner will be served in Welles Hall at 6:30 P.M. You are cordially invited to dine witil us. THEKALAMAZOO COLLEGE CONCERT CHOIR Dinner tickets at $2.00 each may be purchased at the table in the Chapel Narthex. Welles Hall is the Andante: Be not afraid, for I am near (doublechorus) building located immediately to your right as you leave the Chapel. The program will resume at 8:15 P.M. Fugue: It is I, who did redeemthee

GUEST BOOK N o t e : Please bring this pmgram with you to all performances. Everyone is urged to sign our GUEST BOOK in the Chapel Narthex. We especially urge those who have not formerly been on the Bach Society mailing list to sign the book.

I 41 [51 V. 0 LAMMGOTHS, UNSCHULDIG BWV 65 6 (Three Verses) SECONDCONCERT- WEDNESDAY,MARCH 3, 8:30 P.M. "In the Christian Liturgy this Passion call is heard three times, twice the same: 0 innocent DA LTON THEATRE Lamb of God, slaughtered on the Cross, found ever patient, how wert Thou scorned. Thou hast borne all sin, otherwise we would have despaired. Har;e mercy on us, 0 Jesu! The third verse closes differently: Give us Thy Peace, 0 Jesu!" (Hermann Keller) ALEXANDERBOGGS RYAN , Organist THE BACHCANTATA CHOIR VI. FUGUEIN E-FLATMAJOR BWV552 (Ciavier-UebungIll ) "The theory that the three sections of the Fugue in E-flat are symbolic of the Holy Trinity is BACH PROGRAMOF MUSICFOR LENT attributed to Albert Schweitzer, who derived the idea from what Bach's sons had told to Forkel. Schweitzer calls the work a triple fugue, which contains three connecting fugues of different personalities. The first fugue is majestic and of uniform rhythm. In the second, I. FANTASIASUPER: Komm, heiliger Geist, Herre Gott BWV6 51 the subject of the first returns in a somewhat disguised and different rhythm, which (Canto fermo in Pedale) .. Schweitzer interprets as the 'divine assumption of an earthly form;' he also speaks of the "The Eighteen Chorals, on the final editing of which Bach was still working during the the rushing sixteenth-notes in the third fugue as sug~estiveof a 'Pentecostal wind ... last months and weeks of his life, form no organic whole ... neither can they be regarded coming roaring from Heaven.' Therc:·fore, Schweitzer s theories are based on theological as works of Bach's last creative period. On the contrary, there exist earlier versions of no rather than musical grounds and he ::an be forgiven for not havin~mentioned the fact that fewer than twelve of these ... which date largely from Bach's \Veimar period and which the subject of the second fugue does not appear in the third fugue! ' (Alexander Boggs Ryan) he then revised and improved in Leipzig . .. The fust piece belongs already to this class: the Fantasia on Come, Holy Ghost. The melody enters in the pedal in long notes . each line being separated from the others by rests; the three upper voices develop an ecstatic motive formed from the notes of the first line of the choral." (Hermann Keller) CANTATA CHOIR SOPRANO: Katherine Connor, Jean Fess, Edna Farthing, Jerry McGregor, Margaret Kingsley, Ellen Mason, Sharon Postma, Anne Stitgen. Jl. CANTATA "For GodHas Loved the World So Well" BWV6 8 ALTO: Betty Anthony, Annette Casey, Vera Collins, Mildred Hammar, Betty LeRoy, Joyce Thompson, Barbara \Varden, Heather \Varden. (Also hat Gott die Welt geliebt) TENOR: Dave Collins, Roger Longrie, Eric Schreiner, William Struck. For Whit Monday (1735) -The text, based upon John Ill:16 and 18 and Acts X, was BASS: Jack Beukema, John Coates, William Keiley, Richard Krueger, Robert Murphy, Ronald written by Marianne Von Ziegler, who was the author of at least nine of the texts for Bach's Spann, Stanley Stitgen. Leipzig Cantatas. Margaret Kingsley, soprano; Betty Le Roy, contralto CHORUS:For Godso loved the world so well ARIA: (Presto)My Heart ever faithful RECITATIVE:Like Peter, I am not audacious ARIA: For my salvation, Thouwast sent me Note : Please bring this progmm with you to all performances. CHORUS:( fugue) He that believeth will escapedamnation

Ill. PASSACAGLIAAND FUGUE IN C MINOR BWV582 "Schweitzer remarks that this work was conceived under the influence of Buxtehude, al­

though it is surprising that Bach did not have a number of youthful compositions in thi~ style. He also believes that Bach realized that the nature of the composition was not suitable for the best in organ music (!), so he did not experiment along these lines again. Bach followed Buxtehude in combining a passacaglia with a fugue. However, unlike Buxtehude, Bach places the fugue at the end, thereby creating an effect of a true climax. It should be noted, hQwever, that Bach goes beyond the power of Buxtehude in the dramatic life that permeates the Passacaglia." (Alexander Boggs Ryan)

IV. 0 MENSCH,BEWEIN' DEIN' SUENDE GROSS BWV622 "The second half of the Orgel-Buechlein (Nos. 24-45) ... contains Passion, Easter, and Whitsun chorals and 12 hymns on the Christian faith. With one exception (No. 40), the harmonization is in four parts and the melody lies, in most cases unornamented, in the upper part. Only in two cases (Nos. 24 and 42) is it richly ornamented. No. 24 0 Man, Bewail Thy Grievous Fall closes the series of Passion chorals with a rich, ornamented paraphrase of the melody, full of deep feeling, in which the choral itself can hardly be distinguished." (Hermann Keller)

[ 6 ] [7] THIRDCONCERT- SATURDAY,MARCH 6, 5:00 P.M. and 8:15 P.M. PART II STETSON CHAPEL ON THE SECONDDAY OF THE FESTIVALOF CHRISTMAS NO. 10 SniPHONY NO. 17 CHORALE Within yon gloomy manger lies baritone them, and they were sore afraid. 0 haste ye, then! ye shepherds, go, Since you this wonder know, P A R T I NO. 12 CHORALE And seek for God's Almighty Son, ON THE FIRSTDAY OF THE FESTIVALOF CHRISTMAS Break forth, 0 beauteous, heavenly light, Within a manger lying lowly; And usher in the morning; And there beside that cradle holy, (NOTE- It is requested that there IJe no applause until the conclusion of the perforntance) 1 Ye shepherds, shrink not with affright, In sweet harmonious tone, KO. 1 CHORUS NO. 5 CHORALE ! But hear the angel's warning. Sing all with one accord, Christians, be joyful, and praise your How shall I fitly meet Thee, This Child, now weak in infancy, To soothe your infant Lord. salvation, And give Thee welcome due? Our confidence and joy shall be, Sing, for to-day your Redeemer is born. The nations long to greet Thee, The power of Satan breaking, NO. 19 ARIA (Alto). Cease to be fearful, forget lamentation, And I would greet Thee too. Our peace eternal making. Slumber, beloved, and take Thy repose, Haste with thanksgiving to greet this glad 0 Fount of Light, shine brightly NO. 13 RECITATIVE morn! Upon my darken'd heart, Soon wilt Thou waken, our joy and salva­ (Soprano and Tenor) tion. Come, let us worship, and fall clown be- That I may serve Thee rightly, And the angel said to them, "Be not afraid; fore Him, And know Thee as Thou art. 0! may Thy breast find gladness and rest behold! I bring you good tidings of great In our heartfelt exultation. Let us with voices united adore Him. joy, which shall be to all the people. NO. 6 RECITATIVE (Tenor). For to-clay is born to you in the city of KO. 2 RECITATIVE (Tenor). And she brought forth her first-born Son, NO. 20 RECITATIVE (Tenor). Now it came to pass in those clays, that David, a Saviour, which is Christ the and she wrapped Him in swaddling clothes, Lord." And suddenly there was with the Angel a there went out a decree from Caesar and laid Him in a manger. because there multitude of the heavenly host, praising Augustus, that all the world should be was no room for them in the inn. NO. 14 RECITATIVE (Bass). God, and saying, enrolled. And all went to enroll them­ \\'hat God to Abraham revealed, He to the selves, every one to his own city. And NO.7 SOPRANO CHORALE and shepherds doth accord to see fulfilled. there also went up Joseph from Galilee, BASS RECITATIVE NO. 21 CHORUS To shepherds, lo! our gracious Lord His "Glory to God in the highest, and peace on out of the city of Nazareth, into Judaea, For us to earth He cometh poor. purposes unfoldeth. That blessing which, to the city of David which is called Beth­ Who rightly can the love declare, the earth unto men in whom He is well in days of old, He to a shepherd first pleased." lehem, for he was of the house and family That fills our tender Saviour's breast, foretold, a shepherd first beholdeth. of David, to enroll himself, with Mary his Our redemption to secure? betrothed wife, being great with child. Yea, who can understand, or share, NO. 15 AHIA (Tenor). NO. 22 RECITATIVE (Bass). And while they were there, the clays were His grief for man by sin oppressed? Haste, ye shepherds, haste to meet Him; 'Tis right that angels thus should sing, fulfilled that she should be delivered. And rich in heaven to make us stand, Why should ye delay to greet Him? To us this clay such joy doth bring; Himself the Son of God will give, Haste this glorious Child to see, Come, then! our voices let us raise, NO. 3 RECITATIVE (Alto). That we may be redeemed and live, Glad and joyful ye should be, And join with them in songs of praise. See, now the Bridegroom, full of grace, All numbered with His angel band. Of His wondrous love partaking, The hero of King David's race. So now for this as :-.Ian behold Him born. Him your hope and comfort making. ~0. 23 CHORALE To save and heal the earth 0 Lord, have mercy! Doth stoop to mortal birth. NO. 16 RECITATIVE (Tenor). With all Thy hosts, 0 Lord, we sing, Sec now the Star of Ja·cob shining, KO. 8 ARIA (Bass). And this is the sign to you: Ye shall find And thanks and praise to Thee we bring: Its beams delight our eyes; :-.1ighty Lord, and King all-glorious, a babe wrapped in swaddling clothes, and for Thou, 0 long-expected Guest! Up, Zion, and forget thy sad repining, Saviour true, for man victorious, lying in a manger. Hast come at length to make us blest. For high thy bliss doth rise. Earthly state Thou clost disdain. He who all things doth sustain, '( NO. 4 ARIA (Alto). Who all state and pomp supplieth, Prepare thyself, Zion, with tender affec­ In a lowly manger lieth. tion l The purest, the fairest, this day to receive, NO. 9 CHORALE Thou must meet Him with a heart with Ah! dearest Jesus, Holy Child, love o'erflowing, :-.take Thee a bed. soft, undefil'd, Haste, then, with ardour the Bridegroom \Vithin my heart. and there reciine, to welcome. And keep that ehamber ever Thine. [ 8] [ 9] t

PART I I I PART IV

ON THE THIRDDAY OF THE FESTIVALOF CHRISTMAS ON NEWYEAR'S DAY, THE FESTIVALOF THE CIRCUMCISION NO. 24 CHORUS this Child. And all that heard it wonder' d Hear, King of angels; though falter our at the things which had been spoken unto NO. 36 CHORUS NO. 39 ARIA (Soprano) - (with echo ef- voices; them by the shepherds. But Mary kept all Come and thank Him, come and praise fects sung by Ellen Mason) 0! when Thy Zion before Thee rejoices, these things, and ponder'd them in her Him, fall before God's throne of grace. Ah! my Saviour, I entreat Thee, Let her endeavor be pleasing to Thee, heart. God's own Son, of His mercy, is our Tell me, should I fear to greet Thee? Hear us, 0 Lord, when we offer our Saviour and Redeemer; God's own Son all Should Thy Name inspire dismay? praises, NO. 31 ARIA (Alto). the foes of man subdueth. Nay, Thou Saviour sayest, nay. Hear when Thy Zion glad thanksgiving Keep, 0 my spirit, this blessing and Should I now from death be flying? raises, wonder NO. 37 RECITATIVE Nay, Thou dost in mercy say: Joying Thy mighty salvation to see. Close within thyself contained. And when eight days were fulfilled for Or before Thy face be joying? 0! by the wonders thy Saviour hath the circumcising of the child, Yea, Thou Saviour sayest, yea. NO. 25 RECITATIVE (Tenor). shewed thee, His name was called Jesus, which was so And when the angels were gone from Of His great mercy, called of the angel before He was con­ them into heav'n, the shepherds said one NO. 40 DUET (Soprano and Bass). Be thy feeble faith sustained! ceived in the womb. to another: Keep, 0 my spirit, this blessing and 'Tis well! Thy Name, 0 Lord, wonder alone, within my heart shall dwell, NO. 26 CHORUS Close within thyself contained. NO. 38 DUET (Soprano and Bass). Thy Name, alone, within my heart shall "Let us even now go to Bethlehem, and Immanuel, beloved Name, dwell. see this thing which is come to pass, NO. 32 RECITATIVE (Alto). To save mankind He came. And I in bliss to Thee still be turning, which the Lord hath made known to us." Ah, yes! my heart will keep and ponder For me doth Jesus live, When all my heart with love to Thee is The things that in this hour of grace Himself for me doth Jesus give, burning. NO. 27 RECITATIVE (Bass). Lord Jesus, teach Thou me to honor Thee. He bids us comfort take, To its own happiness And evermore within my sight And free His Israel doth make; It learns about this heavenly wonder. I will near Jesus dwell; Relief to Zion hither sendeth, My Jesus all my joy doth make, NO. 41 ARIA (Tenor). And all our sorrow endeth. NO. 33 CHORALE And bids my spirit comfort take. 'Tis Thee I would be praising ever, Ye shepherds, see what He hath done, Thee with tender care I'll cherish, Jesus, Thou that for me livest, My Saviour, give me power and skill, Haste, make His glory known. Live to Thee, die to Thee: Bridegroom of my waiting heart, And all my heart with ardour fill. Thus I shall not perish, Thou Thyself that for me givest, Strengthen me, that Thy mercy worthily NO. 28 CHORALE But with Thee abide forever, Bearing even death's bitter smart. to praise The Lord hath all these wonders wrought, Joyfully, peacefully, vVhen death overtakes me, I may endeavor, to praise I may endeavor. His great love these gifts hath brought; vVhere life endeth never. Thou alone my strength and stay shalt be; Then let all Christian men rejoice, In need, distress, perplexity, I look and long for Thee. NO. 42 CHORALE And give Him thanks with cheerful voice. NO. 34 RECITATIVE (Tenor). And in the hour of death Jesus, who didst ever guide me, Kyrie leis! Lord, have mercy. And the shepherds returned, glorifying What shall my comfort be? Jesus, my strong helper be: and praising God for all the things which NO. 29 DUET (Soprano and Bass). Lord Jesus, when I die, Jesus, save, whate' er betide me, they had heard and seen, even as it was Lord, Thy mercy, Thy compassion, I shall not die eternally, Jesus, make me trust in Thee; told unto them. Comforts us, and sets us free. Thy Name upon me Thou dost write, Jesus, let Thy grace attend me, Of Thy wondrous love and kindness, Which puts the fear of death to flight. Jesus, still from sin defend me. Thou dost heal our sin and blindness, NO. 35 CHORALE And our gracious Advocate Thou wilt be. Rejoice, and sing! Your gracious King NO. 30 RECITATIVE (Tenor). As Man is born, And they came with haste, and found both And lays aside His glory; Mary and Joseph, and the Babe lying in He is ador'd the manger. And having seen it, they As Christ and Lord, made known abroad concerning the saying And every tongue which had been spoken unto them about Repeats the wondrous story.

-INTERMISSION-

[ 10] [ 11] P A R T V PART VI

ON THE FESTIVALOF THE EPIPHANY ON THE SUNDAYAFTER NEW YEAR'SDAY NO. 54 CHORUS And bring Thee with a willing hand NO. 43 CHORUS NO. 48 RECITATIVE (Tenor). Lord, when our haughty foes assail us, The very gifts Thou givest. Glory be to God! And when Herod the King heard it, he 0! may it for our peace avail us, Accept me; 'tis my mind and heart, Glory be to God Almighty. was troubled, and all Jerusalem with him. To rest upon Thy mighty power. My soul, my strength, my ev'ry part, Glory, thanks and praise be given. Our only trust, do Thy befriend us, That Thou from me requirest. NO. 49 RECITATIVE (Alto). All the world doth worship Thee, All needful strength and succour send us With fear why are ye taken? Thou that wilt our Father be, To keep us safe in danger's hour. NO. 60 RECITATIVE Thou wilt henceforth grant our Why should the presence of the Lord And being warned of God in a dream In you such dread awaken? utmost longings, and bring Thy NO. 55 RECITATIVE (Tenor and Bass). that they should not return to Herod, children with joy unto heaven. 0! greet with thankfulness Then Herod called the Wise men privily, they departed by another way to their The love He is revealing! He comes that and learned of them exactly what time own land. NO. 44 RECITATIVE (Tenor). He may bless the star appear' d. And he sent them to Now when Jesus was born in Bethlehem, Our sinful race with perfect healing. Bethlehem, and said, "Go your way, and enquire exactly for the young child, and NO. 61 RECITATIVE in the land of Judah, in the days of Herod NO. 50 RECITATIVE (Tenor). Depart! enough, my treasure I retain, the King, behold, there came \"'ise Men when ye have found him, bring me word, And gathering together all the chief priests that I may come and worship Him also." With me He doth remain, from the East to Jerusalem, saying- and scribes of the people, he enquired of And while I live will not forsake me; them where the Christ should be born. He to His kind embrace NO. 45 CHORUS AND RECITATIVE NO. 56 RECITATIVE And they said to him, in Bethlehem, in the Thou traitor, thou but seekest the Lord to With soft and gentle grace CHORUS land of Judah, for thus it is written by the And sweetest tenderness will take me. \Vhere is the new-born King of the Jews? kill, Prophet: And thou Bethlehem, in the And triest every craft to work on Him thy Now as my bridegroom I receive Him ALTO SOLO land of Judah, art in no wise the least will. Full well I know He loveth me, Seek Him within my breast, among the princes of Judah, for out of But He whose power no tongue can tell And I, too, love Him heartily, For with me He vouchsafes to rest. thee shall come forth a leader that shall Is kept in all His ways. And for His honour live. be Shepherd of my people Israel. Even now thy false and wicked heart, \Vhat foe from me this joy can rend CHORUS In spite of all its craft, its trait'rous part That He vouch-safes to give? For we have seen His star in the East, NO. 51 TERZET Thou, Jesus, art my constant friend, Ah! when shall we see salvation, when? Before the Lord thou seekest to kill dis- And are come to worship Him. plays. And in distress I cry to Thee, Peace, peace, for surely this is He! Lord, help, Lord, help, NO. 46 CHORALE Jesus, ah! then come to me. NO. 57 ARIA (Soprano). My shield and succour be. All darkness flies before Thy face, Ah! when comes our consolation? Naught against the power He wieldeth The shades of night to day give place, Can our feeble arm prevail, NO. 62 ARIA (Tenor). In Thy ways lead us ever, NO. 52 RECITATIVE Naught doth all our might avail. Ye foes of man, your might is shaken, That from Thy sight and glorious light My Lord is King alone! When His voice the Almighty shews, Dismay no more in me ye waken; , Our hearts may wander never. Each heart that for His glory liveth, Itself to Him that freely giveth, All the earth before Him yieldeth, My strength, my shield, is ever near, NO. 47 ARIA (Bass). Shall be the Saviour's throne. Fall at once His haughty foes, at once; What though with fear ye strive to fill me, 0 Lord, my darkened heart enlighten, Them no pride from ruin shieldeth. And threaten in your rage to kill me? and shew to Thy servant the brightness of NO. 53 CHORALE Behold, my Saviour dwelleth here. Thy face; This proud heart within us swelling NO. 58 RECITATIVE (Tenor). Thy word cloth shed upon the pathway of Is no palace rich and fair, And they, when they had heard the King, went their way. And lo! the star which NO. 63 RECITATIVE SOLO life But a dark and gloomy dwelling, 0' er us no more shall fears of hell, the guiding light of grace, Till Thou deign to enter there. they had seen in the east went before them, until it came and stood over where no more shall sin or death prevail: and suffers not therefrom my footsteps to When Thy grace within it beameth, Our Saviour, Jesus, will not fail. wander. Full of heavenly light it seemeth. the young child was. When they saw the star they rejoiced exceedingly, and coming into the house, they saw the young child NO. 64 CHORALE with Mary His mother, and falling down, Now vengeance hath been taken they worshipped Him, and having opened On all the foes of man, their treasures, they offer' d Him gold, And Christ doth end in triumph frankincense, and myrrh. The conflict He began. Sin, Death, and Hell, and Satan, NO. 59 CHORALE Their mighty Victor own; Beside Thy cradle here I stand, And Man cloth stand forgiven 0 Thou that ever livest, Before His Father's throne.

N o t e : Please bring this program with you to all performances.

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FOURTHCONCERT- SUNDAY,MARCH 7, 4:00 P.M. BACH FESTIVAL CHORUS IS A COMMUNITY CHORUS of selected voices, dedicated to the singing of Bach's immortal DALTON THEATRE music. A cordial invitation to membership is extended to all experienoed singers interested in sharing the joys of this music with us. Rehearsals are held Tuesday evenings. See Dr. Hammar. ORGANRECITAL AND CHAMBER MUSIC OF J. S. BACH SOPRANO I AND II: Mrs. Clair Angel, Charlene Austin, Mrs. Stuart Boss, Ann Burroughs", DAVIDCRAIGHEAD, organist Mrs. Don Christlieb, Katherine Connor, Mrs. Herman DeHoog, Mrs. Sam P. Evans, Mrs. Frank Farthing, Mrs. James Fess, Mrs. Norman Jimerson, Susan Kilborn", Thana King", assisted by Margaret Kingsley", Mrs. Chris Koronakos Mrs. Henry Labadie, Carol Mangan", Mrs. Earl Elizabeth Anne Stitgen, soprano and Chamber Ensemble Mason, Mrs. Donald McGregor, Mrs. Heinz Meyer, Georgia Milne, Mrs. Donald R. Myers, Mrs. Henry Niewoonder, Mrs. Johannes Postma, Mildred Prestrud, Mrs. George Ray, CONCERTONO. 1 IN G MAJOR (after JohannErnst) BWV592 Marilyn Rehberg", Mrs. Robert Richards, Mrs. Richard Sager, Mrs. Carlton L. Smith, Mrs. Allegro Lester Start, Mrs. Stanley Stitgen. Grave ALTO I AND II: Mrs. Wm. C. Anthony, Anette Casey", Mrs. David Collins, Mrs. Fenno Presto DeVries, Mrs. William DeWolff, Mrs. Peter A. Dykema, Charlotte Fradette, Mrs. Robert Friedmann, Mrs. Norman Graff, Mrs. Russell Hammar, Mrs. R. Bowen Howard, Mrs. Dante SONATANO. 4 IN E MINOR BWV528 A. Iacovoni, Nancy Keech", Mrs. LaVerne LeRoy, Mrs. Richard Myerson, Clarence Ohl", Adagio: Vivace Faye Pauli, Patricia Rance", Melinda Ray", Mrs. Gilbert Reinkensmeyer; Lora Reiter, Mrs. Andante Timothy Rey, Mrs. Donald Sager, Mrs. Stanley Segel, Mrs. Joan Snyder, Mrs. William Un pocoAllegro Thompson, Mary Westerville, Mrs. W. Stanley Whitaker, Mrs. Russell Worden, Heather Mr. Craighead Worden". TENOR I AND II: Michael K. Bach, Spencer Bennett, Jack Beukema, David Collins, Mrs. Paul ARIAFROM CANTATA NO. 105 "Wie Zittern und Wanken" BWV105 Collins, George Cross, Roger Longrie, Keith Pierce, Phillip Rice, Erik Schreiner, William A. (With Quiverand Quaking) Struck, Robert A. Sutton, Richard Wolf. Mrs. Stitgen BASS I AND II: Philip Beatty, John Coats, Herman DeHoog, Bruce Haight", Dan Hardy", J. Clinton Jones, ,;villiam Keiley, Richard Krueger", Richard Myers", Robert Murphy, FOURCHORALES from the ORGELBUECHLEIN Hartley Nutting, Joe Panse, Clarence Rudegeair, Glen Rumberger, Bernard Smeenk, Ronald Advent: Nun Komm, der HeidenHeiland BWV599 Spann, Stanley Stitgen, Jacob Stucki, Mark Thompson, Russell Worden. Christmas: In dulci jubilo BWV608 Passion: Christe du LammGottes BWV619 A note of special appreciation is hereby made to our excellent and dedicated rehearsal accompanists Betty Friedmann and Ruth Currie. Easter: Heut' triumphieret Gottes Sohn BWV630 " Kalamazoo College student. TOCCATAIN F MAJOR BWV540

CONCERTOIN D MINOR BWV1052 Allegro Adagio Allegro Mr. Craigheadand Ensemble BACH FESTIVAL ORCHESTRA-1965 VIOLIN I: Voldemars Rushevics, Concertmaster; Helene , Richard Bradley", Esther Start, James Heersma", Phillis Huffman". VIOLIN II: Georgiana Smith, Georgia Crawford, Marjorie Bradley, Amy Deemer, Susan Norris", Sister Rita Mary. VIOLA: Alison Barney, Amy Margolis, Dr. Harold Petering, Carol Deer". CELLO: Muriel Matthews, David Hanks", Carol Bradley", Paul Rutledge", Jean Pee", K A L A·M A Z 0 0 C 0 LL E G E C 0 N C E R T C H 0 I R Mirth Nelson (continuo)". SOPRANOS: Jane Crotser, Katherine Holmes, Elisabeth Jeffries, Susan Kilborn, Margaret BASS: Bert Koon, Mark Stiedemann". Kingsley, Marilyn Rehberg, JoAnn Chandler, Susan Gibson, Kay Keller, Diane McGowan, OBOE: Francis Klooster, Cheryl Kraft". Janet Osborn, Margaret Ralston, Susan Risser, Ellen Tangent. FLUTE: Lynette Blanchard, Elisabeth Jeffries". ALTOS: Annette Casey, Carolyn Cox, Catherine Fay, Susan Hayes, Sally Kazda, Ruth Morris, ENGLISH HORN: Thomas Althuis, Sally Althuis. Mirth Nelson, Katherine Seyfarth, Barbara Beynon, Betsy Hardy, Clemence Ohl, Carol TIMPANI: Charles Wicks". Osburn, Christie Owens, Alison Payne, Melinda Ray, Jane McGarth. TRUMPET: David Buck", Richard Coulter", Nancy Keech". : Richard Bradley, Thomas Ganoung, Gene Whiting, Judson Day, David Jackson, TROMBONE: Phillip Carney", Daniel Hardy". Michael Stripp, Gary Widiger. CEMBALO: Sylvia Muehling (piano), Troy Carpenter (harpsichord). BASSES: Ira Hartman, Merwin Lewis, Lawrence Opie, Michael Osborn, Gilbert Page, James HORN: Trudith Rogier", Margaret Bryan". Anderson, Thomas Barber, Bruce Haight, Neal Holzschuh, Ronald Spann, Bruce Williamson. ORGAN: Mildred Dupon, Alexander Boggs Ryan. " Kalamazoo College student. [ 14] [ 15] 1965 BACH FESTIVAL PATRONS Dr. and Mrs. Lloyd J. Ave1·il! Jacobson's Beimer Printing Company Mr. and Mrs. H. K. Jones The Rt. Rev. and Mrs. Charles E. Bennison Kalamazoo .Magazine Dr. and Mrs. Robert G. Carlson Mr. and Mrs. James T. Kirkpatrick Mr. and Mrs. Alfred Conn able Mr. and Mrs. William J. Lawrence, Jr. Mr. and Mrs. Neill Currie Mr. and Mrs. Jim McConnell Mrs. Dorothy U. Dalton Mr. and Mrs.H. F. Mehaffie Mr. and Mrs. Cameron L. Davis Mr. and Mrs. George Monroe Dr. and Mrs. Marion H. Dunsmore Dr. and Mrs. Harrison Nelson Fetzer Broadcasting Company Mr. and Mrs. vVilliam Hace Mr. and Mrs. Frederick C. Fischer Dr. Lawrence Smith Mr. and Mrs. Henry Ford, Jr. Mrs. Fred G. Stanley Seth Giem and Associates Mr. Dwight Stocker Mr. Irving Gilmore :.VIr.and :Mrs. L. W. Sutherland Mr. and Mrs. W. C. Hammond The Upjohn Company Dr. and Mrs. Weimer K. Hicks Vahey-~1eyerNlusic Company Mr. and Mrs. R. Bowen Howard

BACH FESTIVAL SPONSORS Mr. and Mrs. Robert Angerman Mr. and Mrs. John W. Lawrence Mr. and Mrs. E. Lawrence Barr Mrs. George LeFevre Mr. and Mrs. William Bartelt Mr. and Mrs. LeV erne LeHoy Dr. and Mrs. H. Lewis Batts Dr. and Mrs. Cornelius Loew Mr. and Mrs. Owen Baughman Mr. and Mrs. Douglas Lyttle Mr. and Mrs. William H. Bayliss Mr. and Mrs. Harris Meyer Dr. and Mrs. E. H. Beloof Mr. and Mrs. Gregory Millar Mrs. A. L. Blakeslee Mr. and Mrs. John Moore Charles H. Brown and Son Dr. F. Stanley Moore Mr. and Mrs. Eric V. Brown Miss Sylvia Muehling Mr. and Mrs. Hobert J. Brown Mr. and Mrs. George Nancarrow Mr. Gordon Bugbee Mr. and Mrs. Richard Niessink Dr. and Mrs. Jean Calloway Oakland Pharmacy Mrs. Russell Carlton Dr. and Mrs. Henry Overley Dr. and Mrs. F. L. Clement Miss Mildred Prestrud Irl Cundiff Mr. and Mrs. Ralph M. Ralston Mr. and Mrs. John P. Curry Dr. and Mrs. Paul Rood Mr. and Mrs. Harold Davidson Mr. and Mrs. Lester Rosenbaum Mr. and Mrs. Herman DeHoog, Sr. Dr. and Mrs. Louis Rowland De Nooyer Chevrolet Co. Don Seelye Ford, Inc. Mr. and Mrs. William N. DeWolf£, Jr. Mr. and Mrs. Halph S. Seeley Mr. and Mrs. Donald Doubleday Mr. and Mrs. Rabert Shauman Mr. and Mrs. Lincoln Dupon Shumaker's Jewelers Mr. Vincent T. Early Mrs. Walter J. Siemsen Mr. and Mrs. William D. Farley Dr. and Mrs. Harold T. Smith Fidelity Federal Savings and Loan Association Lary R. Smith Grinnell Brothers Mrs. Harry Snow Rev. and Mrs. Louis W. Grother The Sound Room Dr. and Mrs. Harold J. Harris Southgate Inn Mr. William Hessel Dr. and Mrs. Hichard Stavig Johnson Music Store Dr. and Mrs. Edwin Steen Kalmnazoo Inn Motel Mrs. Beatrice Stoner Kalamazoo Conservatory of Music Mr. and Mrs. Bruce H. Thompson Kalamazoo Musical Instrument Co. Thursday Morning Musicale Louis C. Kingscott, and Associates, Inc. Treva Reed Music Store Langeland Memorial Chapel Mr. and Mrs. W. John Upjohn Laundromat Half-Hour Laundry Dr. and Mrs. David Weisblat

We regret that because of the printer's deadline, names of Patrons and Sponsors received after Tuesday, February 23, will not appear on the program.

ACKNOWLEDGMENTS : Sequoia Associates, for poster design; Saga Food Service and Upjohn Company for dinner arrangements; Clark den Bleyker for harpsichord tuning; Professor David Squires for cover design; Kalamazoo College Drama Department for lighting equipment; Treva Reed's Music Store, Grinnell Bros. Music Store, Oakland Pharmacy, Vahey-Meyer's Music Store, Davidson­ Dodds' Music Store for public ticket sales.