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Church Music of Zachow, Bach, and Handel

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Church Music of Zachow, Bach, and Handel FEB 09 ZACHOW PLAYERS AND CONSORT PRESENTING CANTATE DOMINO: CHURCH MUSIC OF ZACHOW, BACH, AND HANDEL Hyeok Lee, Founding Director St. Thomas Episcopal Church 4900 Jackwood at Endicott, Houston, TX 77096 7:30pm Friedrich Wilhelm Zachow (1663-1712) Venite ad me omnes, TV 30 [North American Premiere] Two Chorale Preludes on Christ lag in Todesbanden, LV 47 Missa super chorale: Christ lag in Todesbanden, TV 33 [North American Premiere] Johann Sebastian Bach (1685-1750) Der Friede sei mit dir, BWV 158 George Frederic Handel (1685-1759) The Lord is my light, HWV 255 CONTACT INFORMATION: (713)-666-3111 FREE ADMISSION (SUGGESTED DONATIONS: ADULT $10, SENIOR/STUDENT) $5 PROGRAM NOTES AND TEXTS Tonight's concert features some of the finest concerted church music by three German masters in the eighteenth century, Friedrich Wilhelm Zachow (1663-1712), Johann Sebastian Bach (1685-1750), and George Frederic Handel (1685-1779). Our musical journey begins with three compositions by Zachow (a church cantata, an chorale prelude for organ, and a Lutheran Mass) followed by one cantata by Bach. The second half of the concert is devoted to an anthem by Handel. Zachow (frequently spelled Zachau) composed 113 cantatas both in German and in Latin, four Lutheran Masses, and three Kyrie movements during the twenty-eight years of his tenure (1684-1712) as city music director and organist of the Marienkirche in Halle. Unfortunately, three quarters of Zachow’s church music has been lost. Only thirty-three cantatas and one Lutheran Mass (which will be performed tonight) have survived. Until the early twentieth century, Zachow was primarily known as Handel's teacher. However, Zachow is now acquiring a reputation as an important central German composer of concerted church music and organ music. Interestingly, not only Handel but also Bach was connected with Zachow. In 1713, just one year after Zachow's death, Bach almost succeeded to the organist/music director position vacated by Zachow. The Marienkirche council, after Bach's audition in December, unanimously decided to offer him the position. However, Bach turned it down in March 1714 after a lengthy delay. And about thirty years later, one of his sons, Wilhelm Friedemann Bach served there from 1746 to 1764. I Composed before 1699, Venite ad me omnes, TV 30, shows several characteristics of the earliest church cantata type which prevailed at the end of seventeenth century. Following the tradition of the gospel motet and sacred concerto, Zachow used only a pure Biblical text (Matthew 11:28) without any insertion of madrigalian texts. He also used moderate musical forces, a solo vocal quartet and an ensemble of three obligato instruments (two violins and one fagotto) with continuo. During Zachow's lifetime and posthumously, this cantata was performed several times on various Sundays (First and Third Sunday after Trinity and Estomihi Sunday, which is the Sunday before Lent) which are closely related to Christ's Passion, Death, and Resurrection, the central focus of the Christian church year. Venite ad me omnes, TV 30 (North American Premiere) Friedrich Wilhelm Zachow Katie Richardson, Sean Stulz, Peter Tran, and Saleel Menon, solo vocal quartet 1. Sinfonia 2. Quartet Venite ad me omnes qui laboratis et onerati estis. Come unto me, all ye that labour and are heavy laden. 3. Quartet et ego reficiam vos. and I will give you rest. 4. Quartet Et ego reficiam vos. Venite ad me omnes. II The next two compositions by Zachow and the Bach cantata which follows them share the most famous Easter chorale, Christ lag in Todesbanden, written by Martin Luther. The seven verses of the chorale celebrate the death and resurrection of Christ and his conquest of death for his believers. The two organ preludes on Christ lag in Todesbanden show Zachow's simple yet effective treatment of the cantus firmus (the former prelude in the highest voice and the latter in the lowest voice) as one might encounter in Bach's Orgelbüchlein. The Mass (consisting only of Kyrie and Gloria, which were normally used in a Lutheran Latin mass) shows Zachow's mastery of stile antico, an imitation of the counterpoint of Palestrina, as one might encounter in Buxtehude's similar composition, Missa brevis. Throughout the Mass, Zachow divides the chorale tunes into several segments and used them in all four voices in polyphonic texture. Two Chorale Preludes on Christ lag in Todesbanden, LV 47 Zachow Jeong-Suk Bae, organ solo Missa super chorale: Christ lag in Todesbanden, TV 33 (North American Premiere) Zachow Mary Kim, Alex Bruce, Matthew Lydick, and Matt Richardson, solo quartet Sean Stulz, conductor 1. Kyrie Kyrie eleison. Lord, have mercy. Christe eleison. Christ, have mercy. Kyrie eleison. Lord, have mercy. 2. Gloria Gloria in excelsis Deo. Glory be to God on high, Et in terra pax hominibus bonae voluntatis. and on earth peace, good will towards men. Laudamus te. Benedicimus te. We praise thee, we bless thee, Adoramus te. Glorificamus te. we worship thee, we glorify thee, Gratias agimus tibi propter magnam gloriam tuam. we give thanks to thee for thy great glory, Domine Deus, Rex caelestis, O Lord God, heavenly King, Deus Pater omnipotens. God the Father Almighty. Domine Fili unigenite, Jesu Christe. O Lord, the only-begotten Son, Jesus Christ; Domine Deus, Agnus Dei, Filius Patris. O Lord God, Lamb of God, Son of the Father, Qui tollis peccata mundi, Thou that takest away the sins of the world, miserere nostri. have mercy upon us. Qui tollis peccata mundi, Thou that takest away the sins of the world, suscipe deprecationem nostram. receive our prayer. Qui sedes ad dexteram Patris, Thou that sittest at the right hand of God the Father, miserere nobis. have mercy upon us. Quoniam tu solus Sanctus. Tu solus Dominus. For thou only art holy; thou only art the Lord; Tu solus Altissimus, Jesu Christe. thou only, O Christ, with the Holy Ghost, Cum Sancto Spiritu, in gloria Dei Patris. Amen. art most high in the glory of God the Father. Amen. III Der Friede sei mit dir, BWV 158, is a great addition to Bach’s two renowned cantatas for solo bass (BWV 56 and 82) even though the circumstances surrounding the composition of this cantata is not clear. It is not certain whether the present four-movement form handed down to us is complete or not. While the middle two movements point to the Purification feast in their emphasis on departure from the world and longing for heavenly peace, the outer movements (especially the closing chorale) reflect upon the main Easter motif, the Lamb of God sacrificed. The heart of the cantata is the masterfully constructed aria for bass and violin to which soprano comments on the aria with the chorale, Welt ade, ich bin dir müde. The cantata is probably intended for Easter Tuesday. Der Friede sei mit dir, BWV 158 Johann Sebastian Bach Katie Johnson and Eric Lindsey, soloists; Jackson Guillen, violin solo 1. Recitative Der Friede sei mit dir, Peace be with you; Du ängstliches Gewissen! you anxious conscience! Dein Mittler stehet hier, Your mediator stands here, Der hat dein Schuldenbuch by him the book of your guilt Und des Gesetzes Fluch and the law's curse Verglichen und zerrissen. have been settled and torn up. Der Friede sei mit dir, Peace be with you; Der Fürste dieser Welt, the prince of this world Der deiner Seele nachgestellt, who hunted after your soul, Ist durch des Lammes Blut bezwungen und gefällt. is conquered and felled through the Lamb's blood. Mein Herz, was bist du so betrübt, My soul, why are you so distressed, Da dich doch Gott durch Christum liebt! since God loves you through Christ! Er selber spricht zu mir: He himself says to me: Der Friede sei mit dir! peace be with you! 2. Aria and Chorale Welt, ade, ich bin dein müde, World, farewell, I am weary of you; Salems Hütten stehn mir an, the tents of Salem suit me better, Wo ich Gott in Ruh und Friede where in peace and calm Ewig selig schauen kann. I can gaze on God in bliss for-ever. Da bleib ich, There I shall stay, da hab ich Vergnügen zu wohnen, there I shall be pleased to dwell, Da prang ich gezieret there I shall be splendidly adorned mit himmlischen Kronen. with heavenly crowns. Welt, ade, ich bin dein müde, World, farewell, I am weary of you, Ich will nach dem Himmel zu, I want to go to heaven, Da wird sein der rechte Friede there will be true peace Und die ewig stolze Ruh. and eternal glorious rest. Welt, bei dir ist Krieg und Streit, World, in you there is war and strife, Nichts denn lauter Eitelkeit; nothing but pure vanity; In dem Himmel allezeit In heaven at all times are Friede, Freud und Seligkeit. peace, joy and bliss. 3. Recitativo and Arioso Nun, Herr, regiere meinen Sinn, Now, Lord, govern my thoughts Damit ich auf der Welt, so that in the world, So lang es dir, mich hier zu lassen, noch gefällt, so long as it pleases you to leave me here, Ein Kind des Friedens bin, I may be a child of peace, Und lass mich zu dir aus meinen Leiden and let me from my sufferings Wie Simeon in Frieden scheiden! like Simeon depart to you in peace! Da bleib ich, da hab ich Vergnügen zu wohnen, There I shall stay, there I shall have delight to live, Da prang ich gezieret mit himmlischen Kronen. there I shall be resplendent adorned with heavenly crowns. 4. Chorale Hier ist das rechte Osterlamm, Here is the true Easter Lamb Davon Gott hat geboten; decreed by God; Das ist hoch an des Kreuzes Stamm that high on the beam of the cross In heißer Lieb gebraten.
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