a PDF - Bach at the Sem

2013–2014 Series
February 16, 2014
The Chapel of St. Timothy and St. Titus
at Concordia Seminary, St. Louis
Schedule of Concerts
Bach at the Sem 2013–2014
October 20, 2013, 3:00 p.m.
Guest conductor and organist: Bálint Karosi
J. S. Bach: Cantatas BWV 79, Gott, der Herr, ist Sonn’ und Schild;
BWV 147, Herz und Mund und Tat und Leben
Max Reger: Choral-Phantasie über “Ein’ feste Burg ist unser Gott,” Op.27
December 1, 2013, 3:00 p.m.
Guest conductor: Martin Dicke
J. S. Bach: Christmas Oratorio, BWV 248, III, Herrscher des Himmels, erhöre das Lallen;
BVW 248, VI, “Herr, wenn die stolzen Feinde schnauben”
Tomás Luis de Victoria: O magnum mysterium
Martin Dicke: O come, O come, Emmanuel; Of the Father’s love begotten
February 16, 2014, 3:00 p.m.
April 6, 2014, 3:00 p.m.
Guest conductor: Maurice Boyer
J. S. Bach: Cantatas BWV 43, Gott fähret auf mit Jauchzen;
BWV 234, Missa Brevis in A Major
Johann Pachelbel: Jauchzet dem Herrn (motet)
Guest Conductor: Jeffrey Wilson
J. S. Bach: Cantatas BWV 22, Jesu nahm zu sich die Zwölfe;
BWV 182, Himmelskönig sei willkommen;
BWV 143, Lobe den Herrn, meine Seele (chorus)
G. F. Handel: “Worthy is the Lamb” (from Messiah)
The Chapel of St. Timothy and St. Titus
Concordia Seminary, 801 Seminary Place, St. Louis, MO 63105
bach.csl.edu | www.csl.edu
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Special thanks to:
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related to the archival-only recording of the program.
Concordia Seminary for continuing to provide space and valuable services for the Bach at the Sem series.
Concordia Seminary is privileged to make Johann Sebastian Bach’s music available to the St. Louis community and
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Bach at the Sem
February 16, 2014, 3:00 p.m.
Dr. Maurice Boyer, Guest Conductor
The American Kantorei
Dr. Jeral Becker, Interim Director
In Nomine Jesu
Cantata, Gott fähret auf mit Jauchzen, BWV 43 (God ascends with joyful shouts)
1. Chorus
2, 3. Tenor Recitative and Aria (Jeral Becker)
4, 5. Soprano Recitative and Aria (Emily Truckenbrod)
6, 7. Bass Recitative and Aria (David Berger)
8, 9. Alto Recitative and Aria (Katharine Lawton Brown)
10. Soprano Recitative (Sylvia Witt)
11. Chorale
Johann Sebastian Bach
Jauchzet dem Herrn alle Welt, Motet for Double Chorus
(Make a joyful noise to the Lord, all the earth)
Johann Pachelbel
Hymn: “Thy Strong Word Did Cleave the Darkness”
The assembly stands to sing hymn provided on page 8
or in Lutheran Service Book (LSB) 578: 1,4,5,6
The offerings are received in support of the Bach at the Sem concert series
Missa Brevis in A Major, BWV 234
Johann Sebastian Bach
(Short Mass in A Major)
Kyrie
1. Kyrie eleison – Chorus
Christe eleison – Solo Quartet
(Emily Truckenbrod-Soprano, Stephanie Ruggles-Alto, Scott Kennebeck-Tenor,
David Berger-Bass)
Kyrie eleison – Chorus
Gloria
2. Gloria in excelsis Deo – Chorus
Et in terra pax – Alto Solo (Lisa Gines)
Laudamus te – Chorus
Adoramus te – Bass Solo (Matthew Warmbier)
Glorificamus te – Chorus
Adoramus te – Tenor Solo (Scott Kennebeck)
Glorificamus te, Gratias agimus tibi – Chorus
3. Domine Deus – Bass Aria (Jeffrey Heyl)
4. Qui tollis peccata mundi – Soprano Aria (Jean Baue)
5. Quoniam tu solus sanctus – Alto Aria (Stephanie Ruggles)
6. Cum sancto spiritu – Chorus
Soli Deo Gloria
Program Notes
Gott fähret auf mit Jauchzen, BWV 43 (Bach)
Part II opens with a startlingly imaginative and
almost operatic depiction of Christ as “Hero
of heroes” and “Satan’s Prince and Terror”
(bass recitative). In the ensuing aria, the “Hero
of heroes” is shown as “treading alone the
winepress.” Here is an allusion to the Suffering
Servant of the latter part of the Book of the
Prophet Isaiah. The bloodstained Christ (the
suffering servant) suffered greatly, but the crushing
in the end was not His but that of His adversary:
Satan, Sin, and Death. Rather than with a crown of
thorns, we are invited to bedeck Him, “The Hero
of heroes,” with garlands.
The Feast of the Ascension of our Lord has been
somewhat eclipsed by the other major Feast days:
Christmas, Easter or Pentecost. Yet, according
to the Scriptures, it is of crucial importance.
In this musical sermon, Bach reveals his keen
understanding of the essential place of Christ’s
Ascension in the unfolding of God’s plan of
Reconciliation and Salvation.
Composed in May 1726, Cantata BWV 43 dates
from the fourth year of Bach’s Cantorate in
Leipzig. It employs a rich orchestral palette
(2 oboes, 3 trumpets, timpani, strings and basso
continuo), one befitting its liturgical occasion. Its
text comprises an anonymous poem to which are
added an Old Testament text (Psalm 47:5-6), a
New Testament text (the Gospel of the day, Mark
16:19) and a chorale (Du Lebensfürst, Herr Jesu
Christ). In spite of its 11-movement bipartite
structure, Cantata 43 unfolds swiftly—the whole
lasts only about 20 minutes. All the movements are
through composed (no da capo arias or choruses),
and each is relatively short. Still, as always with
Bach, the work is full of musical gems that are rich
in theological understanding.
Of all the movements, the alto aria may be the
most subtly layered. To begin with, it is the first
occasion in the cantata that the pronoun “I”
appears: “I stand here along the way and gladly/
yearningly gaze on Him.” Thus, from an objective
narrative, the piece enters the realm of subjective
significance. The aria paints a picture of Christ’s
continually fighting to set His servants free from
affliction, grief, and shame – in short, from the
clutches of His enemies. Struggle is heard in
the thorny chromaticism, is seen on the page in
the profusion of sharps (in German, sharps are
“Kreuze” or crosses), and is felt by the singer in
an aria that is difficult to sing.
After a stately and noble opening, reminiscent
of a regal procession, the first movement erupts
into an exuberant fugue. The text from Psalm
47:5-6 refers to God as King rising, presumably
to His throne. The fugue subject itself, first heard
in the trumpet, includes a wide leap (a 6th) and
an ascending figure, both of which musically
depict the ascent of God (Christ). This ascending
motion is further embodied in the orchestral
accompaniment with its own rapidly rising
flourishes and with the graded entrances of the
choir from bass to soprano.
A number of instances of text-painting bear
mention. For “I stand here along the way,” the
singer sustains a single pitch as the two oboes
(the Father and the Son now at His side?)
wend their way above the range of the singer
in consonant thirds and sixths. At “to help His
servants,” the oboes are withdrawn only to reenter after those words are uttered. Here, the
music depicts Christ Himself descending into the
desolate pit of our affliction to lift us up to the
Father, reconciling us to Him.
Continuing in this dramatic vein, the tenor
recitative and aria extol the King of kings who has
won a great victory, delivering the captives from
their captivity. The soprano then reveals in a more
reflective mode the identity of this mighty and
ascending warrior: Jesus who has accomplished
the work of Salvation.
In the end, we, like the soprano of the final
recitative, are invited to stand here, in our present
circumstances (“along the way”), and call on
Christ with gratitude, knowing that He has drawn/
will draw us to Himself. Throughout the cantata,
Christ is referred to as King, King of kings, Hero
of heroes, Satan’s Prince and Terror, and finally as
Prince of Life. It is as such that He is addressed in
the final chorale!
2
Jauchzet dem Herrn (Pachelbel)
All the movements of the Gloria have been traced
back to pre-existing cantata movements. However,
the provenance of the tri-partite Kyrie has not been
determined. (Is it based on a lost cantata, or was
it freshly composed for this Mass?) Compared to
the monumental and imploring Kyrie I of the B
minor Mass, the Mass in A’s Kyrie I is intimate and
surprisingly serene. The music eschews all anxiety
and distress. What is one to make of it? Is it just
abstractly elegant music written in stile gallant,
the less complex style in fashion at the time?
The kinship of musical material between Kyrie I
and the “Et in terra pax” section of the Gloria—
its gentle, pastoral expressive tenor—suggests
otherwise. A clearer understanding is found by
looking ahead to the Gloria.
“Jauchzet dem Herrn,” one of Johann Pachelbel’s
eleven extant motets, is scored, as are all but one,
for double chorus. In today’s performance, it is
sung unaccompanied. This jubilant song of praise
is in the pure key of C major (all white keys on the
piano). Its textures are predominantly homophonic
(voices moving together), the choirs interacting
mostly antiphonally (responsively), coming
together at cadences.
Two striking points in this wonderful motet bear
highlighting. First, when the text reaches “For the
Lord is gracious and his mercy endures forever,”
all eight parts come together in strict homophony
as if all creation were united in one song of
praise. The harmonic language is also simplified,
becoming diatonic, devoid of any chromaticism.
Through these musical means, Pachelbel is
upholding as central the abiding and lustral, or
purifying, nature of God’s mercy.
The first section of the five-part Gloria (“Gloria
in excelsis”) is a reworking of the aria, “Friede
sei mit euch” (Peace be with you), for bass and
choir from Cantata BWV 67, Halt im Gedächtnis
Jesum Christ (Hold in mind Jesus Christ), for the
First Sunday after Easter. In the Gospel reading of
the day, the disciples find themselves essentially
hiding for their lives. Suddenly, Christ appears
to them saying, “Peace be with you!” In like
manner, the aria for bass and chorus shows the
Vox Christi (voice of Christ) uttering the same
words of comfort to the chorus, the faithful in
distress, struggling against the attacks of the evil
foe. It is one of Bach’s most arresting evocations
of comfort. No less stirring is the composer’s
insightful adaptation of this very material for
the Gloria.
Second, receiving the most extensive and elaborate
musical treatment is the final line of the Psalm:
“And His truth (endures) for all time.” At first the
two choirs conjoin in imitative polyphony—the
most sophisticated and complex music so far—and
then separate, returning to the simpler antiphonal
homophony of the opening. The music is fresh
and jubilant throughout. Pachelbel’s varied and
imaginative treatment of the text points to his
understanding of the beauty, vastness, depth and
all-encompassing nature of God’s truth.
Missa in A, BWV 234 (Bach)
Here, the choir, representing the heavenly host,
sings exuberant words of praise, blessing, and
glory (“Gloria in excelsis Deo”). By contrast, the
three soloists utter words of peace and adoration:
“Et in terra pax hominibus bonae voluntatis”
and three times “Adoramus te.” The movement
ends with the choir singing “Gratias agimus tibi,
Domine” (we give thanks to you, O Lord). By
overlaying the Mass movement and the cantata
movement, Christ shines through as being the One
who at the core speaks the words, “Et in terra pax.”
He is the “object” and recipient of our adoration
(“Adoramus te”), but also its subject. As His voice
is the one echoing beneath the Mass movement,
In Bach’s oeuvre, the four Lutheran Masses or
Missae (Kyrie and Gloria only) have often been
undervalued for being parodies (adaptations) of
pre-existing works (cantatas for the most part).
The trend has thankfully shifted. In Bach’s hands,
parody becomes an opportunity for adding layers
of meaning to his musical canvas. In its use of
parody and in its overall structure, the delicately
orchestrated Mass in A, composed in 1738, is
singularly revelatory of Bach’s theological mind
in action, and particularly of the Christocentrism
of his thinking.
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one can say that He is also the One who, having
bestowed peace, grants the capacity to adore in
gratitude. Adoration is our gift of love to the Christ.
This semantic layering further affords Bach
the opportunity to reveal the opening Kyrie as
proleptic, or a foreshadowing, of the Gloria; it is
“backlit” by the Gloria. If this suggestion bears
out, then Bach is articulating something of rich
theological significance for the faithful: namely
that our plea for mercy begins with Christ’s
promise of peace and that He is, in fact, the One
who grants us the capacity even to ask for mercy.
Furthermore, asking for mercy and giving thanks,
which are the core of the Eucharist (Thanksgiving),
are revealed as inextricably linked in the one-andsame act of Adoration of God, who is our Creator,
Redeemer, and Sustainer. I would thus offer that
Kyrie I was written for the occasion of the creation
of the Mass and with the Gloria in mind.
is stripped away, leaving violins and violas in
unison as the lowest instruments. Above this
quasi-bass line, two flutes plangently intertwine.
The delicacy of these instruments (especially
wooden Baroque transverse flutes) yields a
quality of fragility and vulnerability. In orchestral
color and expressive tenor, it calls to mind the
aria from the St. Matthew Passion: “Aus Liebe
will mein Heiland sterben” (Out of love does my
Savior die), also sung by a soprano. In both arias,
the abandonment, abasement, and humiliation of
Christ, the Lamb of God, are starkly evinced and
poignantly felt.
As in the narrow confines of the cantata’s alto
aria, so here in the overall structure of the multisection Gloria, Bach shows Christ’s descent
into and among humanity for its salvation.
The humiliation and exaltation of Christ are
two aspects of the one act of redemption and
reconciliation. The prayer for mercy is addressed
to the One who died, rose from the dead and now
sits at the right hand of the Father. Having begun
today’s concert at the Ascension of Christ, we end
in praise of the Trinity. We have come full circle.
At the center of the Gloria’s five sections stands
the soprano aria: “Qui tollis peccata mundi” (who
takes away the sins of the world). In Christian
theology, these words are “the heart of the matter.”
In the overall structure of the Gloria, this section
is the lowest point harmonically and is reached
by descent. From here, an ascent leads to the
final section, “Cum sancto Spiritu.” Bach here
is depicting in sound the humiliation and the
exaltation of Christ in His saving sacrifice: A
major—F# minor—B minor—D major—A major.
In close, let us return to the Gloria and entertain
for a moment with noted Bach scholar Alfred
Mann the idea that the three soloists singing
“Adoramus te” may represent the Wise Men who
came from afar to worship the new born King in
Bethlehem. In such light, the singing and hearing
of this Mass on the sixth Sunday of the Epiphany
of our Lord becomes all the more significant as
we ourselves seek to adore this King, who by
His grace reveals Himself to us as Savior and is
newly born and formed in us daily.
The aria itself is an adaptation of Cantata BWV
179’s soprano aria: “Liebster Gott, erbarme dich”
(Dearest God, have mercy). In the B section of
this aria are the words, “Hilf mir, Jesu, Gottes
Lamm” (Help me, Jesus, Lamb of God). The
connection to the Mass is obvious, but Bach’s
insightful changes add poignancy. The bass line
Program Notes by Maurice Boyer
4
Text and Translation
Gott fähret auf mit Jauchzen, BWV 43
God ascends with joyful shouts - J. S. Bach
1. Chorus (S A T B)
Gott fähret auf mit Jauchzen
God ascends with joyful shouts
und der Herr mit heller Posaunen.
and the Lord with ringing trumpets.
Lobsinget, lobsinget Gott,
Sing praises, sing praises to God;
lobsinget, lobsinget unserm Könige.
sing praises, sing praises to our King.
4. Recitative (Soprano)
“Und der Herr, nachdem er mit ihnen
geredet hatte,
“And the Lord, after He had spoken with them,
ward er aufgehaben gen Himmel
was taken up to heaven
und sitzet zur rechten Hand Gottes.”
and sits at the right hand of God.”
5. Aria (Soprano)
Mein Jesus hat nunmehr
My Jesus has now
Das Heilandwerk vollendet
His work of salvation completed
Und nimmt die Wiederkehr
and makes His return
Zu dem, der ihn gesendet.
to the One who sent Him.
Er schließt der Erde Lauf,
He finishes His earthly race.
Ihr Himmel, öffnet euch
You heavens, be open
Und nehmt ihn wieder auf!
and take Him up once more!
2. Recitative (Tenor)
Es will der Höchste sich ein Siegsgepräng
bereiten,
The Highest would prepare for Himself
a victory parade,
Da die Gefängnisse er selbst gefangen führt.
for captivity He Himself leads captive.
Wer jauchzt ihm zu?
Who shouts with joy for Him?
Wer ists, der die Posaunen rührt?
Who is it who sounds the trumpets?
Wer gehet ihm zur Seiten?
Who goes at His side?
Ist es nicht Gottes Heer,
Is it not God’s host
Das seines Namens Ehr,
that [who] of the honor of His Name,
Heil, Preis, Reich, Kraft und Macht
salvation, praise, kingdom, power, and might
mit lauter Stimme singet
with loud voices sings
Und ihm nun ewiglich ein Halleluja bringet.
and to Him now eternally brings a hallelujah?
6. Recitative (Bass)
Es kommt der Helden Held,
He comes, the Hero of heroes,
Des Satans Fürst und Schrecken,
Satan’s Prince and terror,
Der selbst den Tod gefällt,
who felled death itself,
Getilgt der Sünden Flecken,
blotted out sin’s stains,[and]
Zerstreut der Feinde Hauf;
scattered the enemy horde.
Ihr Kräfte, eilt herbei
You powers, hasten here
Und holt den Sieger auf.
and raise the Conqueror high.
3. Aria (Tenor)
Ja tausend mal tausend begleiten den Wagen,
Yes, a thousand times a thousand accompany
the chariot
Dem König der Kön’ge lobsingend zu sagen,
the King of Kings in songs of praise to tell
Daß Erde und Himmel sich unter ihm schmiegt
that earth and heaven bow down beneath Him
Und was er bezwungen, nun gänzlich erliegt.
and what He has conquered now completely
submits.
5
7. Aria (Bass)
Er ists, der ganz allein
He it is, who by Himself
Die Kelter hat getreten
the winepress has trodden,
Voll Schmerzen, Qual und Pein,
full of suffering, torment, and pain,
Verlorne zu erretten
to save those who were lost
Durch einen teuren Kauf.
through a costly purchase.
Ihr Thronen, mühet euch
You Thrones, bestir yourselves
Und setzt ihm Kränze auf!
and place garlands on Him!
10. Recitative (Soprano)
Er will mir neben sich
He would for me near Himself
Die Wohnung zubereiten,
a dwelling prepare
Damit ich ewiglich
so that I eternally
Ihm stehe an der Seiten,
stand at His side,
Befreit von Weh und Ach!
freed from pain and woe!
Ich stehe hier am Weg
I stand here along the way
Und ruf ihm dankbar nach.
and call gratefully after Him.
8. Recitative (Alto)
Der Vater hat ihm ja
The Father has indeed for Him
Ein ewig Reich bestimmet:
an eternal kingdom ordained.
Nun ist die Stunde nah,
Now is the hour at hand
Da er die Krone nimmet
when He takes His crown
Vor tausend Ungemach.
for [bearing] a thousand hardships.
Ich stehe hier am Weg
I stand here along the way
Und schau ihm freudig nach.
and look toward Him with joy.
11. Chorale (S A T B)
1. Du Lebensfürst, Herr Jesu Christ,
You Prince of life, Lord Jesus Christ,
Der du bist aufgenommen
who have been taken up
Gen Himmel, da dein Vater ist
into heaven, where Your Father is
Und die Gemein der Frommen,
and the congregation of the righteous,
Wie soll ich deinen großen Sieg,
how should I Your great victory –
Den du durch einen schweren Krieg
that you through a hard war
Erworben hast, recht preisen
have won – rightly praise
Und dir g’nug Ehr erweisen?
and You sufficent honour render?
9. Aria (Alto)
Ich sehe schon im Geist,
I see already in spirit
Wie er zu Gottes Rechten
how He at God’s right hand
Auf seine Feinde schmeißt,
casts away His enemies
Zu helfen seinen Knechten
to help his servants
Aus Jammer, Not und Schmach.
out of their misery, need, and disgrace.
Ich stehe hier am Weg
I stand here along the way
Und schau ihm sehnlich nach.
and look toward Him with longing.
2. Zieh uns dir nach, so laufen wir,
Draw us to you, and we shall run;
Gib uns des Glaubens Flügel!
give us wings of faith!
Hilf, daß wir fliehen weit von hier
Help us, that we may flee far from here
Auf Israelis Hügel!
to the hills of Israel!
Mein Gott! wenn fahr ich doch dahin,
My God! when shall I go there,
Woselbst ich ewig fröhlich bin?
where I shall be eternally joyful?
Wenn werd ich vor dir stehen,
When shall I stand before You,
Dein Angesicht zu sehen?
Your countenance to behold?
6
Jauchzet dem Herrn alle Welt –
Johann Pachelbel
Make a joyful noise to the Lord,
all the earth (Psalm 100)
2. Gloria Chorus and Soli (S A T B)
Gloria in excelsis Deo,
Glory be to God on high,
et in terra pax hominibus bonae voluntatis.
and on earth peace to men of good will.
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.
Jauchzet dem Herrn alle Welt.
Make a joyful noise to the Lord,
all the earth;
Dienet dem Herrn mit Freuden.
serve the Lord with joy.
Kommet vor sein Angesicht mit Frohlocken.
Come into His presence with rejoicing.
Erkennet, dass der Herr Gott ist.
Recognize that the Lord is God:
Er hat uns gemacht, und nicht wir selbst,
zu seinem Volk
He made us—and not we ourselves—
to be His people
und zu Schafen seiner Weide.
and to be sheep for His pasture.
Gehet zu seinen Toren ein mit Danken,
Enter through His gates with thanks,
zu seinen Vorhöfen mit Loben.
into His forecourts with praise.
Danket ihm, lobet seinen Namen,
Give Him thanks and praise His name,
denn der Herr ist freundlich
for the Lord is gracious,
und seine Gnade währet ewig
and His mercy endures forever,
und seine Wahrheit für und für.
and His truth for all time.
3. Aria (Bass)
Domine Deus, Rex coelestis,
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.
4. Aria (Soprano)
Qui tollis peccata mundi,
Thou that takest away the sins of the world,
miserere nobis,
have mercy upon us.
suscipe deprecationem nostram.
Receive our prayer.
Qui sedes ad dexteram patris,
Thou that sittest at the right hand of the Father,
miserere nobis.
have mercy upon us.
Messe in A dur, BWV 234
Mass in A Major – J. S. Bach
5. Aria (Alto)
Quoniam tu solus sanctus,
For Thou only art holy;
tu solus Dominus,
Thou only art the Lord;
tu solus altissimus Jesu Christe.
O Jesus Christ, art most high,
1. Kyrie Chorus and Soli (S A T B)
Kyrie eleison,
Lord, have mercy,
Christe eleison,
Christ, have mercy,
Kyrie eleison.
Lord, have mercy.
6. Chorus and Soli (S A T B)
Cum Sancto Spiritu in gloria Dei Patris, amen.
with the Holy Ghost in the glory of God
the Father. Amen.
7
Thy Strong Word Did Cleave the Darkness, LSB 578
578 Thy Strong Word
5
5
6
Give us lips to sing Thy glory,
Thyglory,
mercy to proclaim,  6
Give us lipsTongues
to sing Thy
Tounges Thy
mercy
to shout
proclaim,
Throats
that
the hope that fills us,
Throats thatMouths
shout thetohope
thatThy
fillsholy
us, name. speak
Mouths toAlleluia,
speak Thy
holy
name.
alleluia!
Alleluia, alleluia!
May the light which Thou dost send May the light
which
Thou
dost
send
Fill our
songs
with
alleluias,
Fill our songs
with
alleluias,
Alleluias without end!
Alleluias without end.
God the Father, light-creator,
To Thee laud and honor be.
To Thee, Light of Light begotten,
Praise be sung eternally.
Holy Spirit, light-revealer,
Glory, glory be to Thee.
Mortals, angels, now and ever
Praise the holy Trinity!
God the Father, light-creator,
To Thee laud and honor be.
To Thee, Light of Light begotten,
Praise be sung eternally.
Holy Spirit, light-revealer,
Glory, glory be to Thee.
Mortals, angels, now and ever
Praise the holy Trinity!
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© 1969 Concordia Publishing House. Used by permission: LSB Hymn License .NET, no. 100010935.
Public domain
Maurice Boyer
Maurice Boyer is associate professor of music at Concordia University Chicago, where he conducts the
chamber orchestra and women’s choir (Laudate) and teaches aural skills. 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 eighteen.
Dr. Boyer holds a doctor of musical arts degree in orchestral conducting from the University of
Maryland, College Park. His master of music is in choral conducting and his bachelor of music is in
sacred music (with piano as his principal instrument). Both were earned at Westminster Choir College
of Rider University in Princeton, New Jersey. His principal conducting teachers have been Joseph
Flummerfelt, Kenneth Kiesler, and James Ross. He also studied theology at Princeton Theological
Seminary.
Dr. Boyer is artistic director of the Heritage Chorale and of the Aestas Consort, a Chicago-based vocal
ensemble specializing in Baroque music. He is assistant conductor of the Symphony of Oak Park and
River Forest. He has also been guest conductor for the Chicago Choral Artists and guest chorus master
for Chicago’s Music of the Baroque.
About his work with Music of the Baroque, Dennis Polkow of the Chicago Classical Review wrote,
“Maurice Boyer’s preparation of the chorus was shown to best advantage. The guest director was able
to achieve not only a wonderful blend and unity of choral sound throughout the multi-movement work,
but was also able to bring off a wide palette of timbres and contrasting dynamics that threw Handel’s
text painting in sharp relief.” Additionally, he has been chorus master of the New Jersey State Opera and
music director in several churches.
9
Title page from volume 1 (Old Testament) of the Calov Bible 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)
10
The American Kantorei
Jeral Becker, Interim Director and Conductor, Choir Personnel Director
Wanda Becker, Concertmaster and Orchestra Personnel Director
Chorus
Soprano
Emily Truckenbrod, Principal
Jean Baue, Assistant Principal
Kathryn Crumrine
Katherine Gastler
Marita Hollander
Melissa Kinsey
Camille Marolf
Deanna Merz
Lynn D. Morrissey
Sheridan Morrissey
Halle Warmbier
Sylvia Witt
Tenor
Jeral Becker, Principal
Scott Kennebeck, Assistant Principal
Jerry Bolain
Willard Cobb
Greg Gastler
William Larson
Ryan Markel
Steve Paquette
Spencer Stephens
Alto
Katharine Lawton Brown, Principal
Stephanie Ruggles, Assistant Principal
Loretta Ceasar-Striplin
Lisa Gines
Mona Houser
Christa Steinbacher
Xiaoying Wang
Lisa Young
Bass
David Berger, Principal
Jeffrey Heyl, Assistant Principal
Joe M. Beran
Robin Fish, Jr.
Andrew Jones
Gary Lessmann
Matthew Warmbier
Orchestra
Violin I
Wanda Becker, Concertmaster
Jane Price
Christine Sasse
Cynthia Bowermaster
Cello
Andrew Ruben
Violin II
Kaoru Wada, Principal
Marilyn Park Ellington
Tova Braitberg
Flute
Paula Kasica, Principal
Jennifer Adams
Viola
Dee Sparks, Principal
Jennifer Goodman
Double Bass
Frederick DeVaney
Oboe
Ann Homann, Principal
Eileen Burke
Bassoon
Robert Mottl
11
Trumpet
John Korak, Principal
Robert Souza
Mary Weber
Timpani
Kim Shelley
Positiv (Continuo) Organ
Joan Bergt
Chapel Organ
Joan Bergt
Bach at the Sem Enriches Lives!
Bach at the Sem is brought to you by Concordia Seminary and the generous patrons of this series,
including the “Friends of Bach at the Sem.”
Children, students, families, and members of the community are all enriched by the professional, live
performances of the music of Johann Sebastian Bach and other master composers of the Christian musical
heritage. The excellent guest conductors and skilled musicians bring this music to life for us to savor.
To support Bach at the Sem, as well as the search for a new permanent music director of the American
Kantorei, and to ensure the future viability of the series, we have inaugurated a sponsorship program
called “Friends of Bach at the Sem.” We are inviting you to become a Friend and one of the important
patrons of this concert series.
Your gift of $1,000, $500, or $100 is welcomed and encouraged. We were very blessed to have received
a new challenge grant for the 2013-2014 season. Today, your gift is especially good stewardship because
every dollar you give or pledge will be matched dollar for dollar up to the first $30,000.
This is a terrific opportunity to give thanks for the many years of wonderful concerts and to give a gift
to join the Friends support program. Please respond as the Lord leads. Every gift to Bach at the Sem is
important!
Bach at the Sem Sponsorship
“Friends of Bach at the Sem”
Concert Sponsor
Conductor Sponsor
Reception Sponsor
Board Sponsor $1,000
Guest Sponsor $500
Friend Sponsor $100
$10,000
$5,000
$2,500
For more information about sponsoring Bach at the Sem,
please call 314-505-7009 or email [email protected].
12
Welcome to Concordia Seminary!
What is it that draws us to experience the music of J.S. Bach? Early in his book, Music in the Castle of
Heaven: a Portrait of Johann Sebastian Bach, John Eliot Gardiner writes
And, if we accept that one part of the human psyche searches for a spiritual outlet (and, indeed, a
spiritual input), then however materialistic our society may have become, however agnostic the Zeitgeist,
for those who have the ears to hear it, the confident and overwhelmingly affirmative music of Bach
can go a long way towards meeting this need. For Bach is of the very front rank of composers since
1700 whose entire work was geared, one way or another, towards the spiritual and the metaphysical
– celebrating life, but also befriending and exorcising death. He saw both the essence and practice of
music as religious…. ‘NB’, he wrote in the margin of his copy of Abraham Calov’s Bible commentary
[now in Concordia Seminary’s Rare Book Collection], ‘Where there is devotional music, God with his
grace is always present.’ (17)
We express our sincere gratitude to Dr. Maurice Boyer for serving as today’s guest conductor. His
expertise joins the ongoing love of the American Kantorei and Interim Music Director Jeral Becker for
the best of music and promises to lead us to experience again the deep reason why Bach attracts us. As
the concluding chorale in today’s cantata puts it, “How should I rightly praise your great victory and
sufficient honor render? Give us wings of faith!”
We at Concordia Seminary thank you for your presence and your support to help make Bach at the Sem
possible. “Where there is devotional music, God with his grace is always present.”
Dale A. Meyer
President
American Mosaic
songs of our people
American Chamber Chorale
Season XIII
Season XIII Concerts
Season Preview Gathering
Saturday, Oct. 19, 7:30pm
Candlelight Christmas
Saturday, Dec. 7, 2013 7:30pm
Family Christmas
Sunday, Dec. 15, 3:00pm
Witness
with special guest Denise Thimes
Saturday, March 1, 7:30pm &
Sunday, March 2, 2014, 3pm
Skip To My Lou
Saturday, May 10, 2014, 7:30pm
2013 - 2014
The American Chamber Chorale is unique among area choruses,
frequently incorporating other artistic mediums into concerts
through collaborations with other area arts organizations. Concerts
are designed to engage and inspire audiences of all backgrounds as
the Chorale and Orchestra present a mix of masterworks from the
past and the very best of modern choral repertoire, often giving
premiere performances of great works in St. Louis.
Stephen Morton
Artistic Director
and Conductor
Mindful of our responsibilities as members of the community, the
ACC performs concerts each season to beneÞt local charities
serving the less fortunate in the St. Louis area. In the words of
Artistic Director Stephen Morton,
Concerts this
season beneÞt:
Kingdom House
Feed My People
& Let’s Start
“In a world teeming with forces that divide, choral singing
encourages, expresses, and exempliÞes a true sense of community”.
Special discounts for seniors,
students, and children
Become a member of
“Friends of Bach at the Sem!”
“Friends of Bach at the Sem” are sharing the
precious legacy of the music of J. S. Bach
and enriching the cultural life of Concordia
Seminary and the St. Louis community.
Your gift is especially good stewardship because
every dollar you give or pledge will be matched
dollar for dollar up to the first $30,000.
Every gift to Bach at the Sem is
important!
Please call 314-505-7009 or
email [email protected] to join.
Philip Barnes
Artistic Director
Join one of the country’s best
a cappella choirs for our 58th season!
Greek
2013~2014
Latin
October 6 • 3 pm
Ethical Society of St Louis
9001 Clayton Road • St. Louis • 63117
February 23 • 3 pm
560 Music Center
560 Trinity Ave • University City • 63130
Hebrew
Egyptian
Old English
Old Church Slavonic
November 10 • 3 pm
United Hebrew Congregation
13788 Conway Road • St Louis • 63141
December 22 • 3 pm
St Luke the Evangelist Catholic Church
7230 Dale Ave • St. Louis • 63117
April 13 • 3 pm
John Burroughs School Theatre
755 S Price Road • Ladue • 63124
May 25 • 3 pm
Saint Stanislaus Kostka Church
1413 N 20th St • North St Louis • 63106
Subscribe & Save with SEASON TICKETS
General $160 • Students $48
For tickets or brochure call
636-458-4343
PO Box 11558 St. Louis, MO 63105
www.chamberchorus.org
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