Saint Michael & All Angels Church, 4 p.m.
Jennifer Foster, soprano
Daniel Roihl, countertenor
Jonathan Mack, tenor
Tyler Thompson, baritone
Festival Chorus & Orchestra
Burton Karson, conductor
Henry Purcell (1659-1695)
Hail, Bright Cecilia
Excerpts from Ode for St. Cecilia’s
Text by N. Brady
Recitative (bass) and Chorus
Hail! bright Cecilia, Hail! Fill ev’ry heart with love of thee
and thy celestial Art.
Hail! Hail! bright Cecilia, hail to thee! Great patroness of us
Felix Mendelssohn (1809-1847)
Hear My Prayer
Psalm 55:1-7, for soprano and chorus
Hear my prayer, O God incline thine ear!
Thyself from my petition do not hide!
Take heed to me! Hear how in prayer I mourn to Thee!
Without Thee all is dark, I have no guide.
The enemy shouteth, the godless come fast!
Iniquity, hatred, upon me they cast!
The wicked oppress me; ah, where shall I fly?
Perplex’d and bewilder’d, O God, hear my cry!
My heart is sorely pain’d within my breast,
My soul with deathly terror is oppress’d,
Trembling and fearfulness upon me fall,
With horror overwhelm’d, Lord, hear me call!
O for the wings, for the wings of a dove!
Far away, far away would I rove!
In the wilderness build me a nest,
and remain there for ever at rest.
Johann Sebastian Bach (1685-1750)
Wachet! betet! betet!
wachet!, BWV 70
Cantata for the 26th
Sunday after Trinity
Text by Salomo Franck and Bach
Chorus: Wachet, betet
Watch, pray, keep prepared for the day when the Lord of majesty
brings this world to an end!
Recitativo (bass): Erschrecket, ihr verstockten Sünder!
Be frightened, stubborn sinners! A day shall dawn
from which no one can hide, bringing you to a strict judgment,
O sinful generation, to lasting heartbreak. To you, God’s
children, it brings the beginning of true gladness. The Savior
calls you, when all else collapses, before his exalted face, so
be not afraid!
Aria (alto): Wann kommt der Tag
When comes the day when we’re taken from
this Egypt of a world? Ah, let us soon flee from Sodom before
the fire overwhelms! Awake, souls, from your complacency, and
believe that this is the final hour!
Recitativo (tenor): Auch bei dem himmlischen Verlangen
In spite of our heavenly longings, our body holds
the spirit captive; through its guile, the world sets nets and
traps for the pious. The spirit is willing, but the flesh is weak,
forcing our sorrowful “Alas!”
Lass der Spötter Zungen schmähen
Leave scorning to mocking tongues, for it will
and must happen that we shall see Jesus in the clouds, in the
heavens. Earth and sky may perish, Christ’s word stands
fast; Leave scorning to mocking tongues, for it will and has to
Recitativo (tenor): Jedoch! bei dem unartigen Geschlechte
Yet amidst this evil generation, God cares for
his servants, that this wicked breed won’t further harm
you. He holds them firmly in his hand, and brings them to a heavenly
Chorale: Freu’ dich sehr, o meine Seele
Be glad, O my soul, and forget all need and torment,
for now Christ, your Lord, calls you from this vale of tears!
Aria (tenor): Hebt euer Haupt empor
Look up, and be consoled, you righteous, that
your souls may bloom! You shall flourish in Eden, eternally serving
Recitativo (bass): Ach, soll nicht dieser grosse Tag
Ah, ought this awful day, the world’s end,
the trumpet’s call, the final stroke, the judge’s
proclamation, the open gates of hell, in my doubts, fear and terror,
in me, a child of sin, awaken? Yet, there is in my spirit a light
of hope. The Savior cannot hide his heart that breaks with pity.
His merciful arm forsakes me not. Lead on, that I shall end my
course with gladness.
Aria (bass): Seligster Erquikkungstag
Blessed day of refreshment, lead me to your dwellings!
Sound, crack, final stroke, world and heaven, go to ruins! Jesus
leads me to stillness, where are joy and abundance.
Chorale: Nicht nach Welt, nach Himmel nicht
Not for world or heaven does my soul yearn; I
seek Jesus and his light. He has reconciled me to God and sets
me free from judgment. My Jesus, I’ll not leave.
Wolfgang Amadeus Mozart (1756-1791)
God is our refuge, K.
God is our refuge and strength,
a very present help in trouble.
Wolfgang Amadeus Mozart (1756-1791)
Ave verum corpus, K.
Hail, true body born of the Virgin Mary, sacrificed on the cross
for us, whose torn side flowed with blood and water. Nourish us
now and in the agony of death.
Marc-Antoine Charpentier (1634-1704)
for chorus and soloists
with Maria Cristina Navarro, Soprano II
Chorus: Te Deum Laudamus
We praise thee, O God; we acknowledge thee to
be the Lord.
Chorus: Te aeternum Patrem
All the earth doth worship thee, the Father everlasting.
To thee all angels cry aloud, the heavens and all the powers therein.
Soloists: Tibi Cherubim et Seraphim
To thee Cherubim and Seraphim continually do cry:
Holy, Holy, Holy, Lord God of hosts.
Chorus: Pleni sunt caeli et terra majestatis gloriae tuae
Heaven and earth are full of the majesty of thy
glory. The glorious company of the apostles praise thee. The goodly
fellowship of the prophets praise thee. The noble army of martyrs
Soloists: Te per orbem terrarum sancta confitetur Ecclesia
The holy church throughout all the world doth
acknowledge thee, the father of an infinite majesty; thine honorable,
true, and only Son; also the Holy Spirit, the Comforter. Thou
art the king of glory, O Christ, thou art the everlasting Son
of the Father When thou took’st upon thee to deliver man, thou
didst not abhor the Virgin’s womb.
Chorus: Te devicto mortis aculeo
When thou hadst overcome the sharpness of death,
thou didst open the kingdom of heaven to all believers. Thou sittest
at the right hand of God, in the glory of the Father.
Solo (bass): Judex crederis
Thou sittest at the right hand of God, in the
glory of the Father. We believe that thou shalt come to be our
Solo (soprano): Te ergo quaesumus
We therefore pray thee, help thy servants whom
thou hast redeemed with thy precious blood.
Chorus: Aeterna fac cum Sanctis tuis
Make them to be numbered with thy saints in glory
everlasting. O Lord, save thy people and bless thine heritage.
Govern them and lift them up for ever. Day by day we magnify thee,
and we worship thy name, ever world without end.
Duet (soprano, bass): Dignare Domino dei isto
Vouchsafe, O Lord, to keep us this day without
sin. O Lord, have mercy upon us.
Trio (soprano, alto, bass): Fiat misericordia tua
O Lord, let thy mercy lighten upon us, as our
trust is in thee.
Chorus: In te, Domine
O Lord, in thee have I trusted; let me never be
This concert is offered in loving memory of
Cecilia Karson (1907-2005)
afternoon’s concert opens with the Overture, an introductory
recitative for baritone, and first and final choruses from Purcell’s
great “Ode for St. Cecilia’s Day” of 1692, thus
acknowledging the legendary Cecilia as the great patroness of our
extensive outpouring of religious compositions constitutes one of
the nineteenth century’s treasure troves of sacred music.
His lifelong admiration of the great works of J. S. Bach produced
performances of then out-of-fashion Baroque music and led him to
compose some choral and organ pieces in neo-Baroque style. His several
visits to London and travels and performances in Scotland, Italy,
Austria and Switzerland and his eventual leadership of the famous
Leipzig Gewandhaus Orchestra and public performances as a piano
virtuoso made him an international musical sensation.
Hear my prayer, a sacred cantata that he categorized
as “hymn,” is in a lush nineteenth century Romantic
style that minimally includes neo-Baroque techniques: soloist versus
chorus in closely echoing imitation, quasi-operatic recitative,
and contrasting tempos in sections within the balanced form. To
a stirring text from Psalm 55, this music for soprano and chorus
glories in dramatic outbursts, an introspective recitative, and
an exquisitely melodic and prayerful closing plea. BACK
church cantata No. 70, composed first in December of 1716 in
Weimar for the Second Sunday of Advent (this version being lost),
was revised six months after his arrival in Leipzig in 1723 for
the 26th Sunday after Trinity. The text, “Watch and pray for
the coming of the Lord,” is both reflective and dramatic.
For this musical setting, he employed four soloists, four-part chorus,
and string orchestra with oboe and trumpet. The admonition to be
glad at the prospect of death is reinforced in the chorales that
end the two parts that are designed for liturgical performance before
and after the Sunday morning sermon, the tradition being for the
congregation to join in singing the familiar chorales.
Especially compelling passages should be noticed in the shivering
chords that accompany the first recitative, Erschrecket, ihr
verstockten Sünde! (Be frightened, stubborn sinners!); in the
agitation that accompanies the last recitative, Ach, soll nicht
dieser grosse Tag(Ah, ought not this most awful day); in the
emotional soprano solo, Lasst der Spötter Zungen schmähen
(Leave to mocking tongues their scorning) with solo violin; and
in the happy accompaniment to the lovely tenor solo, Hept euer
Haupt empor (Lift up your heads once more). BACK
observation of this year’s 250th anniversary of the birth
of Johann Chrysostom Wolfgang Amadeus Mozart, we include
two of his very brief motets. The first, written during a prolonged
visit in London with his father in summer of 1765, is a stylistically
conservative (neo- Baroque) setting in English of Psalm 46:1, perhaps
done as a compositional exercise in choral writing by the then nine-year-old
genius. The second, to a sweetly somber Latin text, was set during
Mozart’s last months, and represents an emotional outpouring
that remains for us one of the composer’s enduring gems. BACK
Parisian Marc-Antoine Charpentier, surely the greatest French
composer of the seventeenth century, studied with Carissimi in Rome,
but never gained the royal favor accorded to the Italian-born Lully
by Louis XIV. He served French nobles, worked in the musical theater,
composed large-scale pieces for royal events, and taught the Duke
of Chartres who later, as Duke of Orléans, became Regent of France.
Charpentier’s compositional oeuvre for the church is staggering
in its scope, including a dozen masses, hundreds of motets, antiphons,
litanies, lessons, responsories, Psalm settings and oratorios. He
also produced some serious airs and several drinking songs.
Of his four extant settings of the Te Deum, this
one, for five soloists, a four-voiced choir, trumpet, timpani, winds
and strings, represents Charpentier at his best. The joyous text
of praise was used often historically to celebrate military victories.
Here soloists and choir hand off singing assignments like batons
in a relay, the solos and ensembles of soloists alternating in short
order with choral sections, all progressing full bore to a rousing
final setting of “O Lord, in thee have I trusted, let me never
Notes by Burton Karson