|
|
|
|
|
Light Out of Darkness (CD03)
German Baroque Music in memoriam. Featured composers include Michael Praetorius, Heinrich Schütz and JS Bach. The Santa Rosa Children's Chorus (directed by Carol Menke) is featured on this recording as well. Recording in the lobby of the Sonoma Country Day School, Santa Rosa, California.
Sonoma County Bach Choir
Recording date: 03/06/2004
Regular price: $12; SCCS member price: $10
`
Mit Fried’ und Freud’ ich fahr dahin…..Johann Walther/Martin Luther
Psalm 116.....Michael Praetorius (1571-1621)
Soprano: Carol Menke
Alto: Bonnie Brooks
Tenor: Scott Whitaker
Baritone: David Stohlmann
Bass: Jeffrey Fields
Herr nun lässest du deine diener in Friede fahren…..Heinrich Schütz (1585-1672)
Selig sind die Toten…..Heinrich Schütz
Musikalische Exequien: Part III Heinrich Schütz
Soprano I and II: Santa Rosa Children’s Chorus
Baritone: Jeffrey Fields
Mit Fried’ und Freud’ ich fahr dahin…..Johann Walther/Martin Luther (arr.
Schein)
INTERMISSION
Mit Fried’ und Freud’ ich fahr dahin…..Johann Walther/Martin Luther
Actus Tragicus (Cantata 106)…..Johann Sebastian Bach (1685-1750)
Sonatina
Chorus (Gottes Zeit)
Tenor solo (Ach Herr) : Scott Whitaker
Bass solo (Bestelle dein Haus): Jeffrey Fields
Chorus (Es ist der alte Bund) with Soprano solo (Ja komm Herr Jesu): Carol
Menke
Alto solo (In deine Hände): Bonnie Brooks
Bass Solo (Heute wirst du mit mir) with Chorale (Mit Fried’ und Freud’): Jeffrey
Fields
Chorus (Glorie, Lob, Ehr und Herrlichkeit)
Mit Fried’ und Freud’ ich fahr dahin…..Johann Walther/Martin Luther (arr.
Bach)
Program
Notes
Our repertoire for this concert, a collection of funeral music, reflects
a universal theme which is inherent in many cultural traditions: Out of
darkness, the light returns. This archetypal theme, deeply connected to
the winter season by the fact of the solstice, stands for a greater paradox,
which lies at the heart of the sacred: From death comes life.
This paradox is everywhere apparent. The gradual ‘dying of the light’ is followed
by the return of the ‘invincible sun’. Plants live through their cycle and
die, transformed into nutrients for new life. Animals consume other animals
to sustain life. Even our inner lives are characterized by progressive cycles
of death and rebirth, as old beliefs and values yield to the phoenix of new
wisdom.
The great winter solstice festivals were designed not only to celebrate the
return of the light, but to acknowledge the depth of the darkness. The brilliance
of Christmas shines more brightly for following the solemnity and restraint
of Advent. Many of the ‘festivals of lights’ which occur in so many cultures
are celebrated against a backdrop of darkness or contrition. Thus these celebrations,
in order to achieve their full power, partake of both darkness and light,
demonstrating the eternal miracle of how the one contains the other.
Although funeral rites differ from winter festivals in many obvious ways,
the deepest message is the same. Confronted by the fact of death, we seek
life. Through sacred rites, through art, through music we touch the dark,
hoping to discover the light hidden within.
The funeral compositions which we offer tonight, drawn from the broad repertoire
of Lutheran Trauermusik, each offers a spark of illumination, drawing
on several distinct messages which, while here expressed in Christian terms,
reflect universal themes.
The theme of life after death: In the Christian tradition, this is
of course the strongest pillar of hope. “They are in the hand of the Lord,
and no torment touches them.” An absolute faith in life after death, expressed
in many of these works, transforms the quality of darkness as certainly as
the knowledge that the sun will rise tomorrow.
The theme of healing: “They go forth and weep, bearing precious
seed; and they return with joy.” From Schütz to Brahms, many funeral compositions
focus upon the healing powers of mourning. The message is clear: Only by fully
acknowledging the power of death can we return to a rich and joyous life.
The theme of crying out: Psalm 116 is largely concerned with the need
to call for help. In my darkest hour, says the psalmist, “I called out the
name of the Lord: O Lord, rescue my soul!” The power of prayer is seen not
only as a means of summoning help, but also as a final admission that we are
personally powerless, a necessary precursor to salvation.
The theme of acceptance: Several of our pieces (the chorales which
bracket each half, two of the Schütz works and part of the Bach) are based
upon the Nunc Dimittis, the words spoken by old man Simeon upon recognizing
the child Jesus as Savior: “Lord, let your servant now depart in peace”. These
lines, transformed by Luther in his deathbed hymn (‘Mit Fried’ und Freud’
ich fahr dahin’), express perhaps the most mature phase of the battle between
the dark and the light: Serene acceptance. This is the central theme of Bach’s Actus Tragicus:
“Since I will die at the time of your choosing, I place my spirit in your
hands.”
The illumination provided by these themes is so strong that you may notice
something unexpected: these are not dark compositions. From beginning to end,
tonight’s concert is filled with optimism and with the promise of light. As
we all stuggle with the the fears and anxieties of our time, we offer this
concert as a message that Light can, will, indeed must arise Out
of Darkness.
A special note: We are so grateful to the wonderful young singers of the
Santa Rosa Children’s Chorus for joining us for this concert. It is an honor
to work with them and their director, Carol Menke.
PERSONNEL
Jubilate Baroque Orchestra
| Recorder: |
Viola da gamba: |
Cello and viola da gamba: Joanna Blendulf |
Sonoma
County
Bach
Choir
Directed by Robert Worth
Yvonne Wormer, rehearsal accompanist
| Brian Andersen |
Jaime
Edge |
Sadie Luke |
Santa Rosa
Children’s Chorus
Directed by Carol Menke
Mark Osten, rehearsal accompanist
| Gabrielle
Armenier |
Emma
Herron |
Arielle
Schwartz |
TEXTS
Mit Fried’ und Freud’
| Mit
Fried und Freud ich fahr dahin |
With
peace and joy I go forth |
Psalm 116
| Erster Theil |
First Part |
| Strikke
des Todes |
Bonds
of death |
| Aber
ich rief an |
But
I called out |
| Der
Herr ist gnädig und gerecht, |
The
Lord is merciful and righteous, |
| Sei
nun wieder zufrieden, meine Seele. |
Be
now again at peace, my soul. |
| Der andere Theil |
The Other Part |
| Wie
soll ich dem Herren vergelten |
How
shall I the Lord repay |
| Ich
will meine Gelübde |
I
will my vows |
| Der dritte Theil |
The Third Part |
| Du
hast meine Bande zurissen. |
You
have torn my bonds. |
| Ich
will meine Gelübde |
I
will my vows |
Herr, nun lässest du deinen Diener in Friede fahren (Luke 2:29-32)
| Herr,
nun lässest du |
Lord,
now let |
| Denn
meine Augen |
For
my eyes |
Selig sind die Toten (Revelation 14:13)
| Selig
sind die Toten, |
Blessed
are the dead, |
| von
nun an. |
from now on. |
Musikalische Exequien: Part III
The choir sings Herr, nun lässest
du deinen Diener in Friede fahren; the trio sings Selig sind
die Toten, adding the following text from the Apocrypha (Wisdom of Solomon
3:1).
| Sie
sind in der Hand des Herren, |
They
are in the hand of the Lord, |
Mit Fried’ und Freud’
| Das
macht Christus, wahr' Gottes Sohn, |
Christ
does this, true Son of God, |
Intermission
Mit Fried’ und Freud’
| Den
hast du allen fürgestellt |
Him
have you to all shown |
Actus Tragicus (Cantata 106)
Sonatina
Chorus (Acts 17:28)
| Gottes
Zeit ist die allerbeste Zeit. |
God's
time is the very best time. |
Tenor (Psalm 90:12)
| Ach,
Herr, lehre uns bedenken, |
O
Lord, teach us to be mindful |
Bass (Isaiah 38:1)
| Bestelle
dein Haus; |