Cantata BWV 42, Am Abend aber desselbigen Sabbats
(On the Evening of the Same Sabbath)
Soloists and Orchestra
Aria for soprano from St. John Passion, BWV 245: Ich folge dir gleichfalls mit freudigen Schritten
Sheila Dietrich
Cantata BWV 67, Halt im Gedächtnis Jesum Christ
(Keep Jesus In Mind)
Soloists, Chorus, and Orchestra
SOLOISTS & CHOIR PRINCIPALS
Sheila Dietrich, soprano
Charles Humphries, countertenor
Brian Thorsett, tenor
Adrian Smith, bass
CHAMBER CHOIR
Soprano: Nancy Dennis, Sarah Grove-Humphries, Autry Harper, Jennifer Roe, Kaitlyn Townsend
Alto: Laura Douglass, Gayle Alderfer Fisher, Martha McKechnie,
Karen Moshier-Shenk, Marina Pratt, Anne Stanford
Tenor: Sean Dye, Aaron Looney, Aaron Reichert, Joel VanderZee
Bass: Jonathan Bolena, Sam Kauffman, Jeffrey Smoker
ORCHESTRA
Violin Principal: Nicholas Kitchen, Heifetz Artistic Director
Violin: Fiona Khuong-Huu
Viola: Joseph Skerik
Cello: Boubacar Diallo
Flute: Laura Jean Brand
Oboe & Oboe d’amore: Emily Snyder Foster, Jeanette Zyko
Bassoon: Patricia Holland
Trumpet: Nick Harvey
Archguitar: Peter Blanchette
Organ Continuo: Florence Jowers
Conductor: Paul Weber
Both of this evening’s cantatas were composed a year apart for the Second Sunday of Easter and both share a theme of peace that is personal and communal.
Easter Day fell on April 1, in 1725. Bach’s chorus and orchestra had performed the St. John Passion on Good Friday, the Easter Oratorio (BWV 245) and Christ lag in Todesbanden (BWV 4) on Easter Sunday, Bleib bei uns (BWV 6) on Easter Monday, and an unknown cantata on Easter Tuesday. The heavy demands on the performers may explain why Bach’s cantata for the Sunday after Easter in 1725 lacks an opening chorus; the choir needed time off. Perhaps the composer needed a break as well, for he turned to an earlier composition for the instrumental introduction to Am Abend aber desselbigen Sabbats (On the evening of the same Sabbath, BWV 42) and perhaps also for one or more of its arias. Yet Bach produced a cantata of remarkable
beauty.
The progression of ideas from movement to movement in this cantata follows the pattern of a Lutheran sermon of the time: scripture text, explanation of the text, lessons drawn from it for daily life, and lessons for eternity. The opening instrumental movement projects the joy of Easter morning. The tenor recitative repeats the scripture text for the day, John 20:19. What does it mean that Jesus appeared among his fearful disciples in the upper room? The alto aria provides the answer, citing Matthew 18:20, “For where two or three are gathered in my name, I am there among them.” The fourth movement speaks to daily life: we experience fears and trials, but they will not last long. The bass recitative and aria focus on the ultimate triumph over persecution. The closing chorale is Luther’s prayer for peace, with an added stanza asking for God’s peace in the nation and good government. The cantata in its larger sense is a prayer for peace when fear besets God’s people or the society in which we live.
In the second cantata, Halt im Gedächtnis Jesum Christ (Hold in remembrance Jesus Christ, BWV 67), Bach and his anonymous librettist not only make reference to the joy of the resurrection, but also address the need for personal peace–assured by the risen Christ to the skeptic portrayed in the gospel by the disciple, Thomas.
This cantata was also composed for the Sunday after Easter, April 16, in 1724. Bach was nearing the end of his first full year of work at Leipzig, directing the church music program at four churches, teaching school, taking turns with others supervising the dormitory life of students, and composing major choral and instrumental works for Holy Week, Easter Day, and the two days thereafter. In spite of this exhausting schedule, Bach created Halt im Gedächtnis Jesum Christ, a masterpiece that explores the dilemma posed by earthly ills in our lives.
The Sunday after Easter featured then, as it does now, the story of “doubting Thomas.” Christ’s reassuring, “Peace be with you,” gave comfort to the fearful disciples assembled in the upper room. It is precisely the assurance of God’s peace that this cantata brings to us today as we personally face times of doubt, fear, and discouragement.
—Paul Weber, Gwen Gotsch, and Carlos Messerli
Cantata, BWV 42: Am Abend aber desselbigen Sabbats
1. Sinfonia
2. Recitative (tenor)
Am Abend aber desselbigen Sabbats,
On the evening of that same Sabbath,
Da die Jünger versammlet
As the disciples were gathered,
Und die Türen verschlossen waren
And the doors were locked
Aus Furcht für den Jüden,
Out of fear of the authorities,
Kam Jesus und trat mitten ein.
Jesus came and entered into their midst.
3. Aria (countenor)
Wo zwei und drei versammlet sind
Where two or three are gathered
In Jesu teurem Namen,
In Jesus’ precious name,
Da stellt sich Jesus mitten ein
There Jesus enteres in their midst
Und spricht darzu das Amen.
And says to them the Amen.
Denn was aus Lieb und Not geschicht,
For what happens out of love and need,
Das bricht des Höchsten Ordnung nicht.
Breaks not the order of the Most High.
4. Aria (soprano and tenor)
Verzage nicht, o Häuflein klein,
Do not despair, oh little flock,
Obschon die Feinde willens sein,
Even though your foes are willing
Dich gänzlich zu verstören,
To destroy you completely,
Und suchen deinen Untergang,
And seek your downfall,
Davon dir wird recht angst und bang:
That you become anxious and afraid:
Es wird nicht lange währen.
It will not last for long.
5. Recitative (bass)
Man kann hiervon ein schön Exempel sehen
A beautiful example can be seen
An dem, was zu Jerusalem geschehen;
In what happened in Jerusalem;
Denn da die Jünger sich versammlet hatten
When the disciples had gathered
Im finstern Schatten,
In the dark shadows,
Aus Furcht für denen Jüden,
Out of fear of the authorities,
So trat mein Heiland mitten ein
My Savior entered in their midst,
Zum Zeugnis, daß er seiner Kirch Schutz will sein.
To witness, that he would protect his church.
Drum laßt die Feinde wüten!
Therefore let your foes rage.
6. Aria (bass)
Jesus ist ein Schild der Seinen,
Jesus is a shield for his own,
Wenn sie die Verfolgung trifft.
When they meet with persecution.
Ihnen muß die Sonne scheinen
For them the sun must shine
Mit der güldnen Überschrift:
With the golden title:
Jesus ist ein Schild der Seinen,
Jesus is a shield for his own,
Wenn sie die Verfolgung trifft.
When they meet with persecution.
7. Chorale
Verleih uns Frieden gnädiglich,
Grant us peace graciously,
Herr Gott, zu unsern Zeiten;
Lord God, in our time;
Es ist doch ja kein andrer nicht,
There is surely no one else
Der für uns könnte streiten,
Who could fight for us,
Denn du, unsr Gott, alleine.
But you, our God, alone.
Gib unsern Fürsten und allr Obrigkeit
Give our princes and all authority
Fried und gut Regiment,
Peace and good government,
Daß wir unter ihnen
That we may, under them,
Ein geruhig und stilles Leben führen mögen
Lead a peaceful and quiet life
In aller Gottseligkeit und Ehrbarkeit. Amen.
In all godliness and honor. Amen.
Aria from St. John Passion, BWV 245
Ich folge dir gleichfalls mit freudigen Schritten
I follow you likewise with happy steps
Und lasse dich nicht, mein Leben, mein Licht.
and do not leave you, my Life, my Light.
CANTATA, BWV 67: Halt im Gedächtnis Jesum Christ
1. Chorus
Halt im Gedächtnis Jesum Christ,
Hold in remembrance Jesus Christ,
der auferstanden ist von den Toten.
who is risen from the dead.
2. Aria (tenor)
Mein Jesus ist erstanden,
My Jesus is arisen,
Allein, was schreckt mich noch?
Alone, but why am I still frightened?
Mein Glaube kennt des Heilands Sieg,
My faith knows my Savior’s victory,
Doch fühlt mein Herze Streit und Krieg,
Yet my heart still feels strife and war.
Mein Heil, erscheine doch!
My salvation, show forth yourself!
3. Recitative (countertenor)
Mein Jesu, heißest du des Todes Gift
My Jesus, you are called death’s poison
Und eine Pestilenz der Hölle:
And a pestilence of hell:
Ach, dass mich noch Gefahr und Schrecken trifft!
Ah, that I still meet with danger and horror!
Du legtest selbst auf unsre Zungen
You yourself put on our tongues
Ein Loblied, welches wir gesungen:
A song of praise, which we have sung:
4. Chorale
Erschienen ist der herrlich Tag,
The glorious day has come,
Dran sich niemand gnug freuen mag:
On which no one can rejoice enough:
Christ, unser Herr, heut triumphiert,
Christ, our Lord, triumphs today,
All sein Feind er gefangen führt.
All his enemies he leads captive.
Alleluja!
5. Recitative (countertenor)
Doch scheinet fast,
Yet it almost seems
Dass mich der Feinde Rest,
That the rest of the enemies,
Den ich zu groß und allzu schrecklich finde,
Whom I find too great and all too frightening,
Nicht ruhig bleiben lässt.
Do not leave me alone in peace.
Doch, wenn du mir den Sieg erworben hast,
But once you have won the victory for me,
So streite selbst mit mir, mit deinem Kinde
Then fight along with me, with your child
Ja, ja, wir spüren schon im Glauben,
Yes indeed, we feel already in faith,
Dass du, o Friedefürst,
That you, O Prince of Peace,
Dein Wort und Werk an uns erfüllen wirst.
Will fulfill your word and work in us.
6. Aria (bass and chorus)
Friede sei mit euch!
Peace be with you!
Wohl uns! Jesus hilft uns kämpfen
Happy us! Jesus helps us fight
Und die Wut der Feinde dämpfen,
And dampen the enemy’s rage,
Hölle, Satan, weich!
Hell, Satan, yield!
Friede sei mit euch!
Peace be with you!
Jesus holet uns zum Frieden
Jesus summons us to peace
Und erquicket in uns Müden
And revives in us, who are exhausted,
Geist und Leib zugleich.
Spirit and body together.
Friede sei mit euch!
Peace be with you!
O Herr, hilf und lass gelingen,
Oh Lord, help us and let us succeed
Durch den Tod hindurchzudringen
In pressing on through death
In dein Ehrenreich!
Into your glorious kingdom.
Friede sei mit euch!
Peace be with you!
7. Chorale
Du Friedefürst, Herr Jesu Christ,
You Prince of Peace, Lord Jesus Christ,
Wahr’ Mensch und wahrer Gott,
True man and true God,
Ein starker Nothelfer du bist
You are a strong helper in distress,
Im Leben und im Tod.
In life and in death.
Drum wir allein im Namen dein
Therefore we alone, in your name,
Zu deinem Vater schreien.
Cry to your Father.