PROGRAM NOTES

The music of Johann Sebastian Bach (1685-1750) seems to be more popular than

ever. This may in part be due to the fact that his compositions, virtually without

exception, present a synthesis of intellectual complexity and emotional profundity,

combined with a deep sense of aesthetic perfection that resonates with today’s audiences.

More appreciated as a performer than as a composer in his own day, Bach’s three

instruments of choice were in fact the very three being played this afternoon, although

his fame was primarily made as an unparalleled virtuoso organist.

J. S. Bach was born, lived, and died in two adjoining regions of north-central

Germany: Thuringia and Saxony. His principal residences were Weimar, Cöthen and

Leipzig, but it was in the last-named city that he composed many of his most enduring

works, having spent the last 27 years of his life as cantor of St. Thomas Church in

Leipzig.

The organ works

Prelude and Fugue in C minor, BWV 549

The C minor Prelude and Fugue is an early work, written before Bach was twenty.

At the time, he was working his first post as organist in the Thuringian town of Arnstadt,

so this work is often referred to as the “Arnstadt” Prelude and Fugue. The end of the

fugue already hints at Bach’s full future flower of genius, and the promise of greater

things to come; one is reminded of the closing flourishes of the famous D minor Toccata

and Fugue written only a few years later.

The chorale prelude

The basis of the chorale prelude is a pre-existing hymn-tune or ‘cantus’ around

which a composer writes new material. The cantus can be presented in its entirety, or

just bits and pieces of it may be hinted at, as in Bach’s famous “In dir ist Freude”.

Chorale preludes were usually played by the organist in church services just before the

congregation sang the same hymn on which the prelude was based. Bach wrote more

chorale preludes than any other type of instrumental composition. The cantus of each of

the six Schübler chorale preludes is always presented in its entirety; all six chorale

melodies were written before Bach’s birth in 1685.

The Six Schübler Chorales, BWV 645 – 650

These six chorale preludes were published by the Schübler firm of Zella in 1746,

which was in itself remarkable as so few of Bach’s compositions went to print in his own

lifetime. These pieces are all arrangements by Bach himself of selected vocal movements

from various sacred cantatas written in Leipzig. All are either strict three-part trios, or

are in full four-part harmony.

“Sleepers Awake! a voice is calling,” Eb major, is certainly the most popular and

frequently performed of the Schübler chorales, and is taken from Cantata 140 of the same

name. It is a trio: right hand, left hand and pedal each has its own independent line. The

cantus is played by the left hand. As in all the Schübler chorales, the cantus is

intermittent, and is never heard either at the opening or at the end of the piece. In other

words, the ‘cantus’ weaves in and out of the fabric of the composition.

“Whither shall I flee?”, e minor, is also a trio, the cantus being played by the 4’

stops in the pedal. This evocative and compelling composition attempts to portray the

restlessness of a tormented soul in search of spiritual peace. The cantata from which the

arrangement was made unfortunately no longer exists.

“If thou but suffer God to guide thee,” c minor, is in four parts, and is taken from

Cantata 93. Again, the cantus is in the pedals, using 4’ stops but with the addition of

mixtures. The manuals play the other three parts (i.e. the parts Bach ‘wrote’ over the pre-

existing tune).

“My soul doth magnify the Lord”, d minor, is also in four parts, and is a bit of a

spooky-sounding piece with some unusual harmonies. The right hand plays the cantus as

well as occasionally pitching in on the accompanying harmonies. It is taken from Cantata

10.

“Abide with us, Lord Jesus Christ”, Bb major, is from Cantata 6 and is very tricky

and difficult to play. It is a strict trio, with the bulk of the playing divided between the

left hand and the pedal, not the best combination for most of us mortals. The right hand

plays the intermittent cantus.

“Comest thou now, Jesus, from Heaven to earth?” G major, wraps things up with a

joyful, exuberant display of trio virtuosity. The original right hand melody in Cantata 137

was written for violin, and is an extremely active part which jumps, skips and leaps all

over the upper half of the keyboard in the best quasi-bowing fashion. The pedal

announces the cantus in the 4’ register. It is a truly satisfying finale to this wonderful

collection of chorale preludes.

Pastorale in F major, BWV 590

The Pastorale is a favorite among organists, partially because it is (relatively) easy

to play, but also because it is one of the most beautiful of all of Bach’ organ works. The

pedal is used only in the first movement, the other three being played on manuals alone.

Particularly beautiful is the third movement adagio with its flowing cantilena melody.

The finale is a sort of gigue in brilliant three-part harmony.

Interior westward view of the New Church, now the

Bachkirche, at Arnstadt. The Wender organ of 1703

(after its 1999 restoration.)

The harpsichord and violin works

Bach’s six sonatas for violin and harpsichord break new ground for the genre

in that the harpsichord is elevated from a mere accompanying role to that of full

and equal partner with the violin. In essence, these works are true trios: the

harpsichordist’s right hand together with the violin form a duet, while the

harpsichordist’s left hand supplies the bass line. This new relationship of equal

partnership between violin and keyboard sets the example for all future violin and

piano sonatas of the classical period and beyond.

The sonatas were most likely written in Cöthen around 1720 when Bach was

35 years of age. The court at Cöthen where Bach was employed did not concern

itself overmuch with sacred vocal works; the emphasis was rather on orchestral

and instrumental music, hence the occasion for so many of the purely instrumental

compositions by the composer.

Sonata no. 1 in B minor for violin and harpsichord, BWV 1014

The first sonata is dark and somber, mostly owing to its minor mode. It

begins with a slow opening adagio, as do all the others except for the last. The

second movement is in ABA form, which will also recur in most of the sonatas. The

lovely third movement is in the relative major key of D. The fast-paced finale

provides an exciting finish.

Partita no. 1 in Bb major, BWV 825

The six (is it always six?) partitas form the contents of Volume 1 of the

“Clavierübung”. This most important keyboard publication would eventually grow

to four volumes. A ‘partita’ is a suite of dance movements, just as are the six

English and six French suites, and the French Overture, all important harpsichord

works. Each of the partitas begins with an opening prelude of one sort or another,

followed by the dance numbers such as the allemande, courante, sarabande, and

gigue, which are always present, as well as others.

The first partita was written in 1726, thus in Leipzig, and was immediately

published. Its success may have encouraged Bach to write the next five partitas

over the following five years; all six were then published together in 1731 as the

first volume of the afore-mentioned “Clavierübung”. The first partita is particularly

attractive.

Praeludium – the opening prelude

Allemande – a German dance in 4/4 time and moderate tempo.

Courante – a lively dance in 3/4 time using triplets throughout (this one is

jig-like).

Sarabande – a stately slow movement in 3/4 time.

Menuets I/II – a popular dance in 3/4 time which would later be transformed

into the waltz.

Gigue – a lively closing number in common time featuring triplets and fancy

hand crossings.

Two Preludes from the Well-Tempered Clavier

Praeludium in C minor, BWV 871 (WTC Book II #2)

Praeludium in G major, BWV 860 (WTC Book I #15)

The Well-Tempered Clavier, two books of 24 preludes and fugues each, was

written in celebration and acknowledgment of a new keyboard tuning system

which for the first time allowed keyboard compositions to be written and played in

all 24 major and minor keys. Book I was composed before Bach’s arrival to Leipzig

in 1723; the second, around 1745, late in Bach’s life.

The Italian Concerto in F major, BWV 971

A concerto conventionally uses an orchestra to accompany a soloist, most

usually a violinist, although concertos were written for nearly every instrument.

Bach’s Italian Concerto is an attempt to emulate the sound and compositional

procedure of such a work but on a harpsichord alone. There are imitations of

ritornello as well as solo pages. A ritornello being an opening or other passage for

full orchestra will be played with both hands on the fuller lower keyboard; solo

passages will be played with the hands separated between the two keyboards.

The music of Vivaldi was most likely in mind while writing what has turned

out to be Bach’s most popular and most frequently played harpsichord composition.

The Italian Concerto was published with instant success in 1735 as part of Volume

2 of the “Clavierübung”. Its three movements correspond to the usual Italian

concerto convention of fast-slow-fast. The slow movement is especially beautiful

when played with left hand accompaniment using a harp stop.

Sonata no. 2 in A major for violin and harpsichord, BWV 1015

The second sonata is a sunny, brilliant work in the happy key of A major. Its

form follows that of the first sonata. As was previously mentioned, it is written as a

trio: violin and two harpsichord parts. The violin and harpsichord’s right hand

form an interplay; the harpsichord’s left hand (wait a minute – does a harpsichord

have hands?) supplies the underlying bass line. Nearly all baroque violin sonatas

were written in a movement format of slow-fast-slow-fast.

program notes by pb

The Program

The Organ

Prelude and Fugue in C minor BWV 549

The Six Schübler Chorales BWV 645-650 Wachet auf, ruft uns die Stimme Wo soll ich fliehen hin? Wer nur den lieben Gott lässt walten Meine Seele erhebt den Herren Ach bleib bei uns, Herr Jesu Christ Kommst du nun, Jesu, vom Himmel herunter

Pastorale in F major BWV 590

Pastorale Allegro Adagio Allegro vivace

Intermission

The Harpsichord Sonata no. 1 in B minor for Violin and Harpsichord BWV 1014

Adagio Allegro Andante Allegro

Partita no. 1 in Bb major BWV 825 Praeludium Allemande Courante Sarabande Menuets I/II Gigue

Praeludium in C minor BWV 871

Praeludium in G major BWV 860

Italian Concerto in F major BWV 971

Allegro Andante Presto

Sonata no. 2 in A major for Violin and Harpsichord BWV 1015

Dolce Allegro Andante un poco Presto

Terri Moon, baroque violin Peter Biro, organ and harpsichord

Refreshments are available in Founders’ Hall during intermission.

Please turn off all cell phones and electronic devices.

There will be a reception for the artists, following the program in Founders’ Hall,

with refreshments.

Additional notes:

BWV = Bach’s Werke Verzeichnis = Catalogue of Bach’s works.

This is not a chronological catalogue as is Mozart’s “K” catalogue.

The BWV catalogue extends to over 1100 compositions.

The harpsichord and violin are pitched to A=415, approximately one-half step

below standard pitch; the organ is pitched to A=440, standard pitch.

About the performers:

Keyboard artist Peter Biro is a native of Connecticut and is a graduate of the

UCLA School of Fine Arts. He has appeared as soloist and recitalist on piano,

organ, and harpsichord here in the United States as well as in Europe. He is also a

composer, and several of his compositions have been premiered in Los Angeles as

well as in Colorado. He enjoys woodworking and instrument building; in fact, he

built the harpsichord in this afternoon’s recital, in his workshop in Colorado

Springs. He is organist here at St. Mary’s Church.

Terri Moon became interested in Baroque violin playing while she was earning a

master’s degree in violin performance in Texas. She was invited to pursue early

music in Amsterdam, in The Netherlands, where she studied with Max von

Egmond and Mimi Mitchell. She has performed as a violinist in Colorado Springs,

for over 20 years, and with her husband Steve home schooled four children, who

also play stringed instruments. Terri’s hope is to perform Bach’s music as he

intended: “Soli Deo Gloria.” (To God alone be the Glory.)

About the instruments:

The Organ

The organ at St. Mary’s Church is a small tracker action instrument of 17 ranks

and is completely unenclosed. It was built in 1970 by Dewey Layton. A tracker

action is a direct mechanical action, in other words, the valves underpinning the

pipes are directly and mechanically connected to the keys. This is the action that

would have been used up until the late 19th century, when electrical actions were

introduced. Illumination by candlelight, and the necessary cadre of bellows

pumpers, have been replaced by electrical means; otherwise, everything remains as

it would have been in the baroque era.

The Harpsichord

The harpsichord is a copy of a 17th century Flemish instrument built in Antwerp,

Belgium, most probably in 1642. It has two manuals of 58 notes each and a French

coupling system, and is registered 2x8’, 1x4’. It also features a harp stop. The stand

closely resembles a typical Flemish balustrade stand of the period, except for the

two crosspieces, which are of original design; that of the large front crosspiece was

inspired by the famous strainer arch found in the nave crossing of the cathedral in

Wells, England. Both instrument and stand were built in 2010.

The Violin

The Baroque violin was made by Terri’s father, James W. Jennings. Patterned

after a Jacob Stainer violin from 1688, the instrument has a light-colored finish

and maple fingerboard and tailpiece, popular in the 17th C. The bow is made of

snakewood and is much lighter and quicker than its modern counterpart. With gut

strings, many people find that the Baroque violin and bow produce a tone that is

light and silvery in comparison to the modern violin.

Upcoming Events

October 6, 2012 – Blessing of the Animals with treats to follow.

North Lawn 12:00 noon.

November 18, 2012 – “Upper Crust” Holiday Pie and Bake Sale

8:00 a.m. till 12:00 noon.

December 22, 2012 – Lessons and Carols with reception following.

6:00 p.m.

December 24, 2012 – Christmas Eve Mass

10:30 p.m.

December 25, 2013 – Christmas Day Mass

10:30 a.m.

February 12, 2013 – Shrove Tuesday (Mardi Gras) Pancake Dinner

6:00 p.m. – 8:00 p.m.

February 13, 2013 – Ash Wednesday Services

12:00 noon and 6:00 p.m.

March 3, 2013 – Peter Biro, harpsichord “1685: The Music of Handel, Bach, and

Scarlatti” 3:00 p.m.

March 30, 2013 – Easter Vigil

Time: TBA

March 31, 2013 – Easter Day Masses

7:30 a.m. and 9:30 a.m.

April 20, 2013 – Movie and Spaghetti Night

5:00 p.m. till 10:00 p.m.

May 18, 19, 2013 –Third Annual Festival of the Arts

12:00 noon – 7:00 p.m.

June 2, 2013 – Michaela Paetsch, Violin

3:00 p.m.

THE NAVE WINDOWS

The nave contains nine stained glass windows, beginning with the window nearest the Altar Rail. The hallmark of many years of art projects, the windows are well composed and are truly sacred art. Light and tree shadows appear to dance through them by the use of prisms and beveling. The symbols have a kinetic sense of motion and power. They are intended to encourage meditation. Please spend some time reflecting on their meaning. Sandy Fifield, of Conifer, Colorado, is the artist.

1. Corpus Christi

The Body of Christ window symbolizes the Eucharist, consisting of the sacrifice of the Mass and Holy Communion. At the top is a blue mystical rose symbolizing the mystery and the mystical life. The vine refers to “I am the true vine” and “I am the vine, you are the branches” (John 15:1-5). Green leaves symbolize life. A golden sheaf of wheat symbolizes divinity, “the Bread of Life” and “Take, eat, this is my Body” (Mark 14:22). The deep purple grapes symbolize the wine which becomes the Sacrificial Blood, “This is my Blood of the New Covenant which is shed for many” (Mark 14:24). The complete mystical meaning of the Eucharist is summed up here.

2. Annunciation

This window depicts the Conception of our Lord as the Archangel Gabriel spoke God’s words to the Blessed Virgin Mary. At the top is a purple iris representing the Lord’s death upon the Cross. The gold ray of light is God speaking through Gabriel. “And behold you will conceive in your womb. . .” (Luke 1:31). The vase symbolizes Mary as the chosen Vessel of the Lord, the red heart represents her compassionate heart and the white lilies the flowering of her sinless life. The pillar prefigures the Passion of our Lord (He was tied to a post and whipped). The message for us is the miracle of God becoming man and Mary’s example of perfect obedience when she replied to God, “Let it be unto me according to your word” (Luke 1:38).

3. Nativity

The window is topped by the white Christmas rose. It is a symbol of the nativity and messianic prophecy. The Glory of God (Shekina) is shown streaming down from the clouds of heaven onto Bethlehem. The luminescent clouds symbolize God’s awe, mystery and divine radiance. The uncut purple jewel inside the clouds represents the royalty of God and His eye upon the world. Several Old Testament prophecies said the Messiah would arrive with a cloud. “The Son of man came with the clouds” appears in Daniel 7:13. The jeweled rays are the bands of love extending from God to earth, an ancient symbol of the divine power, “ A light to reveal Your will to the gentiles” (Luke 2:32). The sunburst above the hills symbolizes our Lord, the light of the world. On the hillside is the cave where Christ was born, surrounded by a three ray nimbus, signifying divinity. Above are the fleecy red clouds of the Seraphim, the highest order of angels, burning with love. The blue fleecy clouds are Cherubim, the next highest order of angels, “the great intelligences”. These angels, the “Host of Heaven”, flooded the sky after the angel appeared to the shepherds in the field (Luke 2:9). This is the Christmas mystery: “God so loved the wor4ld that He gave His only begotten Son that we may have everlasting life” (John 3:16).

4. Epiphany

This window depicts the visit of the Three Kings to our Lord. The red carnation at the top symbolizes perfect love. The Epiphany Star shines over the gifts of the Magi: gold (His Kingdom), Frankincense (His Divinity), and myrrh (His Humanity). The star, the Star of Jacob (Numbers 24:17) finds its fulfillment in the manifestation of Christ to the gentiles (Matthew 2:1-2, 9). A bronze censer holds the frankincense: from it rises the smoke, a sign of the prayers of the Church rising to God. The star also symbolizes the showing forth of our Lord in His Baptism, the Magi coming to worship Him, and His first miracle at the Wedding of Cana in Galilee.

5. Resurrection

We see in this window what our faith is really about, the return of Christ to bodily life following His death. It’s the greatest of all Christ’s miracles and the proof of His divine mission (Matthew 12:38-41 and John 2:19). The many witnesses show it to be historical fact and an example of our own resurrection. At the top is a green palm, branch, symbolizing both victory and martyrdom. The white calla lily suggests the flowering of our faith in the resurrection of Christ. The chrysalis (cocoon) represents Christ’s empty tomb, and the butterfly, with royal colors of red and gold, His resurrection and eternal life. The peacock feather is an ancient resurrection symbol. Green symbolic of growth, predominates. Without His resurrection, as St. Paul states, our faith would be in vain, and we would still be in our sins (1 Cor. 15:17).

6. Ascension

The window depicts the “No Cross, No Crown” scriptural motif. “ Be faithful unto death, and I will give thee a crown of life” (Rev. 2:10). At the top is a pomegranate bursting with seeds which celebrates the growth of Christianity in heaven and on earth. The jeweled crown is topped with a cross of triumph, symbolic of the triumph of the Gospel, and a royal purple inner cap is a sign of the Messiah and the Kingship of Jesus. The cross divides into three branches (for the Trinity) with four brilliant green leaves on each, signifying that the cross is a living thing. The twelve leaves represent the twelve tribes of Israel, the twelve apostles and the healing of the nations. By His own divine power, in His glorified body, with His disciples around Him on Mount Olivet, He rose to heaven forty days after His resurrection from the tomb (Mark 16:19-20; Luke 24:50-51, Acts 1:1-11).

7. Pentecost

A seven petaled blue and white Columbine (the Colorado State flower) tops the window, symbolizing the seven gifts of the Holy Spirit: wisdom, understanding, counsel, fortitude, knowledge, godliness, and fear of the Lord (Isaiah :2-3). The white descending dove represents purity. The three ray blue nimbus surrounding the dove’s head represents the Holy Spirit. Below are the orange-red tongues of fire which appeared on the heads of the disciples. “And they were filled with the Holy Spirit and began to speak in tongues” (Acts 2:1-4). This occasion fulfilled Christ’s promise of an Advocate, the Spirit of Truth, to track, protect, assist and defend His own. The apostles went forth to baptize and preach to many (John 14:16-17, 25-26; 16:13). Man’s understanding is so transcended by this experience that our language can’t describe it; we are left able only to point to it.

8. Assumption

The eighth window depicts the glory of Mary, the Blessed Virgin, by which, at the end of her earthly life, she was assumed into heaven, where she now lives, glorified in both body and soul. This has been the pious tradition of the Church since the time of the twelve apostles. At the top is a white daffodil, a symbol of the purity of Mary and the national flower of Wales. Part of our unique Anglican heritage comes from the Celtic Church in Wales where the mystical and joyful aspects of our faith flourished from the first century. Sister Joyce, of the Order of St. Anne, a member of this parish for many years, was of Welsh descent and a teacher of music. She also taught the four instruments commemorated in this window: the Gaelic harp, the recorder, the trumpet, and the French horn. These instruments are traditionally associated by the Church with angel choirs. Their positions in the window, together with their brilliant colors, create a bright and joyful feeling. The trumpet traditionally has sounded the all to procession, making a loud and joyful noise to the Lord. The heavenly sounds of the angel choirs escorted Mary’s procession into heaven.

9. Walsingham

This window commemorates the Shrine of Our Lady of Walsingham in England first built in 1061. The top of this window is graced with Lilies of the Valley, signifying the purity and humility of Our Lady. Below we see the east arch of the Priory Church of Walsingham Abbey built by Augustinians in 1062. It is a holy place because it is part of the Shrine, the church having been dedicated to Christ, the Light of the World (John 8:12), symbolized by the candle, and the many others which burn continually as a sign of prayer, and as a witness to desires and intentions. The overflowing holy well symbolizes the tenderness of the Virgin Mary towards us. Pilgrims drink the water, and we are sprinkled with it. The pool at the well is evocative of our baptism. Walsingham water always has had great properties of healing. The Shrine is the most popular in England, and in many parts of Europe, it is called “England’s Nazareth”. The shrine was built at Our Lady’s request after three appearances by her to the Lady Richeldis. A new spring flowed to mark the spot. There is a long record of miraculous cures and wonderful answers to prayer at the Shrine Church dedicated to Our Lady of Walsingham.

Special Thanks to all who have helped with this concert, and particularly Ken Leavitt and T.J. Hanley for the transportation of the harpsichord, and Sandy Campbell for her special help with the program.

SAINT MARY’S PRO-CATHEDRAL CHURCH PHONE: 303-758-7211

(Anglican Catholic) FAX: 303-758-3166 2290 SOUTH CLAYTON STREET EMAIL: secretary@saintmarysacc.org

DENVER, CO 80210 WEBSITE: www.saintmarysacc.org