We are delighted by your presence, and hope that you enjoy every note of our 12th concert season! As our first virtual concert season unfolds, we have learned

new technical skills, learned how to reach a broader audience, and learned that music can continue in spite of obstacles.

We are deeply grateful to our generous supporters who have made this season pos-sible. We urge you to join us for all three concerts, lectures, and virtual gatherings. We encourage you to invite your friends to join us also, knowing that they can join us from the comfort and safety of their homes.

The board of directors, the Artistic Director, and volunteers have worked faithfully to bring the music of Johann Sebastian Bach to the cultural community of Arizo-na. Please join us by providing financial support, corporate support, or volunteer time. We also ask you to go to our website: ArizonaBachFestival.org to sign up for our email announcements. The Arizona Bach Festival is a 501(c)(3), and is poised to present more great music in the years to come.

Special thanks go to our current sponsors who have provided significant financial support for the 2021 Festival. We are enormously grateful to you! A special thank you also goes to Josefien Stoppelenburg for the wonderful art used for this year’s Festival. Not only a gifted musician, but an artist as well.

This year, all of our concerts are presented as memorial celebrations honoring past board members and special friends of the Festival. The organ concert is presented in part by the Central Arizona Chapter of the American Guild of Organists and in memory of friend and creative spirit Beverly Thomas. The LUTEDUO concert is underwritten by a gift from the Lemon Family in memory of husband, father, and founding board member, L. Gene Lemon. The Arias with Violin and Organ con-cert is underwritten in part by Janet Witzeman in memory of long-time donor and Bach-lover Robert Witzeman. We are honored to remember their legacy in pre-senting this wonderful music.

We offer you our warmest thanks and a gracious welcome from the Arizona Bach Festival Board and staff:

Donald Morse, President Elizabeth BuckScott Youngs, Artistic Director Nancy BuckCraig Westendorf, Vice President Susan WoodellWilliam Verdini, Secretary Anne KleindienstMichael Salazar, Treasurer Martin SchuringDavid Topping Robin Wright, Executive Assistant to the Board

The Festival at a Glance

Each performance will begin with a brief lecture by Dr. Craig Westendorf.

Sunday, February 21, 3:00 pm (mst)Aaron David Miller, Organist

The House of Hope Presbyterian Church, St. Paul, MN

Sunday, February 28, 3:00 pm (mst)LUTEDUO “Bach Meets Weiss”

Anna Kowalska and Anton Birula, LuteChurch of the Ascension, Warsaw, Poland

Sunday, March 7, 3:00 pm (mst)Arias with Violin and OrganIngela Onstad, Soprano Michael Hix, Baritone

Stephen Redfield, Violin Maxine Thévenot, OrganCathedral of St. John, Albuquerque, NM

Virtual concert editing by Nathan James of Vault Mastering Studios.

Inspire. Educate. Preserve. Elevate.

Grateful Thanks To Our Donors*in loving memory

Passion $10,000 +

Georgann V. ByrdGene* & Cathie Lemon and Family

Gilbert RotsteinPhillip & Billie Roy*

Robert* & Janet WitzemanScott Youngs

Oratorio Order $5,000-$9,999 All Saints’ Episcopal Church (in kind)

American Guild of Organists, Central Arizona ChapterCamelback Bible Church (in kind)

Central United Methodist Church (in kind) David & Lisa Cherney

Donna CorcoranMarlene Rausch & Thomas Phinney

David ToppingVictor* & Irene Tseng

William Verdini

Cantata Circle $1,000-$4,999Anonymous

Barbara Anderson & Kerr WhitfieldRoger & Bobbie BensonRoger* & Marcia Boston

Roberta BrillJanet CampbellCarl Carlozzi*

Jennifer CaughlinDavid Clymer*Robert Dixon

A. Leroy* & Kate Ellison

James & Shannon ForsethDavid & Jane Haak

Lucy Guernsey & Wayne Halleen*Patricia Hoyt

KBAQ Radio (in kind)Alan* & Claudia Kennedy

James Kennedy*Graham & Barbara Kretchman

Deane & Maggie LierleHarvey* & Dorothy Lincoln Smith

Kathryn Luttrull

Don & Elizabeth MorseMitchell Mudick

Janice MyersJacqueline ParedesEdward W Rothe

Boris & Rosario RotmanSaint Barnabas on the Desert (in kind)

Michael SalazarRichard* & Ginger Schuff

Chuck SedgwickState of Arizona

Cita StelzerDoug Thomas & Sheryl Guernsey

James WaldorfJohn & Colleen Warner

Donna Westby*Craig & Sue Westendorf

Susan Woodell

The Passion, Oratorio Order, and Cantata Circle categories represent cumulative donations.

Sonata Society & Chorale(Donations made from 2019 to present)

Paul & Peach AkerhielmWilliam & Patricia BermanByron & Mary Blackmore

Elizabeth BuckWilliam Burrill & Marilyn Usher

Robert CiancolaBarbara CollJohn Doody

Karen EverittKarin GoldstaubOmar Gordillo

Elvin Garry Grundy IIIEllen Hand

Rowena HardingerTalmon & Ena Hertz

Tony & Paula HumpageRichard & Jacquelyn Island

JC Research IncAva Jensen

William & Grace JohnsonSue & George Kapp

Paul KentNancy Kersten

Anne Kleindienst & Stephen MeyersEric Klose

Frank KoonceKathy & Richard Kramer-Howe

Richard & Nancy KrauseKimberly Marshall & Adam Zweiback

Lynnette MaultDiodoro Mendoza

Daena MireauDonald Newsom

Diane PapkeLynda PeachJames PeckJoyce Peters

Baird & Maureen PetersonRichard & Ethel* Probst

Judy RidenKathleen Roediger

Jen RogersDavid & Kim Schaller

Eckart Sellheim & Dian BakerLinda Stryker

Steven & Martha SwerdfegerDawn Thomas

VMWareElaine Warner

Robert & Debra WestendorfRobert White & Joan Weiss

Richard & Rebecca WinkelmannRobin Wright

Barbara Wulbrecht

Sunday, February 21, 3:00 pm (mst)

Aaron David Miller, OrganistThe House of Hope Presbyterian Church, St. Paul, MN

This concert presented in part by the Central Arizona Chapter of the American Guild of Organists and in memory of Beverly Thomas.

ProgramThe program will begin with a brief lecture by Dr. Craig Westendorf

Prelude and Fugue in D Major, BWV 532 J. S. Bach (1685-1750)

Concerto in A Minor, BWV 593 1. Allegro 2. Larghetto 3. Allegro

Air and Gigue, BWV 1068 Fisk Organ, 1979, Sanctuary Balcony Organ

Pastorella, BWV 590

Prelude and Fugue in G Major, BWV 541 Jaeckel Organ, 2001, Elizabeth Chapel Organ

Little Fugue in G Minor, BWV 578Merklin Organ, 1879, Chancel Organ

Three Sinfonias 1. BWV 49 2. BWV 156 3. BWV 29

Prelude and Fugue in E Minor, “The Wedge,” BWV 548 Fisk Organ, 1979, Sanctuary Balcony Organ

Aaron David Miller is noted for his highly imaginative and creative style found in his performances, improvisa-tions and compositions. Prize winner of several prestigious competitions, including the top prize at the AGO National Improvisation Competition, and the Bach and Improvisation prizes at the Calgary International Organ Festival Competition, he is also noted for his fine performances of repertoire spanning all periods. He has also received rave reviews when accompanying silent films. His recital performances have taken him across the country performing in concert halls, churches, and collaborating with ensembles of all sizes.

Recently he was invited to be among the performers for a special 10th anniversary performance of the Glatter-Götz/Rosales organ in Los Angeles’ Disney Hall and to accompany a silent film for the new Kaufmann Center for Arts in Kansas City. He was invited to perform for the 100th anniversary of the Spreckel’s Organ (Bal-boa Park, San Diego) and was commissioned to write a new piece for the occasion.

A prolific composer, many of Dr. Miller’s compositions have won critical acclaim. Featured prominently at the AGO National Convention in Chicago in 2006, Dr. Miller’s work for organ and orchestra, Sleepy Hollow, was premiered at the opening concert at Symphony Hall. His Concerto for Two Organists, which was premiered and recorded by the Zurich Symphony, is available on the Ethereal label. The Tole-do Symphony commissioned a work which was performed in celebration of their 60th anniversary season.

Aaron Miller’s early organ studies were with Carlene Neihart and David Schrad-er. He earned a Bachelor of Music degree from the Eastman School of Music, where he studied organ performance with David Craighead, Russell Saunders, David Higgs, and Michael Farris, and composition with Samuel Adler and Joseph Schwantner. His graduate studies were taken at the Manhattan School of Music, where he completed his Master’s and Doctor of Musical Arts degrees, studying composition and organ performance with McNeil Robinson.

Aaron serves as the Director of Music and Organist at House of Hope Presbyteri-an Church in St. Paul, Minnesota, and maintains an active recital schedule. He is a forensic musicologist for Donato Music in Scarsdale, NY.

Sunday, February 28, 3:00 pm (mst)

LUTEDUO

“Bach Meets Weiss” – Duets for Baroque LutesAnna Kowalska & Anton Birula – 13 course baroque lutes

Church of the Ascension, Warsaw, PolandThis concert is presented by the Lemon Family in memory of L. Gene Lemon.

Program

The program will begin with a brief lecture by Dr. Craig Westendorf

Silvius Leopold Weiss (1686 - 1750)

Suite Nr 15 in A minor “L’Infidele” from Dresden ManuscriptEntrée - Courante - Musette - Menuet - Sarabande - Païsanne

Suite Nr 29 in G minor from Dresden ManuscriptPrelude - Allemande - Passepied - Bourée - Sarabande - Menuet - Gigue

Ciaccona in G minor

Johann Sebastian Bach (1685-1750)

French Suite BWV 814Allemande - Courante - Sarabande - Menuet 1&2 - Anglaise - Gigue

Pastorale BWV 590

Sinfonia BWV 29/1006a

Air BWV 1068

Program Notes

Music for lute duets was all the rage during the Renaissance. During the Baroque era they were less popular, giving way to solo repertoire of amazing complexity. The lute reached its zenith during the Baroque and all but disappeared afterward. Today’s program features works by the two most prominent masters of lute compo-sition: Johann Sebastian Bach and Silvius Leopold Weiss. These two masters in-corporated all the best techniques of the French and Italian styles, producing some of the most stunning music in the lute repertoire.

Silvius Weiss developed a new style of lute playing using lots of open strings (the “campanella effect”), adding extra strings, and providing compositions on a grand scale. Johann Gottlieb Baron, a great lute enthusiast and composer of the time wrote: …”the Weissian method of playing the lute is considered the best, most sound, gallant, and perfect of all. Many have striven to attain his new method, just as the Argonauts sought the Golden Fleece.”

Johann Sebastian Bach used the same musical language as his predecessors in com-posing for the lute and was often considered old fashioned by his colleagues. What is most fascinating is that he “talked” about universal matters with unprecedented depth, even in his compositions for a single instrument. Bach’s music for lute is also a great example of the art of transcription. Some of his most popular lute works

are taken from his other works for cello, violin, or ensembles. He could use the lute as a polyphonic instrument including an highly developed base line and extensive ornamentation.

As far as we know, these two composers developed a competitive friendship which encouraged larger forms and a greater color palette from both. Unfortunately, only a few duets by Weiss actually survived, and none by papa Bach. Knowing that both of these composers were masters of improvisation, we can only imagine the spontaneous output of their meetings. As lutenists, we are striving to broaden the repertoire and help lead a revival of this beautiful instrument.

The LUTEDUO

Anna and Anton have come together to attract attention to the long-neglected duo repertoire of the Baroque lute. United by a mutual fascination of this repertoire, they wanted to help shed light upon music which was written during the final twi-light hours of the lute’s history. They were the first to perform and record the re-cently discovered duet compositions of Francois du Fault, and transcriptions of the Marin Marais’ viola da gamba compositions for two baroque lutes. This resulted in the CD Baroque Lute Duets which was released in 2002. Later they started to work on duo repertoire for other combinations of historical plucked instruments, espe-cially baroque guitar and theorbo.

Their current project is dedicated to works of Johann Sebastian Bach. It includes works for solo lute, as well as transcriptions of violin, cello, and orchestral compo-sitions, all to be performed on two 24-string Baroque lutes. Anna and Anton have presented these programs across Europe, performing in Austria, Belgium, Czech Republic, Estonia, Finland, France, Germany, The Netherlands, Lithuania, Poland, Romania, Russian Federation, Slovakia, Ukraine, and Switzerland.

Anna Kowalska studied lute with Toyohiko Satoh and Nigel North at the Royal Conservatory in The Hague, The Netherlands. Anna has covered a vast repertoire from the Renaissance to late Baroque including 19th century repertoire for histor-ical guitar. Her love of music extends beyond the lute – she has studied and also performed on a classical guitar, piano and violin. This diversity constantly fuels her interest in venturing beyond the limits of original works for baroque guitar, lute and different combinations of historical plucked instruments. Anna’s father, Dimity, was a good amateur player of the button accordion and always supported her different

interests. In fact, he was often the first person to introduce her to different styles of music. This led to Anna’s fascination with the Celtic tradition – the sound of the English concertina and fiddle are a great passion that she carries with her. Anna teaches lute and 19th century guitar at the Felix Nowowiejski Music Academy in Bydgoszcz, Poland, and at the Frederic Chopin Music College in Warsaw.

Anton Birula began his musical education with piano and classical guitar. In the early 1990s, he also completed his Master’s Degree in Art Photography. In the dark

room of a photo laboratory Anton listened to enormous amounts of music and was drawn in by the lute works of Silvius Leopold Weiss and Johann Sebastian Bach. This fascination eventually led him to Holland and Germany where he studied the lute with Prof. Toyohiko Satoh at the Koninklijk Conservatorium in The Hague and with Prof. Konrad Junghaenel at the Hochschule fur Musik in Cologne. With his concentration on the extant solo literature for the Baroque lute, Anton has performed numerous lute recitals featuring the music of J.S. Bach, S.L. Weiss, and the French lutenists. As a theorbo player Anton Birula has worked with numerous ensembles specializing in vocal music by 17th century Italian and English compos-ers, and the French viola da gamba music of Marin Marais and Antoine Forqueray. Anton Birula is a lute teacher at the Felix Nowowiejski Music Academy in Bydgo-szcz, Poland, and at the Frederic Chopin Music College in Warsaw, where he is also the head of the Harpsichord, Organ and Early Music department.

Sunday, March 7, 3:00 pm (mst)

Arias with Violin and OrganIngela Onstad, Soprano Michael Hix, Baritone

Stephen Redfield, Violin Maxine Thévenot, OrganCathedral of St. John, Albuquerque, NM

This concert is presented in part by Janet Witzeman in memory of Robert Witzeman.Special thanks to: The Episcopal Cathedral of St. John, Albuquerque, The Very Rev’d Kristina Maulden,

Dean, and Canon Maxine Thévenot, Director of Cathedral Music & Organist.

ProgramThe program will begin with a brief lecture by Dr. Craig Westendorf

Johann Sebastian Bach (1685-1750)

Wenn kömmst du, mein Heil? BWV 140, Mvt. 3Soprano & Baritone Duet

Quoniam from Missa Brevis in F major, BWV 233Soprano Aria

Domine Deus from Missa Brevis in A major, BWV 234Baritone Aria

Fantasia in G major, BWV 572Organ Solo

Ich bin vergnügt in meinem Leiden, BWV 58, Mvt. 3Soprano Aria

Die Welt mit allen Königreichen, BWV 59, Mvt. 4Baritone Aria

Sonata in G Major for violin and continuo, BWV 1021Adagio - Vivace - Largo - Presto

Hier, in meines Vaters Stätte, BWV 32, Mvt. 3Baritone Aria

Wenn die Frühlingslüfte streichen, BWV 202, Mvt. 5Soprano Aria

Welt, ade, ich bin dein müde, BWV 158, Mvt. 2Soprano & Baritone Duet

Soprano Ingela Onstad has enjoyed a var-ied international career in opera, concert work, and contemporary music. Operatic highlights include performances at Dresden’s Staatsoper-ette, Oldenburgisches Staatstheater, Landesthe-ater Schleswig-Holstein, and Santa Fe Opera in roles including Musetta in La Boheme, Pamina and Papagena in Die Zauberflöte, Nannetta in Falstaff, Mabel in Pirates of Penzance, and Violetta in La Traviata.

Highlights of her career as a concert and orato-rio soloist include Orff’s Carmina Burana, Char-pentier’s Te Deum, Haydn’s The Creation, Mozart’s

Exsultate, Jubilate, Barber’s Knoxville Summer of 1915, Handel’s Messiah, and numerous Bach cantatas with groups such as the Santa Fe Symphony, New Mexico Philhar-monic, Bad Reichenhaller Philharmonie, St. John’s Bach Project, and the Chicago Arts Orchestra.

A sought-after interpreter of contemporary works, she has created operatic roles in two world premieres and has performed diverse works by Schoenberg, Kurtag, Steinbach, Lavista, and Schwantner, amongst others.

Ms. Onstad’s 2021 performances include Elsa in Sciarrino’s operatic monodrama Lohengrin with Opera Southwest, Kurtag’s Kafka Fragments with Chatter, and a con-cert of Bach arias and duets with the Arizona Bach Festival.

Ms. Onstad completed her undergraduate degree at McGill University. She earned a Master of Music degree at the University of New Mexico. In addition to her work as a singer, Ms. Onstad is a Licensed Mental Health Counselor (LMHC) and Performance Anxiety Coach who frequently presents on topics concerning mental health and performers through her business Courageous Artistry.

Baritone Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” His career highlights include performances at Carnegie Hall, Tanglewood Music Center, Boston’s Symphony Hall, and Vienna’s Musikverein.

Included among his over 20 stage roles are Mad King George in Peter Maxwell Davies’ Eight Songs for a Mad King, Falke in Die Fledermaus, the Drunken Poet in The Fairy Queen, Germont in La Traviata, Don Alfonso in Cosí fan tutte, and Nick Shadow in The Rake’s Progress.

Hix is a sought-after performer of concert/or-chestral works with over 75 oratorio/cantata/concert roles in his repertoire. He won 3rd Place in the American Prize in Art Song and Oratorio Performance in 2019. He has been featured as a soloist in concerts with the Boston Pops, Ore-gon Bach Festival, Arizona Bach Festival, Santa Fe Symphony, Orlando Philharmonic, Georgia

Symphony, New Mexico Philharmonic, Santa Fe Desert Chorale, True Concord Voices, New York City’s Trinity Lutheran Bach Vespers Series and the Tallahassee Bach Parley among others. In 2021 he was appointed Artistic Director of the St. John’s Bach Project at St. John’s United Methodist Church in Albuquerque, NM.

Dr. Hix holds a Bachelor of Music degree in music theory from Furman University, masters degrees in both voice and historical musicology from Florida State Univer-sity and a Doctorate of Music in Voice Performance from Florida State University. He is an Associate Professor of Voice at the University of New Mexico.

Canon Dr. Maxine Thévenot serves as Di-rector of Cathedral Music & Organist at The Episcopal Cathedral of St. John, Albuquer-que, New Mexico, USA. She is a member of the adjunct faculty at the University of New Mexico as instructor of organ after serving for 15 years as the Director of the Universi-ty’s Women’s Choir, Las Cantantes. Now in its 14th year, she is Founding & Artistic Di-rector of New Mexico’s first resident profes-sional choral ensemble, Polyphony: Voices of New Mexico.

Acclaimed for her ‘solid musicianship...technical security and poise’ by The Amer-ican Organist (AGO) and for her ‘beautiful registration...’ by The Diapason Mag-azine, Maxine Thévenot has performed solo organ recitals across Canada, the U.S.A., Great Britain and Europe, where she is recognized for her skillful, musical playing, and inventive programming. An advocate of new music, she has given numerous world, national, and regional premieres of choral and organ works by today’s prominent living composers. A featured performer and lecturer at national and regional conventions of the AGO and Royal Canadian College of Organists, winner of the 2000 Canada Bach National Organ Competition, Maxine has also broadcast for the Canadian Broadcasting Corporation, National Public Radio, and Pipedreams. Recognized for her excellence as a recording artist as both an organ soloist and choral conductor, Maxine has released over a dozen critically acclaimed commercial recordings through the RavenCD label. In her spare time she enjoys scuba diving, hiking, baking, and walking.

Violinist Stephen Redfield, who has served as Concertmaster of the Arizona Bach Festival since its incep-tion, is also concertmaster of the Santa Fe Pro Musica and has been Associate Professor of Violin at the University of Southern Mississippi School of Music since 1996. Each summer since 1992, Stephen has performed with the Vic-toria Bach Festival, where his perfor-mances as concertmaster and soloist have been produced on discs and broadcast nationally. He is a long-standing participant in the Oregon Bach Festival, often featured as concertmaster and in chamber music, and where he has participated in numerous recordings, including the Grammy Award-winning disc Credo. Stephen performs regularly as a Baroque violinist with the Albuquerque Baroque Players and with the Atlanta Baroque Orchestra. Stephen’s Baroque chamber music credits include concerts with the Smithsonian Chamber Players and the Newberry Con-sort, with such artists as Marion Verbruggen, Mary Springfels, Elizabeth Blumen-stock, and Kenneth Slowik.

Lyrics and Translations

Wenn kömmst du, mein Heil? BWV 140, Mvt. 3Soul:When are you coming, my salvation?

Jesus:I come, your portion.

Soul:I wait with burning oil.

Jesus:Open the hall

Soul:I open the hall

both:to the heavenly feast.

Soul:Come, Jesus!

Jesus:Come, lovely soul!

Seele:Wenn kömmst du, mein Heil?

Jesus:Ich komme, dein Teil

Seele:Ich warte mit brennendem Öle

Jesus:Eröffne den Saal

Seele:Ich öffne den Saal

beide:Zum himmlischen Mahl

Seele:Komm, Jesu!

Jesus:Komm, liebliche Seele!

Quoniam from Missa Brevis in F major, BWV 233

Quoniam tu solus sanctus,tu solus Dominus,tu solus altissimus Jesu Christe.

For thou only art holy,thou only art the Lord,thou only, O Jesus Christ, art most high.

Domine Deus from Missa Brevis in A major, BWV 234

Domine Deus, Rex coelestis,Deus Pater omnipotens,Domine Fili unigenite Jesu Christe,Domine Deus, Agnus Dei, Filius Patris.

O Lord God, heavenly King,God the Father Almighty,O Lord, the only-begotten Son, Jesus Christ,O Lord God, Lamb of God, Son of the Father.

Ich bin vergnügt in meinem Leiden,Denn Gott ist meine Zuversicht.Ich habe sichern Brief und Siegel,Und dieses ist der feste Riegel,Den bricht die Hölle selber nicht

I am happy in my sufferings,since God is my reassurance.I have a sure letter and sealand this is the strong boltthat hell itself does not break.

Ich bin vergnügt in meinem Leiden, BWV 58, Mvt. 3

Die Welt mit allen Königreichen, BWV 59, Mvt. 4

Die Welt mit allen Königreichen,Die Welt mit aller HerrlichkeitKann dieser Herrlichkeit nicht gleichen,Womit uns unser Gott erfreut:Dass er in unsern Herzen thronetUnd wie in einem Himmel wohnet.Ach Gott, wie selig sind wir doch,Wie selig werden wir erst noch,Wenn wir nach dieser Zeit der ErdenBei dir im Himmel wohnen werden.

The world with all its kingdoms,The world with all its glorycannot be compared with this glorywith which our God makes us glad:that his throne is within our heartsand there he dwells as in heaven.Ah God, how blessed we are now,how blessed we shall then bewhen after this time on earthwe shall live with you in heaven.

Hier, in meines Vaters Stätte, BWV 32, Mvt. 3

Hier, in meines Vaters Stätte,Findt mich ein betrübter Geist.Da kannst du mich sicher findenUnd dein Herz mit mir verbinden,Weil dies meine Wohnung heißt.

Here, in my Father’s placeA distressed spirit finds me.Here you can certainly find meAnd unite your heart with me,Since this is called my dwelling.

Wenn die Frühlingslüfte streichen, BWV 202, Mvt. 5

Wenn die Frühlingslüfte streichenUnd durch bunte Felder wehn,Pflegt auch Amor auszuschleichen,Um nach seinem Schmuck zu sehn,Welcher, glaubt man, dieser ist,Dass ein Herz das andre küsst.

When the spring breezes blowand waft through the colourful fields,it is Love’s custom also to sneak outto see what is his own glory-and that, people believe, is this:when one heart kisses another.

Welt, ade, ich bin dein müde, BWV 158, Mvt. 2

Bass:World, farewell, I am weary of you,the tents of Salem suit me better,

Soprano:World, farewell, I am weary of you,I want to go to heaven,

Bass:where in peace and calmI can in bliss gaze on God for ever.

Soprano:there will be true peaceand eternal majestic calm.

Bass:There I shall stay,there I shall delight to dwell,

Soprano:World, with you is war and strife,nothing but pure vanity;

Bass:There I shall be resplendent adornedwith heavenly crowns.

Soprano:In heaven at all timespeace, joy and bliss.

Bass:Welt, ade, ich bin dein müde,Salems Hütten stehn mir an,

Sopran:Welt, ade, ich bin dein müde,Ich will nach dem Himmel zu,

Bass:Wo ich Gott in Ruh und FriedeEwig selig schauen kann.

Sopran:Da wird sein der rechte FriedeUnd die ewig stolze Ruh.

Bass:Da bleib ich,da hab ich Vergnügen zu wohnen,

Sopran:Welt, bei dir ist Krieg und Streit,Nichts denn lauter Eitelkeit;

Bass:Da prang ich gezieretmit himmlischen Kronen.

Sopran:In dem Himmel allezeitFriede, Freud und Seligkeit.

German translations by Francis Browne Latin translations by Z. Philip Ambrose