Immanuel Lutheran Church presents

With Peace and Joy I Now Depart

ARTEKGwendolyn Toth, director

Rebecca Mariman, sopranoJuli Borst, mezzo-soprano

Ryland Angel, countertenor/tenorGrant Herreid, tenor

Philip Anderson, tenorPeter Becker, bass-baritoneEric Edlund, bass-baritone

Michael Collver, cornettoChristopher Belluscio, cornetto

Steven Lundahl, alto sacbutLiza Malamut, tenor sacbutDaniel Green, bass sacbut

Mack Ramsey, tenor and contrabass sacbutMotomi Igarashi, violone

Dongsok Shin, organ

Immanuel Lutheran Church Choir

TenorPhilip Anderson

Ryland AngelMichael Celentano

Grant HerreidKenneth Richardson-

Hans Stöhrer

AltoJuli BorstPaul Lee

Virginia KaycoffEllen O’Neill

Bill Wolz

SopranoRebecca MarimanCrystal Richardson

Lisa RichardsonKari Swenson RielyMargaret SchulzeCaroline Stöhrer

Nancy TepperDeborah Templin

Joyce Yin

BassPeter BeckerEric EdlundGary Dimon

Kelly-Ray MerittRobb MossJeff Thomas

Hymn: Mit Fried und Freud, vs. 1 Text and melody: Martin Luther, 1524 First published in Walter’s Geistliche Gesangbuch, 1524 Setting: Michael Praetorius, 1610

Why are you cast down, O my soul?And why are you disquieted within me?Hope in God, for I shall yet praise Himfor the help of His countenance.

Choir

1. Mit Fried und Freud ich fahr dahin In Gottes Wille;Getrost ist mir mein Herz und Sinn,Sanft und stille,Wie Gott mir verheißen hat:Der Tod ist mein Schlaf worden.

Was betrübst du dich meine Seele Johann Hermann Schein (1586-1630)

Was betrübst du dich, meine Seele, und bist so unruhig in mir? Harre auff Gott! denn ich werde ihm noch dancken, daß er meines Angesichtes Hülfe und mein Gott ist.

The congregation is invited to sing along with the performers on the English verses of the hymn during the concert.

Congregation

PROGRAM

Mitten wir im Leben Resinarius (c.1480-1544)(instrumental)

Mitten wir im Leben sindmit dem Tod umfangen.Wer ist, der uns Hilfe bringt,daß wir Gnad erlangen?Das bist du, Herr, alleine.Uns reuet unsre Missetat,die dich, Herr, erzürnet hat.Heiliger Herre Gott,heiliger starker Gott,heiliger barmherziger Heiland,du ewiger Gott:laß uns nicht versinkenin des bittern Todes Not.Kyrieleison.

Though in the midst of lifewe are encircled by death.Who is it that will bring help to usthat we may obtain mercy?That is you alone, Lord.We mourn our grievous sinwhich has stirred up your wrath.Holy Lord God,holy powerful God,holy compassionate Savior,you, eternal God, let us not perish in the bitter misery of death.Have mercy on us.

Hymn: Mit Fried und Freud, vs. 2

Choir

2. Das macht Christus, wahr’ Gottes Sohn, Der treue Heiland, Den du mich, Herr, hast sehen lan Und g’macht bekannt, Daß er sei das Leben mein und Heil in Not und Sterben.

Congregation

Hymn: Mit Fried und Freud, vs. 3

Selig sind die Toten, die in dem Herren sterben, von nun an. Ja der Geist spricht: Sie ruhen von ihrer Arbeit und ihre Werke folgen ihnen nach.

Blessed are the dead which die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labours; and their works do follow them.

Selig sind die Toten Schütz

Das ist je gewißlich wahr und ein teuer wertes Wort,daß Christus Jesus kommen ist in die Welt, die Sünder selig zu machen,unter welchen ich der fürnehmste bin.Aber darum ist mir Barmherzigkeit widerfahren,auf daß an mir fürnehmlich Jesus Christus erzeigete alle Geduld zum Exempel denen,die an ihn gläuben sollen zum ewigen Leben.

Gott, dem ewigen Könige, dem Unvergänglichen und Unsichtbaren und allein Weisen,sei Ehre und Preis in Ewigkeit, Amen.

Here is a saying that you can rely on and that nobody should doubt:that Christ Jesus came into the worldto save sinners,among whom I am the first.But mercy has been shown to mebecause Jesus Christ meant to make me the leading example of his inexhaustible patience for all other people,who were later to trust in him for eternal life.

To God, the eternal King,the undying, invisible and only God,be honor and glory forever. Amen.

Das ist je gewißlich wahr Heinrich Schütz (1585-1672)

Choir

3. Den hast du Allen vorgestellt Mit grossen Gnaden, Zu seinem Reich die ganze Welt Heissen ladenDurch dein teuer heilsam Wort,An allem Ort erschollen.

Congregation

KYRIE

Intonatio:Nacket bin ich von Mutterleibe kommen.

Soli:Nacket werde ich wiederum dahinfahren, der Herr hat’s gegeben, der Herr hat’s genommen, der Name des Herren sei gelobet.

Cappella:Herr Gott Vater im Himmel, erbarm dich über uns.

Soli:Christus ist mein Leben, Sterben ist mein Gewinn. Siehe, das ist Gottes Lamm, das der Welt Sünde trägt.

Cappella:Jesu Christe, Gottes Sohn, erbarm dich über uns.

Soli:Leben wir, so leben wir dem Herren. Sterben wir, so sterben wir dem Herren, darum wir leben oder sterben, so sind wir des Herren.

Cappella:Herr Gott heiliger Geist, erbarm dich über uns.

GLORIA

Intonatio:Also hat Gott die Welt geliebet, daß er seinen eingebornen Sohn gab.

Soli:Auf daß alle, die an ihn gläuben, nicht verloren werden, sondern das ewige Leben haben.

Musicalische Exequien Schütz

I. Concert in Form einer Teutschen Begräbnis-Missa (Concert in the form of a German Funeral Mass)

Intonation:Naked came I from my mother's womb.

Soli:Naked shall I return thither.The Lord has given, the Lord hath taken away,blessed be the name of the Lord.

CappellaLord God, Father in Heaven, have mercy upon us.

Soli:Christ is my life and to die is to gain.Behold the Lamb of God who carries the sins of the world.

Cappella:Jesus Christ, Son of God, have mercy upon us.

Soli:When we live, we live for the Lord;when we die, we die for the Lord:therefore, whether we live or die, we are the Lord’s.

Cappella:Lord God, Holy Ghost, have mercy upon us.

Intonation:God so loved the world that he gave his only begotten Son.

Soli:That whosoever believeth in himshould not perish but have everlasting life.

Cappella:He spake to his beloved Son:The time to be merciful has come,Go forth, my heart’s precious crownand redeem them from the dangers of sin,destroy for them the bitter death and let them abide with thee.

Soli:The blood of Jesus Christ, God’s Son,cleanseth us from all sin.

Cappella:Through Him our sins are forgiven,life is restored to us.What happy retribution shall be ours,O God, in Heaven!

Soli:Our future lieth in Heaven,where we shall await our Savior, Jesus Christ,who will transfigure our corruptible body,that it may be like his transfigured body.

Cappella:This life is but a vale of tears:fear, misery and affliction everywhere.Our brief stay upon this earth is but woe, and whosoever thinketh on it is in constant strife.

Soli:If your sin be as scarlet,it shall become as white as snow.Were it red like crimson,it shall become as white as purest wool.

Cappella:His word, his Baptism, his Communionserve against all misfortune;belief in the Holy Ghost teacheth us to set our trust therein.

Cappella:Er sprach zu seinem lieben Sohn: die Zeit ist hie zu erbarmen, fahr hin, mein’s Herzens werte Kron und sei das Heil der Armen, und hilf ihn aus der Sünden Not, erwürg für sie den bittern Tod und laß sie mit dir leben.

Soli:Das Blut Jesu Christi, des Sohnes Gottes, machet uns rein von allen Sünden.

Cappella:Durch ihn ist uns vergeben die Sünd, geschenkt das Leben, im Himmel soll’n wir haben, O Gott, wie große Gaben.

Soli:Unser Wandel ist im Himmel, von dannen wir auch warten des Heilandes Jesu Christi, des Herren, welcher unsern nichtigen Leib verklären wird, daß er ähnlich werde seinem verklärten Leibe.

Cappella:Es ist allhier ein Jammertal, Angst, Not und Trübsal überall, des Bleibens ist ein kleine Zeit, voller Mühseligkeit, und wers bedenkt, ist immer im Streit.

Soli:Wenn eure Sünde gleich blutrot wäre, soll sie doch schneeweiß werden, wenn sie gleich ist wie rosinfarb, soll sie doch wie Wolle werden.

Cappella:Sein Wort, sein Tauf, sein Nachtmahl dient wider allen Unfall, der Heilge Geist im Glauben lehrt uns darauf vertrauen.

Soli:Gehe hin, mein Volk, in eine Kammer und schleuß die Tür nach dir zu, verbirge dich einen kleinen Augenblick, bis der Zorn vorrübergehe.

Soli:Der Gerechten Seelen sind in Gottes Handund keine Qual rühret sie an, für den Unverständigen werden sie angesehen,als stürben sie, und ihr Abschied wird für eine Pein gerechnet, und ihr Hinfahren für Verderben, aber sie sind in Frieden.

Soli:Herr, wenn ich nur dich habe,so frage ich nichts nach Himmel und Erden.

Soli:Wenn mir gleich Leib und Seele verschmacht, so bist du Gott allzeit meines Herzens Trost und mein Teil.

Cappella:Er ist das Heil und selig Lichtfür die Heiden, zu erleuchten, die dich kennen nicht und zu weiden,er ist seines Volks Israel der Preis, Ehr, Freud und Wonne.

Soli:Unser Leben währet siebenzig Jahr, und wenn’s hoch kömmt, so sind’s achtzig Jahr, und wenn es köstlich gewesen ist, so ist es Müh und Arbeit gewesen.

Cappella:Ach, wie elend ist unser Zeitallhier auf dieser Erden, gar bald der Mensch darnieder leit, wir müssen alle sterben, allhier in diesem Jammertal ist Müh und Arbeit überall, auch wenn dirs wohl gelinget.

Soli:Go hence my people into a chamberand bolt the door behind you.Hide yourselves for a brief while until the wrath hath passed.

Soli:The souls of the righteous are in God’s handand no torment shall touch them; in the sight of the unwise they seem to die, and their farewell is taken for pain, and their departure to be utter destruction;but they are in peace.

Soli:Lord, if I have none but thee,so shall I ask nothing of Heaven or Earth.

Soli:And if my body and my soul should so perish,yet thou art God everlasting, my heart’s comfort and part of me.

Cappella:He is the Salvation and the Blessed Light unto the heathens, to enlighten them,who know thee not and delight not in thee.He is the praise, the honour, the joy and the delight of his people Israel.

Soli:The duration of our lives is seventy years, though some men may come to eighty years, and though it be their delight, it is but labour and sorrow.

Cappella:O how wretched is our time upon this earth,man is soon overthrownand we all must die.Here in this vale of tears,all is but toil and labour, though ye be prosperous.

SoliI know that my Redeemer liveth,He will resurrect me at the latter day upon the earth; then shall I be clothed again in this my skin, and in my flesh shall I see God.

CappellaSince thou hast risen from the dead,I shall not tarry in the grave.Thine Ascension is my greatest comfort.Thou canst drive out the fear of death,for where thou art there shall I be also,that I may be with thee and I live forever,therefore I depart in joy.

SoliLord, I shall not forsake thee, for thou wilt bless me.

CappellaHe said to me, be true to me,for then thy ways shall prosper;myself I offer unto thee,as I for thee did suffer.Against my power death cannot win,and I can cleanse thee from all sin,life everlasting hast thou.

Lord, if I have none but thee,so shall I ask nothing of Heaven or Earth,and if my body and my soul should perish,yet thou art God everlasting,my heart’s comfort and part of me.

Soli:Ich weiß, daß mein Erlöser lebt, und er wird mich hernach aus der Erden auferwecken, und werde darnach mit dieser meiner Haut umgeben werden, und werde in meinem Fleisch Gott sehen.

Cappella:Weil du vom Tod erstanden bist, werd ich im Grab nicht bleiben, mein höchster Trost dein Auffahrt ist, Todsfurcht kannst du vertreiben, denn wo du bist, da komm ich hin, daß ich stets bei dir leb und bin, drum fahr ich hin mit Freuden.

Soli:Herr, ich lasse dich nicht, du segnest mich denn.

Cappella:Er sprach zu mir: halt dich an mich, es soll dir itzt gelingen,ich geb mich selber ganz für dich, da will ich für dich ringen, den Tod verschlingt das Leben mein, mein Unschuld trägt die Sünden dein, da bist du selig worden.

II. Motette

Herr, wenn ich nur dich habe, so frage ich nichts nach Himmel und Erden. Wenn mir gleich Leib und Seele verschmacht, so bist du doch, Gott, allezeit meines Herzens Trost und mein Teil.

III. Canticum B. Simeonis (Canticle of Simeon)

Intonatio:Herr, nun lässest du deinen Diener

Cappella: in Friede fahren, wie du gesagt hast.Denn meine Augen haben deinen Heiland gesehen, welchen du bereitet hast für allen Völkern, ein Licht, zu erleuchten die Heiden und zum Preis deines Volks Israel.

Soli: Beata Anima cum SeraphinisSelig sind die Toten, die in dem Herren sterben, sie ruhen von ihrer Arbeit und ihre Werke folgen ihnen nach. Sie sind in der Hand des Herren und keine Qual rühret sie. Selig sind die Toten, die in dem Herren sterben.

Intonation:Lord, now lettest thou thy servant depart

Cappella:in peace, according to thy word.For mine eyes have seen thy salvationwhich thou hast prepared before the face of all people,a light to lighten the Gentiles,and the glory of thy people Israel.

Soli: Blessed Soul with AngelsBlessed are the dead which die in the Lord.They may rest from their laboursand their works do follow them.They are in the hands of Godand there shall no torment touch them.Blessed are the dead which die in the Lord.

Choir

4. Er ist das Heil und selig Licht für alle Heiden, zu ’rleuchten, die dich kennen nicht, und zu weiden. Er ist dein’s Volks Israel der Preis, Ehr’, Freud und Wonne.

Congregation

Hymn: Mit Fried und Freud, vs. 4

About the program

The great church reformer Martin Luther ushered in an enormous flowering of sacred music in the German lan-guage. Luther himself wrote hymns and hymn tunes; one of these, “Mit Fried und Freud” forms the backbone of our concert today, with verses of this hymn alternating with choral pieces throughout the concert. Luther was known to sing music at home with his family, and had a great appreciation for the composers of his day (Heinrich Isaac, Josquin des Prez, and others).

The focus of today’s concert honoring Martin Luther is Heinrich Schütz’s magnificent three-part Musikalische Exe-quien, which functions as a musical setting of a German requiem. It has become a popular concert favorite, much like the Monteverdi Vespers of 1610, since the beginning of the early music revival in the 1970s. This musical mas-terpiece has a deep connection to Martin Luther, and a fascinating story that goes along with it.

In the 17th century, the German prince Heinrich Posthumus von Reiss of Gera was a humanist and diplomat, devoted to the Lutheran faith, and he made elaborate plans for his own funeral. Before his death he commissioned a copper sarcophagus; the surface of this amazing coffin was entirely covered in painted texts of Martin Luther’s funer-al writings.

Above, the actual instructions of Prince von Reuss for the decoration of his coffin

Rumors of the existence of this amazing coffin persisted until the late 20th century. In 1995, the grave of the prince was opened and the sarcophagus was rediscovered. It now rests, along with the equally decorated coffin of von Re-uss’s wife, in a museum in Gera. We are able finally to see a truly magnificent work of visual art, as well as a monu-ment to the writings of Luther, that was buried for nearly 400 years.

Above, coffin of Prince von Reuss as now displayed in the Gera museum

Prince von Reuss had known the great 17th-century composer Heinrich Schütz since 1617, when Schütz’s fame even as a young man appointed as Kapellmeister for the court of Dresden had spread to the small city of Gera. When the Prince died in 1635, Schütz was commissioned to compose music for his funeral, using the writings that were being painted onto the coffin. (It is not known whether von Reuss commissioned the work himself before he died, or whether his widow commissioned the work immediately after his death, which would have left Schütz a scant two months to complete a lengthy work.) Schütz wrote a masterpiece, the Musikalische Exequien, which was first per-fomed at von Reuss’s funeral in February 1636. The work is in three movements. The first movement is meant to be Martin Luther’s conception of a “German Funeral Mass,” with the opening section representing the Kyrie, each verse concluding in “have mercy on us.” The second section represents the Gloria, all in German text, scored for an en-semble of soloists in alternation with a 6-voice chorus. These texts are only loosely related to the Latin Gloria texts; instead, they are some of Luther’s texts that represent hope and redemption through the glorification of God.The second movement of the Musikalische Exequien is a German funeral motet, “Herr wenn ich nur dich habe,” scored for a double choir of 8 voices. The third and final movement, “Herr, nun lässest du deinen Diener,” is a very special piece, scored for a 5-voice choir with 3 soloists. These soloists, two angels and a “Blessed Soul,” sing at a distance from the ensemble in a musical depiction of heaven and earth.

Schütz is known to have traveled to Italy in his youth, from 1609-1612, to study with the Venetian master Giovan-ni Gabrieli. He learned from Gabrieli the polychoral Venetian style and employed it in many of his major works. Although the Musikalische Exequien was written for Gera, where the instrumental resources were very limited, the performance will follow Schütz’s other large Italian-influenced ceremonial works, employing a Venetian-type ensem-ble of cornetti and sacbuts doubling the voices.

The sacbut ensemble, which includes a 16’ contrabasso sacbut, will also perform a vocal motet, Mitten Wir, as an instrumental piece, but transposed downwards to take full advantage of the contrabasso sacbut. Martin Luther translated the Latin text “Media vita in morte summus,” a text which calls for succor in the time of need, into the German language as Mitten Wir - as Luther did with many other Latin antiphons and hymns, such as Veni Redemp-tor and Veni creator spiritus. The text is included in the program so the audience can better understand the music. The 16’ contrabasso sacbut heard in this piece and others in today’s concert is known from the writings of Schütz’s 17th-century colleague Praetorius and other writers. Until now, the only reconstruction of a contrabasso sacbut existed in Europe, but now, we are fortunate to have this instrument and its excellent player available for American audiences as well.

Was betrübst du dich is by Johann Hermann Schein, a contemporary of Schütz but not blessed with his longevity. Schein was cantor at St. Thomas in Leipzig, a post later held by Johann Sebastian Bach. The text is Luther’s transla-tion of Psalm 42. The motet Das ist je gewisslich is Schütz’s elegy on the death of his friend Schein. Another Schütz motet is Selig sind die Toten set to a funeral text that was also used by Johannes Brahms as the final movement of the Deutsches Requiem, as well as being the text of the Blessed Soul and Angels in the final movement of the Musikalische Exequien.

About the artists

Audiences love ARTEK concerts for their exciting, dramatic performances of baroque music, with compelling musical settings of beautiful poetry and infectious dance rhythms that infuse the performances with vitality and spirit. ARTEK features America’s finest singers and instrumentalists. Highlights of ARTEK’s past seasons include acclaimed performances of ARTEK’s theater show, I’ll Never See the Stars Again, at the Edinburgh Fringe Festival in 2005; standing ovation performances to sell-out crowds at the Regensburg Tage Alter Musik Festival (Germany), the Boston Early Music Festival, and the Berkeley Early Music Festival. ARTEK made its Lincoln Center debut in 2010, and toured from 1997 to 2002 with the Mark Morris Dance Group, visiting major venues in the United Kingdom, Italy, and Canada, as well as more than 50 of America’s premier theaters. Last season, ARTEK celebrated its 30th Anniversary with a landmark performance of the 1589 Intermedii from La Pellegrina. In spring 2001, direc-tor Gwendolyn Toth was awarded the Newell Jenkins Prize for excellence in early music performance in recognition of her work with ARTEK. Recordings include Monteverdi’s opera Orfeo, Madrigals Book 5, and selected madrigals as featured in the Mark Morris dance I Don’t Want to Love; early Italian solo arias and cantatas with countertenor Drew Minter, Love Letters from Italy; and ARTEK’s latest CD, Solo Cantatas of Johann Rosenmüller. To find out more about ARTEK, please visit their website: www.artekearlymusic.org.

The Immanuel Lutheran Church Choir is an ensemble of both professional and amateur singers who enhance the worship at Immanuel Lutheran Church for Sunday services as well as concerts and special musical occasions through-out the year. Membership is open to all who are interested and read music well. The choir has a particular love of Renaissance polyphony, ranging from the music of Byrd and Victoria to Lassus and Josquin. The next special perfor-mance of the choir will be the Christmas Eve prelude beginning at 6 pm before the Christmas Eve service at 6:30 pm.

ARTEK concerts and events are made possible, in part, with public funds from the New York State Council on the Arts with the support of Governor Andrew Cuomo

and the New York State Legislature.