BACH CLAVIERÜBUNG III The German Organ Mass

Katherine Crosier, organScott Fikse, conductor

Reformation Sunday, October 30, 2016 † 7:00 pmA benefit concert in memory of the Lutheran Church of Honolulu’s

long-time director of music, Carl Crosier

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BACH CLAVIERÜBUNG IIIThe German Organ Mass

KATHERINE CROSIER, organSCOTT FIKSE, conductor

Lutheran Church of HonoluluIn memory of Carl Crosier (1945-2014)

Reformation SundayOctober 30, 2016 † 7:00 pm

Praeludium in E-flat BWV 552/1

kyrie Kyrie, Gott Vater in Ewigkeit BWV 669

Christe, aller Welt Trost BWV 670

Kyrie, Gott heiliger Geist BWV 671

gloria in excelsis Allein Gott in der Höh’ sei Ehr BWV 676

the ten commandments Dies sind die heil’gen zehn Gebot BWV 678

the creed Wir glauben all’ an einen Gott BWV 680

the lord’s prayer Vater unser im Himmelreich BWV 682

baptism Christ unser Herr zum Jordan kam BWV 684

penitence Aus tiefer Not schrei ich zu dir BWV 686

the communion Jesus Christus, unser Heiland BWV 688

Fuga in E-flat BWV 552/2

In consideration for your neighbors, please silence all electronic devices during the concert. Please reserve applause until the end of the program.

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THE CHAMBER CHOIRNaomi Castro, Mihoko Ito Nakano, soprano

Todd Beckham, Karyn Castro, altoKarol Nowicki, Bowe Souza, tenorDavid Del Rocco, Scott Fikse, bass

Scott Fikse, conductor

PROGRAM NOTES

Johann Sebastian Bach’s Clavierübung III, also called “The German Organ Mass,” is considered a virtuosic masterpiece with some of his most musically complex and technically demanding compositions for the organ. Bach himself performed this work “to great applause,” in a two-hour concert on the afternoon of December 1, 1736, in celebration of the new Gottfried Silberman organ at the Frauenkirche, Dres-den, whose dedication took place on November 29, 1736. The title page (translated) read: “Third Part of Keyboard Practice, consisting of various preludes on the Catechism and other hymns for the organ. Prepared for music-lovers and particularly for connois-seurs of such work, for the recreation of the spirit, by Johann Sebastian Bach, Royal Polish and Electoral Saxon Court Composer, Capellmeister and director of the chorus musicus, Leipzig. Published by the author.”

The word Clavierübung means “keyboard practice” and Bach’s composition was in part a response to musical requirements in church services. In addition to the Kyrie and Gloria, it contains the basic elements of the Lutheran Catechism: the Ten Commandments, the Creed, the Lord’s Prayer, the Sacrament of Baptism, and Holy Communion, and is bookended by the massive Praeludium and fuga in E-flat. The chorale melodies of the Clavierübung were composed between 1524 and 1539, some by Martin Luther, and are thought to be the most important hymns of the Lutheran Church.

The Clavierübung III is thought to be a summation of Bach’s technique in writ-ing for the organ, and at the same time a personal religious statement. However, the technical difficulty of the compositions would have made the work too demanding for most Lutheran church organists, both then and now!

Scholars have given the Clavierübung III numerological significance, with special emphasis on the number 3, as in the Holy Trinity. There are 21 chorale preludes, 4 duettos, and the Praeludium and fuga, totalling 27 pieces in all, which is 3 to the power of three. Both the Praeludium and fuga are in the key of E-flat, 3 flats.

It was March 9 and 11, 1979, that Carl Crosier and I presented selections from Clavierübung III in two concerts here at the Lutheran Church of Honolulu. As I recall, I played half the selections and Carl played the remainder. Unfortunately, I have been unable to locate any programs from those concerts and cannot remember which pieces I played and which pieces Carl played. I do know, however, that we did not perform the complete work; we only picked a selection of the large and small settings. In tonight’s concert, I will be performing only the large settings, several of which I have had to learn especially for this concert.

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Those 1979 concerts also marked the introduction of the Bach Chamber Choir, a hand-picked ensemble of singers who came together to perform the concert after only one rehearsal. The choir sang each of Bach’s four-part chorales immediately prior to the playing of the organ chorale prelude, a practice which we used in my Great Eighteen Chorales concerts three years ago on August 18 and 25, 2013. Tonight, however, I will perform the organ chorale preludes as introductions to the four-part chorales, which will then be sung a capella, which is more in keeping with the actual performance practice of 18th century St. Thomas Church in Leipzig. I invite you to join the choir in singing the Gloria in excelsis and the Credo.

It is particularly fitting that I perform this concert on the great Lutheran festival of Reformation, the 499th commemoration of Martin Luther’s posting of the 95 Theses on the door of Wittenberg. I am most grateful to Scott Fikse for his willingness to tackle this project and lead this fine ensemble of singers. Finally, I wish to thank the Lutheran Church of Honolulu for their generosity to me in the continued use of the Beckerath organ. —Katherine Crosier

Praeludium in E-flat bwv 552/1

Numerological symbolism is clearly evident in the Praeludium, the longest of Bach’s organ preludes, with three distinct themes representing God the Father, God the Son, and God the Holy Spirit — all in the key of three flats. Bach combined French, Ital-ian and German styles in this piece: The opening theme (The “Father”) is a French overture, recognizable for its dotted rhythms; followed by an Italian concerto with echo passages in the galant style (The “Son”), and closes with a North German-like fugal theme (The “Holy Ghost”).

Kyrie, Gott Vater in Ewigkeit bwv 669

Kyrie! God our Father evermore, Mercy Thine in bounteous store, Thou of all things Ruler and Creator. Eleison. (tr. Henry S. Drinker)

Bach’s three large organ settings of the German Kyrie correspond to the three parts of the Kyrie: “God the Father,” with the unornamented melody placed in the soprano; “God the Son,” with the melody in the tenor range; and “God the Holy Ghost,” with the melody in the pedal. They are in “stile antico,” reminiscent of the style of Palestrina. Each of the Kyrie organ settings will be preceded by the singing of the ancient chant,“Kyrie fons bonitatis,” c.800, ending with Bach’s four-part chorale setting. Albert Riemenschneider called this first Kyrie a piece of “utmost dignity, simplicity and serenity.”

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Christe aller Welt Trost bwv 670

Christ, our hope and comfort, Thou has redeemed us from all sin. Jesus, Son of God, Me-diator. To Thee enthroned on high, We thy servants from our hearts beseech Thee. Eleison. (tr. Henry S. Drinker)

The melody now moves to the tenor range, with “sweet-sounding consonant coun-terpoint to reflect the gentle compassion of Christ” (George B. Stauffer)

Kyrie, Gott heiliger Geist bwv 671

Kyrie! O God, Holy Ghost, Keep us firm of faith and true to Thee, And when at last we die, Joyful, let us leave this vale of sorrow. (tr. Henry S. Drinker)

Bach wrote this setting in five parts with the chorale melody in the bass. He indicated that this was to be played on full organ (con organo pleno). After setting the words “vale of sorrows,” Bach expresses the “Eleison” in dramatic chromaticism, reminis-cent of the “Crucifixus” of the B-Minor Mass.

Allein Gott in der Höh sei Ehr bwv 676

This large setting of the German Gloria in excelsis is in the style of a trio, with the melody woven in and out of the three-part texture. It sounds deceptively easy, when in reality it is technically treacherous. It ends abruptly and somewhat inconclusively.

To God on high all glory be, And thanks, that He’s so gracious, That hence to all eternity No evil shall oppress us: His word declares good-will to men, On earth is peace restored again, Through Jesus Christ our Savior.

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O Jesus Christ, enthroned on high, the Father’s Son beloved, by whom lost sinners are brought nigh, And guilt and curse removed; Thou Lamb once slain, our God and Lord, to needy prayers Thine ear afford, And on us all have mercy.

O Comforter, God Holy Ghost, Thou source of consolation, From Satan’s power Thou wilt, we trust, Protect Christ’s congregation, His everlasting truth assert, All evil graciously avert, Lead us to life eternal.

You are invited to stand and sing at the conclusion of the chorale prelude.

Please be seated.

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Die sind die heil’gen zehn Gebot bwv 678

These are the holy ten commands, Which came to us from God’s own hands, By Moses who obeyed His will, on the top of Sinai’s hill. Kyrieleis. (tr. Charles Sanford Terry)

Bach set the melody as a canon (“law”) between the alto and tenor, signifying that the Laws of God are laid before us, perhaps representing the new law of Christ and the old law of Moses. Intervals of a tenth (for the Ten Commandments) are numerous throughout. There is a pastoral quality throughout, representing the serenity before the Fall of Man.

Wir glauben all’ an einen Gott bwv 680

We all believe in One true God, Maker of the earth and heaven; The Father who to us in love hath the claim of children given. He in soul and body feeds us, All we want His hand provides us, Through all snares and perils leads us, Watches that no harm betides us; He cares for us by day and night, All things are governed by His might.

This chorale prelude is a four-voice fugue in the Dorian mode, based on the first line of Luther’s adaptation of the Nicene Creed. Its main characteristic is the ostinato pedal on alternate footwork, which appears six times. Some have interpreted this strong bass line as a “firm faith in God,” which Bach used similarly in the B-Minor Mass. Bach directed that this piece be played in organo pleno, full organ.

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You are invited to stand and sing at the conclusion of the chorale prelude.

Please be seated. An offering will be taken at this time with the proceeds of this concert to benefit the Carl Crosier Memorial Fund of the Lutheran Church of Honolulu, dedicated to outreach projects of the LCH Music Department. Carl was the Director of Music here for thirty-eight years and was known for his passion for the works of Bach. Please use the enclosed envelope to help us continue to present high-quality musical performances for the community of Honolulu. Your generosity is most appreciated.

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Vater unser im Himmelreich bwv 682

Our Father in the heaven who art, who tellest all of us in heart Brothers to be, and on Thee call, And wilt have prayer from us all, Grant that the mouth not only pray, From deeepest heart oh help its way. (tr. Charles Sanford Terry)

This chorale fantasy has long been considered the most rhythmically complex of Bach’s chorale preludes with an extreme degree of difficulty. Bach uses dotted rhythms and profuse ornamentation to present the chorale in canon at the octave, played in each hand together with the obbligato instrumental solo. According to Albert Riemenschneider, “It is a composition which will require much work, prayer and patience before it is entirely comprehended.”

Christ unser Herr, zum Jordan kam bwv 684

To Jordan when our Lord had gone, His Father’s pleasure willing, He took His baptism of St. John, His work and task fulfilling; Therein He would appoint a bath To wash us from defilement, And also drown that cruel Death in His blood of assoilment: ‘Twas no less than a new life. (tr. Charles Sanford Terry)

In this trio composition, Bach evokes the biblical scene of Christ’s baptism in the flowing waters of the Jordan river represented rise and fall in the left hand 16th note pattern. Albert Riemenschneider suggests that one could easily picture the upper parts as a dialogue between Jesus and John in “deep, earnest conversation,” while the chorale melody is played in the pedal.

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Aus tiefer Not schrei ich zu dir bwv 686

Out of the depths I cry to Thee, Lord, hear me, I implore Thee! Bend down Thy gracious ear to me, Let my prayer come before Thee! If Thou rememberest each misdeed, If each should have its rightful deed, Who may abide Thy presence? (tr. Charles Sanford Terry)

In this six-voice setting of Martin Luther’s hymn of penance, Bach depicts all human-ity down the ages simultaneously crying for mercy, based on Psalm 130. The setting for full organ with double pedal presents each phrase of the tune, the first four voices are in the manual, and then two voices in the pedal. This massive composition may perhaps be placed at the top of the list of Bach’s outstanding works.

Jesus Christus, unser Heiland bwv 688

Jesus Christ, our Lord and Saviour, Turn we pray, God’s anger from us; Through the woe which Thee befell, Protect us from the pains of Hell. (tr. Henry S. Drinker)

This hymn for communion features an eccentric, leaping motive and syncopated rhythms, seeming to express joy and exuberance. The trio texture places the chorale melody in the pedal. Philipp Spitta calls this a representation of “faith, lively and im-movable, together with the solemnity of a consciousness of sin” as the groundwork of the piece. “Unwavering faith” has been taken to be the underlying theme by many scholars, evoking the vision of a “sailor seeking a firm foothold on a stormy deck.”

Fuga in E-Flat bwv 552/2

Although nicknamed the “St. Anne,” because of the similarity of the fugue subject to Isaac Watts’ tune “O God, our help in ages past,” the hymn was not known to Bach. The fugue references the Trinity with its division into three parts, and it is in the key of E-flat—three flats. Further the number of bars in each section is a multiple of 3x3. The first section is a five-part fugue in “stile antico;” the second section is a four-part double fugue on manuals only; and the third section is a five part double fugue on on full organ, a joyous gigue.

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Katherine CrosierSince the age of thirteen, the one constant in my life has been the organ. Even

though I started piano lessons at age four, by age thirteen I was ready to quit. I never practiced anyway, and sightread all of my lessons! At that time my parents suggested that I switch to another instrument. How I picked the organ was a big mystery since I had never heard, much less, heard of, the pipe organ before. My only experience with organ music was with a Hammond!

I finally started practicing when my organ teacher suggested that I study with his teacher, the famed French virtuoso, Marcel Dupré. After coming home from France, I attended the University of Southern California where I received a Bachelor of Music degree then went to Westminster Choir College where I graduated with a Master of Music degree, both in the areas of organ performance.

My musical activities have included choral accompanying for groups such as the Hawaii Children’s Opera Chorus, St. Andrew’s Priory, and Hawaii Pacific University; I was the chapel organist for Iolani School for twenty years, and I completed nearly thirty-five years as organist of the Lutheran Church of Honolulu, a position I shared with my late husband, Carl Crosier. Since I have retired from weekly organ respon-sibilities, I have continued to teach organ and have done a lot of traveling, and most recently completed an 11-day study tour of historic pipe organs in Lorraine, France.

I have been quite astounded that my blog, www.insanity.blogs.lchwelcome.org (Musings from the Organ Bench), has reached over 290,000 page views by readers in over 131 countries.

Scott FikseScott Fikse is the Director of Music and Liturgy at the Lutheran Church of Honolulu, and a recent transplant to Hawaii. Relocating here in July of last year from Seattle to direct the well-respected music program at the church, he brings with him an eclectic musical background and many years of church and choral music experience. In the past several years Mr. Fikse has held a variety of directorial and soloist posts. Most recently he served as the bass section leader and soloist for Our Lady Star of the Sea Catholic Church in Bremerton, WA, which regularly hosts Extraordinary Form mass and Vespers. He also directed music at Welcome Table Christian Church, served as Artistic Director for The Seattle Polish Choir, and worked as Director of Music and orchestra conductor at Broadway Bound Children’s Theater. In 2014, Mr. Fikse was a featured soloist for the Jazz Educators Network Conference in Dallas, Texas, where he toured with his ensemble Celebration, performing one of the most ambi-tious programs in the conference lineup. Additionally his vocal quartet, Society Dues is one of the standout groups in the Pacific Northwest a cappella scene, continu-ally ranked in the top five in their division. Following their two-year contract with Celebrity Cruises, the group toured extensively, and hosted concerts and student cho-ral workshops up and down the West Coast. In addition to performing and directing Mr. Fikse is an active composer and arranger, and was recently featured at the Oregon Bach Festival Composers Symposium.

Take a cookie for the road after the concert!Baked in the kitchen of Kapiolani Community College

by students in the Culinary Arts Program.