BOSTON BACH BIRTHDAY 336 - First Lutheran Church of Boston
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BOSTON BACH BIRTHDAY 336
Celebrating the music of Johann Sebastian Bach
March 21, 1685 – July 28, 1750
Saturday, March 20, 2021
First Lutheran Church of Boston
presented for the thirteenth year by
First Lutheran Church of Boston and
the Boston Chapter of the American Guild of Organists
flc-boston.org | bostonago.org
Free admission all day (donation requested)BOSTON BACH BIRTHDAY 336
All repertoire is by Johann Sebastian Bach unless otherwise indicated
9:00am | THE “GREAT EIGHTEEN” ORGAN CHORALES JONATHAN WESSLER, organ
Fantasia super Komm, Heiliger Geist (canto fermo in Pedale), BWV 651
Komm, Heiliger Geist (alio modo a 2 Clav. e Pedale), BWV 652
An Wasserflüßen Babylon (a 2 Clav. e Pedale), BWV 653
Schmücke dich, o liebe Seele (a 2 Clav. e Pedale), BWV 654
Trio super Herr Jesu Christ, dich zu uns wend (a 2 Clav. e Pedale), BWV 655
O Lamm Gottes, unschuldig (3 Versus), BWV 656
Nun danket alle Gott (a 2 Clav. e Pedale, canto fermo in Soprano), BWV 657
Von Gott will ich nicht lassen (canto fermo in Pedale), BWV 658
Nun komm, der Heiden Heiland (a 2 Clav. e Pedale), BWV 659
Trio super Nun komm, der Heiden Heiland (a due Bassi e canto fermo), BWV 660
Nun komm, der Heiden Heiland (in Organo Pleno, Canto fermo in Pedale), BWV 661
Allein Gott in der Höh sei Ehr (a 2. Clav. e Pedale, Canto fermo in Soprano), BWV 662
Allein Gott in der Höh sei Ehr (a 2. Clav. e Pedale, Canto fermo in Tenore), BWV 663
Trio super Allein Gott in der Höh sei Ehr (a 2. Clav. e Pedale), BWV 664
Jesus Christus, unser Heiland (sub communione, Pedaliter), BWV 665
Jesus Christus, unser Heiland (alio modo), BWV 666
Komm, Gott Schöpfer, Heiliger Geist (in Organo pleno con Pedale obligato), BWV 667
Jonathan Wessler has served since 2016 as the Kantor at First Lutheran Church of Boston, where he oversees a thriving music
program specializing in the finest liturgical music of the Lutheran tradition. Under his direction, the FLC choir and orchestra present
music of Bach, Praetorius, Schütz, Handl, Hassler, Senfl, and others, as well as liturgical chant as retained in the Lutheran missals.
Wessler received the Doctor of Musical Arts degree in organ performance from the Eastman School of Music, studying with William
Porter. He previously earned the Bachelor of Music degree in organ performance from the Oberlin Conservatory of Music, studying
with David Boe, and the Master of Sacred Music degree from the University of Notre Dame, studying with Craig Cramer. He
additionally mentored under Sherry Seckler and Christiaan Teeuwsen. Wessler previously worked as the Assistant Organist at the
Church of St. Paul in Harvard Square, where he accompanied the choir, trained the Probationers, directed the St. Paul Parish Choir and
the Schola Cantorum, and taught music theory in the Choir School. He maintains an active career as a recitalist and continuo player.
Wessler lives in suburban Boston with his wife, Joy, and their children, Julia, Matthew, and Benjamin.
10:45am | LOUISE MUNDINGER, organ
Allein Gott in der Höh sei Ehr, BWV 675
Winter arrives with its contrast of bitter wind and the delight of a light snow
Duet I in e, BWV 802
Dies sind die heiligen zehn Gebot, BWV 679
“Triangular” fugue, op. 43, no. 12 (2008) Rachel Laurin (b. 1961)
When spring comes buds begin to blossom, and animals chase each other
Duet II in F, BWV 803
Vater unser im Himmelreich, BWV 683
Lenten (Spring), from Embertides (2014) Hilary Tann (b. 1947)
-2-In summer, water is needed to nurture the growing plants
Duet III in G, BWV 804
Christ, unser Herr, zum Jordan kam, BWV 685
Whit (Summer), from Embertides (2014) Hilary Tann
Autumn is a time to gather resources for strength to begin the cycle again
Duet IV in a, BWV 805
Fantasia sopra Jesu, meine Freude, BWV 713
Tiento de falsas, from Three Tientos (2015) Carlotta Ferrari (b. 1975)
Wir glauben all’ an einen Gott, BWV 680
Louise Mundinger is the music director at the Cathedral Church of St. Paul in Boston where she coordinates music for the Sunday
morning congregation, as well as Diocesan and public events. She enjoys the diverse congregation at the Cathedral, following new and
traditional streams in Anglican musical practice. Mundinger graduated with a Master’s degree in organ performance from the New
England Conservatory and a Bachelor’s degree in music from Valparaiso University. Supported by the Frank Huntington Beebe fund
for musicians, she studied the organ in Freiburg, Germany. At Milton Academy she initiated arts programs and an international choral
exchange with L’Ecole de Musique de Persan (France) funded in part by the Florence Gould Foundation for French and American
projects. An advocate of new music for the organ, Mundinger heads the National New Music Committee for the American Guild of
Organists (AGO). Mundinger is the most recent past Dean of the Boston Chapter of the AGO, and in that capacity she initiated
WIMfest, a program featuring women in music. Mundinger has received composition commissions from the American Guild of
Organists, The American Composers Forum (the Faith Partners program), and the Diocese of Massachusetts. Mundinger was also
awarded the Talbot Baker Teaching Award at Milton Academy.
12:00pm | THE TIMKO FAMILY LINNEA, MAGDALENA, and AURELIA TIMKO, violin
Sonata no. 3 in C, BWV 1005—III. Largo
Suite no. 6 in D, BWV 1012—V. Gavotte I & II
Minuet in G, BWV Anh. 114 Christian Petzold (1677–1733)
Linnea, Magdalena, and Aurelia Timko began playing violin in preschool with Guan-Ting Ku, and are currently studying with
Madalyne Cross of the Powers Music School in Belmont. They are in 8th, 5th, and 3rd grade, respectively, and enjoy playing together
and in Arlington public schools orchestras. All three enjoy swimming, biking, reading, and drawing in their free time.
1:00pm | ERICA JOHNSON, organ
Partita no. 3 in a, BWV 827
1. Fantasia
2. Allemande
3. Corrente
4. Sarabande
5. Burlesca
6. Scherzo
7. Gigue
Sonata in F, Wq 70/3, H 84 Carl Philipp Emanuel Bach (1714–1788)
1. Allegro
2. Largo
3. Allegretto
Prelude & fugue in G, BWV 541
-3-Erica Johnson, DMA, is a Boston-based organist, clavichordist, and church musician. She is the College Organist and Instructor of
Organ and Harpsichord of Wellesley College and Director of Liturgy and Music at Sacred Heart Parish in Newton Center, MA. Erica
is a graduate of the Oberlin Conservatory, Oberlin College, New England Conservatory, and the Eastman School of Music, having
studied with with Haskell Thomson, William Porter, and Hans Davidsson. As a grant recipient of the Beebe Fund for Musicians she
studied an additional two years at the Hochschule für Künste in Bremen, Germany, with Harald Vogel. Her years in Germany yielded
two honors: the 2004 International Arp Schnitger Prize awarded by the Arp Schnitger Gesellschaft, and the 2002 NDR Musikpreis. In
October 2017 she was featured as a performer and panelist during the Göteborg International Organ Academy in Gothenburg, Sweden.
Among her other organ recitals, she has also played programs of works exclusively by female composers, and she enjoys championing
new scores by contemporary women composers.
2:10pm | NOAM ELKIES, piano
“Two-Bit” Invention (2020) Noam Elkies (b. 1966)
“Brandenburg” concerto no. 1 in F, BWV 1046 arr. Yury Tulin
1. [Allegro]
2. Adagio
3. Allegro
4. Menuet—Trio—Polonaise—Trio—Menuet
Noam D. Elkies is professor of mathematics at Harvard and the youngest person ever tenured at the University. His work in number
theory has been recognized by prizes and awards from the National Science Foundation, College de France, and the Packard and
Simons Foundations. Alongside his mathematical career, Elkies has been playing the piano and composing since the age of three. Born
in New York, he studied piano with A. Vardi in Israel, and with J. Carlson at the Juilliard Pre-College after returning to the States in
1978; his composition teachers have included Sadai, Davidovsky and Kirchner. His solo performances include Bach’s Brandenburg
Concerto #5 with the Metamorphosen Chamber Ensemble, and Elkies’ own Rondo Concertante with the Greater Boston Youth
Symphony Orchestras’ Repertory Orchestra in Boston's Symphony Hall. More recently he recorded his E Sonata with flutist Alice
Dade for her “Living Music” CD on Naxos. His compositions, often in styles that recognizably flow from traditional idioms, include
the abovementioned Rondo Concertante and E Sonata; the Brandenburg Concerto #7, commissioned and premiered by the
Metamorphosen Chamber Ensemble; Three Steganographic Etudes, which he premiered in Hungary at the Bridges 2010 conference;
and the opera Yossele Solovey, staged at Harvard in 1999.
3:00pm | JEREMY BRUNS, organ
Prelude & fugue in a, BWV 543
Pastorale in F, BWV 590
1. Alla siciliana
2. Allemande
3. Aria
4. Gigue
Fantasia in g, BWV 542/1
Sonata no. 6 in G, BWV 530
1. Vivace
2. Lento
3. Allegro
Fugue in g, BWV 542/2
Jeremy Bruns is the Associate Organist & Choirmaster at The Church of the Advent in Boston. Bruns has previously held positions in
Dorchester MA, Pittsburgh PA, and other locations, including three years as Associate Organist of Saint Thomas Church Fifth Avenue
in Manhattan, where he worked daily with the late John Scott and the Saint Thomas Choir of Men and Boys. Bruns has also served as
a Visiting Assistant Professor in the School of Music at Stephen F. Austin State University in Nacogdoches TX. Bruns is Dean of the
Boston Chapter of the American Guild of Organists, and a member of the Association of Anglican Musicians. He studied with David
Higgs at the Eastman School of Music in Rochester NY, earning the MMus and the Performer’s Certificate. Bruns has been heard on
the nationally syndicated radio show Pipedreams, BBC Radio, and the Pro Organo label. He has been featured at the Piccolo Spoleto
-4-Festival in Charleston SC, and has performed numerous recitals with engagements including St. Paul’s Cathedral and Westminster
Abbey in London, Canterbury Cathedral, Washington National Cathedral, St. James’ Cathedral in Toronto, Grace Cathedral in San
Francisco, Methuen Memorial Music Hall, St. Paul Cathedral and Heinz Memorial Chapel in Pittsburgh, Adolphus Busch Hall, and
the Fasor Reformed Church in Budapest, Hungary. Jeremy is represented byConcert Artist Cooperative.
4:10pm | WESLEY HALL, organ
Prelude & fugue in C, BWV 531
Sonata no. 5 in C, BWV 529
1. Allegro
2. Largo
3. Allegro
Fantasy & fugue in c, BWV 537
Erhalt uns, Herr, bei deinem Wort, BWV 1103
Wenn dich Unglück tut greifen an, BWV 1104
Praeludium in C, BWV 566a
Recognized in 2016 by the Diapason as a “20 Under 30” leader in organ, harpsichord, and sacred music in the United States,
Wesley Hall is a dynamic organist and early musician with a passion for translating the music of the past into the context of today’s
audience. An innovator in the field of sacred music, Wesley blended his passion for music and liturgy at the Yale School of Music and
Institute of Sacred Music, and went on to receive an Artist Diploma in organ performance from the Oberlin Conservatory. As both a
solo artist and a collaborator, his performances have been heard across the United States, Canada, and Europe. He was awarded second
prize at the 2017 Sursa American Organ Competition and spent the last year as a Gasthörer at the Musikhochschule in Lübeck,
Germany. Wesley is passionate about helping young musicians achieve their greatest aspirations, and serves regularly as a competition
juror, and teaches students through private lessons and public masterclasses. He is the Minister of Music and the Arts at the First
Baptist Church of Worcester, Massachusetts.
5:30pm | MUSIC FOR A LENTEN ORGAN VESPERS JONATHAN WESSLER, organ
WILLIAM FARRELL, tenor
PRELUDE
Praeludium in g, BuxWV 148 Dieterich Buxtehude (c. 1637–1707)
ANTIPHON
Omnia quae fecisti nobis Orlande de Lassus (c. 1532–1594)
arr. Heinrich Scheidemann (c. 1595–1663)
Omnia quae fecisti nobis, Domine, All that Thou hast done for us, O Lord,
in vero judicio fecisti, Thou hast done in true judgement,
quia peccavimus tibi for we have sinned against Thee
et mandatis tuis non obedivimus, and have not obeyed Thy commands;
sed da gloriam nomini tuo, but give glory to Thy name,
et fac nobiscum and deal with us
secundum multitudinem misericordiae tuam. according to the multitude of Thy mercy.
Dan 3:31, 29, 35
-5-HYMN
An Wasserflüßen Babylon Johann Adam Reincken (1643–1722)
An Wasserflüßen Babylon, At the rivers of Babylon,
da saßen wir mit Schmerzen, we sat down there in sorrow;
als wir gedachten an Zion, even when we thought upon Zion,
da weinten wir von Herzen. we wept together from the heart.
Wir hingen auf mit schwerem Mut We hung up with heavy spirit
die Harfen und die Orgeln gut our harps and organs
an ihre Bäum der Weiden, upon the branches of the willows
die drinnen sind in ihrem Land; that were in their land;
da mußten wir viel Schmach und Schand we must mourn with great shame and disgrace
täglich von ihnen leiden. daily thereupon.
Die uns gefangen hielten lang They that took us so cruelly
so hart an selben Orten and led us bound to their country
begehrten von uns ein Gesang required of us a song
mit gar spöttlichen Worten, with words full of derision,
und suchten in der Traurigkeit and sought of us
ein fröhlich’n G’sang in unserm Leid: a joyful song in our sorrow and sadness:
Ach lieber tut uns singen Now let us hear some merry song,
ein Lobgesang, ein Liedlein schon a song of praise, a pretty melody,
von den Gedichten aus Zion, from the Poems of Zion,
das fröhlich tut erklingen. and sing it out joyfully.
Wie sollen wir in solchem Zwang How shall we under such duress
und Elend, jetzt vorhanden, and our misery, thus present,
dem Herren singen ein Gesang sing a song to the Lord,
sogar in fremden Landen? even in a foreign land?
Jerusalem, vergiss ich dein, Jerusalem, if I forget thee,
so wolle Gott, der G’rechte, mein so God will it,
vergessen in mein’m Leben; may my right hand forget her cunning;
wenn ich nicht dein bleib eingedenk if I keep thee not always in mind,
mein Zunge sich oben an häng let my tongue cleave to my mouth
und bleib am Rachen kleben; and let my throat remain forever stuck;
ja, wenn ich nicht mit ganzem Fleiss, yea, Jerusalem, were I not to honor thee
Jerusalem, dich ehre, with complete diligence,
im Anfang meiner Freude Preis above my chief joy
von jetzt und immermehre. from now and forevermore.
Gedenk der Kinder Edom sehr, Remember verily the sons of Edom,
am Tag Jerusalem, o Herr, they who said in their cruelness
die in der Bosheit sprechen: on the day of Jerusalem’s destruction:
Reiss ab, reiss ab zu aller Stund, Tear it down, tear it down entirely,
vertilg’ sie gar bis auf den Grund, demolish it completely to the ground,
den Boden wolln wir brechen! raze it to the earth.
Die schnöde Tochter Babylon, O ye despicable daughters of Babylon,
zerbrochen und zerstöret: who shall be broken and laid to waste:
wohl dem, der wird dir geb’n den Lohn blessed shall he be who gives unto thee thy wage
und dir, das wiederkehret, and returns unto thee
dein Übermut und Schalkheit gross, thy cockiness and great mischief,
und misst dir auch mit solchem Mass, and rewards thee with such kindness
wie du uns hast gemessen. as thou hast measured unto us.
Wohl dem, der deine Kinder klein Blessed shall he be who seizes thy little children
erfasst und schlägt sie an ein Stein, and dashes them against the stones,
damit dein wird vergessen! so that they should be forgotten.
Wolfgang Dachstein (c. 1487–1553)
-6-MAGNIFICAT
Magnificat septimi toni Hieronymus Praetorius (1560–1629)
Magnificat anima mea Dominum, My soul magnifies the Lord,
et exultavit spiritus meus in Deo salutari meo. and my spirit rejoices in God my savior.
[Organo—Tonus in Tenore:] [Organ—Tone in tenor:]
Quia respexit humilitatem ancillae suae; For He has regarded the lowliness of His handmaiden;
ecce, enim ex hoc beatam me dicent behold, from henceforth all generations
omnes generationes. shall call me blessed.
Quia fecit mihi magna qui potens est, For He that is mighty has magnified me,
et sanctum nomen ejus. and holy is His name.
[Organo—Tonus in Discantu:] [Organ—Tone in soprano:]
Et misericordia ejus a progenie in progenies And His mercy is on them that fear Him
timentibus eum. throughout all generations.
Fecit potentiam in brachio suo; He has shown strength with His arm;
dispersit superbos mente cordis sui. he has scattered the proud in the minds of their hearts.
[Organo—Tonus in Basso:] [Organ—Tone in bass:]
Deposuit potentes de sede, He has cast down the mighty from their seat,
et exaltavit humiles. and has exalted the humble and meek.
Esurientes implevit bonis, He has filled the hungry with good things,
et divites dimisit inanes. and the rich He has sent empty away.
[Organo—Vp 2 Clavier:] [Organ—on two manuals:]
Suscepit Israel puerum suum He has helped His servant Israel
recordatus misericordiae suae, in remembrance of His mercy,
sicut locutus est ad patres nostros, as He promised to our forefathers,
Abraham et semini ejus in saecula. Abraham and his seed forever.
Gloria Patri et Filio et Spiriuti Sancto, Glory be to the Father and to the Son and to the Holy Spirit,
sicut erat in principio, et nunc, et semper, as it was in the beginning, is now, and will be forever,
et in saecula saeculorum. Amen. unto ages of ages. Amen.
Lk 1:46–55
BENEDICAMUS
Benedicamus à 6 Voc Samuel Scheidt (1587–1654)
Benedicamus Domino. Let us bless the Lord.
[Modus pleno organo pedaliter:] [In the full organ with pedal:]
Deo gratias. Thanks be to God.
Hailing from Northwood, NH, baritone William Farrell moved to Cambridge, MA in the fall of 2015 and has performed with the
Boston Camerata, Emmanuel Music, Old North Church, Canto Armonico, and as a member of the Tanglewood Festival Chorus. He is
a gentleman of the choir at the St. Paul’s Choir School in Harvard Square. William completed his Master of Music degree in Early
Music at the Longy School of Music in 2017 and his Bachelor of Music degree at the University of New Hampshire in 2013.
RICHARDS, FOWKES & CO. OPUS 10 2000/2010
Werk Rückpositiv Pedal
Bourdon 16ʹ Gedackt 8ʹ Subbaß 16ʹ
Principal 8ʹ Principal 4ʹ Octave 8ʹ
Viol d’Gamba 8ʹ Rohrflöte 4ʹ Gedackt 8ʹ
Rohrflöte 8ʹ Waldflöte 2ʹ Octave 4ʹ
Octave 4ʹ Quint/Sesquialtera II 3ʹ Posaune 16ʹ
Spitzflöte 4ʹ Scharff IV Trompet 8ʹ
Nasat/Cornet III 3ʹ Dulcian 16ʹ Cornet* 2ʹ
Octave 2ʹ Krummhorn 8ʹ
Werk to Pedal
Mixture V Schalmei* 4ʹ
Rückpositiv to Pedal
Trompet 8ʹ
Tremulant Werk to Rückpositiv
Vox humana* 8ʹ
Cimbelstern
Temperament: Kellner
Vogelgesang *
* added in 2010
-7-SPECIAL THANKS TO…
- the staff of First Lutheran Church of Boston: the Rev. James Hopkins, pastor; Jonathan Wessler, Kantor;
John Lindemann, Parish Administrator
- the Boston Chapter of the American Guild of Organists: Jeremy Bruns, dean; Mitchell Crawford, sub-dean
- Christopher Greenleaf, recording engineer, proofreader, and translation assistant
- Nik Locker, livestream technician
- Chris Muskopf, flyer design
- Jonathan Ambrosino, organ technician
- Bálint Karosi and Joyce Painter Rice, BBB co-founders and consultants
- Cheryl Ryder, consultant
- the Mass Cultural Council, for additional funding
Mark your calendar for the Boston Bach Birthday 337
at FLC on Saturday, March 19, 2022!
LENT AND HOLY WEEK 2021 AT FIRST LUTHERAN CHURCH
March 24 | Eve of the Annunciation April 2 | Good Friday
7pm Solemn Vespers 9am Chief Service
with Jubilate Domino for mezzo and gamba 12pm Tre ore meditation
by Dieterich Buxtehude 7pm Tenebrae Vespers
March 28 | Palm Sunday April 3 | Holy Saturday
11am Divine Service 7:13pm Easter Vigil
with Was hast du verwirket?
by Heirich Schütz April 4 | Easter Day
and He Was Despised 11am Divine Service
by George Frideric Handel with Triumphierender Versöhner
for tenor and violin
April 1 | Maundy Thursday by Georg Philipp Telemann
7pm Divine Service
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