George Frederick Handel

The year was 1707.  Europe was in the throes of the War of Spanish Succession.  It was a complicated conflict and alliances shifted without warning.  The major players included Germany, England, and Italy pitted against Spain and France.  Troops were being amassed in Italy for an invasion of France  when the young, unknown composer George Frederick Handel visited Italy for the first time.  He had cut his musical teeth playing second violin parts in Italian operas at the Hamburg Opera in his native Germany.  Handel loved the fiery string style of Italian music and his evolving compositional style blended this Italian trademark with the high polyphony of his own German heritage.  Handel was born in the same year (1685) and only six miles from the composer who developed German Polyphony to its highest and most eloquent expression, none other than J.S. Bach.  But the more cosmopolitan Handel was developing his own unique voice and in this trip to a troubled Italy, he gave the world its first glimpse of the music that would charm both kings and paupers for centuries to come.

Handel’s “debut” as a composer (this is his earliest choral work, or any work of significance) came on the occasion of the festival of Our Lady of Mount Caramel.  Handel wrote music for the event and, ever the opportunist, took full advantage of the prevailing political climate.  To introduce himself to the  world, Handel chose to set Psalm 110 (Vulgate 109) as the centerpiece of music for the day.  This  Psalm depicting war and conquest had obvious implications for Handel’s audience: God was on their side!  Handel’s setting was powerful in assuring listeners of victory in the current conflict.  It should be noted that Handel was not a particularly religious man.  His inspiration came more from his own entrepreneurial spirit than from religious conviction.  Regardless, if Handel’s goal was to make a splash, get noticed, or otherwise show off, he accomplished his aim.  Dixit Dominus is one of the most musically complex pieces of choral music written during the Baroque, rivaling Bach in terms of complexity.  To say the work is challenging would be a gross understatement; it is truly a virtuoso work for all involved: Chorus, orchestra, and soloists, and opportunities to hear the work performed live are rare.  The Chorale and Orchestra provide such an opportunity on March 24^th with a performance scheduled at Congregation Shaare Emeth on Ladue Road in St. Louis.

~ Stephen Morton, Artistic Director

The American Chamber Chorale will be hosting a trivia night on February 3, 2012 to benefit the chorale and the Semper Fi Fund, as well as to honor Col. Leontone Meyer.

Doors open at 6 PM with trivia starting at 7 PM.  Throughout the evening there will be a 50/50, raffle and silent auction.  And the 1st place winner of trivia will receive a special cash prize for their hard work.

We hope you can join us for an evening of mind bending trivia while honoring and supporting some great St. Louis organizations and individuals.

Here are some additional details about the Semper Fi Fund and Col. Leontone Meyer:

• The Injured Marine Semper Fi Fund provides injured and critically ill service members and their families with immediate financial aid and quality of life solutions. It assists Marines as well as Sailors, Soldiers and Airman who become injured when serving in support of Marine Forces during post 9-11 combat, training operations or face life- threatening illnesses.
• Col. Meyer represents the best of choral music and the best in the Marines.  Col. Meyer taught music to generations of students at Southwest High School.  In addition, at 98, Col. Meyer is one of the oldest living female retired colonels in the United State Marine Corps.

Salem’s colonial style sanctuary was decorated beautifully for the Advent and Christmas seasons. Greenery, bows, candles, and a Christmas tree added to the reverent embiance. The only thing needed to usher in the spirit of the season was music. The ACC and Orchestra took care of that!

The choir processed as the orchestra played Jesu, Joy of Man’s Desiring. They arrived at their places on the risers to join the orchestra and followed with an interesting mix of traditional carols and 20th Century music, setting the mood for the splendor that was to come: Bach’s Magnificat.

From the joyous opening strains complete with Baroque trumpets, oboes, flutes, timpani and strings, the audience reveled in the sound. The orchestra was solid, the soloists were flawless, the choir was wonderful, and the music was, well, Bach! So uplifting, so inspiring! The audience sprang to their feet as the final chord rang through the hall. Magnificent! As is our custom, the concert ended with the lights out and everyone holding a candle and singing Silent Night. What a way to celebrate the season!

The final numbers are not in, but it can be safely stated that thousands of dollars were raised to support Feed My People. Thank you to the Chorale patrons and donors who made the music possible and provided help to those in our community that need it mostin this season of hope.

Merry Christmas!

Stephen Morton, Artistic Director

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I’ve been listening to classical music for a long time.  Sure, I listened to the Beatles like my friends did, but the majority of my listening time as a teenager was spent listening to music most of my other musical buds knew nothing of.  I had been singing ever since I could remember; it was a regular activity in my family, immediate and extended.  But it wasn’t until I was a teenager that I discovered a new world of music I had never heard before.  One of the first “albums” (remember those?) I ever purchased included Rachmaninoff’s second piano concerto.  I wore it out, twice!  And then there was the recording of Chopin noctures that spoke to me like nothing I had ever heard.  Then came Vivaldi, Handel, Beethoven, and Mozart.  I was hooked!  But there was this other composer all the books touted so highly that I just couldn’t wrap my brain around as a youth; some guy named Bach.  His music was different than the others: harder to comprehend.  There was so much going on in that music that I just couldn’t hear all of it at the same time, and the more I listened, the more overwhelming it became.

That same experience with Bach’s music- the more I learn, the more I realize how much more I don’t know- repeats itsself to this day.  This look at the individual movements of Magnificat does not presume to be exhaustive by any means.  The hope is to peel back a few layers of this magnificent “onion” with the full realization that we are not even close to reaching the center.

Magnificat compares to Bach’s more monumental works (Mass in B Minor, Passion settings) in many ways- very large orchestra for that day, five-part chorus, and five soloists- but the length makes it much easier to digest.  Lasting approximately half an hour, it is a bit longer than his other cantatas, but much more brief than his large-scale works.  The Magnificat, or Song of Mary, has been set more than any other text in history, save the Ordinary of the mass.  Because of its intended liturgical use, Bach’s Magnificat closes with the additional text of the Gloria Patri.

Bach’s writing for instruments is uncompromising in the sense that he writes music that best expresses his ideas without regard for difficulty of execution and his vocal writing is equally difficult.  Bach certainly did not recognize his own genius.  Consistant with his belief that with due diligence, anyone could be as proficient in music as he was, he was not one who talked down, or in this case, “wrote down” to his singers.  Hard work would surely make mastery of his music possible in his view.  Thus, his music represents an awesome challenge for most choruses.

Movement 1.  The first movement begins with truly jubilant music featuring the orchestra, complete with three trumpets, before the chorus enters with the first verse of the passage from Luke’s gospel known as the Song of Mary.  Mary’s words express her exhuberant joy at learning she is to bear the Son of God and the orchestra and chorus echo the sentiments of her words, “My soul magnifies the Lord”.

Movement 2.  This solo air for soprano II continues verse one of Mary’s song, “and my spirit rejoices in God my Saviour”.  Written in triple meter (the meter of dance), the music reflects unbridled joy.

Movement 3.  Qui repexit humilitatem (aria for soprano I) continues verse one with different emotional underpinnings reflecting Mary’s humility toward God.  The words, “because he hath regarded the humility of his handmaid” are set as a trio of oboe d’amore, voice, and continuo (cello and bass).  The word “humilitatem” (humility) is appropriately painted with descending notes in the voice line, almost suggesting a bow.  The solo leads directly into the next movement for chorus with the words, “for behold, from henceforth…”

Movement 4.  “Omnes generationes” (all generations).  To what “generations” was Mary referring?  I have always assumed that she meant the generations that followed her, but I’m not sure that was strictly how Bach interpreted her words.  The main musical theme in this movement setting the text, “omnes, omnes generationes” is stated musically exactly 41 times.  That also happens to be the number of generations from David to Mary.  Surely, this is not a coincidence!

Movement 5.  Quia fecit mihi magna (Because he that is mighty hath done great things to me; and holy is his name.)

Movement 6.  Et misericordia  “And his mercy is from generation unto generations to them that fear him”.  This pastoral duet for alto and tenor expresses thoughts of mercy in a contemplative manner.  The  muted upper strings, doubled by flutes, move together is thirds to provide the accompaniment.

Movement 7.  Fecit potentiam  The calm created by the preceding duet is shattered by the orchestra and full chorus singing the text translated, “He hath showed might in his arm; he has scattered the proud in the conceit of their hearts.”  Bach effectively paints the word ‘dispersit” (scattered) using a descending three-note theme passed to each of the sections of the chorus.  This chorus ends with a magnificent and powerful adagio.

Movement 8.  Deposuit potentes (He hath put down the mighty from their seat, and hath exalted the humble)  This fiery aria for tenor appropriatly sets the first phrase of this sentence in descending notes while the second phrase “exaltavit” lifts the humble.  Again, Bach creates a trio for unison upper strings, continuo instruments, and voice.

Movement 9.  Esurientes implevit bonis  All seems right with the world in this solo for alto voice.  The flutes and pizzicato bass provide a reasuring backdrop for the voice that declares, He hath filled the hungry with good things and the rich he hath sent empty away.  

Movement 10.  Suscepit Israel (He hath received Israel his servant, being mindful of his mercy)  Bach sets this text for a soprano I, soprano II, and alto voices.  It isn’t clear whether he intended this to be a trio of soloists or sections of the choir.  As the voices weave in creative immitations against the steady quarter note pulse of the continuo, an oboe plays an ancient psalm tone as a cantus firmus*.  This psalm tone melody had long been used in settings of the Magnificat and would have been recognized by listers in Bach’s day, even in the elongated form played by oboe in this movement.

Movement 11.  Sicut locutus est (as He spoke to our fathers, to Abraham and his seed forever.)  Bach sets these words as a fugue for the five sections of the chorus.  The ending of this movement is musically quite satisfying, as it does represent the final verse in the Song of Mary.  However, since Bach intended his Magnificat to be used for liturgical purposes, he adds the Gloria Patri as a final movement.  It unites itsself beautifully with the rest of the work by reflecting music heard in the opening movement.

Movement 12.  Gloria Patri (Glory be to the Father, and to the Son, and to the Holy Spirit).  What a  powerful opening to this movement!  The chorus and full orchestra (including the three trumpets not heard since the opening movement), pronounce one word-  “Glory”.  The purpose of all music in the eyes of Bach was to glorify God.  As the text articulates praise the three members of the Trinity, Bach appropriately sets the words in triplets.  The triplets ascend from voice to voice declaring glory to the Father, then the Son.  The voices reverse direction, descending as they proclaim glory to the Holy Spirit representing the descending of the Holy Spirit.  Then the music abruptly reverts to the music heard in the beginning of movement one and the chorus sings the words, “ Sicut erat in principio” (as it was in the beginning) leading us to the final amen.  The return of the opening music serves as a “bookend” tying the entire work together.

We hope you enjoy this performance of Bach’s Magnificat and accept it in the framework of praise in which it is offered.

~ Stephen Morton, Artistic Director

* Cantus firmus- literally “fixed song”.  Bach and other composers of the Baroque often used the technique of incorporating a pre-existing, familiar melody into original compositions in the form of elongated notes played simultaneously with the new music.  Most of Bach’s cantatas use both text and music from existing chorales (or hymns, in modern language).  The original melody of the chorale often appears as a cantus firmus in one or more of the movements of the cantatas.

Bach wrote his initial setting of the Magnificat early in his tenure at St. Thomas Church in Leipzig. Bach had served in the church at Weimar very early in his career, but his appointment to the post of Cantor at St. Thomas brought an increase in responsibilities (and opportunities) far beyond those at Weimar. In Leipzig, Bach was charged with teaching at the St. Thomas church school, composing organ and choral music for the town’s two main churches, playing the organ, training the choirs and musicians, and overseeing music at the town’s other three churches. Additionally, Bach fought almost constant battles with city officials, and took care of his huge family. Despite all of these extraordinary demands, Bach wrote some of the greatest music the world has ever known during this period including the monumental works, the Mass in B Minor and the St. John and St. Matthew Passions.

Bach enjoyed several advantages in his position at Leipzig as compared to Weimar. The choir was larger and more skilled and Bach had many more musicians at his disposal. He took full advantage of the circumstances by shifting singers and musicians from one church to another on any given Sunday to suit his purpose. Bach’s orchestra for Magnificat was large by the standards of his day consisting of three trumpets, two flutes, two oboes, two oboes d’amore, timpani, strings, and continuo. Bach’s first version of the Magnificat was written for Christmas Vespers 1723, his first Christmas at St. Thomas. That first version included four additional interpolations of traditional Christmas texts which Bach later removed and the original key was E flat. In addition to other minor changes, Bach later changed the key to D major, a brighter and more satisfying key considering the jubilation expressed in the text.

The Chorale will perform Bach’s revised version at our December 3^rd concert, A Candlelight Christmas, at Salem In Ladue United Methodist Church. Stellar soloists for the performance include Joy Boland, Kathy Lawton Brown, Jennifer Worley, Wesley Burns, Brendan Lally, and David Berger. The Chorale will use Bach’s instrumentation in this historically informed presentation.

Whether you know this wonderful music by heart or you’re never experienced it, this is a concert you won’t want to miss!

Thank you to everyone that attended A Very Special Evening With The Chorale this past Saturday night in support of the American Chamber Chorale’s eleventh concert season. It was a great evening of friends, food, wine and entertainment.  I think it’s safe to say that a great time was had by all.

Congratulations to Anne Lacey who won the “Dinner for Eight” raffle.

Special thanks to chorale member Kate Garrett who was in charge of the food and led a group of volunteers including several chorale members and longtime chorale supporter Velja Lacey.  The food was delicious and plentiful. A perfect combination for a great party.

We would also like to thank Schlafly Brewery for their generous donation of beer in support of our event.

In addition to the great food and beverage, attendees enjoyed wonderful performances by Elsie Parker and the Poor People of Paris as well as the American Chamber Chorale.  Both performances were amazing and a memorable way to kick off the Chorale’s eleventh concert season.  Thank you to all that performed.

And finally we’d like to thank everyone who attended, purchased raffle tickets and bid on items in the silent auction.  Everything was a great success and we appreciate everyone’s ongoing support of the American Chamber Chorale. We look forward to a great concert season and continuing on our mission to bring musical performances to St. Louis audiences that you typically can’t experience locally in a format that is accessible to everyone.

Thank you for making the event a success and we look forward to seeing you at our next concerts.

Sincerely,

Stephen Morton
Artistic Director

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Rev. Maestro Robert Bergt, one of the stars of the St. Louis music community, passed away on June 26th. Bob was a highly respected Bach scholar, ordained Lutheran minister, and Music Director and Conductor of the American Kantorei. Bob was also a close friend of ACC Artistic Director, Stephen Morton, often attending Chorale concerts. Bob and his wife, organist Joan Bergt, were also contributors to the Chorale. Bob made a lasting impression on all those who worked with him. His positive spirit and passion for music were an inspiration to countless singers and instrumentalists. He will be sorely missed by all who knew him.