CONCERTS AT ST. CHRYSOSTOM’S

BACH & THE FISK

RICHARD BARRICK HOSKINS ORGANIST

FRIDAY, 23 OCTOBER 2020 7:00 P.M.

ST. CHRYSOSTOM’S CHURCH CHICAGO

YOUTUBE

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BACH & THE FISK

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JOHANN SEBASTIAN BACH 1685-1750

Pièce d’Orgue

Kyrie, Gott Vater in Ewigkeit Kyrie eleison, God, the Father Eternal

Christe, aller Welt Trost Christe eleison, the Comfort of the World

Kyrie, Gott heiliger Geist Kyrie eleison, God the Holy Ghost

Wo soll ich fliehen ihn O whither shall I flee?

Vater unser im Himmelreich Our Father, who art in heaven

Allein Gott in der Höh sei Her All glory be to God on high

Passacaglia, c minor

- PROGRAM NOTES -

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Johann Sebastian Bach – the most towering figure of the Baroque and, indeed, the composer by whom all composers since are compared – was, in my opinion, one of the two most important Lutheran theologians. Martin Luther, of course, takes first place but Bach, by virtue of his vast oeuvre and the monumental achievement of his sacred organ, choral and instrumental works, takes second place, and, perhaps, equal place to Luther. He preached a profound and solid faith through his music, expressing rich and enlightening theological truths through musical gesture, ornamentation, and treatment. Indeed, one could say that his two major collections of chorale preludes – the Clavierübung, Dritter Teil and the Leipzig Chorales – constitute, for me, a veritable Prayer Book and Hymnal. During these difficult and challenging pandemic times, might it be a useful meditation to consider what the great Bach might have to say to us concerning this unprecedented moment in history? Can we find some answers to profound and metaphysical questions which we - all of us and in various forms - are asking? Certainly Bach lived through very difficult and challenging times in the first half of the 18th century: wars, plagues, personal tragedies in the loss of his first wife and 10 of his 20 children, a lack of wide recognition in comparison with his contemporaries Handel and Telemann, contentious relations with church authorities, increasing blindness, and in his own lifetime being eclipsed by the new Style Galant exemplified by his own sons. Yet, his faith did not waver. He held fast to his faith and his belief that his was held in God’s hands and that at his death he would arrive into the glory of God. We remember always that every single composition was headed by Soli Deo Gloria – to God alone be glory. Perhaps we might hear some answers in tonight’s music. I leave it to each of you listening to ponder these mysteries and take from the hearing of the Master’s music some insight, comfort, and perhaps discover other questions. Bach’s grandly joyous G Major Fantasie, also known as the Pièce d’Orgue, is most likely from his Weimar period, written sometime before 1712. It clearly shows the influence of Dietrich Buxtehude in its improvisatory and free-flowing style. The work opens with a vivacious prelude, leading to a majestic five-voice central section full of intricate and dense harmonies which do not resolve but lead on, into ever more complex music, and ending with a false cadence on a diminished seventh chord! The work ends with a filigree of chromatic arpeggios over a pulsing pedal line. His monumental Clavierübung, Dritter Teil, (Keyboard Practice, Third Part) contains large and small works written in the form of a Lutheran organ mass: a Prelude and Fugue frame chorales which correspond to the various parts of the service, Kyrie, Gloria, Creed, etc., as sung in 18th century Lutheran liturgical practice. Each of these works portray in their counterpoint, text-painting, and gesture, Bach’s most profound theological thinking.

The three Kyries which follow the opening Prelude are wonderful examples of Bach’s counterpoint as well as an illustration of his interest in numerology, in this instance the number three, representing the Trinity. Kyrie, Gott, Vater in Ewigkeit (Kyrie, God, the Father Eternal) – places the chorale melody in long notes in the soprano voice, supported by phrases which use elements of the chorale melody. Christe, aller Welt Trost (Christe, the comfort of the world) sets the chorale tune in long notes in the tenor voice, the right hand and pedal accompaniment containing elements of the chorale tune. In the third setting, Kyrie, Gott heiliger Geist (Kyrie, God the Holy Ghost) the Chorale melody is heard in long notes in the pedal, under a monumental four-voice fugue based on the opening notes of each chorale phrase.

The six Schübler Chorales is a collection of chorale preludes for organ transcribed from various movements from his cantatas. This collection was published, one of a just a few works actually published during his lifetime. Each of the chorales presents the melody in a very straightforward way as it would have been sung by soloist, while the other voices recreate the orchestral parts. The most famous of these, of course, is Wachet auf, ruft uns die Stimme, his setting of the Advent chorale.

Wie soll ich fliehen hin (O whither shall I flee) is a transcription of a movement from an unknown cantata. A restless and fleet figure in the manuals portrays the souls search for redemption while the chorale melody is heard in the pedals.

One of the most complex and fascinating settings in the Clavierübung, Dritter Teil, as well as his entire oeuvre, Vater unser im Himmelreich (Our Father, which art in heaven), is in trio form, one voice in each hand and pedals. The work is a marvel of composition, using vorimitation (the use of elements of the chorale melody in contrapuntal material) and canon (the chorale melody played at the interval of a third several beats apart). The work employs several complicated rhythmic gestures: a quick dotted figure, triplets, and sixteenth notes all played simultaneously! A brain twister, to say the least. The chorale melody is heard in the midst of these rhythmic mash-ups in long notes, in canon, and in both hands. As our good friend and colleague, David Schrader, has pointed out, in this piece Bach is looking back at older compositional forms of the High Baroque, is fully immersed in his present style, and looking to the Style Galant as written by his sons.

We hear one J. S. Bach’s numerous settings of the German Gloria: Allein Gott in der Höh’ sei Ehr’ (All glory be to God on high). Indeed, one could make the case that this chorale was profoundly important to Bach; his motto Soli Deo Gloria was written at the top of each of his manuscripts, and he wrote several large and small settings for organ and based two cantatas on it. This setting is an early work which shows Bach at his splendid and virtuosic best. The chorale melody is heard in large four-part chords; Bach inserts brilliant cadenzas between each statement of the chorale melody employing rich and striking harmonies. This was quite typical for the young Bach who was deeply immersed in the Stylus Fantasticus as developed by the great Master of Lübeck: Dietrich Buxtehude, whom Bach admired and emulated.

The Passacaglia in c minor stands as one of Bach’s most monumental and towering works. In this glorious set of 24 variations on a theme and in the Fugue that immediately follows, we hear the power and range of his vast skill. A brief description of a passacaglia: a set of variations over a theme which recurs exactly in each variation in one of the voices. The theme is eight measures long, in triple metre. Each of the variations is of a specific character: some in large textures, some in transparent and delicate textures. Each is inventive and one hears the fertile mind of the composer spinning out a variety of ideas. The Passacaglia ends but Bach is not finished with ideas. He continues into a glorious fugue using the exact same theme as its subject. His brilliance continues through a further working-out of ideas until we reach a spectacular cadence on a D-Flat major chord. A majestically atheletic coda brings us to the final cadence.

WELCOME TO ST. CHRYSOSTOM’S CHURCH

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We are delighted to virtually welcome you online to St. Chrysostom’s Church as we continue our 2020 season and our celebration of the 15th anniversary of the arrival of C. B. Fisk’s Opus 123. This concert is the seventh this season celebrating this glorious instrument and the fourth of several concerts we are presenting online each month. Please see the announcement on Page 10 of upcoming concerts and information about this season’s concerts which were postponed to 2021.

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Join us online each Sunday for our livestreams broadcast on YouTube. You can watch via the link on our Facebook page posted at 10 :45 A.M. each Sunday: https://www.facebook.com/StChrysChicago

or go directly to our YouTube Channel : St. Chrysostom’s https://bit.ly/stchrysyoutube 10:50 A.M. Choral Anthem Prelude 10:55 A.M. Hymn Prelude 11:00 A.M. Morning Prayer 12 :15 P.M. Carillon Recital Stay up-to-date with St. Chrysostom’s music events by joining our email list :

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- Twitter: @MusicStChrys - Instagram: @musicatstchrysostoms

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RICHARD BARRICK HOSKINS

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Richard Barrick Hoskins was appointed Director of Music, Organist & Carillonneur of St. Chrysostom's Episcopal Church, Chicago, in 1984. He leads the music program which includes a 16-voice professional choir, a volunteer parish choir, and two children’s choirs, as well as Concerts at St. Chrysostom’s which presents international, national, and Chicago artists: organists, period instrument groups, choirs, and carillonneurs. The series prominently features the organ built in 2005 by C. B. Fisk, Inc., of Gloucester, Massachusetts. He has an active career as a concert artist both here and Europe. He has appeared as organist with the Grant Park Symphony Orchestra, the Chicago Youth Symphony Orchestra, the Milwaukee Symphony Orchestra, the Lyric Opera Chorus, the Chicago Symphony Brass, Music of the Baroque, the Aestas Consort, the William Ferris Chorale, Chicago Choral Artists, St. James’ Chamber Orchestra, Gaudete Brass Quintet, Asbury Brass Quintet and the Millar Brass Ensemble. Notable recitals in Europe have included three recitals at St. Sulpice, Paris, and at York Minster, York, England. He has accompanied choirs for six week-long residencies in England at Wells Cathedral, Durham Cathedral, Lincoln Cathedral, Worcester Cathedral, and Salisbury Cathedral, as well as residencies at Grace Cathedral, San Francisco, and The Cathedral of St. John the Divine, New York City. He was appointed Assistant Professor of Organ & Harpsichord at Northern Illinois University, DeKalb in 1995 where he taught until 2008. From 2007-2016 he was College Organist at Carthage College, Kenosha, Wisconsin, where he taught organ and church music. He has been heard on Pipedreams, the nationally syndicated radio program produced by Minnesota Public Radio. His recordings include live concert recordings at St. Chrysostom’s, with the Music of Baroque, the Choir of the Lutheran Theological Seminary of Chicago, and with St. James Cathedral. He is the Organist on the DVD of the 2007 Christmas Concert by Music of the Baroque, produced and broadcast by Channel 11 WTTW and national PBS stations. He is a regular contributor to The Diapson, the respected organ journal, writing reviews of choral music and other articles. He received his Bachelor and Masters of Music degree from Northwestern University in 1976 and 1989 (William H. Barnes Scholar & Pi Kappa Lambda). In 1979 he was awarded two scholarships by the French government for organ study in France with Daniel Roth, then Organiste-Titulaire of the Basilica du Sacre-Couer, now Organiste-Titulaire of St. Sulpice, with whom he also studied at the Summer Academy for Organists in Haarlem, Holland, in 1977. During the summer of 1992, he studied at Clare College, Cambridge, at the Cambridge Choral Studies Seminar.

THE FISK ORGAN _______________________________________________________________________________________________________________

The culmination of a 2-year project to rebuild or replace the 1979 M. P. Moeller organ, our glorious new organ, built by C. B. Fisk Organs of Gloucester, Massachusetts, was installed September 2004 and dedicated February 25, 2005.

On a bright, sunny day – September 12, 2004 – a huge semi-truck from Gloucester, Massachusetts pulled up to our curb at 10:58 A.M. and after the 11 :00 A.M. service, we all gathered in the courtyard to enjoy Ron Franklin’s BBQ. After lunch 112 of us began to carry the thousands of organ parts into the church. The truck was empty by 9:30 P.M. that evening, and early next morning the assembly of the organ began. About five weeks later we heard the first voiced stop (8’ Octave of the Great) at a service.

The organ is direct mechanical action with electric slider chests for certain large pipes. The handsome case, designed by Charles Nazarian, is African mahogany, the console is quarter-sawn white oak, the draw-knobs are Cocobollo wood, the keys are bone and ebony, the front pipes are polished and hammered lead.

There are 24 voices, 33 ranks, 1,729 pipes, the manuals are 58-notes, the pedalboard is 30-notes, straight and concave. The stop-action is electrically controlled solenoids. There are 262 levels of SSL memory.

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C. B. FISK, INC. – OPUS 123 GLOUCESTER, MASSACHUSETTS

Michael B. Kraft - President Steven A. Dieck – Chairman of the Board

David C. Pike – Senior Vice President & Tonal Director Gregory R. Bover – Vice President for Operations

Andrew X. Gingery – Vice President-Project Manager

Pedal Great Swell 16’ Contrebasse 16’ Prestant 8’ Viole de Gambe 16’ Prestant Great 8’ Octave 8’ Voix Céleste 16’ Soubasse 8’ Spire Flute 8’ Bourdon 8’ Octave 4’ Octave 8’ Flûte Traversiere 8’ Bourdon 4’ Open Flute 4’ Prestant 4’ Super Octave 2’ Fifteenth 4’ Flûte Octaviante 16’ Trombone IV-VI Mixture 1 1/3’ 2’ Octavin 8’ Trumpet 8’ Trompette IV Plein Jeu 2’ II Cornet 16’ Bombarde 8’ Trompette 8’ Hautbois

The Organ is maintained by Erickson, Christian, & Associates With special thanks to Dean Christian, Martin Hill, and Ray Davidson

MUSIC AT ST. CHRYSOSTOM’S _______________________________________________________________________________________________________________

Concerts at St. Chrysostom’s Church are made possible by the generosity of parishioners and friends.

We thank all those who have contributed to and supported Concerts at St. Chrysostom’s. We are profoundly grateful to all.

DANIEL ROTH – 4 FEBRUARY 2020 We thank the following parishioners and friends

whose gracious support has made this concert possible

David E. McNeel Lindsay Roberts & Richard W. Shepro

Thomas C. & Pamela Sheffield Gretchen & Michael Zook A Faithful Parish Family

THE FISK SOCIETY We acknowledge and thank the following who have supported Music at St. Chrysostom’s

with significant and sustained annual gifts

Anne Brinsmade Mark & Pamela Marks John Covell & Constance Frydenlund Leland & Karen Meader Caroline Cracraft Alice Moss Jean & Victor Elting Thomas C. & Pamela Sheffield Mark & Laura Fisher Richard W. Shepro & Lindsay Roberts Richard & Marilyn Helmholz Jason Williams A Parish Family Gretchen & Michael Zook David E. McNeel

Clara & Gordon Lang – for their gracious gift of a Mason & Hamlin grand piano

THE FRIENDS OF MUSIC AT ST. CHRYSOSTOM’S

Jeff Ammons The Huff Family Dorothy Ramm Sydney Armstrong The Hulings Family Libbet & Tobin Richter John Bankhurst & Ryan Kin The Hurley Family Jane Nicholl Sahlins Anne Brinsmade The Jacobs Family Keith Sanders Elizabeth Brown Barbara Jones The Schubert Family The Carpenter Family Judith Langendorf Karen Seda The Cerda Family Michel & Ann Kadinsky-Cade Susanna Steele Michelle Downey Sean Knudson Judith Stockdale William & Mary Jo Fairbanks The Lee Family Vicky Tesmer Ian Fielding The Maher-Pendry Family The Van Alyea Family The Grieb-Bradley Family Donald & Melinda Marshall Pat & Lilly Voelker Ginger & Del Hall Mary Pan Jason Williams William & Barbara Herzog The Quinlan Family Angela Yorath

Harlow & Susan Higginbotham Shauna Rajah The Zackfia Family

FUND-A-SUNDAY 2020 Friends of Music who supported our Choral Music for the Summer

Jon & Barbara Brightman The Fershee Family Leland & Karen Meader Anne Brinsmade Mrs. Helen Fisher Alice Moss Alexander & Isabelle Carpenter Mark Fisher Thomas C. & Pamela Sheffield Macol & José Cerda Karen Hagberg Lindsay Roberts & Richard W. Shepro Victor & Jean Elting Barbara T. Jones Gretchen & Michael Zook Tom & Liz Kohlbeck

CONCERTS AT ST. CHRYSOSTOM’S

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- NOVEMBER 20 -

7:00 P.M.

THOMAS COLAO - ORGANIST

- JANUARY 22 -

7:00 P.M. CHICAGO COLLEAGUES

Richard Hoskins celebrates Chicago composers Music by Ed Eicker, Marianne Kim, Keith Kalemba Alan Hommerding, Florence Price & Leo Sowerby

- POSTPONED TO 2021 -

HANNAH DE PRIEST - SOPRANO & MICHAEL PECAK - FORTEPIANO These two gifted artists return

with a celebration of Beethoven's 250th birthday

MARCH: CAFE ZIMMERMANN Ars Musica Chicago returns for our annual Bach’s birthday evening

CARILLON FESTIVAL

SUNDAYS AT 4:00 P.M. - JUNE 6, 13 & 20, 2021 Join us in our lovely courtyard as celebrated carillonneurs

play our beautiful 43-bell Gillett & Johnston carillon

ST. CHRYSOSTOM’S CHURCH 1424 NORTH DEARBORN PARKWAY

CHICAGO, ILLINOIS 60610

WWW.SAINTC.ORG

PHONE 312-944-1083

The Rev. Wes Smedley Rector

The Rev. Peihan Peggy Lo Assistant Priest Richard Barrick Hoskins Director of Music & Organist

Thomas Colao Associate Director of Music & Organist The Choir of St. Chrysostom’s Church

St. Chrysostom’s Singers

The Children’s Choirs

Kimberly Schafer Carillonneur

James Fackenthal Carillonneur Erica Schuller Voice Teacher