we are delighted by your presence - arizona bach festival...concerto in a minor, bwv 593 1. allegro...
TRANSCRIPT
We are delighted by your presence, and hope that you enjoy every note of our 12th concert season! As our first virtual concert season unfolds, we have learned
new technical skills, learned how to reach a broader audience, and learned that music can continue in spite of obstacles.
We are deeply grateful to our generous supporters who have made this season pos-sible. We urge you to join us for all three concerts, lectures, and virtual gatherings. We encourage you to invite your friends to join us also, knowing that they can join us from the comfort and safety of their homes.
The board of directors, the Artistic Director, and volunteers have worked faithfully to bring the music of Johann Sebastian Bach to the cultural community of Arizo-na. Please join us by providing financial support, corporate support, or volunteer time. We also ask you to go to our website: ArizonaBachFestival.org to sign up for our email announcements. The Arizona Bach Festival is a 501(c)(3), and is poised to present more great music in the years to come.
Special thanks go to our current sponsors who have provided significant financial support for the 2021 Festival. We are enormously grateful to you! A special thank you also goes to Josefien Stoppelenburg for the wonderful art used for this year’s Festival. Not only a gifted musician, but an artist as well.
This year, all of our concerts are presented as memorial celebrations honoring past board members and special friends of the Festival. The organ concert is presented in part by the Central Arizona Chapter of the American Guild of Organists and in memory of friend and creative spirit Beverly Thomas. The LUTEDUO concert is underwritten by a gift from the Lemon Family in memory of husband, father, and founding board member, L. Gene Lemon. The Arias with Violin and Organ con-cert is underwritten in part by Janet Witzeman in memory of long-time donor and Bach-lover Robert Witzeman. We are honored to remember their legacy in pre-senting this wonderful music.
We offer you our warmest thanks and a gracious welcome from the Arizona Bach Festival Board and staff:
Donald Morse, President Elizabeth BuckScott Youngs, Artistic Director Nancy BuckCraig Westendorf, Vice President Susan WoodellWilliam Verdini, Secretary Anne KleindienstMichael Salazar, Treasurer Martin SchuringDavid Topping Robin Wright, Executive Assistant to the Board
The Festival at a Glance
Each performance will begin with a brief lecture by Dr. Craig Westendorf.
Sunday, February 21, 3:00 pm (mst)Aaron David Miller, Organist
The House of Hope Presbyterian Church, St. Paul, MN
Sunday, February 28, 3:00 pm (mst)LUTEDUO “Bach Meets Weiss”
Anna Kowalska and Anton Birula, LuteChurch of the Ascension, Warsaw, Poland
Sunday, March 7, 3:00 pm (mst)Arias with Violin and OrganIngela Onstad, Soprano Michael Hix, Baritone
Stephen Redfield, Violin Maxine Thévenot, OrganCathedral of St. John, Albuquerque, NM
Virtual concert editing by Nathan James of Vault Mastering Studios.
Inspire. Educate. Preserve. Elevate.
Grateful Thanks To Our Donors*in loving memory
Passion $10,000 +
Georgann V. ByrdGene* & Cathie Lemon and Family
Gilbert RotsteinPhillip & Billie Roy*
Robert* & Janet WitzemanScott Youngs
Oratorio Order $5,000-$9,999 All Saints’ Episcopal Church (in kind)
American Guild of Organists, Central Arizona ChapterCamelback Bible Church (in kind)
Central United Methodist Church (in kind) David & Lisa Cherney
Donna CorcoranMarlene Rausch & Thomas Phinney
David ToppingVictor* & Irene Tseng
William Verdini
Cantata Circle $1,000-$4,999Anonymous
Barbara Anderson & Kerr WhitfieldRoger & Bobbie BensonRoger* & Marcia Boston
Roberta BrillJanet CampbellCarl Carlozzi*
Jennifer CaughlinDavid Clymer*Robert Dixon
A. Leroy* & Kate Ellison
James & Shannon ForsethDavid & Jane Haak
Lucy Guernsey & Wayne Halleen*Patricia Hoyt
KBAQ Radio (in kind)Alan* & Claudia Kennedy
James Kennedy*Graham & Barbara Kretchman
Deane & Maggie LierleHarvey* & Dorothy Lincoln Smith
Kathryn Luttrull
Don & Elizabeth MorseMitchell Mudick
Janice MyersJacqueline ParedesEdward W Rothe
Boris & Rosario RotmanSaint Barnabas on the Desert (in kind)
Michael SalazarRichard* & Ginger Schuff
Chuck SedgwickState of Arizona
Cita StelzerDoug Thomas & Sheryl Guernsey
James WaldorfJohn & Colleen Warner
Donna Westby*Craig & Sue Westendorf
Susan Woodell
The Passion, Oratorio Order, and Cantata Circle categories represent cumulative donations.
Sonata Society & Chorale(Donations made from 2019 to present)
Paul & Peach AkerhielmWilliam & Patricia BermanByron & Mary Blackmore
Elizabeth BuckWilliam Burrill & Marilyn Usher
Robert CiancolaBarbara CollJohn Doody
Karen EverittKarin GoldstaubOmar Gordillo
Elvin Garry Grundy IIIEllen Hand
Rowena HardingerTalmon & Ena Hertz
Tony & Paula HumpageRichard & Jacquelyn Island
JC Research IncAva Jensen
William & Grace JohnsonSue & George Kapp
Paul KentNancy Kersten
Anne Kleindienst & Stephen MeyersEric Klose
Frank KoonceKathy & Richard Kramer-Howe
Richard & Nancy KrauseKimberly Marshall & Adam Zweiback
Lynnette MaultDiodoro Mendoza
Daena MireauDonald Newsom
Diane PapkeLynda PeachJames PeckJoyce Peters
Baird & Maureen PetersonRichard & Ethel* Probst
Judy RidenKathleen Roediger
Jen RogersDavid & Kim Schaller
Eckart Sellheim & Dian BakerLinda Stryker
Steven & Martha SwerdfegerDawn Thomas
VMWareElaine Warner
Robert & Debra WestendorfRobert White & Joan Weiss
Richard & Rebecca WinkelmannRobin Wright
Barbara Wulbrecht
Sunday, February 21, 3:00 pm (mst)
Aaron David Miller, OrganistThe House of Hope Presbyterian Church, St. Paul, MN
This concert presented in part by the Central Arizona Chapter of the American Guild of Organists and in memory of Beverly Thomas.
ProgramThe program will begin with a brief lecture by Dr. Craig Westendorf
Prelude and Fugue in D Major, BWV 532 J. S. Bach (1685-1750)
Concerto in A Minor, BWV 593 1. Allegro 2. Larghetto 3. Allegro
Air and Gigue, BWV 1068 Fisk Organ, 1979, Sanctuary Balcony Organ
Pastorella, BWV 590
Prelude and Fugue in G Major, BWV 541 Jaeckel Organ, 2001, Elizabeth Chapel Organ
Little Fugue in G Minor, BWV 578Merklin Organ, 1879, Chancel Organ
Three Sinfonias 1. BWV 49 2. BWV 156 3. BWV 29
Prelude and Fugue in E Minor, “The Wedge,” BWV 548 Fisk Organ, 1979, Sanctuary Balcony Organ
Aaron David Miller is noted for his highly imaginative and creative style found in his performances, improvisa-tions and compositions. Prize winner of several prestigious competitions, including the top prize at the AGO National Improvisation Competition, and the Bach and Improvisation prizes at the Calgary International Organ Festival Competition, he is also noted for his fine performances of repertoire spanning all periods. He has also received rave reviews when accompanying silent films. His recital performances have taken him across the country performing in concert halls, churches, and collaborating with ensembles of all sizes.
Recently he was invited to be among the performers for a special 10th anniversary performance of the Glatter-Götz/Rosales organ in Los Angeles’ Disney Hall and to accompany a silent film for the new Kaufmann Center for Arts in Kansas City. He was invited to perform for the 100th anniversary of the Spreckel’s Organ (Bal-boa Park, San Diego) and was commissioned to write a new piece for the occasion.
A prolific composer, many of Dr. Miller’s compositions have won critical acclaim. Featured prominently at the AGO National Convention in Chicago in 2006, Dr. Miller’s work for organ and orchestra, Sleepy Hollow, was premiered at the opening concert at Symphony Hall. His Concerto for Two Organists, which was premiered and recorded by the Zurich Symphony, is available on the Ethereal label. The Tole-do Symphony commissioned a work which was performed in celebration of their 60th anniversary season.
Aaron Miller’s early organ studies were with Carlene Neihart and David Schrad-er. He earned a Bachelor of Music degree from the Eastman School of Music, where he studied organ performance with David Craighead, Russell Saunders, David Higgs, and Michael Farris, and composition with Samuel Adler and Joseph Schwantner. His graduate studies were taken at the Manhattan School of Music, where he completed his Master’s and Doctor of Musical Arts degrees, studying composition and organ performance with McNeil Robinson.
Aaron serves as the Director of Music and Organist at House of Hope Presbyteri-an Church in St. Paul, Minnesota, and maintains an active recital schedule. He is a forensic musicologist for Donato Music in Scarsdale, NY.
Sunday, February 28, 3:00 pm (mst)
LUTEDUO
“Bach Meets Weiss” – Duets for Baroque LutesAnna Kowalska & Anton Birula – 13 course baroque lutes
Church of the Ascension, Warsaw, PolandThis concert is presented by the Lemon Family in memory of L. Gene Lemon.
Program
The program will begin with a brief lecture by Dr. Craig Westendorf
Silvius Leopold Weiss (1686 - 1750)
Suite Nr 15 in A minor “L’Infidele” from Dresden ManuscriptEntrée - Courante - Musette - Menuet - Sarabande - Païsanne
Suite Nr 29 in G minor from Dresden ManuscriptPrelude - Allemande - Passepied - Bourée - Sarabande - Menuet - Gigue
Ciaccona in G minor
Johann Sebastian Bach (1685-1750)
French Suite BWV 814Allemande - Courante - Sarabande - Menuet 1&2 - Anglaise - Gigue
Pastorale BWV 590
Sinfonia BWV 29/1006a
Air BWV 1068
Program Notes
Music for lute duets was all the rage during the Renaissance. During the Baroque era they were less popular, giving way to solo repertoire of amazing complexity. The lute reached its zenith during the Baroque and all but disappeared afterward. Today’s program features works by the two most prominent masters of lute compo-sition: Johann Sebastian Bach and Silvius Leopold Weiss. These two masters in-corporated all the best techniques of the French and Italian styles, producing some of the most stunning music in the lute repertoire.
Silvius Weiss developed a new style of lute playing using lots of open strings (the “campanella effect”), adding extra strings, and providing compositions on a grand scale. Johann Gottlieb Baron, a great lute enthusiast and composer of the time wrote: …”the Weissian method of playing the lute is considered the best, most sound, gallant, and perfect of all. Many have striven to attain his new method, just as the Argonauts sought the Golden Fleece.”
Johann Sebastian Bach used the same musical language as his predecessors in com-posing for the lute and was often considered old fashioned by his colleagues. What is most fascinating is that he “talked” about universal matters with unprecedented depth, even in his compositions for a single instrument. Bach’s music for lute is also a great example of the art of transcription. Some of his most popular lute works
are taken from his other works for cello, violin, or ensembles. He could use the lute as a polyphonic instrument including an highly developed base line and extensive ornamentation.
As far as we know, these two composers developed a competitive friendship which encouraged larger forms and a greater color palette from both. Unfortunately, only a few duets by Weiss actually survived, and none by papa Bach. Knowing that both of these composers were masters of improvisation, we can only imagine the spontaneous output of their meetings. As lutenists, we are striving to broaden the repertoire and help lead a revival of this beautiful instrument.
The LUTEDUO
Anna and Anton have come together to attract attention to the long-neglected duo repertoire of the Baroque lute. United by a mutual fascination of this repertoire, they wanted to help shed light upon music which was written during the final twi-light hours of the lute’s history. They were the first to perform and record the re-cently discovered duet compositions of Francois du Fault, and transcriptions of the Marin Marais’ viola da gamba compositions for two baroque lutes. This resulted in the CD Baroque Lute Duets which was released in 2002. Later they started to work on duo repertoire for other combinations of historical plucked instruments, espe-cially baroque guitar and theorbo.
Their current project is dedicated to works of Johann Sebastian Bach. It includes works for solo lute, as well as transcriptions of violin, cello, and orchestral compo-sitions, all to be performed on two 24-string Baroque lutes. Anna and Anton have presented these programs across Europe, performing in Austria, Belgium, Czech Republic, Estonia, Finland, France, Germany, The Netherlands, Lithuania, Poland, Romania, Russian Federation, Slovakia, Ukraine, and Switzerland.
Anna Kowalska studied lute with Toyohiko Satoh and Nigel North at the Royal Conservatory in The Hague, The Netherlands. Anna has covered a vast repertoire from the Renaissance to late Baroque including 19th century repertoire for histor-ical guitar. Her love of music extends beyond the lute – she has studied and also performed on a classical guitar, piano and violin. This diversity constantly fuels her interest in venturing beyond the limits of original works for baroque guitar, lute and different combinations of historical plucked instruments. Anna’s father, Dimity, was a good amateur player of the button accordion and always supported her different
interests. In fact, he was often the first person to introduce her to different styles of music. This led to Anna’s fascination with the Celtic tradition – the sound of the English concertina and fiddle are a great passion that she carries with her. Anna teaches lute and 19th century guitar at the Felix Nowowiejski Music Academy in Bydgoszcz, Poland, and at the Frederic Chopin Music College in Warsaw.
Anton Birula began his musical education with piano and classical guitar. In the early 1990s, he also completed his Master’s Degree in Art Photography. In the dark
room of a photo laboratory Anton listened to enormous amounts of music and was drawn in by the lute works of Silvius Leopold Weiss and Johann Sebastian Bach. This fascination eventually led him to Holland and Germany where he studied the lute with Prof. Toyohiko Satoh at the Koninklijk Conservatorium in The Hague and with Prof. Konrad Junghaenel at the Hochschule fur Musik in Cologne. With his concentration on the extant solo literature for the Baroque lute, Anton has performed numerous lute recitals featuring the music of J.S. Bach, S.L. Weiss, and the French lutenists. As a theorbo player Anton Birula has worked with numerous ensembles specializing in vocal music by 17th century Italian and English compos-ers, and the French viola da gamba music of Marin Marais and Antoine Forqueray. Anton Birula is a lute teacher at the Felix Nowowiejski Music Academy in Bydgo-szcz, Poland, and at the Frederic Chopin Music College in Warsaw, where he is also the head of the Harpsichord, Organ and Early Music department.
Sunday, March 7, 3:00 pm (mst)
Arias with Violin and OrganIngela Onstad, Soprano Michael Hix, Baritone
Stephen Redfield, Violin Maxine Thévenot, OrganCathedral of St. John, Albuquerque, NM
This concert is presented in part by Janet Witzeman in memory of Robert Witzeman.Special thanks to: The Episcopal Cathedral of St. John, Albuquerque, The Very Rev’d Kristina Maulden,
Dean, and Canon Maxine Thévenot, Director of Cathedral Music & Organist.
ProgramThe program will begin with a brief lecture by Dr. Craig Westendorf
Johann Sebastian Bach (1685-1750)
Wenn kömmst du, mein Heil? BWV 140, Mvt. 3Soprano & Baritone Duet
Quoniam from Missa Brevis in F major, BWV 233Soprano Aria
Domine Deus from Missa Brevis in A major, BWV 234Baritone Aria
Fantasia in G major, BWV 572Organ Solo
Ich bin vergnügt in meinem Leiden, BWV 58, Mvt. 3Soprano Aria
Die Welt mit allen Königreichen, BWV 59, Mvt. 4Baritone Aria
Sonata in G Major for violin and continuo, BWV 1021Adagio - Vivace - Largo - Presto
Hier, in meines Vaters Stätte, BWV 32, Mvt. 3Baritone Aria
Wenn die Frühlingslüfte streichen, BWV 202, Mvt. 5Soprano Aria
Welt, ade, ich bin dein müde, BWV 158, Mvt. 2Soprano & Baritone Duet
Soprano Ingela Onstad has enjoyed a var-ied international career in opera, concert work, and contemporary music. Operatic highlights include performances at Dresden’s Staatsoper-ette, Oldenburgisches Staatstheater, Landesthe-ater Schleswig-Holstein, and Santa Fe Opera in roles including Musetta in La Boheme, Pamina and Papagena in Die Zauberflöte, Nannetta in Falstaff, Mabel in Pirates of Penzance, and Violetta in La Traviata.
Highlights of her career as a concert and orato-rio soloist include Orff’s Carmina Burana, Char-pentier’s Te Deum, Haydn’s The Creation, Mozart’s
Exsultate, Jubilate, Barber’s Knoxville Summer of 1915, Handel’s Messiah, and numerous Bach cantatas with groups such as the Santa Fe Symphony, New Mexico Philhar-monic, Bad Reichenhaller Philharmonie, St. John’s Bach Project, and the Chicago Arts Orchestra.
A sought-after interpreter of contemporary works, she has created operatic roles in two world premieres and has performed diverse works by Schoenberg, Kurtag, Steinbach, Lavista, and Schwantner, amongst others.
Ms. Onstad’s 2021 performances include Elsa in Sciarrino’s operatic monodrama Lohengrin with Opera Southwest, Kurtag’s Kafka Fragments with Chatter, and a con-cert of Bach arias and duets with the Arizona Bach Festival.
Ms. Onstad completed her undergraduate degree at McGill University. She earned a Master of Music degree at the University of New Mexico. In addition to her work as a singer, Ms. Onstad is a Licensed Mental Health Counselor (LMHC) and Performance Anxiety Coach who frequently presents on topics concerning mental health and performers through her business Courageous Artistry.
Baritone Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” His career highlights include performances at Carnegie Hall, Tanglewood Music Center, Boston’s Symphony Hall, and Vienna’s Musikverein.
Included among his over 20 stage roles are Mad King George in Peter Maxwell Davies’ Eight Songs for a Mad King, Falke in Die Fledermaus, the Drunken Poet in The Fairy Queen, Germont in La Traviata, Don Alfonso in Cosí fan tutte, and Nick Shadow in The Rake’s Progress.
Hix is a sought-after performer of concert/or-chestral works with over 75 oratorio/cantata/concert roles in his repertoire. He won 3rd Place in the American Prize in Art Song and Oratorio Performance in 2019. He has been featured as a soloist in concerts with the Boston Pops, Ore-gon Bach Festival, Arizona Bach Festival, Santa Fe Symphony, Orlando Philharmonic, Georgia
Symphony, New Mexico Philharmonic, Santa Fe Desert Chorale, True Concord Voices, New York City’s Trinity Lutheran Bach Vespers Series and the Tallahassee Bach Parley among others. In 2021 he was appointed Artistic Director of the St. John’s Bach Project at St. John’s United Methodist Church in Albuquerque, NM.
Dr. Hix holds a Bachelor of Music degree in music theory from Furman University, masters degrees in both voice and historical musicology from Florida State Univer-sity and a Doctorate of Music in Voice Performance from Florida State University. He is an Associate Professor of Voice at the University of New Mexico.
Canon Dr. Maxine Thévenot serves as Di-rector of Cathedral Music & Organist at The Episcopal Cathedral of St. John, Albuquer-que, New Mexico, USA. She is a member of the adjunct faculty at the University of New Mexico as instructor of organ after serving for 15 years as the Director of the Universi-ty’s Women’s Choir, Las Cantantes. Now in its 14th year, she is Founding & Artistic Di-rector of New Mexico’s first resident profes-sional choral ensemble, Polyphony: Voices of New Mexico.
Acclaimed for her ‘solid musicianship...technical security and poise’ by The Amer-ican Organist (AGO) and for her ‘beautiful registration...’ by The Diapason Mag-azine, Maxine Thévenot has performed solo organ recitals across Canada, the U.S.A., Great Britain and Europe, where she is recognized for her skillful, musical playing, and inventive programming. An advocate of new music, she has given numerous world, national, and regional premieres of choral and organ works by today’s prominent living composers. A featured performer and lecturer at national and regional conventions of the AGO and Royal Canadian College of Organists, winner of the 2000 Canada Bach National Organ Competition, Maxine has also broadcast for the Canadian Broadcasting Corporation, National Public Radio, and Pipedreams. Recognized for her excellence as a recording artist as both an organ soloist and choral conductor, Maxine has released over a dozen critically acclaimed commercial recordings through the RavenCD label. In her spare time she enjoys scuba diving, hiking, baking, and walking.
Violinist Stephen Redfield, who has served as Concertmaster of the Arizona Bach Festival since its incep-tion, is also concertmaster of the Santa Fe Pro Musica and has been Associate Professor of Violin at the University of Southern Mississippi School of Music since 1996. Each summer since 1992, Stephen has performed with the Vic-toria Bach Festival, where his perfor-mances as concertmaster and soloist have been produced on discs and broadcast nationally. He is a long-standing participant in the Oregon Bach Festival, often featured as concertmaster and in chamber music, and where he has participated in numerous recordings, including the Grammy Award-winning disc Credo. Stephen performs regularly as a Baroque violinist with the Albuquerque Baroque Players and with the Atlanta Baroque Orchestra. Stephen’s Baroque chamber music credits include concerts with the Smithsonian Chamber Players and the Newberry Con-sort, with such artists as Marion Verbruggen, Mary Springfels, Elizabeth Blumen-stock, and Kenneth Slowik.
Lyrics and Translations
Wenn kömmst du, mein Heil? BWV 140, Mvt. 3Soul:When are you coming, my salvation?
Jesus:I come, your portion.
Soul:I wait with burning oil.
Jesus:Open the hall
Soul:I open the hall
both:to the heavenly feast.
Soul:Come, Jesus!
Jesus:Come, lovely soul!
Seele:Wenn kömmst du, mein Heil?
Jesus:Ich komme, dein Teil
Seele:Ich warte mit brennendem Öle
Jesus:Eröffne den Saal
Seele:Ich öffne den Saal
beide:Zum himmlischen Mahl
Seele:Komm, Jesu!
Jesus:Komm, liebliche Seele!
Quoniam from Missa Brevis in F major, BWV 233
Quoniam tu solus sanctus,tu solus Dominus,tu solus altissimus Jesu Christe.
For thou only art holy,thou only art the Lord,thou only, O Jesus Christ, art most high.
Domine Deus from Missa Brevis in A major, BWV 234
Domine Deus, Rex coelestis,Deus Pater omnipotens,Domine Fili unigenite Jesu Christe,Domine Deus, Agnus Dei, Filius Patris.
O Lord God, heavenly King,God the Father Almighty,O Lord, the only-begotten Son, Jesus Christ,O Lord God, Lamb of God, Son of the Father.
Ich bin vergnügt in meinem Leiden,Denn Gott ist meine Zuversicht.Ich habe sichern Brief und Siegel,Und dieses ist der feste Riegel,Den bricht die Hölle selber nicht
I am happy in my sufferings,since God is my reassurance.I have a sure letter and sealand this is the strong boltthat hell itself does not break.
Ich bin vergnügt in meinem Leiden, BWV 58, Mvt. 3
Die Welt mit allen Königreichen, BWV 59, Mvt. 4
Die Welt mit allen Königreichen,Die Welt mit aller HerrlichkeitKann dieser Herrlichkeit nicht gleichen,Womit uns unser Gott erfreut:Dass er in unsern Herzen thronetUnd wie in einem Himmel wohnet.Ach Gott, wie selig sind wir doch,Wie selig werden wir erst noch,Wenn wir nach dieser Zeit der ErdenBei dir im Himmel wohnen werden.
The world with all its kingdoms,The world with all its glorycannot be compared with this glorywith which our God makes us glad:that his throne is within our heartsand there he dwells as in heaven.Ah God, how blessed we are now,how blessed we shall then bewhen after this time on earthwe shall live with you in heaven.
Hier, in meines Vaters Stätte, BWV 32, Mvt. 3
Hier, in meines Vaters Stätte,Findt mich ein betrübter Geist.Da kannst du mich sicher findenUnd dein Herz mit mir verbinden,Weil dies meine Wohnung heißt.
Here, in my Father’s placeA distressed spirit finds me.Here you can certainly find meAnd unite your heart with me,Since this is called my dwelling.
Wenn die Frühlingslüfte streichen, BWV 202, Mvt. 5
Wenn die Frühlingslüfte streichenUnd durch bunte Felder wehn,Pflegt auch Amor auszuschleichen,Um nach seinem Schmuck zu sehn,Welcher, glaubt man, dieser ist,Dass ein Herz das andre küsst.
When the spring breezes blowand waft through the colourful fields,it is Love’s custom also to sneak outto see what is his own glory-and that, people believe, is this:when one heart kisses another.
Welt, ade, ich bin dein müde, BWV 158, Mvt. 2
Bass:World, farewell, I am weary of you,the tents of Salem suit me better,
Soprano:World, farewell, I am weary of you,I want to go to heaven,
Bass:where in peace and calmI can in bliss gaze on God for ever.
Soprano:there will be true peaceand eternal majestic calm.
Bass:There I shall stay,there I shall delight to dwell,
Soprano:World, with you is war and strife,nothing but pure vanity;
Bass:There I shall be resplendent adornedwith heavenly crowns.
Soprano:In heaven at all timespeace, joy and bliss.
Bass:Welt, ade, ich bin dein müde,Salems Hütten stehn mir an,
Sopran:Welt, ade, ich bin dein müde,Ich will nach dem Himmel zu,
Bass:Wo ich Gott in Ruh und FriedeEwig selig schauen kann.
Sopran:Da wird sein der rechte FriedeUnd die ewig stolze Ruh.
Bass:Da bleib ich,da hab ich Vergnügen zu wohnen,
Sopran:Welt, bei dir ist Krieg und Streit,Nichts denn lauter Eitelkeit;
Bass:Da prang ich gezieretmit himmlischen Kronen.
Sopran:In dem Himmel allezeitFriede, Freud und Seligkeit.
German translations by Francis Browne Latin translations by Z. Philip Ambrose