Choral Prelude
Jesus, Priceless Treasure – Johann Sebastian Bach (1685-1750)
Our friend Bach loved structure and form and often used these in mysterious or symbolic ways. For example, his music is replete with sets of three or 3 X 3, symbolizing the Trinity. He will often use the numbers 14 or 41, spelling out his own name (A=1, B=2, etc.) frontwards and backwards. Our prelude music today is excerpted from one of his six motets for choir a cappella, Jesu meine Freude (Jesus, my joy). He also wrote six English Suites, six French Suites, six Partitas for keyboard, etc. Bach’s collection of six Sonatas and Partitas for Solo Violin have exactly 2400 bars, in which four of the solos has precisely 1600 bars, and two exactly 800 bars. If any of this music sounded contrived or hampered by form, we might say the tail was wagging the dog, but Bach’s music is never for a moment without a sense of freedom, inspiration and great beauty. The man knew what he was doing!
Jesus, priceless Treasure, Source of purest pleasure, Truest friend to me.
Long my heart hath panted, Till it almost fainted, Thirsting after Thee.
Thine I am, O spotless Lamb, I will suffer naught to hide Thee,
Ask for naught beside Thee.
In Thy arms I rest me; Foes who would molest me Cannot reach me here.
Though the earth be shaking, Every heart be quaking, Jesus calms my fear.
Sin and hell in conflict fell, With their heaviest storms assail me:
Jesus will not fail me.
Thus the, the law of the Spirit of life Christ abiding,
now hath made me free from the law of sin and death,
Hence, all thought of sadness! For the Lord of gladness, Jesus, enters in.
Those who love the Father, Though the storms may gather, Still have peace within;
Yea, whate’er we here must bear, Still in Thee lies purest pleasure,
Jesus, priceless Treasure! (J. Franck [1653], trans. C. Winkworth [1863])
Offertory Motet
Tu pauperum refugium – Josquin Des Prez (1450-1521)
People who love music of this period invariably love Josquin, as he is most commonly called. From Flanders (today the Dutch-speaking part of Belgium), he was famous, beloved and widely admired. Today’s well known motet by Josquin seems quite influenced by his probable teacher Johannes Ockeghem (1410-1497). The lines are spare, making the ideas in the text come into a sharp relief; the the economy of material suggests the “poor”; the transparent texture at the end strongly evokes sleep. It is an almost perfect little piece, whose beauty and message we have enjoyed for nearly 600 years.
Thou art the refuge of the poor, remedy for afflictions, hope of exiles, strength of those who labor, way for the wandering, truth and life. And now, Redeemer, Lord, in thee alone I take refuge; thee, true God, I adore, in thee I hope, in thee I confide, my salvation, O Jesus Christ. Help me, lest my soul ever sleep in death.
Communion Motets
Wash me throughly – Samuel Sebastian Wesley (1810-1876)
In light of today’s music, I might mention that S. S. Wesley’s middle name was given him by his father, who thought the sun rose and fell on the music of J. Sebastian Bach. The Second Vatican Council (1962-65) has allowed us to use music in the Mass that is not in Latin. My, did that ever open doors, mostly good, but not all! Today’s motet by the organist and choirmaster at the great St. Paul’s cathedral in London, about which we spoke last week, is indeed a period piece in high Victorian style, and a piece which we love to sing. The short verses from Psalm 51 emerge slowly and in a dramatically expressive way, allowing us time to contemplate the text.
Wash me throughly from my wickedness, and forgive me all my sin. For I acknowledge my faults and my sin is ever before me. (Ps. 51:2–3)
O Lamm Gottes unschuldig – Nikolaus Decius (1480-1541), harmomized J. S. Bach
At this point I must admit to a secular homage. Today is Bach’s birthday, so in a small way, we remember this great man by bringing some of his music into the Mass. Unquestionably, this simple hymn tune is gilt with the sterling touch of Bach’s harmonies.
O Lamb of God, most stainless! Who on the Cross didst languish,
Patient through all Thy sorrows, Though mocked amid Thine anguish;
Our sins Thou bearest for us, Else had despair reigned o’er us:
Have mercy upon us, O Jesu!
Closing Hymn
The Glory of These Forty Days – St. Michael Hymnal 781 – Tune: Erhalt uns Herr
This hymn is here harmonized by John Brook (Johann Bach J). Bach harmonized hundreds of Lutheran hymns, and each one of them is a gem. He had a way of making the simplest tune sound as though he himself had composed it!
I leave you with a
video of the St. Matthew Passion, composed by Bach in 1727. You may observe the Fifth Sunday of Lent, Passion Sunday, with a devotional listening to one of the greatest monuments of Western music, remember Bach on his birthday, and also to see what school children are capable of doing!