The Atlanta Baroque Orchestra

John Hsu, Artistic Director & Conductor

Dieterich Buxtehude
16371707

Membra Jesu nostri

Daniel Pyle
Resident Director
Sunday 11 March 2007
3:00 p.m.
Peachtree Road United Methodist Church
3180 Peachtree Road NW
Atlanta, Georgia

DIETERI CH BUXTE HUDE

16371707
Sonata in G
for two violins, viola da gamba, and basso continuo
MEMBRA JESU NOSTRI
BuxWV 75
I
Ad pedes
.

II
Ad genua
III
Ad manus
IV
Ad latus

intermission
Prludium in G minor, BuxWV 163
for organ manualiter
Sonata in A minor, opus 1 no. 3
for violin, viola da gamba, and basso continuo
V
Ad pectus
VI
Ad cor
VII
Ad faciem
Leila Lazenby, soprano I
Judith Overcash Mohr, soprano II
Holly McCarren, alto

Violin
Gesa Kordes
Martha Perry

Bruce Sellers, tenor

Brent Davis, bass

Viola da gamba
Brent Wissick
Martha Bishop
Eckhart Richter
Susan Patterson
Joshua Lee

Violone
Joshua Lee
Organ
Daniel Pyle

I.

A D P E DES
T O H IS F EET

II.

A D G ENUA
T O H IS K NE ES

Sopra no I & II, A lto, Te nor, Bass

Ecce super montes pedes
Behold, on the mountain the feet

Sopra no I & II, A lto, Te nor, Bass

Ad ubera portabimini,
You shall be carried upon her hip,

evangelizantis et annuntiantis pacem.

of him who brings the good news, and proclaims peace.
(Nahum II: 1)

et super genua blandicentur vobis.

And dandled upon her knee. (Isaiah LXVI:12)

Sopra no I
Salve mundi salutare,
Hail, savior of the world,
salve, salve Jesu care!
Hail, beloved Jesus!
Cruci tuae me aptare
I would like to hang with you on your cross.
vellem vere, tu scis quare,
Truly you know why;
da mihi tui copiam.
give me your strength.
Sopra no II
Clavos pedum, plagas duras
The nails in your feet, the hard strokes
et tam graves impressuras
and the severe weals
circumplector cum affectu,
full of emotion I embrace them,
tuo pavens in aspectu,
full of anxiety at the sight of you,
tuorum memor vulnerum.
bearing your wounds in my memory.
Bass
Dulcis Jesu, pie Deus,
Sweet Jesus, merciful God,
ad te clamo, licet reus,
I call out to you, though I be guilty;
praebe mihi te benignum,
In your mercy show yourself to me,
ne repellas me indignum
do not reject me as unworthy
de tuis sanctis pedibus.
from your holy feet.

(Ecce super montes repetatur)

Te nor
Salve, Jesu, rex sanctorum,
Hail, Jesus, king of saints,
spes votiva peccatorum,
thou welcome hope of sinners,
crucis lignum tanquam reus,
from the wood of the cross like a convict
pendens homo verus Deus,
the man hanging, yet true God,
caducis nutans genitus!
bending with doomed knees!
Alt o
Quid sum tibi responsurus,
How should to you respond,
actu vilis, corde durus?
feeble in action, hard in heart?
Quid rependam amatori,
How shall I repay your love,
qui elegit pro me mori,
thou who dost choose to die for me,
ne dupla morte morerer?
So that I might not suffer a twofold death?
Sopra no I & II, Bass
Ut te queram ment para,
That I shall seek with you a pure spirit,
sit haec mea prima cura,
may this be my chief concern;
non est labor nec gravabor,
it is neither a labor nor a burden,
sed sanabor et mundabor,
but a healing and a cleansing
cum te complexus fuero.
When I embrace you.

(Ad ubera portabimini repetatur)

III.

A D MANUS
T O H IS H AN DS

IV.

A D LATUS
T O H IS S I DE

Sopra no I & II, A lto, Te nor, Bass

Quid sunt plagae istae
What are these wounds

Sopra no I & II, A lto, Te nor, Bass

Surge, amica mea, speciosa mea, et veni,
Arise, my love, my fair one, and come away

In medio manuum tuarum?

in the middle of thy hands? (Zacharias XIII:6)

colomba mea in foraminius petrae,

my dove in the cleft of the rock,

Sopra no I
Salve Jesu, pastor bone,
Hail, Jesus, good shepherd,

in caverna maceriae.
in the hidden place of the cliff. (Song of Songs II: 1314)

fatigatus in agone,
exhausted from your death-agony,

Sopra no I
Salve latus salvatoris,
Hail, side of the savior,

qui per lignum es distractus

who by the wood is tormented

in quo latet mel dulcoris,

in which lies hidden the sweetness of honey,

et ad lignum es compactus
and to the wood is fastened

in quo patet vis amoris,

in which is revealed the power of love,

expansis sanctis manibus.

by your out-stretched holy hands.

ex quo scatet fons cruoris,

out of which flows the spring of your blood,

Sopra no II
Manus sanctae, vos amplector
Holy hands, I embrace you

qui corda lavat sordida.

which washes clean the filthy heart.

et gemendo condelector,
and, lamenting, I delight in you,

Alt o, Ten or, Bass

Ecce tibi appropinquo,
Behold, I draw near to thee;

grates ago plagis tantis,

I give thanks for the terrible wounds

parce, Jesu, si delinquo.

spare me, Jesus, if I fall short.

clavis duris, guttis sanctis,

for the hard nails, for the holy blood-drops

Verecunda quidem fronte,

With shame marked indeed on my face,

dans lacrimas cum osculis.

with my kisses while you weep.

ad te tamen veni sponte

to you nevertheless I come unbidden

Alt o, Ten or, & Bass

In cruore tuo lotum
By thy streaming blood washed,

scrutari tua vulnera.

to study thy wounds.

me commendo tibi totum,

I entrust myself wholly unto thee;

Sopra no II
Hora mortis meus flatus
At the hour of death may my breath

tuae sanctae manus istae

May these holy hands of thine

intret, Jesu, tuum latus,

enter your side, Jesus;

me defendant, Jesu Christe,

defend me, Jesus Christ,

hinc expitans in te vadat,

when expiring, may it rush into thee

extremis in periculis.
In the final hour of trial.

ne hunc leo trux invadat,

lest it be attacked by the savage lion,

(Quid sunt plag repetatur)

sed apud te permaneat.

but with thee remain forever.
(Surge, amica mea repetatur)

V.

A D P E CTUS
T O H IS B R EAST

Alt o, Ten or, Bass

Sicut modo geniti infantes rationabiles,
In the same manner as newborn babes, sensible
et sine dolo concupiscite,
and without guile, long for spiritual milk,
ut in eo creascatis in salutem.
so that you may grow into salvation.
Si tamen gustastis,
For thus indeed have you tasted it,
quoniam dulcis est dominus.
Because of the kindness of the Lord. (I Peter II: 23)
Alt o
Salve, salus mea, Deus,
Hail, God my salvation,
Jesu dulcis, amor meus,
sweet Jesus, my beloved;
salve, pectus reverendum,
hail, breast worthy of reverence,
cum tremore contingendum,
with trembling had to be touched,
amoris domicilium.
of love the dwelling-place.
Te nor
Pectus mihi confer mundum,
Give to me a clean heart,
ardens, pium, gemebundum,
ardent, pious, full of sighs,
voluntatem abnegatam,
a will which denies itself,
tibi semper conformatam,
to thee always conforming,
juncta virtutum copia.
filled with virtues.
Bass
Ave, verum templum Dei,
Hail! true temple of God,
precor miserere mei,
I pray thee, have mercy on me,
tu totius arca boni,
thou that art the shrine of all that is good,

fac electis me apponi,

make me to be set among the chosen,
vas dives, Deus omnium.
O precious vessel, O God of all.
(Sicut modo geniti repetatur)
VI.

A D COR
T O H IS H EART

Sopra no I, S opran o II, Bass

Vulnerasti cor meum,
You have ravished my heart,
soror mea, sponsa.
My sister, my bride. (Song of Songs IV: 9)
Sopra no I
Summi regis cor, aveto,
Heart of the highest king, I greet you,
te saluto corde laeto,
you I salute with joyous heart,
te complecti me delectat
embracing you delights me
et hoc meum cor affectat,
and this my heart strives for,
ut ad te loquar animes.
that you inspire me to speak to you.
Sopra no II
Per medullam cordis mei,
Through the marrow of my heart,
peccatoris atque rei,
of a sinner and an offender,
tuus amor transferatur,
may thy love be conveyed
quo cor tuum rapiatur,
to me by whom thy heart was ravaged,
languens amoris vulnere.
exhausted by the wounds of love.
Bass
Viva cordis voce clamo,
With the living voice of my own heart I call,
dulce cor, te namque amo,
sweet heart, for I love thee,
ad cor meum inclinare,
to incline toward my heart,
ut se possit applicare
so that it can nestle,

devoto tibi pectore.

devoted to thee, on thy breast.
(Vulnerasti repetatur)
VII.

A D FA CI EM
T O H IS F AC E

Sopra no I, S opran o II, Alt o, Ten or, Bass

Illustra faciem tuam super servum tuum;
Let thy face shine upon thy servant;

temet ipsum tunc ostende

then show thyself to me
in cruce salutifera.
upon the cross which brings salvation.
Amen!
Progra m not e
Dieterich Buxtehude was the foremost musician in Germany during
his active career, and with this concert the Atlanta Baroque Orchestra
observes the 300 anniversary of his death and the 370 of his birth.
It is not known precisely when or even where he was born, but the
best deduction from available evidence is that he was 70 when he
died in 1707 (and therefore born in 1637), and that he was born in the
city of Helsingr (the location of the castle in which Shakespeare set
his play Hamlet). The fact of his pre-eminence during his lifetime is
demonstrated by the fact that more of his music survives perhaps
five or six times as much as any of his contemporaries, more than
any other besides J. S. Bach. (In fact, Bach himself is responsible for
the preservation of a very large proportion of Buxtehudes organ
music.)
th

salvum me fac in misericordia tua.

make me safe in thy mercy.
(Psalm XXXI:17)
Alt o, Ten or, Bass
Salve, caput cruentatum,

Hail! O head stained with blood,

totum spinis coronatum,
all crowned with thorns,
conquassatum, vulneratum,
disfigured and covered with wounds,
arundine verberatum,
struck with a rod,
facie sputis illita.
the face spat upon and soiled.
Alt o
Dum me mori est necesse,
If for me to did must be,
noli mihi tunc deesse,
do not be absent from me,
in tremenda mortis hora
in the dreadful hour of death;
veni, Jesu, absque mora,
come, Jesus, without delay,
tuere me et libera!
protect me and set me free!
Sopra no I, S opran o II, Alt o, Ten or, Bass
Cum me jubes emigrare,
When thou biddest me leave this world,
Jesu care, tunc appare,
dear Jesus, then appear

th

In one important respect, Buxtehudes career was a mirror-image of

Bachs. In spite of the fact that he was an organist, Bach spent the
final and longest stage of his career as music-director for the churches
of Leipzig, composing music for his choirs and conducting them,
and doing some organ-playing on the side. Buxtehude, on the other
hand, remained an organist for all his life, most especially at the
church of St. Mary in Lbeck, where he presided over the great
organ for 40 years, from 1668 until his death. In that capacity he
played a great deal of organ music (improvised, as was the custom
of the time any music which was written down and survives to us
was copied out for the sake of his students, to play and to use as
models for their own composing). The direction of the choir, however, was in the hands of another musician; indeed, the choir was so
far away from the organ (choir near the altar at the east end of one
of the largest church-buildings in Germany, and the organ high in a
gallery at the west end) that Buxtehude could have had nothing to
do with the choral parts of the liturgy. But there were several galleries
at the west end of the church, high and close to the organ, from
vocal and instrumental soloists performed during Communion, and
it is for these circumstances that Buxtehude wrote the major portion of his cantatas.
All of his music the organ works like the prludium on this
program, the chamber music, and the cantatas are singlemovement compositions, but within each single movement there
are a variety of tempos, meters, and textures. In this regard,
Buxtehudes music is much like the madrigals of Monteverdi and
Marenzio or the toccatas of Frexcobaldi and Froberger. It was not
until two generations later, the generation of Bach and Handel and
Vivaldi, that these various sections within the single movement became expanded and separated into distinct movements.

O amator amplectende,
O lover whom I would embrace

Embellish A Melody!
Bach Club ($1.000 +)
An anonymous donor
An anonymous donor
Cathy Callaway Adams
Dr. & Mrs. David Bright
Dr. & Mrs. Peter DeWitt
Federal Home Loan Bank of Atlanta
Janie R. Hicks
Martha J. R. Hsu
Douglas Leonard
Mr. & Mrs. William E. Pearson III
Daniel Pyle & Catherine Bull
Lois Z. Pyle
Dr. & Mrs. Eckhart Richter
Donald E. Snyder
Susan Wagner
Larry Thorpe & Dr. Barbara Williams
Handel Club ($500-999)
Donald N. Broughton & Susan L. Olson
James E. Honkisz & Catherine A. Binns
Dr. & Mrs. William P. Marks, Jr.
Dr. George Riordan & Karen Clarke
Rome Area Council for the Arts
Southeastern Historical Keyboard Society
Dr. & Mrs. Joel D. Todino
Vivaldi Club ($250-499)
Martha Bishop
Michael Clifford & Sandra Murray
Nancy Musselwhite
Dr. Marie P. Griffith and Music Academy of Rome
Dr. & Mrs. David Halverson
Dr. Henry Kahn & Mary Gilmore--Kahn
Dr. Jerry McCormick Certified Collision Specialists
Dr. & Mrs. Ephraim R. McLean
Mr. & Mrs. John L. Mortison
Holly, Mark, Jack, & Sara Murphy
Dr. & Mrs. Roderick Remoroza
Mr. & Mrs. Thomas J. Thomas
Mr. & Mrs. Paul Timm-Brock

Telemann Club ($100-249)

Niels Brix Andersen
John & Linda Austin
Mr. & Mrs. Roger S. Austin
Mr. & Mrs. William H. Austin, Jr.
Daniel Baba
Mr. & Mrs. Roy B. Bogue
Patrick L. Boyle & Paula G. Ciembor
Mr. & Mrs. A. C. Briley, Jr.
Stratton H. Bull
Susan K. Card
Dr. & Mrs. Robert M. Cates
Dr. & Mrs. M. Dwayne Collier
Dr. & Mrs. Jack R. Edgens
Homer Edwards
Drs. Thomas & Shauna Farmer
Dr. & Mrs. Peter G. Gilmer
Ms. Anne P. Halliwell
Dymples E. Hammer
Dr. & Mrs. Daniel Hanks, Jr.
Dr. & Mrs. Bannester L. Harbin
Dr. Buford G. Harbin
Margaret T. Harbin
Mr. & Mrs. Allan R. Jones
Virginia Ware Killorin
Hans & Christa Krause
George H. Lanier
Dr. & Mrs. Richard W. Leigh
Mr. & Mrs. Gordon A. Leiter
Mrs. Hugh T. Moore
G. R. and Caroline Nuckolls
Shawn Pagliarini & Russell Williamson
Mr. & Mrs. Jerry Pollard
Mary Roth Riordan
Dr. & Mrs. William H. Robison III
Dr. & Mrs. D. Michael Rogers
Dr. & Mrs. Jim L. Rogers
Ann R. Rollins
Dr. Jack Runninger
Michael & Cheri Schneider
Dr. & Mrs. Stuart A. Smith
Hans & JoAnn Schwantje
Mr. & Mrs. James H. Tuttle
Dr. & Mrs. Gary Voccio

The Atlanta Baroque Orchestra would like to thank the following persons and establishments
For contributing their time, talents, and energy in regard to the details of ABO concerts.
Atlanta Early Music Alliance (AEMA)
William & Ute Marks
Janice Joyce & Chris Robinson
Eckhart & Rosemary Richter
Nancy & Wayne Musselwhite
Gisella Torresala & Sheraton Midtown Hotel
Janie Hicks
Valerie Prebys Arsenault
Peter and Patricia DeWitt
Sid & Linda Stapleton
Martha Bishop
Susan Wagner
Peachtree Road United Methodist Church: Scott Atchison
Linda Bernard & RyeType Design
Ephraim & Jane McLean
Cathy Adams & The Federal Home Loan Bank of Atlanta
The ABO would also like to acknowledge the several thousand dollars worth of rehearsal time that has been graciously given to the
orchestra by its members. These concerts could not be given without their enthusiasm and support.

ABO Board of Directors

President: Eckhart Richter

Vice President: Cathy Adams
Vice President for Development: Janie Hicks
Secretary: Susan Wagner
Treasurer: Peter DeWitt
Daniel Pyle, Resident Director
Hotel accommodation for The Atlanta Baroque Orchestra
musicians is graciously provided by

Ephraim McLean
William E. Pearson III
John Lemley
Melanie Punter
Scott Atchison

Support is also provided by

Do Not Miss the final concert

of our 2006-07 Season!

Handel & Haydn

Handel: Concerti grossi from Op. 3 & Op. 6

Haydn: Little Organ Mass
With soprano Arietha Lockhart
Chamber Choir of Peachtree Road United Methodist Church
(Scott Atchison, Director)

Sunday 13 May 2007

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www.atlantabaroque.org