Check out our video of Handel: The Lord Is My Light

Handel: “The Lord Is My Light”HWV 255 as performed at our Reformation Celebration Service on October 26, 2014

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Reformation Service Sunday, October 26, 4 p.m.

G. F. Handel: “The Lord is My Light” (from Chandos Anthems)
The FLC Choir and Chorale Fellows.
Steven Sanghyun, tenor Clara Reitz, soprano, Audrey Fernandez-Fraser, soprano
Abigail Karr, Nina Bishop, baroque violins
Cora Swenson, baroque cello
Dylan Sauerwald, harpsichord
Balint Karosi, conductor
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Labor Day Concert- an Italian Journey

Monday, September 1, 7:00 p.m.

Reception follows.

An evening of instrumental and vocal works by Italian and Italian-inspired composers.

Héloise Dégrugillier, recorder & traverso

Audrey Fernandez-Fraser, soprano

Bálint Karosi, harpsichord & organ

Works by Antonio Maria Bonocini, Antonio Vivaldi and Corelli.


$20 for adults

$10 for students

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Organ Concert by Philip Christ Friday May 2 at 8 p.m.

German organist Philip Christ will give an organ concert this Friday at First Lutheran Church, 299 Berkeley St.
Tickets are $15 for general admission and $10 for students & seniors

Nikolaus Bruhns:                                                   Praeludium in G-Dur

(1665 – 1697)

Abraham van den Kerckhoven:                   Fantasie in d

(ca. 1618 – 1701)

Dieterich Buxtehude:                                        Toccata in d, BuxWV 155

(1637 – 1707)

Johann Gottfried Müthel:                               Fantasie in F-Dur

(1728 – 1788)

Philipp Christ                                                           Glocken


Georg Böhm                                                              Vater unser im Himmelreich

(1661 – 1733)

                                                            Partita: Freu dich sehr, o meine Seele

Johann Sebastian Bach                                                      Praeludium und Fuge

E-Dur (in C) BWV 566

Philipp Christ (*1979 in Wiesbaden) studied piano, churchmusic and organ at the Musikhochschule Lübeck 2000 – 2008 with Prof. Hartmut Rohmeyer and Prof. Arvid Gast.

In 2003 he studied at the Conservatorium van Amsterdam with Prof. Jacques van Oortmerssen.

In 2011 he finished his organ studies with Prof. Wolfgang Zerer in Hamburg with highest degree .

He participated in numerous masterclasses with Harald Vogel, Edoardo Bellotti, Michael Radulescu, Ton Koopman, Naji Hakim and Bill Porter among others.

In 2006 he won the 1st price at Orgelconcours Leiden (NL), in 2007 Förderpreis Buxtehude Wettbewerb Lübeck and 3rd price Organcompetition Kazan.

2007 – 2009 he was assistant-organist at the three historic organs of St. Jakobi Lübeck.

Since 2010 he is organist at Hauptkirche and Kreuzkirche Suhl (Eilert-Köhler-Orgel 1738 -1740)

In 2012  he recorded  a CD with “Bach & Böhm” at Eilert-Köhler-Orgel, Suhl. 2014 Philipp will play recitals at historic organs in Thüringen, in the USA and Japan.

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Bach Birthday 329 2014,March 22, 8:00 a.m.- 6:30 p.m.

First Lutheran Church of Boston is proud to announce the 6th annual Bach Birthday Celebration in collaboration with the Boston Chapter of the American Organists.

Bach Back Bay Birthday 2014 v3 final no bleed

Saturday, March 22 8 a.m. – 6:30 p.m.

Guest speaker: Dr. Robin Leaver, former president of the American Bach Society

Artists include: Exsultemus Period Vocal Ensemble, Emmanuel Music, Cambridge Concentus, Boston Schola Cantorum, Erica Johnson, Peter Krasinski, Wyatt Smith, Heinrich Christensen, László Fassang, Bálint Karosi and members of the Harvard Organ Society.

Reserve your seats and lunch tickets here!

Essential Information

Admission to all concerts and events is free all day, though a donation is requested. More information is available at A German lunch will be served ($15/person; reservations are encouraged). Balcony seating for patrons is available ($30). To make balcony and/or lunch reservations visit Contact:  and 617-536-8851.

Parking: Boston Common Garage (flat rate $12 Saturday).
Public Transit: Green Line to Arlington or Orange Line to Back Bay.

Full directions here;

Full Program and Schedule

8:00 Members of the Harvard Organ Society
Organ Recital

9:00 Erica Johnson, Blessed Sacrament Parish, Walpole

9:45 Peter Krasinski, organ, specialist in the art of live silent film accompaniment
“Bach meets Buster, A Silent film Star”

10:30 Dr. Robin Leaver, former President, American Bach Society & Brian McCreath, host, The Bach Hour, 99.5 WCRB
A Bach Conversation

11:15 First Lutheran Church Choir, Soloists & Orchestra; László Fassang, organ; Bálint Karosi, conductor
Cantata “Wir danken dir, Gott, wir danken dir”, BWV 29

12:00 Heinrich Christensen, King’s Chapel, Boston
Goldberg VariationS, BWV 988

1:10 Schola Cantorum of Boston, Frederick Jodry, director, Brown University
Motet “Singet dem Herrn ein neues Lied”, BWV 225

2:05 Wyatt Smith, Yale University

2:50 Cambridge Concentus: Marika Holmqvist, violin, & Dylan Sauerwald, harpsichord
Sonata in A Major, BWV 1015; Sonata in G Major, BWV 1021

3:30 Exsultemus, Shannon Canavin, Artistic Director
Motets of Bach’s student Gottfried August Homilius

4:10 Bálint Karosi, First Lutheran Church and Yale University

5:10 Danielle Maddon, Emmanuel Music
E Major Partita for solo violin, BWV 1006

5:40 László Fassang, Franz Liszt Academy & Conservatoire National Supérieur de Musique et de Danse de Paris




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Merry Christmas

Special Christmas Offering

Gibbons: Magnificat 

O Come+ In Dulci Jubilo 

Hymn: Es Ist Ein Rose 

J. S. Bach: Canonic Variations-I:

J. S. Bach: Canonic Variations-II: 

(Repost from 2012)

Rosie Goumas, piano; Audrey Fernandez-Fraser voice; Balint Karosi, clarinet

O Come All Ye Faithful

Away in a Manger

It Came Upon a Midnight Clear

O Little Town of Bethlehem Aria from Saint-Saens Christmas Oratorio

What Child is This Hark the Herald Angels Sing Oh Holy Night Lo How the Rose are blooming

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Upcoming: Imperial Splendor at Salzburg Cathedral: December 20, 8 p.m.

Upcoming: Imperial Splendor at Salzburg Cathedral in December

Salzburg Cathedral in the 1700s

Simon Carrington directs the Biber Vespers Friday, December 20th at 8 pm, First Lutheran Church

Simon Carrington reprises his acclaimed 2004 performance of the Biber Vesperae Longiores ac breviores with Canto Armonico in Boston, in a new setting for the season of Advent.

Evoking the baroque splendor of Salzburg Cathedral where Heinrich Biber spent much of his career, the music features elaborate and virtuosic solos for voices and strings by Biber and his contemporaries, including the talented Holy Roman Emperor Leopold I.

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Festival Reformation Service, Sunday, October 27, 4 p.m.

Reformation Service, October 27 4 p.m.








Our  Festival Reformation Service on October 27 will hold the world premier of my new cantata “Words of Beginning” based on an original text by Kai Hofmann-Krull that dedicated to  First Lutheran Church of Boston for its upcoming 175th anniversary. Kai text reflects the light and dark imagery in J. S. Bach’s great Reformation cantata BWV 79 “Gott, der Herr ist Sonn und Schild” and is expanded to a narrative on Genesis the star of Bethlehem and Luther’s enlightenment.

Full Cantata TextWords of Beginning-text

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Sample Recording of Clavier-übung III

Dear Friends,

We had an intense and very productive recording session at FLC with Canto Armonico, Ulf Wellner and Christopher Greenleaf last Sunday, September 8, 2013. We recorded over 15 chorale settings to be featured on our Clavier-übung III CD. Here is a sample recording of J. S. Bach’s “Wir Glauben all an einen Gott” chorale prelude from the Clavier-übung III with the sung chorale at the end. Please consider making a donation or pre-order the CD by returning the CD sales sheet. Thank you!

Wir Glauben-with chorale

CD sales sheet

Ulf Wellner guest conductor at the listening:

Ulf Wellner listening to some takes

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Words of Beginning – a new cantata for the 175th Anniversary of FLC

Reformation Service, October 27 4 p.m.

October 27 is the world premier of my new cantata “Words of Beginning” based on an original text by Kai Hofmann-Krull. I am particularly excited about this work as it has been my first fruitful collaboration with a poet on a sacred text that is reflecting on Bach’s  Reformation Cantata BWV 79 . Kai’s text reflects the light and dark imagery found in the Bach cantata text and is expanded to a narrative on Genesis. It is a text of particular beauty and I am very excited to set it to beautiful music.

Full Cantata TextWords of Beginning-text

Bach composed Gott der Herr ist Sonn und Schild in Leipzig for a performance on Reformation Day in 1725. This cantata has a striking timpani part that suggests its common interpretation as the hammering of Luther’s ninety-five theses to the door of the Wittenberg cathedral. The text, written by an unknown poet, uses a powerful light-dark imagery that is perhaps a poetic allusion to the Lutheran distinction between Law (the commandments) and Gospel (God’s forgiveness through Jesus’s blood). This duality is echoed in clever compositional devices and in Bach’s colorful orchestration throughout the cantata. This includes the opposition of high, but dark-colored natural horn parts (replaced by trumpets in today’s performance) and the low, bright timpani rolls.

The text of the opening chorus (dictum) is a theological statement later referred to in the subsequent recitatives and arias. The words describing God’s protecting power, “God the Lord is our sun and Shield,” accompanied by brass and timpani, are followed by “The Lord gives mercy and honor” with a softer, more lyrical section accompanied by the strings. The opening chorus, with its light-dark imagery, its colorful instrumentation and opposing sections forecasts contrast as the main rhetorical device of the cantata.

The subsequent alto aria restates the words of the opening chorus and expands them emphasizing a militaristic overtone, evocative of Luther’s A Mighty Fortress is our God. In the third movement, the powerful music of the opening chorus accompanies the Chorale Now Thank We All our God in a rhetorical contrast between thanksgiving peace (chorale) and of God’s supreme, military power (orchestral accompaniment). The subsequent recitative prays for redeeming faith for the enemy, with a desire to share the message with all people, so that they also confess Jesus Christ as their savior. In the 5th movement, the soprano and bass, in their duet, confess our weakness without God’s help, using an unusually large gap between the two vocal ranges as if to emphasizes the opposition of light and darkness, or weakness and power. It is interesting that Jesus’s name is mentioned only at the very end of the final chorale. It is perhaps the climax of opposing forces that only intersect and reconcile in the name of Jesus Christ, the last word of the cantata.

Copyright by Bálint Karosi

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