programme New Worlds2021-22 JS Bach St John Passion Friday 15 April 2022 | 3.00pm Barbican Hall, London
glanceaAt NEW WORLDS2021-22 A New Created World Haydn’s The Creation with Laurence Cummings 28 September 2021 | Barbican Hall, London The Enchanted Forest Handel, Rameau and Geminiani with Josette Simon OBE 27 October 2021 | West Road Concert Hall, Cambridge 28 October 2021 | Milton Court Concert Hall, London South America from Rome to Peru with VOCES8 24 November 2021 | West Road Concert Hall, Cambridge 25 November 2021 | Milton Court Concert Hall, London aTraveloguevoyageacross Europe with Anna Dennis 16 February 2022 | West Road Concert Hall, Cambridge 18 February 2022 | Milton Court Concert Hall, London HaydnExile in London with Ann Hallenberg 9 March 2022 | West Road Concert Hall, Cambridge 10 March 2022 | Milton Court Concert Hall, London St John Passion JS Bach’s masterwork in its rarely heard 1725 version 15 April 2022 | Barbican Hall, London La Turquie Ottoman Empire at Versailles 18 May 2022 | West Road Concert Hall, Cambridge 19 May 2022 | Milton Court Concert Hall, London MozartianGenius fireworks with Richard Egarr and Robert Levin 1 July 2022 | Barbican Hall, London
Nicholas Mulroy Evangelist Dingle Yandell Christus Zoe Brookshaw, Jessica Cale sopranos Jess Dandy, Anna Harvey mezzo-sopranos Hugo Hymas tenor George Humphreys, William Gaunt basses Academy of Ancient Music Laurence Cummings director & harpsichord Friday 15 April 2022 | 3.00pm Barbican Hall, London JS BACH ST JOHN PASSION (1725 VERSION )
Another Good Friday, another St John Passion … or is it?
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Welcome
JohnfromMcMunnchiefexecutive
Nevertheless, I am confident you will be deeply moved – as we are accustomed to being moved at this time of year – by the immediacy, sincerity and humanity of Bach’s setting. Thank you for joining us.
When Laurence Cummings and I were planning this afternoon’s concert in the context of the larger 21-22 New Worlds season, it struck us as an opportunity to address a rather significant issue in historical performance, namely that JS Bach’s beloved St John Passion – in its standard, modern performing version – was not a work the composer himself would ever have heard.
Instead, we are delighted to present the version performed on Good Friday 1725 at the Thomaskirche in Leipzig, with forces similar to those Bach himself might have assembled. You will likely find the experience both familiar and strange, with well-known music sitting alongside long-forgotten arias and borrowings from other works, and massed choral forces replaced by a modest vocal consort.
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EARLY MUSIC PUBLISHED BY NORSK MUSIKFORLAG English Keyboard Music c.1650-c.1700 A Series of Facsimiles of Manuscript Sources Edited by Heather Windram and Terence Charlston. English Keyboard Music, Volume 1: London, Royal College of Music Library, MS 2093 (1660s-1670s) English Keyboard Music, Volume 2: London Palace Library, MS 1040 (1650s-1660s) Hidden Treasures of Music: A series of music from the past in new practical editions. Edited by Terence Charlston Charles Wesley: Organ Concerto in G Minor Op. 2 No. 5 Albertus Bryne: Keyboard Music for Harpsichord and Organ Carlo Ignazio Monza: Pièces Modernes pour le Clavecin For further information please visit our website: www.musikkforlagene.no
MOZARTHAYDN& Haydn Symphony No 86 Mozart Piano Concerto No 18 Plus John Adams & Gershwin Sunday 12 June, Barbican Conducted by Sir Simon Rattle with Imogen Cooper lso.co.uk Mozart Piano Concerto No 27 Plus Schubert & Tchaikovsky Returns only Tuesday 5 July, LSO St Luke’s Conducted by Sir John Eliot Gardiner with Maria João Pires
Coming next Carolyn Sampson soprano Anthony Gregory tenor Marcus Farnsworth baritone Academy of Ancient Music Peter Whelan director & harpsichord Wednesday 18 May 2022, 7.30pm West Road Concert Hall, Cambridge Thursday 19 May 2022, 7.30pm Milton Court Concert Halll, London Tickets £19.50-£37.50 plus booking fee | £5 AAmplify tickets | aam.co.uk TURQUIELA Lully Overture and La Cérémonie des Turcs from Le Bourgeois Gentilhomme Delalande Grand piece in G-ré-sol from Simphonies pour les Soupers du Roy Campra Pasacaille and ‘La Turquie’ from L’Europe Galante Rameau Suite and ‘Le Turc Généreux’ from Les Indes Galantes Ottoman splendour with a distinctly French twist
A separate manuscript score (D-B Mus.ms. Bach P 28) which we’ll call P28, contains another partial revision. The first 20 pages of P28 are in Bach’s hand, after which another scribe has copied from Bach’s now lost composition score. While Bach was writing out those first 20 pages – at some point around 1739, between Versions III and IV – he altered much of the material but intriguingly these alterations never made it into any of the instrumental parts, meaning that they were never performed. Undoubtedly the most striking difference between today’s 1725 version (Version II) and the‘traditional’version will be the absence of the iconic opening chorus, Herr, unser Herrscher. For many people today this chorus is the very essence of the St John Passion, but not so for Bach, though it must be said he reinstated the dark and turbulent G minor chorus in all his later versions. What Bach composed for Version II is a chorus, O Mensch, bewein dein Sünde groß, which will be more familiar as the closing chorus of Part I of Bach’s St Matthew Passion, but in its original E-flat major setting in the St John Passion it imparts a sense of wonder at the start of the story and sets the entire journey on a different emotional course.
/ 9 Johann Sebastian Bach (1685-1750) St John Passion BWV245 (1725) Think you know the St John Passion? Think again! You may be surprised by today’s 1725 version of Bach’s St John Passion, though perhaps not as surprised as Bach would have been on hearing what, today, we experience at a traditional performance. Bach first performed the John Passion – a musical setting of the story of the crucifixion of Jesus mostly following the text of the Gospel According to John, interspersed with reflective poetry – at the St Thomas Church in Leipzig on Good Friday, 7 April, 1724 (Version I). He performed it again for at least three further Good Friday services: in 1725 (Version II), c.1732 (Version III), and c.1749 (Version IV), and for each of these performances Bach altered the music and texts to a greater or lesser extent. The St John Passion was therefore a living liturgical entity which adapted to the changing requirements of the ecclesiastical and musical establishments over the course of Bach’s career.
There are more subtle differences in the recitatives, and in the part-writing for some of the opening turba choruses (crowd scenes) and chorales. All have a stark quality to them, mostly owing to the lack of ornamental passing notes which Bach added in P28, but also to the richer and unexpected harmonies provided by the continuo figures in Version II. The first aria, Von den Stricken meiner Sünden – in which the two oboists and mezzo-soprano soloist ensnare us with the ropes of mankind’s sin –
Version II follows the ‘traditional’ version of the St John Passion, until the very last chorus. Following the beautiful chorus Ruht wohl, rather than the gloriously hopeful E-flat major four-part chorale Ach Herr, lass dein lieb Engelein, Bach plunges us instead into a sorrowful G minor concerted chorale but ultimately dispels the darkness. It is difficult, though possible, to piece together much of the music for some of the various versions from the surviving instrumental and vocal parts. Only a handful of these original performing parts for Version I survive, revealing the bare bones of the form and structure of the work. Versions II-IV, however, survive in a complete set of vocal and instrumental parts. For Version III, Bach reused the set of performing parts from Version II and the differences are mostly evident in the alterations he made to the set. Unfortunately, however, two movements which Bach composed afresh for Version III (one aria and one sinfonia) were lost to us when he removed all trace of them from the parts in order to perform Version IV. Version IV, we presume, is what
In Part Two, the arioso, Betrachte, meine Seel and the following aria, Erwäge – both of which appear in Versions I, III and IV – have been entirely replaced by a new aria, Ach windet euch nicht so, with two writhing and tormented oboes. After this point
10 / sounds more severe through the absence of Bach’s later ornamentation, and in the second aria, Ich folge dir gleichfalls, the flutes and soprano joyfully lead us down different though recognisable paths to the ones we’re used to in the ‘traditional’ version.
The most wonderful surprise in Version II comes almost immediately after the point where Bach’s revisions in P28 end and just when we think we might begin to know exactly what to expect from a Passion performance. That the astonishing additional aria Himmel reiße has not earned its place in traditional St John Passion performances is perhaps the most lamentable tragedy of the current status quo. To be sure, Bach never seems to have reinstated this remarkable aria – for bass soloist, a soprano voice singing a hymn-like cantus firmus, two tightly-woven wailing flutes and earthshattering continuo – when resurrecting the work in later years, but it is an absolute tour de force of counterpoint, composition and characterisation.
Hot on the heels of Himmel reiße, after the scene depicting Peter’s denial of Christ, the crowing of the cock, and Peter’s bitter weeping, we have the sensational final aria of Part One, Zerschmettert mich, that displaces the more familiar aria Ach, mein Sinn. In Zerschmettert mich Bach has taken a new text which essentially expresses the same sentiment as the older text but has written a breathtaking aria of extraordinary virtuosity and fluctuations of pulse which he did not reinstate in later versions of the Passion but which deserves to be better known.
What today we might term the ‘traditional’ St John Passion largely stems from the reading given in P28 which musicians have used since at least as far back as Robert Schumann’s revival of the work in Düsseldorf in 1851. Wilhelm Rust, in the first complete edition of Bach’s works, followed the readings in this source, as did the old Peters Edition of the Passion from c.1890 which would have been familiar to generations of musicians through the 20th century. Even the now-all-but ubiquitous Bärenreiter edition from 1973 follows the readings in P28, while giving the material from other versions as appendices in the score. Crucially though, not all of the material is published in Bärenreiter’s orchestral parts, precluding performances of any version which Bach himself performed in its entirety. That such primacy has been given to a version of the Passion which Bach never heard can probably be accounted for by the fact that P28 represents the only complete full score of the work in which Bach’s hand is significantly present. As mentioned above, Bach’s original score – the score he presumably used to direct the performances of Versions I, II, and III – is lost. We can only imagine what sort of state it was left in after all the cuts, additions and reinstatements of material over the course of Versions I-III. It seems plausible that, when he came to perform the St John Passion in 1749 and while his eyesight was failing him, Bach gave the 20 pages of altered music to his copyist and instructed him to copy the rest from his tattered old score, so that he had a neater copy to direct from. Bach himself would have known what differences were contained in the parts and it possibly seemed too arduous a task to alter the performance parts, yet again, to match the new score. Since today’s ‘traditional’ performances present the Passion in a form which Bach never heard, we should relish the opportunity to hear this afternoon’s 1725 version as he once did.
/ 11 remains when we read the parts’ current state. Yet the version we hear in concert halls today is none of these, and a version which Bach himself never heard.
Programme note © Leo Duarte
In his preface to Bärenreiter’s 1973 edition, editor Arthur Mendel states that, ‘In copying, [Bach] improved many details, as was his habit.’ To say that the alterations in P28 are improvements is, to my mind, subjective and we certainly have no reason to believe that Bach was dissatisfied with any of the performances he directed. It is interesting to note that both Version IV and that in P28, represent a return to the basic form of Version I, so the idea of a gradual improvement of the work seems out of the question. Why did Bach give up on the revisions, and why did he not include them in his last performance? We may never know for certain, but there is some evidence to suggest that P28 was initially begun for a putative performance in 1739 which failed to materialise because of an ecclesiastical ban on Passion performances that year.
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O man, bewail your great sin, for which Christ left his father’s lap and descended to earth; by a virgin, pure and tender, he was born here for us, he wanted to become the mediator. To the dead he gave life and set aside all sickness, until such time should come that he be sacrificed for us, and carry the heavy burden of our sin even unto the cross.
Jesus went forth with his disciples over the brook Cedron, where there was a garden, into which He entered with His disciples. And Judas also, who betrayed Him, knew the place; for Jesus often met there with His disciples. Judas then, having received band of men and officers from the chief priests and Pharisees, came there with lanterns and torches and weapons. Jesus therefore, knowing all things that should come upon Him, went forth, and said unto them: Whom seek ye? They answered him,
Den Toten er das Leben gab Und legt dabei all Krankheit ab, Bis sich die Zeit herdrange, Daß er für uns geopfert würd, Trüg unser Sünden schwere Bürd Wohl an dem Kreuze lange. Part One The Garden of Gethsemane (John 18:1–11) [2a] Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garte, darein ging Jesus und seine Jünger. Judas aber, der ihn verriet, wußte den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Fackeln, Lampen und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen: Jesus Wen suchet ihr?
Text and Translation
EXORDIUM [1] Chorale O Mensch, bewein dein Sünde groß, Darum Christus seins Vaters Schoß Äußert und kam auf Erden; Von einer Jungfrau rein und zart Für uns er hie geboren ward, Er wollt der Mittler werden.
Evangelist Sie antworteten ihm:
Jesus of Nazareth! Jesus saith unto them, I am He. And Judas also, who betrayed Him, stood with them. As soon as He had said unto them, I am He, they went backward and fell to the ground. Then He asked them Whomagain, seek ye? And they said: Jesus of Nazareth! Jesus answered: I have told you that I am He: if therefore ye seek me, let these go their way. O great, o boundless love, that hath brought thee to this path of martyrdom! I lived among the worldly in contentment and pleasure and thou must suffer!
[3] Chorale O große Lieb, o Lieb ohn alle Maße, Die dich gebracht auf diese Marterstraße! Ich lebte mit der Welt in Lust und UndFreuden,dumußt leiden.
[2b] Chorus Jesum von Nazareth! [2c] Evangelist Jesus spricht zu ihnen: Jesus Ich bins. Evangelist Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bins, wichen sie zurück und fielen zu Boden. Da fragte er sie abermal: Jesus Wen suchet ihr? Evangelist Sie aber sprachen: [2d] Chorus Jesum von Nazareth! [2e] Evangelist Jesus antwortete: Jesus Ich habs euch gesagt, daß ichs sei; suchet ihr denn mich, so lasset diese gehen!
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Gib uns Geduld in Leidenszeit, Gehorsam sein in Lieb und Leid; Wehr und steur allem Fleisch und Blut, Das wider deinen Willen tut! Caiaphas (John 18:12–27; Matthew 26:75) [6] Evangelist Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum und bunden ihn und führeten ihn aufs erste zu Hannas, der war Kaiphas Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Juden riet, es wäre gut, daß ein Mensch würde umbracht für das Volk. [7] Aria Von den Stricken meiner Sünden Mich zu entbinden, Wird mein Heil gebunden. Mich von allen Lasterbeulen Völlig zu heilen, Läßt er sich verwunden.
Chorale
[4] Evangelist Auf daß das Wort erfüllet würde, welches er sagte: Ich habe der keinen verloren, die du mir gegeben hast. Da hatte Simon Petrus ein Schwert, und zog es aus, und schlug nach des Hohenpriesters Knecht und hieb ihm sein recht Ohr ab; und der Knecht hieß Malchus. Da sprach Jesus zu Petro: Jesus Stecke dein Schwert in die Scheide! Soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat?
That the saying might be fulfilled, which He spake: Of them which Thou gavest me I have lost none. Then Simon Peter, having a sword, drew it, and smote the high priest’s servant and cut off his right ear. The servant’s name was Malchus.
[5]
Dein Will gescheh, Herr Gott, zugleich Auf Erden wie im Himmelreich.
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Then said Jesus unto Peter: Put thy sword into the sheath: shall I not drink the cup which my Father hath given me? Thy will be done, O god our Lord, on earth as it is in heaven; give us patience in time of suffering, Obedience in love and grief, restrain and hold in check all flesh and thatbloodacteth contrary to Thy will.
Then the band and the captain and officers of the Jews took Jesus and bound Him. And led Him away to Annas first; for he was father-in-law to Caiaphas, which was the high priest that same year. Now Caiaphas was he which gave counsel to the Jews, that it was expedient that one man should die for the people. In order to release me from the chains of my sins, my saviour is bound: to heal me totally of all the boils of vice, He allows Himself to be wounded.
[9] Aria Ich folge dir gleichfalls mit freudigen UndSchritten,lassedich nicht, Mein Leben, mein Licht. Befördre den Lauf Und höre nicht auf, Selbst an mir zu ziehen, zu schieben, zu bitten!
Evangelist Es stunden aber die Knechte und Diener und hatten ein. Kohlfeu’r gemacht, denn es war kalt, und wärmeten sich Petrus aber stund bei ihnen, und wärmete sich.
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Aber der Hohepriester fragte Jesum um seine Jünger und um seine Lehre. Jesus antwortete ihm: Simon Peter followed Jesus as did another disciple. I, too, follow Thee, my Saviour, with joyful andsteps,will not let Thee go, My Saviour, my light. Help me to run, and never cease to pull, push and plead with me! The disciple was known unto the high priest, and went in with Jesus into the palace of the high priest. But Peter stood at the door outside. Then went out that other disciple, which was known unto the high priest, and spake unto her that kept the door, and brought in Peter. Then saith the maid that kept the door unto Peter; Art thou not also one of this man’s
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[10] Evangelist Derselbige Jünger war dem Hohenpriester bekannt und ging mit Jesu hinein in des Hohenpriesters Palast. Petrus aber stund draußen für der Tür. Da ging der andere Jünger der dem Hohenpriester bekannt war, hinaus und redete mit der Türhüterin und führete Petrum hinein. Da sprach die Magd, die Türhüterin, zu Petro: Maid Bist du nicht dieses Menschen Jünger einer? Evangelist Er sprach: Peter Ich bins nicht.
AndIHedisciples?saith:amnot.theservants and officers stood there, who had made a fire of coals; for it was cold; and they warmed themselves; and Peter stood with them and warmed himself. The high priest then asked Jesus of His disciples, and of his doctrine. Jesus answered him:
[8] Evangelist Simon Petrus aber folgete Jesu nach und ein ander Jünger.
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And when He had thus spoken, one of the officers which stood by struck Jesus with the palm of his hand saying: Answerest thou the high priest so? Jesus answered him: If I have spoken evil, bear witness of the evil; but if I have spoken well, why smitest thou me? Who hath beaten Thee thus, my Saviour, and with torments so mistreated Thee? Surely, Thou art not a sinner, like we and our children; thou knowest naught of misdeeds. I, I and my sins, that are as the grains of the sand by the sea, they it is that have caused thee the misery that smites thee, and the host of troubles and torment.
Evangelist Jesus aber antwortete: Jesus Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber recht geredt, was schlägest du mich? [11] Chorale Wer hat dich so geschlagen, Mein Heil, und dich mit Plagen So übel zugericht? Du bist ja nicht ein Sünder, Wie wir und unsre Kinder, Von Missetaten weißt du nicht. Ich, ich und meine Sünden, Die sich wie Körnlein finden Des Sandes an dem Meer, Die haben dir erreget Das Elend, das dich schläget, Und das betrübte Marterheer.
I spake free and openly to the world; I have always taught in the school, and in the temple, whither the Jews always resort; and in secret have I said nothing. Why askest thou me? Ask them which heard me, what I have said unto them: behold, they know what I said.
Evangelist Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesu einen Backenstreich und sprach: Servant Solltest du dem Hohenpriester also antworten?
Jesus lch habe frei, öffentlich geredet vor der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammenkommen, und habe nichts im Verborgnen geredt. Was fragest du mich darum? Frage die darum, die gehöret haben, was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe.
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Heaven, tear apart! Earth, shake! Fall into my mourning tone, see my torment and fear, that I suffer, Jesus, together with you! Yes, I count your pains, O battered son of God, I choose Golgotha Over this despicable worldly structure. Along the road to the cross, your thorns are sown, whilst I, content, sink myself into your wounds, and so I glimpse, in death, as a storm rages, that place toward which I daily steer, through faith. Now Annas had sent Him bound unto Caiaphas the high priest. Simon Peter stood and warmed himself. They said therefore unto him: Art thou not one of his disciples? He denied it and said: I am not. One of the servants of the high priest, being a companion of whose ear Peter had cut off, saith: Did I not see thee in the garden with Him?
Werden auf den Kreuzeswegen Deine Dornen ausgesät, Weil ich in Zufriedenheit Mich in deine Wunden senke, So erblicke ich in dem Sterben, Wenn ein stürmend Wetter weht, Diesen Ort, dahin ich mich Täglich durch den Glauben lenke.
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[11+] Aria Himmel reiße, Welt erbebe, Fallt in meinen Trauerton, Sehet meine Qual und Angst, Was ich, Jesu, mit dir leide!
Ja, ich zähle deine Schmerzen, O zerschlagner Gottessohn, Ich erwähle Golgatha Vor dies schnöde Weltgebäude.
[12a] Evangelist Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich, da sprachen sie zu ihm: [12b] Chorus Bist du nicht seiner Jünger einer? [12c] Evangelist Er leugnete aber und sprach: Peter Ich bins nicht. Evangelist Spricht des Hohenpriesters Knecht’ einer, ein Gefreundter des, dem Petrus das Ohr abgehauen hatte Servant Sahe ich dich nicht im Garten bei ihm?
[13II] Aria Zerschmettert mich, ihr Felsen und ihr Wirf,Hügel,Himmel, deinen Strahl auf mich! Wie freventlich, wie sündlich, wie Habvermessenich,oJesu, dein vergessen! Ja, nähm ich gleich der Morgenröte SoFlügel,holte mich mein strenger Richter Ach!wieder;fallt vor ihm in bittern Tränen nieder!
Peter, who reflecteth not, denieth his God, who yet at that earnest look weepeth bitter tears: Jesu, look upon me, too, when I will not repent; when I have done ill, stir my conscience.
[14] Chorale Petrus, der nicht denkt zurück, Seinen Gott verneinet, Der doch auf ein’ ernsten Blick Bitterlichen weinet. Jesu, blicke mich auch an, Wenn ich nicht will büßen; Wenn ich Böses hab getan, Rühre mein Gewissen! Interval: 20 minutes
Peter then denied again: and immediately the cock crew. Then Peter remembered the word of Jesus, and went outside, and wept bitterly. Smash me, you rocks and hills, Heaven, hurl your beam at me! How wickedly, how sinfully, how havepresumptuouslyIforgottenyou, O Jesus!
Evangelist Da verleugnete Petrus abermal, und alsobald krähete der Hahn. Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich.
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Yes, were I to take the wings of the dawn, my strict judge would bring me back; ah! fall before him with bitter tears!
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Please turn the page quietly Christ, who bringeth us salvation, hath done no wrong, for our sakes he was captured like a thief in the night, was brought before godless men and wrongly accused, derided, mocked and spat upon: thus saith the Scripture. Then led they Jesus from Caiaphas unto the hall of judgement: and it was early; and they themselves went not into the judgement hall, lest they should be defiled; but that they might eat the passover. Pilate then went out unto them, and said What accusation bring ye against this Theyman?answered him and said unto him: If he were not a malefactor, we would not have delivered Him up unto thee. Then said Pilate unto them: Take ye Him, and judge Him according to your law!
PilateTwo
[16a] Evangelist Da führeten sie Jesum von Kaipha vor das Richthaus, und es war frühe. Und sie gingen nicht in das Richthaus, auf daß sie nicht unrein würden, sondern Ostern essen möchten. Da ging Pilatus zu ihnen heraus und sprach: Pilate Was bringet ihr für Klage wider diesen Menschen? Evangelist Sie antworteten und sprachen zu ihm: [16b] Chorus Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht übererantwortet. [16c] Evangelist Da sprach Pilatus zu ihnen: Pilate So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!
Christus, der uns selig macht, Kein Bös’ hat begangen, Der ward für uns in der Nacht Als ein Dieb gefangen, Geführt für gottlose Leut Und fälschlich verklaget, Verlacht, verhöhnt und verspeit, Wie denn die Schrift saget.
Part (John 18:28–40; 19:1–22) [15] Chorale
Evangelist Jesus antwortete: Jesus Mein Reich ist nicht von dieser Welt; wäre mein Reich von dieser Welt, meine Diener würden darob kämpfen, daß ich den Jüden nicht überantwortet würde; aber nun ist mein Reich nicht von dannen.
Evangelist Da sprachen die Jüden zu ihm: [16d] Chorus Wir dürfen niemand töten. [16e] Evangelist Auf daß erfüllet würde das Wort Jesu, welches er sagte, da er deutete, welches Todes er sterben würde. Da ging Pilatus wieder hinein in das Richthaus und rief Jesum und sprach zu ihm: Pilate Bist du der Jüden König?
Jesus answered: My kingdom is not of this world; if my kingdom were of this world, then would my servants fight, that I should not be delivered to the Jews; but now is my kingdom not from hence.
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Evangelist Jesus antwortete: Jesus Redest du das von dir selbst, oder haben’s dir andere von mir gesagt?
Jesus answered him: Sayest thou this thing of thyself, or did others tell it thee of me?
Pilate answered: Am I a Jew? Thine own nation and the chief priests have delivered Thee unto me: what hast Thou done?
Evangelist Pilatus antwortete: Pilate Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir überantwortet; was hast du getan?
The Jews therefore said unto him: It is not lawful for us to put any man to Thatdeath.the saying of Jesus might be fulfilled, which He spake, signifiying what death He should die. Then Pilate entered into the judgement hall again, and called Jesus, and said unto Him: Art thou the King of the Jews?
Evangelist Spricht Pilatus zu ihm: Pilatus Was ist Wahrheit?
Pilate therefore said unto Him: Art Thou a king then?
Jesus answered: You say it, I am a King. To this end was I born, and for this cause came I unto the world, that I should bear witness unto the truth. Every one that is of the truth heareth my voice.
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O great King, great for all time, how may I sufficiently spread this faith Noabroad?human heart may imagine what thing to offer Thee. My senses cannot conceive with what to compare Thy compassion; how, then, may I repay Thy deeds of love with any deeds of mine?
[18a] Evangelist Da sprach Pilatus zu ihm: Pilatus So bist du dennoch ein König?
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Herze mag indes
IchWasausdenken,dirzuschenken.kann’smitmeinen Sinnen nicht Womiterreichen,doch dein Erbarmen zu Wievergleichen.kannichdir
Evangelist Und da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen:
Pilate saith unto Him: What is truth? And when he had said this, he went out again unto the Jews and saith unto them:
[17] Chorale Ach grosser König, groß zu allen Zeiten, Wie kann ich gnugsam diese Treu Keinsausbreiten?Menschen
denn deine Liebestaten Im Werk erstatten?
Evangelist Jesus antwortete: Jesus Du sagsts, ich bin ein König. Ich bin dazu geboren und in die Welt kommen, daß ich die Wahrheit zeugen soll. Wer aus der Wahrheit ist, der höret meine Stimme.
Now Barrabas was a murderer. Then Pilate took Jesus, and scourged Him Ah, do not wind yourselves thus, you tormented souls, in your agony and fear of the cross! If you could count the immeasurable ofnumberthehard strokes of the whip, then also count the quantity of your sins, you will find these to be greater!
Then cried they all again saying: Not this man, but Barabbas!
And the soldiers plaited a crown of thorns, and put it on His head, and they put on him a purple robe, and said: Hail, King of the Jews! And they smote Him with their hands. Pilate therefore went forth again, and said unto them: Pilate
I find in Him no fault at all. But ye have a custom, that I should release unto you one at the Passover: will ye therefore that I release unto you the King of the Jews?
[20] [21a]omittedEvangelist Und die Kriegsknechte flochten eine Krone von Dornen, und satzten sie auf sein Haupt und legten ihm ein Purpurkleid an und sprachen: [21b] Chorus Sei gegrüßet, lieber Jüdenkönig! [21c] Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen:
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Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daß ich euch einen losgebe; wollt ihr nun, daß ich euch der Jüden König losgebe?
Evangelist Da schrieen sie wieder allesamt und sprachen: [18b] Chorus Nicht diesen, sondern Barrabam! [18c] Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn. [19II] Aria Ach, windet euch nicht so, geplagte BeiSeelen,eurer Kreuzesangst und Qual! Könnt ihr die unermeßne Zahl Der harten Geißelschläge zählen, So zählet auch die Menge eurer Sünden, Ihr werdet diese größer Finden!
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Pilate Sehet, ich führe ihn heraus zu euch, daß ihr erkennet, daß ich keine Schuld an ihm finde. Evangelist Also ging Jesus heraus und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen: Pilate Sehet, welch ein Mensch!
Evangelist Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen: [21d] Chorus Kreuzige, kreuzige! [21e] Evangelist Pilatus sprach zu ihnen: Pilate Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!
Evangelist Die Jüden antworteten ihm: [21f] Chorus Wir haben ein Gesetz, und nach dem Gesetz soll er sterben, denn er hat sich selbst zu Gottes Sohn gemacht.
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[21g] Evangelist Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr und ging wieder hinein in das Richthaus und spricht zu Jesu: Pilate Von wannen bist du?
Behold, I bring Him forth to you, that ye may acknowledge that I find no fault in ThenHim. Jesus came forth, wearing the crown of thorns and the purple robe. And Pilate saith unto them: Behold, what a man! When the chief priests and officers saw Him, they cried out, saying: Crucify Him, crucify Him! Pilate saith unto them: Take ye Him, and crucify Him; for I find no fault in Him! The Jews answered him: We have a law, and by our law He ought to die, because He made himself the Son of WhenGod.Pilate therefore heard that saying, he was the more afraid; and went again into the judgement hall, and saith unto WhereJesus: are you from?
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Evangelist Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm: Pilate Redest du nicht mit mir? Weißest du nicht, daß ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben? Evangelist Jesus antwortete: Jesus Du hättest keine Macht über mich, wenn sie dir nicht wäre von oben herab gegeben; darum, der mich dir überantwortet hat, der hat’s größ’re Sünde. Evangelist Von dem an trachtete Pilatus, wie er ihn losließe.
[22] Chorale Durch dein Gefängnis, Gottes Sohn, Muß uns die Freiheit kommen; Dein Kerker ist der Gnadenthron, Die Freistatt aller Frommen; Denn gingst du nicht die Knechtschaft Müßtein, unsre Knechtschaft ewig sein.
But Jesus gave him no answer. Then saith Pilate unto Him: Speakest Thou not unto me? Knowest Thou not that I have the power to crucify Thee, and have power to release Thee?
Jesus answered: Thou could have no power over me, unless it were given thee from above: therefore he that delivered me unto thee hath the greater sin. And from thenceforth Pilate sought to release Him. By way of Thy prison, Son of God, freedom must come to us; thy prison is the throne of grace, the refuge of all the pious; for if Thou hadst not suffered ourimprisonment,slaverywould be everlasting. But the Jews cried out saying: If thou let this man go, thou art not Caesar’s friend: whosoever maketh himself a king speaketh against Caesar.
[23a] Evangelist Die Jüden aber schrieen und sprachen: [23b] Chorus Lässest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Könige machet, der ist wider den Kaiser.
When Pilate therefore heard that saying, he brought Jesus forth and sat down in the judgement seat in a place that is called the High Pavement, but in the Hebrew, Gabbatha. And it was the preparation of the Passover, and about the sixth hour: and he said unto the Jews: Behold your King!
Evangelist Sie schrieen aber: [23d] Chorus Weg, weg mit dem, kreuzige ihn! [23e] Evangelist Spricht Pilatus zu ihnen: Pilate Soll ich eure König kreuzigen?
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But they cried out: Away with Him, away with Him, crucify PilateHim! saith unto them: Shall I crucify your King?
[23c] Evangelist Da Pilatus das Wort hörete, führete er Jesum heraus und satzte sich auf den Richtstuhl, an der Stätte, die da heißet: Hochpflaster, auf Ebräisch aber: Gabbatha. Es war aber der Rüsttag in Ostern um die sechste Stunde, und er spricht zu den Jüden: Pilate Sehet, das ist euer König!
Evangelist Die Hohenpriester antworteten: [23f] Chorus Wir haben keinen König denn den Kaiser. [23g] Evangelist Da überantwortete er ihn, daß er gekreuziget würde. Sie nahmen aber Jesum und führeten ihn hin. Und er trug sein Kreuz und ging hinaus zur Stätte, die da heißet Schädelstätt, welche heißet auf Ebräisch: Golgatha. [24] Aria Eilt, ihr angefochtnen Seelen, Geht aus euren Marterhöhlen, Eilt – [wohin?] nach Golgatha!
The chief priests answered: We have no king but Caesar. Then delivered he Him therefore unto them to be crucified. And they took Jesus, and led Him away. And He bore His cross, and went forth into a place called the place of a skull, which is called in the Hebrew: Golgotha. Hasten, ye harassed souls, quit your caves of martyrdom, haste ye – [oh where?] to Golgotha!
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Take on the wings of faith, fly – [oh where?] to the hill of the cross, your welfare doth blossom there. There they crucified Him, and two others with Him, on either side one, and Jesus in the midst. And Pilate wrote a title, and put it on the cross. And the writing was: ‘Jesus of Nazareth the King of the Jews.’ This title then read many of the Jews: for the place where Jesus was crucified was near to the city: and it was written in Hebrew, and Greek and Latin. Then said the chief priest of the Jews to Pilate: Write not, The King of the Jews; but that He said, I am the King of the Jews. Pilate answered: What I have written, I have written. In the foundation of my heart thy name and cross alone shine all the time and every hour, for that I may rejoice. Appear to me in that likeness as comfort to my need, how Thou, Lord Christ, so mild hast bled Thyself to death.
Nehmet an des Glaubens Flügel, Flieht – [wohin?] zum Kreuzeshügel, Eure Wohlfahrt blüht allda. [25a] Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und satzte sie auf das Kreuz, und war geschrieben: ‘Jesus von Nazareth, der Jüden König’. Diese Überschrift lasen viel Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohenpriester der Jüden zu Pilato: [25b] Chorus Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König. [25c] Evangelist Pilatus antwortet: Pilate Was ich geschrieben habe, das habe ich geschrieben. [26] Chorale In meines Herzens Grunde, Dein Nam und Kreuz allein Funkelt all Zeit und Stunde, Drauf kann ich fröhlich sein. Erschein mir in dem Bilde Zu Trost in meiner Not, Wie du, Herr Christ, so milde Dich hast geblut’ zu Tod!
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Evangelist Darnach spricht er zu dem Jünger: Jesus Siehe, das ist deine Mutter! [28] Chorale Er nahm alles wohl in acht In der letzten Stunde, Seine Mutter noch bedacht, (John 19:23–30; Matthew 27:51–52; John 19:31–37)
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Then the soldiers, when they had crucified Jesus, took His garments, and made four parts, to every soldier a part, and also His coat. Now the coat was without a seam, woven from the top throughout. They said therefore among Letthemselves:usnottear it, but cast lots for its, whose it shall be. That the scripture might be fulfilled, which saith: They parted my clothing among them, and for my vesture they did cast lots. The mercenaries did such things. Now there stood by the cross of Jesus His mother, and His mother’s sister, Mary, the wife of Cleophas, and Mary Magdalene. When Jesus therefore saw His mother, and the disciple standing by, whom He loved, He saith unto His Woman,mother: behold thy son! Then saith He to the disciple: Behold thy mother! He took care of everything in His last hour, He took thought for His mother, Crucufixion [27a] Evangelist Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider und machten vier Teile, einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber war ungenähet, von oben an gewürket durch und durch. Da sprachen sie untereinander: [27b] Chorus Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll. [27c] Evangelist Auf daß erfüllet würde die Schrift, die da saget: Sie haben meine Kleider unter sich geteilet und haben über meinen Rock das Los geworfen. Solches taten die Kriegesknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, Kleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter sahe und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter: Jesus Weib, siehe, das ist dein Sohn!
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Die LäßtTrauernachtnundieletzte Stunde zählen.
The Hero from Judah hath triumphed in strength and ends the struggle. And bowed His head, and passed away. My dear Saviour, let me ask Thee since Thou now art nailed to the cross and since Thou sayest Thyself: it is Amfinished!Iknow set free from death? May I, through Thy suffering and death, Setzt ihr ein’ Vormunde.
[29] Evangelist Und von Stund an nahm sie der Jünger zu sich. Darnach, als Jesus wußte, daß schon alles vollbracht war, daß die Schrift erfüllet würde, spricht er: Jesus Mich dürstet!
Evangelist Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig und legten ihn um einen Isopen, und hielten es ihm dar zum Munde. Da nun Jesus den Essig genommen hatte, sprach er: Jesus Es ist vollbracht! [30] Aria Es ist vollbracht!
O Trost vor die gekränkten Seelen!
O Mensch, mache Richtigkeit, Gott und Menschen liebe, Stirb darauf ohn alles Leid, Und dich nicht betrübe.
28 / and assigned to her a guardian. Oh, mankind, exercise correctness, love both God and man, then die free from pain, and grieve not! And from that hour the disciple took her unto his own home. After this, Jesus knowing that all things were now accomplished, that the scripture might be fulfilled, saith: I Nowthirst!there was set a vessel full of vinegar: but they filled a sponge with vinegar, and put it upon hyssop, and put it to His mouth. When Jesus therefore had received the vinegar, He said: It is finished! It is finished! Oh, consolation for all sickly souls; that night of mourning lets now its final hour chime.
Der Held aus Juda siegt mit Macht Und schließt den Kampf. [31] Evangelist Und neiget das Haupt und verschied. [32] Aria Mein teurer Heiland, laß dich fragen, Da du nunmehr ans Kreuz geschlagen Und selbst gesagt: Es ist vollbracht, Bin ich vom Sterben frei gemacht? Kann ich durch deine Pein und Sterben
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Please turn the page quietly inherit heaven? Hath salvation come for all the world? True, thou canst not speak for pain, yet Thy head Thou bowest and tacitly Thou sayest: Yes.
Das Himmelreich ererben? Ist aller Welt Erlösung da? Du kannst vor Schmerzen zwar nichts sagen, Doch neigest du das Haupt Und sprichst stillschweigend: ja. Chorale Jesu, der du warest tot, Lebest nun ohn Ende, In der letzten Todesnot Nirgend mich hinwende Als zu dir, der mich versühnt, O du lieber Herre! Gib mir nur, was du verdient, Mehr ich nicht begehre! [33] Evangelist Und siehe da, der Vorhang im Tempel zerriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen. [34] Arioso Mein Herz, indem die ganze Welt Bei Jesu Leiden gleichfalls leidet, Die Sonne sich in Trauer kleidet, Der Vorhang reißt, der Fels zerfällt, Die Erde bebt, die Gräber spalten, Weil sie den Schöpfer sehn erkalten: Was willst du deines Ortes tun? [35] Aria Zerfließe, mein Herze, in Fluten der DemZährenHöchsten zu Ehren. Erzähle der Welt und dem Himmel die DeinNot:Jesus ist tot!
Jesu, Thou who wert dead, now livest for ever; in my last agony nowhere will I turn but to Thee who hast redeemed me. O my beloved Lord! Give me only that which Thou has earned, more I do not desire. And, behold, the veil of the temple was rent in twain from the top to the bottom; and the earth did quake, and the rocks rent; and the graves were opened; and many of the bodies of the saints arose. My heart, wherein the whole world suffers likewise with Jesu’s sorrow, the sun wraps itself in mourning, the curtain is torn asunder, the rock thecrumbleth,earthtrembleth, the tombs burst becauseopen, they behold the Creator grow whatcold:wilt thou do for thy part? Melt, my heart, in floods of tears in honour of the Lord most high. Tell the misery to the world and to the thyheavens,Jesusis dead!
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The Jews therefore, because it was the preparation, that the bodies should not remain upon the cross on the Sabbath day (for that Sabbath day was an high day), besought Pilate that their legs might be broken, and that they might be taken away. Then came the soliders and broke the legs of the first, and of the other which was crucified with Him. But when they came to Jesus, and saw that He was dead already, they broke not His legs. But one of the soldiers with a spear pierced His side, and forthwith came there out blood and water. And he that saw it bare record, and His record is true; and he knoweth that He saith true, that ye might believe. For these things were done, that the scripture should be fulfilled: ‘a bone of Him shall not be broken’. And again another scripture saith: ‘They shall look on Him whom they Opierced’.helpus, Jesus Christ, Son of God, through Thy bitter suffering, that we, in obedience to Thee, eschew all sin: to contemplate fruitfully thy death and its cause: for which, though poor and weak, we will offer up our thanks.
And after this Joseph of Arimathaea, being a disciple of Jesus, but secretly for fear of the Jews, besought Pilate that he might take away the body of Jesus: and Pilate gave him leave. And there came [36] Evangelist Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben den Sabbath über (denn desselbigen Sabbaths Tag war sehr groß), baten sie Pilatum, daß ihre Beine gebrochen und sie abgenommen würden. Da kamen die Kriegsknechte und brachen dem ersten die Beine und dem andern, der mit ihm gekreuziget war. Als sie aber zu Jesu kamen, da sie sahen, daß er schon gestorben war, brachen sie ihm die Beine nicht; sondern der Kriegsknechte einer eröffnete seine Seite mit einem Speer, und alsobald ging Blut und Wasser heraus. Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr, und derselbige weiß, daß er die Wahrheit saget, auf daß ihr gläubet. Denn solches ist geschehen, auf daß die Schrift erfüllet würde: ‘Ihr sollet ihm kein Bein zerbrechen’. Und abermal spricht eine andere Schrift: ‘Sie werden sehen, in welchen sie gestochen haben’. [37] Chorale O hilf, Christe, Gottes Sohn, Durch dein bitter Leiden, Daß wir dir stets untertan All Untugend meiden. Deinen Tod und sein Ursach Fruchtbarlich bedenken, Dafür, wiewohl arm und schwach, Dir Dankopfer schenken! Burial (John 19: 38–42) [38II] Evangelist Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu war (doch heimlich aus Furcht vor den Jüden), daß er möchte abnehmen den Leichnam Jesu, und Pilatus erlaubete
also Nicodemus, which at the first came to Jesus by night, and brought a mixture of myrrh and aloes, about an hundred pound weight. Then took they the body of Jesus, and wound it in linen clothes with the spices, as the manner of the Jews is to bury. Now in the place where He was crucified there was a garden; and in the garden a new sepulchre, wherein was never man yet laid. There they laid Jesus therefore because of the Jews’ preparation day; for the sepulchre was nigh at hand. Rest in peace, you holy bones, which I will now no longer mourn; rest in peace, and take me, too, to rest. The grave, that is destined for you and encloseth no more grief, openeth the heavens up to me and closeth hell. Christ, Lamb of God, who carrieth the sin of the world, have mercy upon us. Christ, Lamb of God, who carrieth the sin of the world, have mercy upon us. Christ, Lamb of God, who carrieth the sin of the world, give us your peace. Amen. All translations of non-biblical texts by Jonathan Sells
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es. Es kam aber auch Nikodemus, der vormals bei der Nacht zu Jesu kommen war, und brachte Myrrhen und Aloen untereinander bei hundert Pfunden. Da nahmen sie den Leichnam Jesu und bunden ihn in leinen Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget ward, ein Garte, und im Garten ein neu Grab, in welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Rüsttags willen der Jüden, dieweil das Grab nahe war.
[39] Chorus Ruht wohl, ihr heiligen Gebeine, Die ich nun weiter nicht beweine, Ruht wohl und bringt auch mich zur Ruh! Das Grab, so euch bestimmet ist Und ferner keine Not umschließt, Macht mir den Himmel auf und schließt die Hölle zu. [40II] Chorale Christe, du Lamm Gottes, Der du trägst die Sünd’ der Welt, Erbarm dich unser! Christe, du Lamm Gottes, Der du trägst die Sünd’ der Welt, Erbarm dich unser! Christe, du Lamm Gottes, Der du trägst die Sünd’ der Welt, Gib uns dein’ Frieden! Amen.
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director & harpsichord
WorkmanRobertPhoto:
Laurence Cummings
Laurence Cummings is one of Britain’s most exciting and versatile exponents of historical performance both as a conductor and a harpsichord player. Appointed AAM’s Music Director from this season, he is also currently Musical Director of the London Handel Festival and Music Director of Orquestra Barroca Casa da Música in Porto. Frequently praised for his stylish and compelling performances in the opera house, his career has taken him across Europe as well as the UK where he has been a regular at English National Opera, Glyndebourne Festival Opera and Garsington Opera, as well as conducting at the Royal Opera House’s Linbury Theatre, Opera North and Buxton International Festival and for Opera GlassWorks. Equally at home on the concert platform, he is regularly invited to conduct both period and modern instrument orchestras worldwide, including Orchestra of the Age of Enlightenment, The English Concert, Handel and Haydn Society Boston, Croatian Baroque Orchestra, La Scintilla Zurich, and numerous international chamber and symphony orchestras. At home he has conducted the Royal Northern Sinfonia, Hallé Orchestra, Bournemouth Symphony, Royal Liverpool Philharmonic, Ulster Orchestra and Royal Scottish National Orchestra. His recordings include discs with Emma Kirkby and Royal Academy of Music on BIS, Angelika Kirschlager and the Basel Chamber Orchestra for Sony BMG, Maurice Steger and The English Concert for Harmonia Mundi and Ruby Hughes and the Orchestra of the Age of Enlightenment on Chandos, as well as a series of live opera and concert performances recorded at the Göttingen International Handel Festival and released on Accent. He has also released numerous solo harpsichord recital and chamber music recordings for Naxos.
He has worked closely with conductors including Sir John Eliot Gardiner, Colin Davis, Trevor Pinnock, Jordi Savall, Emmanuelle Haïm, John Butt, Paul McCreesh and Nicholas Kraemer; and ensembles such as BBC Philharmonic, Royal Scottish National Orchestra, the OAE, Britten Sinfonia, Gabrieli Consort, Staatskapelle Dresden, Kölner Akademie, Bachakademie Stuttgart, Concerto Copenhagen, Handel and Haydn Society, and the Australian Chamber Orchestra.
PhotographyRaphaellePhoto: Dingle Yandell was one of the andEnlightenmentofthe‘RisinginauguralStars’ofOrchestratheAgeofwasa founder member of the award-winning British vocal ensemble VOCES8, with whom he toured internationally for ten Thisyears.season he makes his house and role debut as Don Pizarro (Fidelio) for Glyndebourne on Tour, his role debut as Colline (La bohème) at Nevill Holt Opera, and sings Snug (A Midsummer Night’s Dream) for Scottish Opera and Commendatore (Don Giovanni) with Oxford Sinfonia. He also sings Handel’s Dixit Dominus with the Berliner Philharmonie, and Haydn’s Nelson Mass and Mozart’s Requiem at the Wimbledon International Music Festival. On the concert platform recent highlights include Handel’s Messiah with the Royal Philharmonic Orchestra at the Royal Albert Hall, St Matthew Passion at the Valetta International Baroque Festival and the world premiere of Sally Beamish’s The Judas Passion with OAE.
Christus
Evangelist Nicholas Mulroy
Dingle
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Yandell
Recordings include a Gramophone Awardwinning Messiah, Evangelist for St Matthew Passion and St John Passion, and Acis (Acis and Galatea) for John Butt and Dunedin Consort (Linn), and discs with the King’s Consort, I Fagiolini, Mr McFall’s Chamber, Theatre of the Ayre, and Polyphony. In November 2020, he was appointed Associate Director of the Dunedin Consort.
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Born halls,leadingofsungMulroyNicholasLiverpool,inhasatmanytheworld’sconcertopera houses, and festivals, including Carnegie Hall, the Salzburg Festival, BBC Proms and Boston’s Symphony Hall.
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the London Handel Festival International Singing Competition.
Zoë has recorded Bach, Blow, Lennox and Michael Berkeley, and Charpentier, on the Delphian, Hyperion, Resonus, Signum Classics, Soli dei Gloria and Sony labels.
On the concert platform performances include Bach and Handel with the Monteverdi Choir and Sir John Eliot Gardiner, Handel Israel in Egypt at the BBC Proms with the Orchestra of the Age of Enlightenment with William Christie amongst others, and she is a member of the baroque ensemble Solomon’s Knot.
Recent highlights include Purcell and Blow plus Aci in Handel Aci, Galatea e Polifemo with OAE and Steven Devine. soprano Zoë Brookshaw CollettGerardPhoto:
Current and recent engagements include a role debut as Fiordiligi (Cosi fan tutte) with Saffron Opera Group, Second Niece (Peter Grimes) at Teatro la Fenice, Mendelssohn’s Elijah at the Berlin Philharmonie and the Swinging Sixties concert series with the Mozartists at Wigmore Hall. Her operatic experience includes the roles of Flaminia (Il mondo della luna), Susan (Berkeley A Dinner Engagement), Despina (Cosi fan tutte) and Serpetta (The Garden of Disguises for Ryedale Festival Opera), Dido (Dido and Aeneas), Musetta (La bohème) and Melisande (Pélleas et Mélisande).
Jessica has performed as a soloist for Sir John Eliot Gardiner in A Midsummer Night’s Dream at the Barbican Centre, for Paul McCreesh in King Arthur and The Fairy Queen with the Gabrieli Consort, and for Mark Padmore in St Matthew Passion across Europe with the Orchestra of the Age of the Enlightenment. soprano
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Soon to be released on OAEPlayer is the video of Zoë singing Strozzi Che si puo fare.
Jessica Cale
sopranoBritish LaEuridiceincludeengagementsoperaBrookshaw’sZoëandMusica (L’Orfeo) with I Fagiolini; Aerial Spirit (The Indian Queen) with Le Concert d’Astrée, roles in The Fairy Queen with The Gabrieli Consort and Paul McCreesh, and Rameau’s Pygmalion with The Dunedin Consort and John Butt.
Jess has appeared on the concert platform with the Orchestre Révolutionnaire et Romantique, The English Concert, Florilegium, the Dunedin Consort, Les Arts Florissants and many more.
/ 35 Cumbrian Jess Dandy
recent roles include Siegrune (Die Walküre), Annius (La Clemenza di Tito), Varvara (Káťa Kabanová), Flosshilde (Das Rheingold and Götterdämmerung) and Hänsel (Hänsel und Gretel). She won first prize (Prix Pierre Verne) in the 7th edition of the Paris Opera ThisCompetition.seasonshe returns to Welsh National Opera, where she was previously an Associate Artist, in the role of Suzuki (Madama Butterfly), and performs with the Duisburger Philharmoniker. On the concert platform, recent and upcoming highlights include her debut with the London Philharmonic Orchestra with Sir Roger Norrington, as well as collaborations with the Zurich Chamber Orchestra, Royal Philharmonic Orchestra, The English Concert, Gabrieli Consort, Arcangelo and the Xi’an Symphony Orchestra in China, and in repertoire including Purcell, Handel, Bach, Vivaldi, Mozart, Beethoven, Schumann, Mendelssohn, Mahler and Lili Boulanger. mezzo-soprano Anna Harvey
Jess
Highlights this season include Bradamante (Vivaldi Orlando Furioso) at the Teatro Real Madrid and the Seine Musicale Paris; debuts with Kitchener-Waterloo Symphony (Mahler Symphony No.2) and Minnesota Orchestra (Mahler Symphony No.8); concerts with BBC NOW and the BBC Philharmonic; and a return to Wigmore Hall for a solo evening recital.
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Anna Harvey is a member of the
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She was a soloist at the First Night of the BBC Proms 2021, singing Vaughan Williams Serenade to Music and a new commission by Sir James Macmillan. Other recent highlights include a series of BBC Radio 3 broadcasts which included Jess’s Wigmore Hall debut, and a solo recital with Malcolm Martineau at Perth Concert Hall.
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include Gernando (Haydn’s L´isola disabitata) at Vaasa Baroque Festival, a tour with Nederlands Kamerkoor, and Lucius in the world premiere of Giorgio Battistelli’s Julius Caesar at Teatro dell’Opera di Roma with Daniele Gatti.
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recent operatic appearances include Valentin (Faust), Lescaut (Manon), and all the major Mozart baritone roles. Highlights elsewhere include the title role in Eugene Onegin at the Buxton International Festival, Leporello with the Nederlandse Reisopera, and Demetrius in Britten’s A Midsummer Night’s Dream at the Aldeburgh Festival.
George Humphreys
Past concert performances include Purcell and Handel with Freiburg Baroque Orchestra and Kristian Bezuidenhout, Handel’s La Resurrezione with The English Consort, Monteverdi’s Vespers, and Handel’s Semele with Monteverdi Choir and Sir John Eliot Gardiner which was his debut at Teatro alla Scala in Milan.
George’s recent concert performances include Mahler’s Symphony No. 8 with Daniel Harding and the Swedish Radio Orchestra, Mahler’s Lieder eines fahrenden Gesellen with the Mozarteum Orchester Salzburg, and Bach’s Weihnachtsoratorium with the Australian Chamber Orchestra. He is a regular guest of the English National Opera and of the London and Göttingen Handel Festivals. He has given Lieder recitals at Lille Opera, Opernhaus Zürich, Wigmore Hall and the Oxford Lieder Festival, and is an Associate of the Royal Academy of Music in London.
ParkClarePhoto:
Hugo Hymas is a keen song recitalist, a former BrittenPears young artist, and is currently on the ‘Rising Stars’ scheme with the Orchestra of the Age of ThisEnlightenment.season’shighlights
36 /
Hugo’s recent opera roles include Septimius (Theodora), Jupiter (Semele) Indian Boy and Fame (The Indian Queen) Opera de Lille, and Eurimaco (Il ritorno d’Ulisse in patria).
bass
Solo highlights include Handel Messiah with Nieuwe Philharmonie Utrecht (Johannes Leertouwer) and Portland Baroque Orchestra (Desmond Earley), Bach St John Passion for Paul McCreesh, Stravinsky Les Noces for Paul Hillier, and Bach St Matthew Passion for Stephen Cleobury. Solo recordings include Monteverdi Vespro della Beata Vergine 1610 with the Orchestra of the Age of Enlightenment (Robert Howarth) and the Dunedin Consort (John Butt), Odes by John Blow with Arcangelo (Jonathan Cohen), Fauré Requiem with the London Symphony Orchestra (Nigel Short); Handel Messiah with NPU (Johannes Leertouwer),w and Bach St Matthew Passion with the Academy of Ancient Music (Stephen Cleobury).
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MarshallFrancesPhoto:
scholarshipaFollowingchoral to King’s professionalbeganWilliamCambridge,College,Gaunthis career in the choirs of Christ Church, Oxford and Westminster Cathedral. Since then, he has pursued a career performing and recording both as a soloist and with several world-renowned ensembles.
bass William Gaunt
38 / Violin I Roldolfo Richter Liz SijieMacCarthyChen Violin II Kinga Ujszászi Alice Evans Ada Witczyk Viola Jane JamesRogersO’Toole Cello Joseph ImogenCrouchSeth-Smith Double Bass Timothy Amherst Flute Rachel Brown Marta Goncalves Oboe Leo RobertDuartedeBree Bassoon Ursula Leveaux Theorbo William Carter Viola da Gamba Reiko Ichise Organ Jan Waterfield Keyboard Technician Robin Jennings Soprano Eloise Irving Alto Lucy Goddard Tenor Thomas Kelly
Founder Christopher Hogwood CBE Music Director Laurence Cummings Chief Executive John McMunn Head of Planning and Operations Fiona McDonnell Head of Finance Julie Weaver Staff & Trustees Head of Development Liz Brinsdon Development and Events Manager Alice Pusey Librarian Emilia Benjamin PR Consultant Damaris Brown, Artium Media Relations Programme Editor Sarah Breeden BOARD OF TRUSTEES Elise Badoy Jane Barker CBE Paul Baumann CBE (chair) Hugh Burkitt Alan ElizabethClarkde Friend Graham Nicholson Helen KimMadeleineSprottTattersallWaldock DEVELOPMENT BOARD Elise Badoy (chair) Hugh FionaTerenceAgnetaPaulineEmmanuelleElizabethBurkittdeFriendDotezacGinestiéLansingSinclairStewart JonathanMatthewKateRichardCOUNCILBridgesDonaghyFerreyFreeman-Attwood CBE Nick Heath Lars ChristopherPhilipHenrikssonJonesLawrence Christopher Purvis CBE (Honorary President) Sir Konrad Schiemann Terence Sinclair Rachel Stroud Dr Christopher Tadgell The Lady Juliet Tadgell Janet Unwin / 39
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40 / AAM is indebted to the following individuals and trusts for their support of the orchestra’s work. Thank you AAM ACADEMY CHAIR SPONSORS
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To find out more, visit aam.co.uk/join-aam or contact Liz Brinsdon at liz.brinsdon@aam.co.uk | 07534 997803 for your support
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As an Academy member, you will be at the heart of the AAM. Immerse yourself in our work and meet our brilliant musicians through open rehearsals, interval drinks, post-concert dinners and special events. We also offer a bespoke ticketing service for our Academy members.
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In 2021-22 the Academy of Ancient Music is undertaking an ambitious initiative to record Mozart’s complete piano concertos – a project begun in 1993 with scholar-pianist Robert Levin on Decca’s L’Oiseau Lyre imprint. We are recording more than five discs of music, including Mozart’s best-loved numbered concertos as well as lesser-known works and fragments completed by Robert Levin. The albums will be released in the run up to AAM’s 50th anniversary in 2023-24, with an eventual ‘complete set’ issued in partnership with Decca in the years following. In his lifetime, Mozart was better-known as a pianist than a composer, and was particularly acclaimed for his dazzling virtuosity and improvisational abilities.
“Levin lives Mozart throughout his entire body, and for every second of the score… he plays the music as if he’s writing it himself –for the first time.”
Completing the
Robert Levin recreates this approach, bringing a sense of adventure to each performance and restoring improvisation to its rightful place at the heart of each Wecomposition.needyour help to bring this project to fruition. The total costs are £250,000 and we are inviting supporters to ‘sponsor’ an element of the work, for example one of our musicians or a complete concerto. For further information on this project, contact Liz Brinsdon 07534 997803 or by e-mail liz.brinsdon@aam.co.uk. Thank you for your support. www.aam.co.uk/mozart-recordings/
The Times
Mozart’sCyclePiano Concertos as you’ve never heard them before
SoonComing
ComingGsoonENIUS The grandeur, poetry and pure unstoppable genius of Mozart Mozart Overture & Ballet from Idomeneo Mozart Concerto No.7 K424 á 3 Mozart Symphony No.41 ‘Jupiter’ Richard Egarr, Robert Levin harpsichords Academy of Ancient Music Laurence Cummings director & harpsichord
CELEBRATE WITH US! 100th anniversary festival in Handel‘s birthplace in Halle (Saale), ExperienceGermany. a unique festival programme with top international performers such as William Christie, Vivica Genaux, Philippe Jaroussky, Valer Sabadus, Jordi Savall and many more in authentic Handel venues. Programme available from December 2021 www.haendelfestspiele-halle.de 27 MAY TO 12 JUNE 2022 IN HALLE (SAALE) ANZ_HFSP_2022_128x65_Cabells_05.10.2021.indd 1 28.09.21 16:36
48 / Full programme details at aam.co.uk Music Director: Laurence Cummings Founder: Christopher Hogwood CBE Academy of Ancient Music Cherry Trees Centre, St Matthew’s Street Cambridge CB1 2LT UK +44 (0) 1223 info@aam.co.uk301509www.aam.co.uk Registered charity number: 1085485 All details correct at time of printing Associate Ensemble at the Barbican Centre, London Associate Ensemble at the Teatro San Cassiano, Venice Orchestra-in-Residence at the University of Cambridge Orchestra-in-Residence at Milton Abbey Summer Music Festival Orchestra-in-Residence at The Apex, Bury St Edmunds Research Partner to the University of Oxford Artistic Partner to London’s Culture Mile Design by SL Chai @academyofancientmusic @AAMorchestra @acadofancientmusic @aamorchestra
