Bach's St Matthew Passion Programme

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Bach's St Matthew Passion Monday 26 March 2018 Royal Festival Hall 7pm

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Contents

Welcome 07 Soloists and Orchestra 08 Programme notes Andrew Mellor 10 'A Universal Piece' Mark Padmore 14 Performing the Matthew Passion Matthew Truscott 15 Texts and translations 16 Support us 26 Biographies 36 OAE team 38 OAE Education news 42 Supporters 44 Future concerts 46

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Visions, Illusions and Delusions

From now until 2023, we’re going back to our roots with Six Chapters of Enlightenment.

These are six special seasons of concerts exploring the Enlightenment, the golden age of science and philosophy that gave our Orchestra its name.

Each year we’ll be examining through music ideas handed down to us by the great thinkers of the Enlightenment, whose work in the 18th century on everything from human rights to vaccinations helped make the modern world.

In 2017-18, we open our first chapter, Visions, Illusions and Delusions.

Shaken out of old certainties by quantum leaps in science, the Enlightenment started with radical doubts: Is seeing believing? Should we really judge by appearances? Who can I trust? Is love what you think it is? What is right and what is wrong? We’ll be exploring these questions, through characters like Judas, Semele and Berenice, musicians that are always confounding expectations, such as Nicola Benedetti and Sir András Schiff, and the jokes and hidden secrets of Mozart’s scores.

This means our lovingly-crafted performances will be combined more than ever with special efforts to help you discover what the composers of this wonderful music were thinking, and the how the times they lived in influenced what they created.

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Bach's St Matthew Passion

Concert repertoire and soloists

Monday 26 March 2018 Royal Festival Hall 7pm The concert will finish at approximately 10pm, there will be one 20 minute interval.

Bach – St Matthew Passion Mark Padmore – director/Evangelist Roderick Williams – Christus Jessica Cale – soprano Louise Kemény – soprano Eleanor Minney – mezzo-soprano Claudia Huckle – contralto Hugo Hymas – tenor Matthew Brook – bass Choir of the Age of Enlightenment

Pre-concert talk with Mark Padmore , Kati Debretzeni and Crispin Woodhead 6pm Level 5 Function Room, Royal Festival Hall

Concert supported by Julian and Camilla Mash

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Bach's St Matthew Passion

Orchestra

Orchestra 1 Violin Matthew Truscott Kati Debretzeni Stephen Rouse Roy Mowatt Dominika Feher Viola Simone Jandl Martin Kelly

Cello Luise Buchberger Helen Verney

Flute Lisa Beznosiuk Neil McLaren

Double Bass Cecelia Bruggemeyer

Oboe Katharina Spreckelsen Alexandra Bellamy Organ Steven Devine

Orchestra 2 Violin Michael Gurevich Rodolfo Richter Claire Holden Andrew Roberts Christiane Eidsten Dahl

Cello and Viola da Gamba Richard Tunnicliffe

Viola Max Mandel Nicholas Logie

Double Bass Elizabeth Bradley

Cello Ruth Alford

Flute and Recorder Rachel Beckett Elizabeth Walker Oboe Sarah Humphrys Geoff Coates Organ Masumi Yamamoto

Choir of the Age of Enlightenment Choir 1 Soprano Alto Tenor Bass

Choir 2 Amy Carson David Clegg Matthew Beale Jonathan Brown

Soprano Alto Tenor Bass

Katy Hill Daniel Collins Christopher Fitzgerald Lombard Philip Tebb

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Bach's St Matthew Passion

Programme Notes Andrew Mellor

Johann Sebastian Bach (1685-1750) St Matthew Passion ‘I was obliged to be industrious; whoever is equally industrious will succeed equally well.’ That is one way in which Johann Sebastian Bach summarized his creative life. It is a confession that shatters our idea of Bach as a genius with a direct hotline to the divine.

But it is also a troublesome and slightly disingenuous statement. Almost any one of Bach’s surviving scores could disprove it through through sheer individuality and intuitive technical skill.

But the Matthew Passion, arguably Bach’s greatest work, also owes its existence to that statement’s element of truth. In a sense, this piece was a product of the composer’s functionary status and his quiet industry. Bach’s life in eighteenth century Germany was blighted by tragedy and blessed with professional success. But it was otherwise uneventful. Bach held down a string of court and church jobs and was no stranger to professional rejection. Only his final appointment, as Music Director of the Leipzig Churches and Cantor at St Thomas’s School, was one of some prestige.

Defining ‘Passion’ In a Christian context, the word Passion refers to the final days of Jesus’s life, and the recounting of their events.

The events of the ‘Christ’s Passion’ – marked

by Christians during Holy Week, from Palm Sunday to Easter Sunday – were recorded by four eyewitnesses named Matthew, Mark, Luke and John.

Bach didn’t write music at the strike of inspiration’s thunderbolt. He wrote music as and when it was required, mostly according to the specifications of his various contracts of employment. In Leipzig, Bach started work on a huge catalogue of sacred cantatas – vocal and instrumental works in praise of God that used liturgical texts for use in services – written for the musicians of St Thomas’s Church.

From these two cycles of cantatas for the church’s year written in 1723-29 came miniature cantata collections such as the Christmas Oratorio, and five musical reflections on the Passion story, of which two have survived completely intact.

The longest and most significant is the Matthew Passion, referred to by Bach’s second wife Anna Magdalena as the ‘Great Passion’. She knew – as did Bach, who broke with his own protocol to write the score with red as well as brown ink – that this was a special creation and perhaps even a monumental one. Bach didn’t generally write for posterity. But he prepared for the Matthew Passion with unprecedented care and cherished his own re-copied score of the piece, even undertaking repairs to it as he grew old. Did Bach believe this work would outlive its original function and indeed outlive him, like the fabric of St Thomas’s itself?

He probably did. He made special efforts to make the piece sing with divinity and speak with humanity – to challenge its listeners to reflection and devotion – and to constantly sharpen its focus or deepen its reach during the writing process. And here we are, three centuries on, listening to it once more and reinventing it still. The Matthew Passion might be a product of a specific aesthetic, itself rooted in a particular time and place in European history. And yet, as Nicholas Kenyon writes, ‘it seems to reach beyond that context, beyond narrow sectarianism and even beyond religious observance, to say something to the whole of humanity.’

Bach’s two surviving musical settings of the story are named after the sources used (though in the case of the Matthew Passion, Bach used far more besides). The story’s capacity to arouse such strong feelings probably explains our use of the abstract noun ‘passion’ in common parlance today.

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Luther, Leipzig and Good Friday at St Thomas’s But religious observance was the sole impetus behind the creation of the Matthew Passion. Though it is difficult to chart the work’s genesis in detail, we can say with some certainty that it was first performed on 11 April 1727, when it formed part of the Vespers service for Good Friday during which its two parts would have sat either side of a sermon.

Until the early 1700s, the Good Friday Vespers at St Thomas’s included a chanted recitation of the Passion story – Jesus’s betrayal, trial and execution.

Bach’s predecessor, Johann Kuhnau, introduced more complex musical settings to the recounting of the story, including arias and verses of well-known chorales (effectively hymns). It was the great reformer Martin Luther who had suggested that music could ‘make text come alive’. Thus Bach’s Passion settings constituted a conscious effort, along Lutheran lines, to remind the men and women of 1720s Leipzig how pertinent the story of Christ’s sacrifice remained.

And it did so along strictly Lutheran lines. As Stephen Rose has illustrated, Luther’s 1519 tract A Meditation on Christ’s Passion presses upon the faithful three ‘stages’ of contemplation: the first a recognition that it was the sins of man that led to Christ’s death; the second that believers can be cleansed by casting their sins back onto Christ; and the third that an imitation of Christ’s willingness to submit to death is the objective of faith.

The signaling of these three stages can be clearly traced throughout the Matthew Passion. Part I initially meditates on sin and repentance (from its very first aria, the alto’s guilt-ridden (Buß und Reu); Part II moves slowly towards the idea of redemption through Christ’s suffering (notably in the soprano’s aria Aus Liebe will mein Heiland sterben, a meditation on the cleansing of man from sin at Jesus’s death); by the time Simon of Cyrene helps Jesus to carry the cross, we are at Luther’s challenge to the faithful (encapsulated in the often uncomfortable bass aria Komm, süßes Kreuz).

Expectation, incident, reflection, response

By 1727, many in the congregation would have already heard Bach’s setting of the Passion according to St John of three years earlier. Crudely speaking, the Matthew Passion was designed to move their experience up another level. This was intended as a slower, more reflective piece with greater space between ‘scenes’.

The Matthew Passion presents both a story and a spiritual and emotional response to that story. Its words are the work of Christian Friedrich Henrici, a Leipzig poet known simply as ‘Picander’ with whom Bach almost certainly worked hand-in-hand to shape the piece. Matthew’s gospel drives the narrative forward in the form of recitatives (half-speech-half-song, over a skeletal musical accompaniment); in this way, the story’s incidents of betrayal, trial and execution are recounted, primarily by the Evangelist, a tenor soloist.

Arias (written songs for solo voices) prefaced by less fully-developed ‘ariosos’ then interrupt the story with prayer and reflection respectively, often borrowing sentiments from sermons by the preacher Heinrich Müller but finely sanded

by Picander (Kenyon suggests Bach directed Picander to the source). These reflections allow identification with the remorse, anger and grief felt by the protagonists, thus bringing the story into the present. For Bach, that meant into the real lives of the congregation at St Thomas’s.

Bach in the Stained-glass window of the ThomasKirche , where he was Kapellmeister musical director from 1723 until his death in 1750.

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Bach’s hymn-like chorales then offer communal solidarity through statements of contrition and faith in simpler, more vernacular German and in known tunes (given the complexity of their harmonisation and the use of awkward keys, the congregation would probably not to attempt to sing along).

The juddering disorientation of these differing modes of expression, shunted up against one another, can feel odd. But the Matthew Passion soon assumes a stately pace – or should do – combining stability with forward momentum under which numerous tricks of the storyteller’s trade are disguised.

Prefacing all this is a mighty introduction that poses a snapshot of the entire work in microcosm.

Over a lamenting, 12-beat orchestral underlay, the first of the score’s two choirs sings of Christ as the allegorical bridegroom betrothed to death. The second choir interjects with pointed, single-word questions. A third choir – originally comprised of boys’ voices – threads the chorale tune O Lamm Gottes unschuldig (O innocent Lamb of God, text associated with the sacrament of communion) through the middle. This latter element is heard G major against the base key of E minor. In its length, foreboding and tonal and theological duality, Bach’s opening monolith signals what is to come and tells us in no uncertain terms to buckle-up for its severity.

Playing and singing The most striking effect of that opening chorus, as suggested, comes from Bach’s use of two choirs, each with an associated orchestral ensemble including strings, flutes and oboes. Throughout the Matthew Passion these two sets of ensembles exist in tension with one another, stylised differently in musical terms and revealing contrasting loyalties.

That is thrown into sharp relief the moment they join together in expression of a single, unified idea (as in Sind Blitze, sind Donner, when the whole group expresses outrage at Jesus’s arrest).

Nobody knows exactly how those choirs were configured – how many singers each contained – at the first performance of the Passion or at the subsequent revivals the composer himself directed.

But is clear from the part-books that Bach intended the part of the narrating Evangelist be sung by the tenor from Choir 1, and Christ by the bass from the same group.

Elsewhere, Bach doesn’t write for characters but for the register of voice that he feels most appropriate for the sentiment of the text. Sometimes, Bach surprises us in that respect. He might bestow radiance upon a low voice or brittleness upon a high one. This, together with the fact that none of these soloists are named or explicitly characterized, is one way in which the composer universalizes his message of faith and repentance. He is reminding his Leipzig congregation that they, and he, are truly all in it together.

The vocal lines in Bach’s arias carry an expression both rampant and subtle. Sometimes they contain chiseled technical tricks, as in the bass aria Gerne will ich mich bequemen, where Bach shunts the beat across the bar line as if to suggest the head-rush from the chalice wine. Elsewhere Bach goes for the jugular. The contrition of Ebarme dich, mein Gott stands in clear contrast with the vehemence of Gebt mir meinen Jesum wieder! that follows, even though both a comparable expressions of remorse.

If we hear something universal in those unnamed voices, then we do so even more from Bach’s wordless instruments. In Ebarme dich, it is the violin alone that is allowed to air the lilting tune in its entirety; the weight of expression is focused on the instrument as much as on the voice. Throughout the Matthew Passion, Bach’s instrumental writing is at the heart of his determination to yank the congregation into the work’s narrative and moral quandaries. Strings evoke the act of execution with cross-like figurations right from the Evangelist’s ominous first words. It is the viola da gamba – a mournful, early string instrument on the brink of extinction at the time – that communicates the awkward physical challenge of Simon’s act of support in Komm, süßes Kreuz. In the touchstone aria Aus Liebe will mein Heiland sterben, the skeletal continuo instruments drop away and the musical chassis is carried by the flute and oboes that curl themselves around the hopeful soprano.

Are those instruments supporting the solo voice, challenging it, sharing its fragile hope or charging it with strength? The Matthew Passion is full of irreconcilable details such as this, yet it is also bigger than all of them. In its layered mosaic of music and theology, it transcends the very conceits of construction and communication that it employs – an intangible miracle born of faith, but at the same time as real and scientific a vision of life and love as could be imagined.

Programme notes by Andrew Mellor © 2018 012

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Bach's St Matthew Passion

"A universal piece" Mark Padmore

I think the word passion is particularly important.

The root of it is in Latin (passio) meaning suffering, enduring. The St Matthew and St John Passion are two of the greatest meditations on suffering which mankind has ever produced.

They’re not just concert pieces. They tell of betrayal, wrongful arrest, false trial, torture and execution. In many ways, it's a story that’s relevant to us today. But we also have to find the reasons that make it relevant for the people performing it and each member of the audience.

My main aim is that the audience should engage with the story as much as the music. The music is really there to serve the story. As performers, our intention is to communicate Bach’s meditation on the Passion of Christ.

As the Evangelist you are responsible for the pacing of the piece, how one thing leads in to the next. It’s interesting to be doing it without a conductor. Essentially what you’re creating on stage is a sort of chamber music performance where people are really listening to one another.

Your attentiveness is really heightened and that helps the audience. The Evangelist keeps the whole performance linked together and tries to maintain everyone's attention completely. You’re not letting people escape from the story. Doing it without a conductor enables that to be at the forefront.

"I think the St Matthew Passion is a universal piece. The story it tells is not essentially of one faith. We don’t get to the resurrection. It is a meditation on suffering in the situation that happens within this very tightly dramatised story."

The St Matthew is a story that should be comprehensible to anybody. It’s important to think of it as a religious piece, but I mean that in a broad sense. It is dealing with issues that are beyond the mundane, exploring spirituality. It is trying to make sense of suffering, asking if there is a point to it, and is there something we can understand by it. If anything, it can be a piece that is more difficult for somebody who is a fully paid-up member of one religion, because you would only hear it in those terms.

The St Matthew Passion is littered with questions all the way through, and not very many answers. It is there to make us all question what we believe and what we think.

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Bach's St Matthew Passion

Performing the St Matthew Passion Matthew Truscott

There’s nothing else like the St Matthew as a spiritual statement and a musical statement.

It’s possible to appreciate it on so many different levels and from so many different aspects; emotionally and intellectually, in its breadth and in its detail.

We are performing without a conductor and are instead being led by our Evangelist Mark Padmore, which very much sets the tone.

Mark is completely in the moment when he engages with the piece. He has a total concept of it. He’s very inclusive, and never rejects any ideas. It’s an extremely participatory way of performing. There’s this sense of being in the room with this extraordinary work of art. There is no one focal point.

That allows for the possibility of individual moments of ownership and expression.

Everyone contributes and has a sense of equal participation.

Within the piece people’s individual roles change quickly. One moment you are playing an obbligato as part of a very small group, and the next you are part of a huge crowd scene.

The division of the group into two choirs and two orchestras also allows for many different characters and textures, and gives a constant sense of dialogue.

"There's this sense of being in the room with this extraordinary work of art.

There is no one focal point.

That allows for the possibility of individual moments of ownership and expression."

As a singer-director, Mark’s approach is strongly text-based. We are all encouraged, vocalists and instrumentalists, to engage with the rhythms, drama and meaning of the words as a way of finding a common approach. And there’s this fascinating aspect of breath. Mark doesn’t conduct at all, he just breathes in, and everyone breathes in together.

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Bach's St Matthew Passion

Text and translation Part I Chorus Kommt, ihr Töchter, helft mir klagen, sehet - Wen? - den Bräutigam.

Seht ihn - Wie? - als wie ein Lamm!

Sehet, - Was? - seht die Geduld, Seht - Wohin? - auf unsre Schuld; Sehet ihn aus Lieb und Huld Holz zum Kreuze selber tragen

Chorus Come ye daughters, share my mourning; See Him! Whom? The Bridegroom Christ.

See him! How? A spotless Lamb.

See it! What? His patient love.

Look! Look where? On our offence.

Look on him, For love of us He Himself His Cross is bearing.

Ripieno O Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet, Allzeit erfund’n geduldig, Wiewohl du warest verachtet.

All Sünd hast du getragen, Sonst müßten wir verzagen.

Erbarm dich unser, o Jesu!

Ripieno O Lamb of God unspotted, Upon the Cross Thou art, slaughtered.

Serene and ever patient, Tho’ scorned and cruelly tortured.

All sin for our sake bearing.

Else would we die despairing.

Have pity on us, O Jesus.

Recitative Evangelista Da Jesus diese Rede vollendet hatte, sprach er zu seinen Jüngern Christus Ihr wisset, daß nach zweien Tagen Ostern wird, und des Menschen Sohn wird überantwortet werden, daß er gekreuziget werde.

Recitative Evangelist When Jesus had finished all these sayings, He said unto His disciples; Christ Ye know that after two days is the Passover, and the Son of Man is betrayed to be crucified.

Chorale Herzliebster Jesu, was hast du verbrochen, Daß man ein solch scharf Urtheil hat gesprochen?

Was ist die Schuld, in was für Missethaten Bist du gerathen?

Chorale Ah, Jesus dear, what precept hast Thou broken, That such a cruel judgement has been spoken?

Of what misdeed has Thou to make confession?

Of what transgression?

Recitative Evangelista Da versammelten sich die Hohenpriester und Schriftgelehrten und die Ältesten im Volk in dem Palast des Hohenpriesters, der da hieß Kaiphas, und hielten Rath, wie sie Jesum mit Listen griffen und tödteten. Sie sprachen aber:

Recitative Evangelist Then assembled together the chief priest, and the scribes, and the elders of the people, unto the palace of the high priest, who was called Caiaphas, and consulted that they might take Jesus by subtlety, and kill Him. But they said,

Chorus Ja nicht auf das Fest, auf daß nicht ein Aufruhr werde im Volk.

Chorus Not upon the feast, lest haply there be an uproar among the people.

Recitative Evangelista Da nun Jesus war zu Bethanien im Hause Simonis des Aussätzigen, trat zu ihm ein Weib, das hatte ein Glas mit köstlichem Wasser, und goß es auf sein Haupt, da er zu Tische saß. Da das seine Jünger sahen, wurden sie unwillig und sprachen:

Recitative Evangelist Now when Jesus was in Bethany, in the house of Simon the leper, there came unto Him a woman, having an alabaster box of very precious ointment, and poured it on His head, as He sat at meat. But when His disciples saw it, they had indignation, saying: 016

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Chorus Wozu dienet dieser Unrath? Dieses Wasser hätte mögen theuer verkauft und den Armen gegeben werden

Chorus To what purpose is this waste? For this ointment might have been sold for much, and given to the poor?

Recitative Evangelista Da das Jesus merkete, sprach er zu ihnen Christus Was bekümmert ihr das Weib? Sie hat ein gut Werk an mir gethan!

Ihr habet allezeit Arme bei euch, mich aber habt ihr nicht allezeit. Daß sie dies Wasser hat auf meinen Leib gegossen, hat sie gethan, daß man mich begraben wird.

Wahrlich, ich sage euch: Wo dies Evangelium geprediget wird in der ganzen Welt, da wird man auch sagen zu ihrem Gedächtnis, was sie gethan hat.

Recitative Evangelist When Jesus understood it, He said unto them: Christ Why trouble ye the woman? For she hath wrought a good work upon Me. For ye have the poor always with you, but Me ye have not always. For in that she hath poured this ointment on My body, she did it for My burial. Verily I say unto you, wheresoever this Gospel shall be preached in the whole world, there shall also this, that this woman hath done, be told of her for a memorial.

Recitative and Aria (mezzo-soprano) Du lieber Heiland du, Wenn deine Jünger thöricht streiten, Daß dieses fromme Weib Mit Salben deinen Leib Zum Grabe will bereiten, So lasse mir inzwischen zu, Von meiner Augen Thränenflüssen Ein Wasser auf dein Haupt zu Gießen!

Buß und Reu' Knirscht das Sündenherz entzwei, Daß die Tropfen meiner Zähren Angenehme Spezerei Treuer Jesu, dir gebären.

Recitative (and Aria) My Master and my Lord, In vain do Thy disciples chide Thee, Because this pitying woman, With ointment sweet, Thy flesh For burial maketh ready.

O grant to me, beloved Lord, The tears where my heart o’erfloweth An unction on Thy head may pour.

Grief for sin Rends the guilty heart within, May my weeping and my mourning Be a welcome sacrifice.

Loving Saviour, hear in mercy!

Recitative Evangelista Da ging hin der Zwölfen einer, mit Namen Judas Ischarioth, zu den Hohenpriestern, und sprach: Judas Was wollt ihr mir geben? Ich will ihn euch verraten.

Evangelista Und sie boten ihm dreißig Silberlinge.

Und von dem an suchte er Gelegenheit, daß er ihn verriete.

Recitative Evangelist Then one of the twelve, called Judas Iscariot, went unto the chief priests, and said, Judas What will you give me, and I will deliver Him unto you?

Evangelist And they covenanted with him for thirty pieces of silver. And from that time he sought opportunity to betray Him

Aria (Soprano) Blute nur, du liebes Herz!

Ach! ein Kind, das du erzogen, Das an deiner Brust gesogen, Droht den Pfleger zu ermorden, Denn es ist zur Schlange worden.

Aria (Soprano) Break and die, thou dearest heart.

Ah! A child which Thou hast raised, Which upon Thy breast remained, Now a serpent has become.

Murder is the parent’s doom.

Recitative Evangelista Aber am ersten Tage der süßen Brot traten die Jünger zu Jesu, und sprachen zu ihm:

Recitative Evangelist Now, the first day of the feast of unleavened bread, the disciples came to Jesus, saying unto Him:

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Chorus Wo willst du, daß wir dir bereiten das Osterlamm zu essen?

Chorus Where wilt Thou that we prepare for Thee to eat the Passover?

Recitative Evangelista Er sprach: Christus Gehet hin in die Stadt zu Einem, und sprecht zu ihm ‘Der Meister läßt dir sagen: Meine Zeit ist hier, ich will bei dir die Ostern halten mit meinen Jüngern’.

Evangelista Und die Jünger thäten, wie ihnen Jesus befohlen hatte, und bereiteten das Osterlamm. Und am Abend setzte er sich zu Tische mit den Zwölfen.

Und da sie aßen, sprach er: Christus Wahrlich, ich sage euch: Einer unter euch wird mich verrathen.

Evangelista Und sie wurden sehr betrübt, und huben an, ein Jeglicher unter ihnen, und sagten zu ihm: Chor Herr bin ich’s?

Recitative Evangelist And he said: Christ Go into the City to such a man, and say unto him, The Master saith: ‘My time is at hand, I will keep the Passover at thy house with My disciples’.

Evangelist And the disciples did as Jesus appointed them, and they made ready the Passover. Now when the even was come, He sat down with the twelve.

And as they did eat, He said: Christ Verily, I say unto you, that one of you shall betray Me. Evangelist And they were exceedingly sorrowful and began every one of them to say unto Him: Chor Lord, is it I?

Chorale Ich bin’s, ich sollte büßen, An Händen und an Füßen Gebunden in der Höll, Die Geißeln und die Banden, Und was du ausgestanden, Das hat verdienet meine Seel’.

Chorale ‘Tis I who should, repenting in torture unrelenting, endure the pains of hell The Shackles and the scourges Thou bore from sin to purge us, Were by us all deserved full well.

Recitative Evangelista Er antwortete und sprach: Christus Der mit der Hand mit mir in die Schüssel tauchet, der wird mich verrathen. Des Menschen Sohn gehet zwar dahin, wie von ihm geschrieben stehet; doch wehe dem Menschen, durch welchen des Menschen Sohn verrathen wird. Es wäre ihm besser, daß derselbige Mensch noch nie geboren wäre.

Evangelista Da antwortete Judas, der ihn verrieth, und sprach: Judas Bin ich’s Rabbi?

Evangelista Er sprach zu ihm: Christus Du sagest's.

Evangelista Da sie aber aßen, nahm Jesus das Brot dankete und brach’s und gab’s den Jüngern und sprach: Christus Nehmet, esset, das ist mein Leib.

Evangelista Und er nahm den Kelch, und dankete, gab ihnen den und sprach:

Recitative Evangelist And He answered and said:, Christ He that dippeth his hand with Me in the dish, the same shall betray Me. The Son of Man goeth as it is written of Him; but woe until that man by whom the Son of Man is betrayed; it had been good for that man, if he had not been born.

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Evangelist Then answered Judas, which betrayed Him, and said: Judas Master is it I? Evangelist He said unto him Christ Thou hast said.

Evangelist And as they were eating, Jesus took bread, and blessed it, and brake it, and gave it to His disciples, and said: Christ Take, eat, this is My Body Evangelist And He took the cup, and gave thanks, and gave it to them, saying: 018

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Christus Trinket alle daraus; das ist mein Blut des neuen Testaments, welches vergossen wird für viele zur Vergebung der Sünden. Ich sage euch: Ich werde von nun an nicht mehr von diesem Gewächs des Weinstocks trinken, bis an den Tag, da ich’s neu trinken werde mit euch in meines Vaters Reich

Christ Drink ye all of it; for this is My Blood of the New Testament, which is shed for many for the remission of sins. But I say unto you: I will not drink henceforth of this fruit of the wine, until that day when I drink it new with you in My Father’s Kingdom

Recitative and Aria (Soprano) Wiewohl mein Herz in Thränen schwimmt Daß Jesus von uns Abschied nimmt, So macht mich doch sein Testament erfreut: Sein Fleisch und Blut, o Kostbarkeit, Vermacht er mir in meine Hände.

Wie er es auf der Welt mit denen Seinen Nicht böse können meinen, So liebt er sie bis an das Ende.

Recitative and Aria (soprano) Although my eyes with tears o’erflow, Since Jesus now must from us go, His gracious promise doth the soul uplift.

His Flesh and Blood, O precious gift!

He leaves us for our soul's refreshment, As He while in the world did love His own, So now, with love unchanging, He loves them unto the end.

Ich will dir mein Herze schenken, Senke dich, mein Heil, hinein.

Ich will mich in dir versenken; Ist dir gleich die Welt zu klein, Ei, so sollst du mir allein Mehr als Welt und Himmel sein.

Jesus, Saviour, I am Thine, Come and dwell my heart within.

All things else I count but loss, Glory only in Thy Cross.

Dearer than the world beside Is the Saviour who hath died.

Recitative Evangelista Und da sie den Lobgesang gesprochen hatten, gingen sie hinaus an den Ölberg. Da sprach Jesus zu ihnen: Christus In dieser Nacht werdet ihr euch alle ärgern an mir. Denn es stehet geschrieben: Ich werde den Hirten schlagen, und die Schafe der Herde werden sich zerstreuen. Wann ich aber auferstehe, will ich vor euch hingehen in Galiläam.

Recitative Evangelist And when they had sung a hymn, they went out to the Mount of Olives. Then saith Jesus unto them:

Chorale Erkenne mich, mein Hüter, Mein Hirte, nimm mich an!

Von dir, Quell aller Güter, Ist mir viel Gut’s gethan.

Dein Mund hat mich gelabet Mit Milch und süßer Kost, Dein Geist hat mich begabet Mit mancher Himmelslust.

Chorale Remember mem my saviourm My Shepherd, take thou me; The source of every blessing, Wilt Thou forever be.

By Thine abundance nourished, With milk and honey blest, Thy spirit brings me comfort and heavenly joy and rest.

Recitative Evangelista Petrus aber antwortete und sprach zu ihm: Petrus Wenn sie auch alle sich an dir ärgerten, so will ich doch mich nimmermehr ärgern.

Evangelista Jesus sprach zu ihm: Christus Wahrlich, ich sage dir: In dieser Nacht, ehe der Hahn krähet, wirst du mich dreimal verläugnen.

Evangelista Petrus sprach zu ihm:

Recitative Evangelist Peter answered, and said unto Him, Peter Though all men shall be offended because of Thee, yet will I never be offended.

Evangelist Jesus said unto him: Christ Verily I say unto thee, that this night before the cock crow, thou shalt deny Me thrice.

Evangelist Peter said unto Him:

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Christ All ye shall be offended because of Me this night, for it is written, I will smite the shepherd, and the sheep of the flock shall be scattered abroad. But after I am risen again, I will go before you into Galilee.

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Petrus Und wenn ich mit dir sterben müßte, so will ich dich nicht verläugnen.

Evangelista Desgleichen sagten auch alle Jünger.

Peter Though I should die with Thee, yet will I not deny Thee.

Evangelist Likewise also said all the disciples

Chorale Ich will hier bei dir stehen; verachte mich doch nicht!

Von dir will ich nicht gehen, Wenn Dir dein Herze bricht.

Wenn dein Herz wird erblassen Im lezten Todesstoß, Alsdenn will ich dich fassen In meinen Arm und Schoß

Chorale I stand here close beside Thee, Thine anguish I would share.

O Lord, do no despise me, In this Thine heart’s despair.

For when Thy heart is drooping in deaths last agony, My arms will be about Thee and hold Thee close to me

Recitative Evangelista Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane, und sprach zu seinen Jüngern: Christus Setzet euch hier, bis daß ich dorthin gehe und bete.

Evangelista Und nahm zu sich Petrum und die zween Söhne Zebedäi und fing an zu trauern und zu zagen.

Da sprach Jesus zu ihnen: Christus Meine Seele ist betrübt bis an den Tod, bleibet hie und wachet bei mir.

Recitative Evangelist Then cometh Jesus with them unto a place called Gethsemane, and saith unto the disciples: Christ Sit ye here, while I go yonder and pray.

Evangelist And He took with Him Peter and the two sons of Zebedee, and began to be sorrowful, and very heavy. Then saith He unto them, Christ My soul is exceedingly sorowful, even unto death! Tarry ye here and watch with Me.

Recitative und Chorale Tenor O Schmerz! Hier zittert das gequälte Herz.

Wie sinkt es hin, wie bleicht sein Angesicht!

Der Richter führt ihn vor Gericht, Da ist kein Trost, kein Helfer nicht.

Er leidet alle Höllenqualen, Er soll für fremden Raub bezahlen.

Ach, könnte meine Liebe dir, Mein Heil, dein Zittern und dein Zagen Vermindern oder helfen tragen, Wie gerne blieb ich hier!

Chor Was ist die Ursach’ aller solcher Plagen?

Ach! meine Sünden haben dich geschlagen!

Ich, ach Herr Jesu, habe dies verschuldet, Was du erduldet!

Recitative and Chorale Tenor O grief! how throbs His heavy-laden breast!

His spirit faints, how pale His weary face!

He to the Judgement-hall is brought, There is no help, no comfort near.

The powers of darkness now assail Him, His chosen friends will soon forsake Him. Ah! if my love Thy stay could be.

If I could gauge Thy grief, and share it, Could make it less, or help to bear it, How gladly would I watch with Thee.

Choir My Saviour, why must all this ill befall Thee?

My sin, alas! from highest Heaven did call Thee.

God took the debt from me, who should have paid.

On Thee He laid it.

Aria (Tenor) with Choir Tenor Ich will bei meinem Jesu wachen.

Chor So schlafen unsre Sünden ein.

Tenor Meinen Tod büßet seiner Seelennot; Sein Trauren machet mich voll Freuden.

Chor Drum muß uns sein verdienstlich Leiden Recht bitter und doch süße sein.

Aria (Tenor) with Choir Tenor I would beside my Lord be watching, Choir So all our sins will fall asleep.

Tenor I am saved from sin and loss by His cross, His sorrows win my soul its ransom.

Choir His pain and woe and all His sadness, How bitter and how sweet are they.

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Recitative Evangelista Ung ging hin ein wenig, fiel nieder auf sein Angesicht, und betete, und sprach: Christus Mein Vater, ist’s möglich, so gehe dieser Kelch von mir; doch nicht wie ich will, sondern wie du willst.

Recitative Evangelist And He went a little farther, and fell on His face and prayed, saying, Christ My Father, if it be possible, let this cup pass from me, yet not as I will, but as Thou wilt.

Recitative and Aria (Bass) Der Heiland fällt vor seinem Vater nieder, Dadurch erhebt er mich und Alle von unserm Falle Hinauf zu Gottes Gnade wieder.

Er ist bereit, Den Kelch, des Todes Bitterkeit zu trinken, In welchen Sünden dieser Welt Gegossen sind und häßlich stinken, Weil es dem lieben Gott gefällt.

Gerne will ich mich bequemen Kreuz und Becher anzunehmen, Trink ich doch dem Heiland nach.

Denn sein Mund, der mit Milch und Honig fließet, Hat den Grund und des Leidens herbe Schmach Durch den ersten Trunk versüßet.

Recitative and Aria (Bass) The Saviour falleth low before His Father, Thereby He raiseth me and all The Sons of Adam, To taste once more the grace of God. He is prepared, The cup of deathly bitterness to swallow, In which the sins of all the world Are poured, and foul the dregs; Because the Father’s will is so.

Gladly will I, fear disdaining, Drink the cup without complaining, Drink it as my Saviour did.

By His lips, with milk and honey flowing, All the shame and bitterness has been hid, Sweetness on its dregs bestowing.

Recitative Evangelista Und er kam zu seinen Jüngern und fand sie schlafend, und sprach zu ihnen: Christus Könnet ihr denn nicht eine Stunde mit mir wachen? Wachet und betet, daß ihr nicht in Anfechtung fallet! Der Geist ist willig, aber das Fleisch ist schwach.

Evangelista Zum andernmal ging er hin, betete und sprach: Christus Mein Vater, ist's nicht möglich, daß dieser Kelch von mir gehe, ich trinke ihn denn, so geschehe dein Wille

Recitative Evangelist: And He cometh unto the disciples, and findeth them asleep, and saith unto Peter: Christ What, could ye not watch with Me one hour?

Watch and pray that ye enter not into temptation; the spirit indeed is willing but the flesh is weak.

Evangelist He went away again the second time, and prayed, saying: Christ O My Father, if this cup may not pass away from Me except I drink it, Thy will be done

Chorale Was mein Gott will, das g’scheh allzeit, Sein Will, der ist der beste; Zu helfen den’n er ist bereit, Die an ihn glauben feste.

Er hilft aus Noth, der fromme Gott, Und züchtiget mit Maßen.

Wer Gott vertraut, fest auf ihn baut, Den will er nicht verlassen

Chorale What Gold resolves he will achieve.

His will is perfect ever.

He succors all who firm believe, And for the best endeavour.

Our help in need, Our god indeed, With gentle moderation.

He chastens us; If Him we trust, We need not fear damnation

Recitative Evangelista Und er kam und fand sie aber schlafend, und ihre Augen waren voll Schlaf ’s. Und er ließ sie, und ging abermals hin, und betete zum dritten Mal und redete dieselbigen Worte. Da kam er zu seinen Jüngern, und sprach zu ihnen:

Recitative Evangelist And He came and found them asleep again, for their eyes were heavy. And He left them, and went away again, and prayed the third time, saying the same words. Then cometh He to His disciples, and saith unto them: 021

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Christus Ach! wollt ihr nun schlafen und ruhen? Siehe, die Stunde ist hier, daß des Menschen Sohn in der Sünder Hände überantwortet wird. Stehet auf, lasset uns gehen; siehe, er ist da, der mich verräth.

Evangelista Und als er noch redete, siehe, da kam Judas, der Zwölfen einer, und mit ihm eine große Schar, mit Schwertern und mit Stangen, von den Hohenpriestern und Ältesten des Volks. Und der Verräther hatte ihnen ein Zeichen gegeben, und gesagt: ‘Welchen ich küssen werde, der ist’s, den greifet!’ Und alsbald trat er zu Jesum und sprach: Judas Gegrüßet sei’st du, Rabbi!

Evangelista Und küssete ihn. Jesus aber sprach zu ihm: Christus Mein Freund, warum bist du kommen?

Evangelista Da traten sie hinzu and legten die Hände an Jesum, und griffen ihn.

Christ Sleep on now, and take your rest, behold the hour is at hand, and the Son of Man is betrayed into the hands of sinners. Rise, let us be going; behold, he is at hand that doth betray Me. Evangelist And while He yet spoke, Judas, one of the twelve, came, and with him a great multitude with swords and staves from the chief priests and elders of the people. Now he that betrayed Him, gave them a sign, saying: ‘Whomsoever I shall kiss, that same is He, hold Him fast.’ And forthwith he came to Jesus, and said:

Duet (Soprano and Mezzo-Soprano) with Choir Soprano, Mezzo-soprano So ist mein Jesus nun gefangen.

Mond und Licht Ist vor Schmerzen untergangen, Weil mein Jesus ist gefangen Sie füren ihn, er ist gebunden.

Chor Laßt ihn, haltet, bindet nicht!

Sind Blitze, sind Donner in Wolken verschwunden?

Eröffne den feurigen Abgrund, o Hölle, Zertrümmre, verderbe, verschlinge, zerschelle Mit plötzlicher Wuth Den falschen Verräther, das mördrische Blut.

Duet (Soprano and Mezzo-Soprano) with Choir Soprano, Mezzo-soprano Behold, my saviour now is taken.

Moon and stars Have for grief the night forsaken, Since my Saviour now is taken.

They lead Him hence; with cords they bind Him! Choir Loose Him! Leave Him! Bind Him not!

Have lightnings and thunders their fury forgotten?

Then open, O fathomless pit, all thy terrors!

Destroy them, o’erwhelm them, devour them, Consume them with tumult rage, The treach’rous betrayer, the merciless throng

Recitative Evangelista Und siehe, Einer aus denen, die mit Jesu waren, reckete die Hand aus, und schlug des Hohenpriesters Knecht und hieb ihm ein Ohr ab. Da sprach Jesus zu ihm: Christus Stecke dein Schwert an seinen Ort; denn wer das Schwert nimmt, der soll durchs Schwert umkommen. Oder meinest du, daß ich nicht könnte meinen Vater bitten, daß er mir zuschickte mehr denn zwölf Legion Engel? Wie würde aber die Schrift erfüllet? Es muß also gehen.

Evangelista Zu der Stund’ sprach Jesus zu den Scharen:

Recitative Evangelist And behold, one of which were with Jesus stretched out his hand, and struck a servant of the High Priest's and smote off his ear. Then Jesus said to him:

Judas Hail Master!

Evangelist and kissed Him. And Jesus said unto him: Christ Friend, wherefore art thou come?

Evangelist Then came they and laid hands on Jesus and took Him.

Christ Put up thy sword into its place, for all they that take the sword, shall perish with the sword. For thinkest thou that I cannot now pray to My Father, and He shall presently give Me more then twelve legions of angels?

But how then shall the Scriptures be fulfilled, that thus it must be?

Evangelist In that hour, said Jesus to the multitudes:

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Christus Ihr seid ausgegangen, als zu einem Mörder, mit Schwertern und mit Stangen, mich zu fahen, bin ich doch täglich bei euch gesessen und habe gelehret im Tempel, und ihr habt mich nicht gegriffen. Aber das ist alles geschehen, daß erfüllet würden die Schriften der Propheten.

Evangelista Da verließen ihn alle Jünger und flohen.

Christ Are ye come out, as against a thief, with swords and with staves for to take Me? I sat daily with you teaching in the temple and ye laid no hold on Me. But all this was done, that the Scriptures of the Prophets might be fulfilled.

Chorale O Mensch, bewein’ dein’ Sünde groß, Darum Christus sein’s Vaters Schoß äußert, und kam auf Erden; Von einer Jungfrau rein und zart Für uns er hie geboren ward, Er wollt’ der Mittler werden.

Den’n Todten er das Leben gab und legt dabei all Krankheit ab, Bis sich die Zeit herdrange, Daß er für uns geopfert würd',

Chorale O man,thy heavy sin lament, For which the Son of God was sent To die upon the cross.

He left His Father’s throne above To save thy soul, o wondrous love!

From everlasting loss.

He healed the sick. He raised the dead, And hungry multitudes He fed, Until the time drew nigh, When He should be betrayed and slain,

Evangelist Then all the disciples forsook Him, and fled.

INTERVAL Part II Aria (Mezzo-soprano) with Choir Mezzo-soprano Ach nun is mein Jesus hin!

Ist es möglich, kann ich schauen?

Ach! mein Lamm in Tigerklauen, Ach! Wo ist mein Jesus hin?

Ach was soll ich der Seele sagen, Wenn sie mich wird ängstlich fragen?

Ach, wo ist mein Jesus hin?

Aria (Mezzo-soprano) with Choir Mezzo-soprano Ah! Now is my Saviour gone!

Is it possible? How can I behold it?

Ah! My Lamb, in tiger’s clutches!

Ah! Where is my Saviour gone!

Ah! How shall I answer my soul When she anxiously doth ask me: Whither is my beloved gone?

Recitative Evangelista Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas, dahin die Schriftgelehrten und Ältsesten sich versammlet hatten.

Petrus aber folgete ihm nach von ferne, bis in den Palast des Hohenpriesters; und ging hinein und setzte sich bei den Knechten, auf daß er sähe, wo es hinaus wollte. Die Hohenpriester aber und Ältesten und der ganze Rath suchten falsches Zeugnis wider Jesum, auf daß sie ihn tödteten; und fanden keines.

Recitative Evangelist And they that had laid hold of Jesus led Him away to the High Priest, Caiaphas, where the scribes and the elders were gathered together. Simon Peter followed Him afar off, unto the palace of the High Priest, and went in, and sat with the servants, that he might see how all would be ended. Now the chief priest, and the elders, and all the Council, sought false witness against Jesus, that He might be put to death; but found they none.

Chorale Mir hat die Welt trüglich gericht’t Mit Lügen und mit falschem G’dicht, Viel Netz und heimlich Stricken.

Herr, nimm mein wahr in dieser G’fahr, B’hüt’ mich vor falschen Tücken

Chorale The world, with treachery complete, With lies and fraud and flas deceit Would tangle and ensnare me.

Lord, keep Thou me from danger free From evil malice spare me!

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Recitative Evangelista Und wiewohl viel falsche Zeugen herzutraten, fanden sie doch keins. Zuletzt traten herzu zween falsche Zeugen und sprachen: Erster und Zweiter Zeuge Er hat gesagt,‘Ich kann den Tempel Gottes abbrechen, und in dreien Tagen denselben bauen.’

Evangelista Und der Hohepriester stand auf und sprach zu ihm: Pontifex Antwortest du nichts zu dem, was diese wider dich zeugen?

Evangelista Aber Jesus schwieg stille.

Recitative Evangelist Yea, though many false witnesses came forward, yet found they none. At the last there came two false witnesses, and said False Witnesses This fellow said, I am able to destroy the temple of God, and to build it in three days.

Recitative and Aria (Tenor) Mein Jesus schweigt zu falschen Lügen stille, um uns damit zu zeigen, daß sein Erbarmens voller Wille vor uns zum Leiden sei geneigt, und daß wir in dergleichen Pein ihm sollen ähnlich sein, und in Verfolgung stille schweigen.

Geduld, Geduld!

Wenn mich falsche Zungen stechen.

Leid ich wider meine Schuld Schimpf und Spott Ei, so mag der liebe Gott meines Herzens Unschuld rächen.

Recitative and Aria (Tenor) My Jesus holds His peace though men accuse Him falsely, that thereby He may show us how deep compassion works within Him to bear our sorrows in His heart. So we, when called to suffer wrong, should try to be like Him, and in affliction hold our peace.

Endure, endure Even lying tongues and taunting Suffer thou, in faith secure, Scourge and rod, Wait till justice of our God Smite their hearts with sword avenging.

Recitative Evangelista Und der Hohepriester antwortete und sprach zu ihm: Pontifex Ich beschwöre dich bei dem lebendigen Gott, daß du uns sagest, ob du seiest Christus, der Sohn Gottes?

Evangelista Jesus sprach zu ihm: Christus Du sagest’s. Doch sage ich euch: Von nun an wird's geschehen, daß ihr sehen werdest des Menschen Sohn sitzen zur Rechten der Kraft, und kommen in den Wolken des Himmels.

Evangelista Da zerriß der Hohepriester seine Kleider und sprach: Pontifex Er hat Gott gelästert; was dürfen wir weiter Zeugniss? Siehe, jetzt habt ihr seine Gotteslästerung gehöret. Was dünket euch?

Evangelista Sie antworteten, und sprachen: Chor Er ist des Todes schuldig!

Recitative Evangelist And the High Priest answered and said unto Him: High Priest I adjure Thee by the living God, that Thou tell us, whether Thou be the Christ, the Son of God.

Evangelist And the High Priest then arose and said to Him: High Priest Answerest Thou nothing? What is it, which these witness against Thee?

Evangelist But Jesus held his peace.

Evangelist Jesus saith unto him: Christ Thou hast said: nevertheless I say unto you; Hereafter shall ye see the Son of hand sitting on the right hand of power, and coming in the clouds of Heaven.

Evangelist Then the High Priest rent his clothes, saying: High Priest He hath spoken blasphemy; What further need have we of witnesses? Behold, now ye have heard His blasphemy. What think ye?

Evangelist They answered and said, Chief Priests, Scribes, Elders He is worthy of death

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Recitative Evangelista Da speieten sie aus in sein Angesicht, und schlugen ihn mit Fäusten. Etliche aber schlugen ihn in’s Angesicht, und sprachen: Chor Weissage und, Christe, wer ist’s, der dich schlug?

Recitative Evangelist Then did they spit in His face, and buffeted Him, and others smote Him with the palm of their hands, saying: Chief Priests, Scribes, Elders Now tell us, Thou Christ, who is he that smote Thee?

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 Missethaten weißt du nicht.

Chorale Who was it, Lord, did smite Thee, Thy good with ill requite Thee, So foully treated Thee?

For thou wert no offender, Nor didst to sin surrender; From evil Thou wert ever free.

Recitative Evangelista Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd, und sprach: Anchilla I Und du warest auch mit dem Jesus aus Galiläa.

Evangelista Er läugnete aber vor ihnen allen, und sprach: Petrus Ich weiß nicht, was du sagest.

Evangelista Als er aber zu Thür hinausging, sahe ihn eine andere, und sprach zu denen, die da waren: Anchilla II Dieser was auch mit dem Jesu von Nazareth.

Evangelista Und er läugnete abermal und schwur dazu: Petrus Ich kenne des Menschen nicht.

Evangelista Und über eine kleine Weile traten hinzu, die da standen, und sprachen zu Petro: Chor Wahrlich, du bist auch einer von denen; denn deine Sprache verräth dich.

Recitative Evangelist Now Peter sat without in the palace, and a maid came unto him, saying: First Maid Thou also wast with Jesus of Galilee.

Evangelist But he denied before them all, saying: Peter I know not what you sayest.

Evangelist And when he was gone out into the porch, another maid saw him and said unto them that were there: Second Maid This fellow was also with Jesus of Nazareth.

Evangelist And again he denied with an oath: Peter I do not know the man.

Evangelist And after a while came unto him they that stood by, and said to Peter: Bystanders Surely thou also art one of them, for thy speech betrayeth thee.

Recitative Evangelista Da hub er an sich zu verfluchen und zu schwören: Petrus Ich kenne des Menschen nicht.

Evangelista Und alsbald krähete der Hahn. Da dachte Petrus an die Worte Jesu, da er zu ihm sagte: ‘Ehe der Hahn krähen wird, wirst du mich dreimal verläugnen.’

Und ging heraus, und weinete bitterlich.

Recitative Evangelist Then began he to curse and to swear, saying:

Aria (Mezzo-soprano) Erbarme dich, Mein Gott, um meiner Zähren willen; Schaue hier, Herz und Auge weint vor dir Bitterlich.

Aria (Mezzo-soprano) Have mercy, Lord, on me, Regard my bitter weeping, Look at me, heart and eyes Both weep to Thee bitterly.

Have mercy, Lord!

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Peter I know not the man.

Evangelist And immediately the cock crew. And Peter remembered the word of Jesus, which said unto him: ‘Before the cock crow, thou shalt deny Me thrice.’ And he went out, and wept bitterly.

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For more information please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381 OAE Friends As an OAE Friend [from £50], you can be sure to get your hands on your favourite seats with our priority booking period. You’ll also benefit from a unique insight into the inner workings of the Orchestra with regular rehearsal access, opportunities to meet the players and invitations to other events throughout the season.

Join the OAE Friends at oae.co.uk/support or contact: Helena Wynn Helena.wynn@oae.co.uk Telephone 020 7239 9386

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OAE Young Patrons We’re committed to enthusing the next generation of philanthropists through our Young Patrons programme. Aimed at people under 45, this membership scheme includes the opportunity to socialise with our musicians, 2 for 1 tickets to The Night Shift and a chance to meet like-minded people at networking events.

Leaving a legacy to the OAE Legacies are crucial to our fundraising and help to sustain and increase the scope of our work.

By leaving a legacy to the OAE you will be helping to shape the Orchestra’s future ensuring we can continue to inspire, enthuse and challenge audiences for years to come.

To find out more visit oae.co.uk/support or contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

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Chorale Bin ich gleich von dir gewichen, Stell’ ich mich doch wieder ein; Hat uns doch dein Sohn verglichen Durch sein’ Angst und Todespein.

Ich verleugne nicht die Schuld, Aber deine Gnad’ und Huld Ist viel größer als die Sünde, Die ich stets in mir befinde.

Chorale Tho’ from Thee temptation lured me, Lord, to Thee I come again.

Thy forgiveness is assured me through Thy son’s despair and pain.

I do not deny my guilt, But Thy mercy, if Thou Wilt, Far exceedeth my transgression, Of which I must make confession.

Recitative Evangelista Des morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rath über Jesum, daß sie ihn tödteten. Und banden ihn, führeten ihn hin, und überantworteten ihn dem Landpfleger Pontio Pilato. Da das sahe Judas, der ihn verrathen hatte, daß er verdammt war zum Tode, gereuete es ihn, und brachte her wieder die dreißig Silberlinge den Hohenpriestern und Ältesten und sprach: Judas Ich habe übel gethan, daß ich unschuldig Blut verrathen habe.

Evangelista Sie sprachen Chor Was gehet uns das an? Da siehe du zu!

Recitative Evangelist When the morning was come, all the chief priests and elders of the people took counsel against Jesus to put Him to death. And they bound Him, they led Him away, and delivered Him to Pontius Pilate the governor. Then Judas, which had betrayed Him, when he saw that He was condemned, repented himself and brought again the thirty pieces of silver to the chief priests and elders, saying: Judas I have sinned, in that I have betrayed the innocent blood.

Evangelist And they said, Chief Priests, Elders But what is that to us? See thou to that.

Recitative Evangelista Und er warf die Silberlinge in den Tempel, hub sich davon, ging hin, und erhängete sich selbst. Aber die Hohenpriester nahmen die Silberlinge, und sprachen: Pontifices Es taugt nicht, daß wir sie in den Gotteskasten legen, denn es ist Blutgeld.

Recitative Evangelist And he cast down the pieces of silver in the temple, and departed, and went and hanged himself.

And the chief priests took the silver pieces, and said:

Aria (Bass) Gebt mir meinen Jesum wieder!

Seht, das Geld, den Mörderlohn, Wirft euch der verlorne Sohn Zu den Füßen nieder!

Aria (Bass) Give, O give me back my Lord, See the silver, price of blood, At your feet in horror pour’d By the lost betrayer.

Recitative Evangelista Sie hielten aber einen Rath und kauften einen Töpfersacker darum, zum Begräbnis der Pilger.

Daher ist derselbige Acker genennet der Blutacker bis auf den heutigen Tag. Da ist erfüllet, das gesagt ist durch den Propheten Jeremias, da er spricht: ‘Sie haben genommen dreißig Silberlinge, damit bezahlet ward der Verkaufte, welchen sie kauften von den Kindern Israel, und haben sie gegeben um einen Töpfersacker, als mir der Herr befohlen hat.’ Jesus aber stund vor dem Landpfleger; und der Landpfleger fragte ihn, und sprach: Pilatus Bist du der Juden König?

Evangelista Jesus aber sprach zu ihm:

Recitative Evangelist And they took counsel together, and brought with them the potter’s field, to bury strangers in.

Wherefore that field was called the field of blood, unto this day. Then was fulfilled that which was spoken by Jeremiah the Prophet, saying, ‘And they took the thirty pieces of silver, the price of Him that was valued, whom they bought of the children of Israel, and gave them for the potter’s field, as the Lord appointed me’ And Jesus stood before the governor and the governor asked Him, saying:

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Chief Priests It is not lawful for us to put them into the treasury, because it is the price of blood.

Pilate Art Thou the King of Jews?

Evangelist And Jesus said unto him,

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Christus Du sagest’s.

Evangelista Und da er verklagt ward von den Hohenpriestern und Ältesten, antwortete er nichts. Da sprach Pilatus zu ihm: Pilatus Hörest du nicht, wie hart sie dich verklagen?

Evangelista Und er antwortete ihm nicht auf ein Wort, also daß sich auch der Landpfleger sehr verwunderte.

Christ Thou sayest.

Evangelist And when He was accused of the chief priests and elders, He answered nothing. Then said Pilate unto Him: Pilate Hearest Thou not how many things they witness against Thee?

Evangelist And He anwered him never a word, insomuch that the governor marvelled greatly.

Chorale Befiehl du deine Wege, Und was dein Herze kränkt Der allertreusten Pflege dess, der den Himmel lenkt.

Der Wolken, Luft und Winden giebt Wege, Lauf und Bahn, Der wird auch Wege finden Da dein Fuß gehen kann

Chorale Entrust thy ways unto Him, and all thy spirit craves, The every faithful Guardian, who guides the wind and waves.

Who rules the clouds of heaven and bids the breezes blow, He best can choose the pathway on which our steps should go.

Recitative Evangelista Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gerfangenen loszugeben, welchen sie wollten. Er hatte aber zu der Zeit einen Gefangenen, einen sonderlichen vor andern, der hieß Barrabas. Und da sie versammelt waren, sprach Pilatus zu ihnen: Pilatus Welchen wollet ihr, daß ich euch losgebe?

Barrabam oder Jesum, von dem gesaget wird, er sei Christus.

Evangelista Denn er wusste wohl, daß sie ihn aus Neid überantwortet hatten. Und da er auf dem Richtstuhl saß, schickete sein Weib zu ihm und ließ ihm sagen: Uxor Pilati Habe du nichts zu schaffen mit diesem Gerechten; ich habe heute viel erlitten im Traum von seinetwegen!

Evangelista Aber die Hohenpriester und die Ältesten überredeten das Volk, daß sie um Barrabam bitten sollten, und Jesum umbrächten. Da antwortete nun der Landpfleger, und sprach zu ihnen: Pilatus Welchen wollt ihr unter diesen zweien, den ich euch soll losgeben?

Evangelista Sie sprachen: Chor Barrabam!

Recitative Evangelist Now at the feast the governor was wont to release unto the people a prisoner, whom they would.

And they had then a notable prisoner called Barabbas.

Therefore when they were gathered together, Pilate said unto them:

Evangelista Pilatus sprach zu ihnen: Pilatus Was soll ich denn machen mit Jesu, von dem gesagt wird, er sei Christus?

Evangelist Pilate said unto them: Pilate What shall I do then with Jesus, which is called Christ?

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Pilate Whom will ye that I release unto you? Barabbas, or Jesus, which is called Christ?

Evangelist For he knew that for envy they had delivered Him. When he was set down on the judgment seat, his wife sent unto him, saying: Pilate’s Wife Have thou nothing to do with that just man! For I have suffered many things this day in a dream because of Him. Evangelist But the Chief Priests and elders persuaded the multitude that they should ask Barabbas and destroy Jesus. The governor answered and said unto them: Pilate Which of the twain will ye that I release unto you?

Evangelist They said: Multitude Barabbas!

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Evangelista Sie sprachen alle: Chor Laß ihn kreuzigen!

Evangelist They all say unto him, Multitude Let him be crucified!

Chorale Wie wunderbarlich ist doch diese Strafe!

Der gute Hirte leidet für die Schafe, Die Schuld bezahlt der Herre, der Gerechte, Für seine Knechte!

Chorale How strange, how wondrous strange, this crucifixtion; The Shepherd for His sheep must bear affliction, The good King pays his subjects obligation, despite His station!

Recitative Evangelista Der Landpfleger sagte: Pilatus Was hat er denn Übels gethan?

Recitative Evangelist And the governor said: Pilate Why, what evil has He done?

Recitative and Aria (Soprano) Er hat uns Allen wohlgethan, Den Blinden gab er das Gesicht, Die Lahmen macht’ er gehend; Er sagt’ uns seines Vaters Wort, Er trieb die Teufel fort, Betrübte hat er aufgericht’t, Er nahm die Sünder auf und an; Sonst hat mein Jesus nichts gethan.

Aus Liebe will mein Heiland sterben, Von einer Sünde weiß er nichts.

Daß das ewige Verderben Und die Strafe des Gerichts Nicht auf meiner Seele bliebe.

Recitative and Aria (Soprano) To us He hath done all things well; The blind man sight from Him received, The lame man leaped and walked; He told us of His Father’s word; He sent the devils forth, The mourners He hath comforted And the sinners, too, He hath received, Besides this, Jesus nought hath done.

For love my Saviour now is dying, Of sin and guilt He knoweth nought, So eternal desolation And the sinner’s righteous doom Shall not rest upon spirit

Recitative Evangelista Sie schrieen aber noch mehr, und sprachen: Chor Laß ihn kreuzigen!

Evangelista Da aber Pilatus sahe, daß er nichts schaffete, sondern daß ein viel größer Getümmel ward, nahm er Wasser, und wusch die Hände vor dem Volk und sprach: Pilatus Ich bin unschuldig an dem Blut dieses Gerechten, sehet ihr zu.

Evangelista Da antwortete das ganze Volk und sprach: Chor Sein Blut komme über uns und unsre Kinder.

Evangelista Da gab er ihnen Barrabam los; aber Jesum ließ er geißeln und überantwortete ihn, daß er gekreuziget würde.

Recitative Evangelist But they cried out the more, saying: Multitude Let Him be crucified!

Evangelist When Pilate saw that he could prevail nothing, but that rather a tumult was made, he took water, and washed his hands before the multitude, saying: Pilate I am innocent of the blood of this just person: see ye to it.

Evangelist Then answered all the people, and said: Multitude His blood be on us and on our children Evangelist Then released he Barabbas unto them, and when he had scourged Jesus, he delivered Him to be crucified.

Recitative and Aria (Mezzo-soprano) Erbarm’ es Gott!

Hier steht der Heiland angebunden.

O Geißelung, o Schläg’, o Wunden!

Ihr Henker, haltet ein!

Erweichet euch der Seelen Schmerz, Der Anblick solchen Jammers nicht?

Recitative and Aria (Mezzo-soprano) O gracious God! Behold, the Saviour standeth bound.

Now scourge they Him, and smite and wound Him! Tormenters, stay your hands!

Are not your hearts with pity moved 030 To see such anguish meekly borne?

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Ach ja, ihr habt ein Herz, Das muß der Martersäule gleich Und noch viel härter sein.

Erbarmt euch, haltet ein!

Können Thränen meiner Wangen Nichts erlangen, O, so nehmt mein Herz hinein!

Aber laßt es bei den Fluten, Wenn die Wunden milde bluten, Auch die Opferschale sein!

Ah no! Your hearts are hard.

And must be like the rock itself, Nay, more unyielding still.

Have pity! Stay your hands By my weeping and my wailing, Unavailing, Still receive my willing heart.

When Thy suff ’rings are completed, When at God’s right hand Thou art seated, Let me have in Thee a part!

Recitative Evangelista Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus, und sammelten über ihn die ganze Schar; und zogen ihn aus und legeten ihm einen Purpurmantel an; und flochten eine Dornenkrone und setzten sie auf sein Haupt, und ein Rohr in seine rechte Hand, und beugeten die Knie vor ihm, und spotteten ihn, und sprachen: Chor Gegrüßet seist du, Jüdenkönig!

Evangelista Und speieten ihn an, und nahmen das Rohr, und schlugen damit sein Haupt.

Recitative Evangelist Then the soldiers of the governor took Jesus unto the common hall, and gathered unto Him the whole band of soldiers, and stripped Him, and put on Him a scarlet robe, and when they had plaited a crown of thorns, they put it upon His head, and a reed in His right hand, and they bowed the knee before Him, and mocked Him, and said: Soldiers Hail, Hail, King of the Jews!

Evangelist and they spat upon Him, and took reed, and smote Him on the head.

Chorale O Haupt voll Blut und Wunden, Voll Schmerz und voller Hohn!

O Haupt, zu Spott gebunden Mit einer Dornenkron’!

O Haupt, sonst schön gezieret Mit höchster Ehr’ und Zier, Jetzt aber hoch schimpfieret: Gegrüßet seist du mir!

Du edles Angesichte, Vor dem sonst schrickt und scheut Das große Weltgerichte, Wie bist du so bespeit!

Wie bist du so erbleichet!

Wer hat dein Augenlicht, Dem sonst kein Licht nicht gleichet, So schändlich zugericht’t?

Chorale Oh head, all scarr’d and bleeding, and heap’d with cruel scorn!

Oh Head so fill’d with sorrow, and bound with crown of thorn!

Oh head, that was so honor’d, so lovely fair to see, and now so low degraded; my heart goes out to Thee!

O Lord, we will not jeer Thee, as they who mocked Thee there, but comfort, love and cheer Thee, in anguish and despair.

Recitative Evangelista Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus und zogen ihm seine Kleider an, und führeten ihn hin, daß sie ihn kreuzigten. Und indem sie hinausgingen, fanden sie einen Menschen von Kyrene, mit Namen Simon; den zwangen sie, daß er ihm sein Kreuz trug.

Recitative Evangelist And after that they had mocked Him they took the robe off Him, and put His own raiment on Him, and led Him away, to crucify Him. And as they came out, they found a man of Cyrene, Simon by name, him compelled they to bear His cross.

Recitative and Aria (Bass) Ja! freilich will in uns das Fleisch und Blut zum Kreuz gezwungen sein; je mehr es unsrer Seele gut, Je herber geht es ein.

Komm, süßes Kreuz, so will ich sagen, Mein Jesu, gieb es immer her!

Recitative and Aria (Bass) The flesh must be crucified, If we would follow Christ: Each sinful lust must be subdued, Though sore the conflict must be.

Come blessed cross, thus will I sing, My Saviour ever give it me, 031

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Wird mir mein Leiden einst zu schwer, So hilf du mir es selber tragen.

Should burdens ever too heavy be, I'll cast them on my Saviour King.

Recitative Evangelista Und da sie an die Stätte kamen, mit Namen Golgatha, das ist verdeutschet, Schädelstätt’, gaben sie ihm Essig zu trinken mit Gallen vermischet; und da er’s schmeckete, wollte er's nicht trinken. Da sie ihn aber gekreuziget hatten, theilten sie seine Kleider und warfen das Los darum, auf daß erfüllet würde, das gesagt ist durch den Propheten: ‘Sie haben meine Kleider unter sich getheilet, und über mein Gewand haben sie das Los geworfen.’ Und sie saßen allda, und hüteten sein. Und oben zu seinem Haupte hefteten sie die Ursach seines Todes beschrieben, nämlich: ‘Dies ist Jesus, der Juden König.’ Und da wurden zween Mörder mit ihm gekreuziget, einer zur Rechten und einer zur Linken. Die aber vorübergingen, lästerten ihn und schüttelten ihre Köpfe, und sprachen: Chor Der du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, hilf dir selber. Bist du Gottes Sohn, so steig herab vom Kreuz.

Evangelista Desgleichen auch die Hohenpriester spotteten sein, samt den Schriftgelehrten und Ältesten und sprachen: Chor Andern hat er geholfen und kann sich selber nicht helfen. Ist er der König Israel, so steige er nun vom Kreuz, so wollen wir ihm glauben. Er hat Gott vertrauet, der erlöse ihn nun, lüstet’s ihn; denn er hat gesagt: Ich bin Gottes Sohn.

Recitative Evangelist When they were come unto a place Golgotha (that is, a place of a skull) they gave Him vinegar to drink mingled with gall. And when He had tasted it, He would not drink. And they crucified Him, and parted His garments, casting lots: that it might be fulfilled, which was spoken by the prophet, ‘They parted My garments among them, and upon My vesture did they cast lots.’ And sitting down, they watched Him there and they set up over His head His accusation written, saying, ‘This is Jesus, the King of the Jews!’. There were two thieves crucified with Him, one on the right hand, and another on the left. And they that passed by reviled Him, wagging their heads, and saying:

Recitative Evangelista Dessgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget wurden.

Recitative Evangelist The thieves also which were crucified with Him cast the same in His teeth.

Recitative and Aria (Mezzo-soprano) Mezzo-soprano Ach Golgatha, unsel’ges Golgatha!

Der Herr der Herrlichkeit muß schimpflich hier verderben, Der Segen und das Heil der Welt Wird als ein Fluch an’s Kreuz gestellt.

Der Schöpfer Himmels und der Erden Soll Erd’ und Luft entzogen werden; Die Unschuld muß hier schuldig sterben: Das gehet meiner Seele nah; Ach Golgatha, unsel’ges Golgatha!

Sehet, Jesus hat die Hand, Uns zu fassen ausgespannt. Kommt!

Chor Wohin?

Mezzo-soprano In Jesu Armen.

Sucht Erlösung, nehmt Erbarmen, suchet!

Chor Wo?

Recitative and Aria (Mezzo-soprano) Mezzo-soprano Ah, Golgotha! Unhappy Golgotha!

‘Twas there the Lord of Glory vilely was rejected.

The blessed Saviour of the world, Here hangs upon th’accursed tree.

The God who heav’n and earth created, On thee must perish from the earth, The innocent must die, as do the guilty.

Ah! how this grief afflicts my soul; Ah, Golgotha! Unhappy Golgotha!

See ye, see the Saviour’s outstretched hands!

He would draw us to Himself: come!

Choir Where?

Mezzo-soprano In Jesu’s arms.

Seek redemption, seek ye mercy, seek them!

Choir Where?

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Passers-by Thou that destroyed the temple of God, and buildest it in three days, save Thyself. If Thou be the Son of God, come down from the cross.

Evangelist Likewise also the chief priests mocking Him, with scribes and elders said: Chief Priests, Scribes, Elders He saved others,Himself He cannot save. If He be the King of Israel, let Him now come down from the cross, and we will believe Him; He trusted in God, Let Him deliver Him now, if He will have Him for He hath said, ‘I am the Son of God’.

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Mezzo-soprano In Jesu Armen.

Lebet, sterbet, ruhet hier Ihr verlass’nen Küchlein ihr, bleibet.

Chor Wo? Mezzo-soprano In Jesu Armen.

Mezzo-soprano In Jesu’s arms.

Live ye, die ye, rest ye here, Ye whom sin and guilt oppress: rest.

Choir Where?

Mezzo-soprano In Jesu’s arms

Recitative Evangelista Und von der sechsten Stunde an ward eine Finsternis über das ganze Land, bis zu der neunten Stunde. Und um die neunte Stunde schriee Jesus laut und sprach: Christus Eli, Eli, lama asabthani?

Evangelista Das ist: ‘mein Gott, mein Gott, warum hast du mich verlassen?’ Etliche aber, die da standen, da sie das höreten, sprachen sie: Chor Der rufet den Elias!

Evangelista Und bald lief einer unter ihnen, nahm einen Schwamm und füllete ihn mit Essig, und steckete ihn auf ein Rohr, und tränkete ihn. Die Andern aber sprachen: Chor Halt! laß sehen, ob Elias komme, und ihm helfe.

Evangelista Aber Jesus schriee abermal laut und verschied.

Recitative Evangelist Now from the sixth hour there was darkness over all the land until the ninth hour. And about the ninth hour, Jesus cried with a loud voice, saying:

Chorale Wenn ich einmal soll scheiden, So scheide nicht von mir!

Wenn ich den Tod soll leiden, So tritt du dann herfür !

Wenn mir am allerbängsten Wird um das Herze sein, So reiß mich aus den Ängsten Kraft deiner Angst und Pein!

Chorale When comes my hour of parting, so not Thou part from me.

As death’s dread hour approaches beside me Thou wilt be.

And when, in awful anguish, my time of death is nigh, Thy cross will then uphold me that steadfast I may die.

Recitative Evangelista 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 theten sich auf, und standen auf viel Leiber der Heiligen, die da schliefen, und gingen aus den Gräbern nach seiner Auferstehung, und kamen in die heilige Stadt, und erschienen vielen. Aber der Hauptmann, und die bei ihm waren, und bewahreten Jesum, da sie sahen das Erdbeben und was da geschah, erschaken sie sehr und sprachen: Chor Wahrlich, dieser ist Gottes Sohn gewesen.

Recitative Evangelist And, behold, the veil of the temple was rent in twain, from top unto the bottom, and the earth did quake, and the rocks rent. And the graves were opened, and there arose many bodies of the saints which had slept, and came out of the graves after His resurrection and went into the holy city, and appeared unto many.

Now when the centurion, and they that were with Him, watching Jesus, saw the earthquake, and those things that were done, they feared greatly, saying:

Christ Eli, Eli lama sabachthani?

Evangelist That is to say, ‘My God, My God, why hast Thou forsaken Me?’ Some of them that stood there, when they heard that, said: Bystanders He calleth for Elias.

Evangelist And straightaway one of them ran, and took a sponge, and filled it with vinegar, and put it on a reed, and gave Him to drink. The rest said: Bystanders Let be, let us see whether Elias will come to save Him. Evangelist Jesus, when He had cried again with a loud voice, yielded up the ghost.

Centurion, Soldiers, Bystanders: Truly, this was the Son of God.

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Evangelista Und es waren viel Weiber da, die von ferne zusahen, die da waren nachgefolget aus Galiläa, und hatten ihm gedienet, unter welchen war Maria Magdalena, und Maria, die Mutter Jakobi und Joses, und die Mutter der Kinder Zebedäi. Am Abend aber kam ein reicher Mann von Arimathia, der hieß Joseph, welcher auch ein Jünger Jesu war. Der ging zu Pilato, und bat ihn um den Leichnam Jesu. Da befahl Pilatus, man sollte ihm ihn geben.

Evangelist And many women were there (beholding afar off) which followed Jesus from Galilee, ministering unto Him. Among which was Mary Magdalene, and Mary the mother of James and Joseph, and the mother of Zebedee’s children. When the even was come, there came a rich man of Arimathea, named Joseph, who also himself was Jesus’ disciple: he went to Pilate and begged the body of Jesus. Then Pilate commanded the body to be delivered.

Recitative and Aria (Bass) Am Abend, da es kühle war, ward Adams Fallen offenbar; Am Abend drücket ihn der Heiland nieder; Am Abend kam die Taube wieder und trug ein Öblatt in dem Munde. O schöne Zeit! O Abendstunde! Der Friedensschluß ist nun mit Gott gemacht, denn Jesus hat sein Kreuz vollbracht. Sein Leichnam kommt zur Ruh, Ach, liebe Seele, bitte du, Geh, lasse dir den todten Jesum schenken, o heilsames, o köstlich’s Angedenken!

Mache dich, mein Herze, rein, ich will Jesum selbst begraben. Denn er soll nun mehr in mir für und für seine süße Ruhe haben. Welt, geh aus, laß Jesum ein!

Recitative and Aria (Bass) At evening, hour of calm and peace, was Adam's fall made manifest. At evening, too, the Lord’s redeeming love; At evening homeward turned the dove and bore the olive-leaf as token. O beauteous time! O evening hour!

Our lasting peace is now with God made sure, for Jesus hath His cross endured. His body sinks to rest. Go, loving servant, ask thou if Go, be it thine, the lifeless Saviour’s Body. O, wond’rous Gift! A precious, holy burden!

Make Thee clean, my heart, from sin. Unto Jesus give thou welcome. So within my cleaned breast shall He rest, dwelling evermore in me. World, depart; let Jesus in!

Recitative Evangelista Und Joseph nahm den Leib, und wickelte ihn in ein’ rein Leinwand. Und legte ihn in sein eigen neu Grab, welches er hatte lassen in einen Fels hauen; und wälzete einen großen Stein vor die Thür des Grabes, und ging davon. Es war aber allda Maria Magdalena, und die andere Maria, die setzten sich gegen das Grab.

Des andern Tages, der da folget nach dem Rüsttage, kamen die Hohenpriester und Pharisäer sämtlich zu Pilato, und sprachen: Chor Herr, wir haben gedacht, daß dieser Verführer sprach, da er noch lebete: ‘Ich will nach dreien Tagen wieder auferstehen.’ Darum befiehl, daß man das Grab verwahre bis an den dritten Tag, auf daß nicht seine Jünger kommen und stehlen ihn, und sagen zu dem Volk: Er ist auferstanden von der Todten, und werde der letzte Betrug ärger denn der erste!

Evangelista Pilatus sprach zu ihnen: Pilatus Da habt ihr die Hüter; gehet hin und verwahret’s wie ihr wisset!

Evangelista Sie gingen hin, und verwahreten das Grab mit Hütern, und versiegelten den Stein.

Recitative Evangelist And when Joseph had taken the body, he wrapped it in a clean linen cloth, and laid it in his own new tomb, which he had hewn out in the rock; and he rolled a great stone to the door of the sepulchre, and he departed. And there was Mary Magdalene, and the other Mary sitting over against the sepulchre. Now the next day that followed the day of the preparation, the chief priests and Pharisees came together unto Pilate, saying: Chief Priests, Pharisees Sir, we remember that the deceiver said, while He was yet alive, ‘After three days I will rise again.’ Therefore command the grave to be made sure, until the third day, lest His disciples come by night and steal Him away, and say unto the people, ‘He is risen from the dead’, so the last error shall be worse that the first!

Evangelist Pilate said unto them: Pilate Ye have a watch, go your way, make it as sure as you can.

Evangelist So they went, and made the sepulchre sure, sealing the stone, and setting a watch.

Recitative and Chorus Bass Nun ist der Herr zur Ruh gebracht.

Chor Mein Jesu, gute Nacht!

Tenor Die Müh ist aus, die unsre Sünden ihm gemacht.

Recitative and Chorus Bass And now the Lord to rest is laid.

Choir Lord Jesus, fare Thee well!

Tenor His task is o’er; for all our sins He hath atoned.

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Chor Mein Jesu, gute Nacht!

Choir Lord Jesus, fare Thee well!

Mezzo-soprano O selige Gebeine, Seht, wie ich euch mit Buß und Reu beweine, Daß euch mein Fall in solche Noth gebracht!

Chor Mein Jesu, gute Nacht!

Mezzo-soprano O weary, broken Body!

See with repentant tears we would bedew it, Which our offence to such a death had brought.

Choir Lord Jesus, fare Thee well!

Sopran Habt lebenslang Vor euer Leiden tausend Dank, Daß ihr mein Seelenheil so wert geacht’t.

Chor Mein Jesu, gute Nacht!

Soprano While life shall last, O let Thy suffering claim our love, Since Thou for man salvation sure hast wrought.

Choir Lord Jesus, fare Thee well!

Chorus Wir setzen uns mit Thränen nieder Und rufen dir im Grabe zu: Ruhe sanfte, sanfte Ruh! Ruh’t, ihr ausgesognen Glieder!

Euer Grab und Leichenstein Soll dem ängstlichen Gewissen Ein bequemes Ruhekissen Und der Seelen Ruhstatt sein Höchst vergnügt schlummern da die Augen ein.

Chorus In tears of grief, dear Lord, we leave Thee, Hearts cry to Thee, O Saviour dear: Lie Thou softly, softly here.

Rest Thy worn and bruised body.

At Thy grave, O Jesu blest May the sinner, worn with weeping, comfort find in Thy dear keeping, And the weary soul find rest.

Sleep in peace, sleep Thou in the Father’s breast.

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Bach's St Matthew Passion

Biographies

Mark Padmore – Evangelist Mark Padmore has established an international career in opera, concert and recital. His appearances in the Bach Passions have gained particular notice, especially his acclaimed performances as Evangelist in the St Matthew and St John Passions with the Berlin Philharmonic Orchestra and Sir Simon Rattle, staged by Peter Sellars. His recitals include the three Schubert song cycles which he has performed worldwide, to great acclaim. He appears regularly with the world’s leading orchestras and for the current 2017-18 Season, he is Artist in Residence with the Berlin Philharmonic Orchestra. In opera Mark has worked with directors Peter Brook, Katie Mitchell, Mark Morris and Deborah Warner. Highlights have included the leading roles in Harrison Birtwistle The Corridor and The Cure at the Aldeburgh Festival and Linbury Theatre, Covent Garden; Captain Vere in Britten Billy Budd and Evangelist in a staging of St Matthew Passion for Glyndebourne Festival Opera; Third Angel/John in George Benjamin Written on Skin with the Royal Opera, Covent Garden. Future projects include new works written for him by Tansy Davies and Thomas Larcher.

Claudia Huckle – contralto British contralto Claudia Huckle studied at the Royal College of Music, London, the New England Conservatory and the Curtis Institute of Music. Plans this season and beyond include Olga Eugene Onegin for Welsh National Opera; Erda Das Rheingold / Siegfried for Leipzig Opera; Flosshilde Das Rheingold for Teatro Real, Madrid; and a return to the Royal Opera to sing First Norn Götterdämmerung and Schwertleite Die Walküre in their 2018 Wagner Ring Cycle. Concert plans include Dream of Gerontius and Mahler Symphony No 2 with Hallé Orchestra; Elgar Sea Pictures with BBC National Orchestra of Wales and Tadaaki Otaka; Verdi Requiem in King’s College Cambridge with Jac van Steen.

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Roderick William – Christus Roderick Williams encompasses a wide repertoire, from baroque to contemporary music, in the opera house, on the concert platform and in recital. Enjoying relationships with all the major UK opera houses, he has also sung world premieres of operas by, among others, David Sawer, Sally Beamish, Michael van der Aa, Robert Saxton and Alexander Knaifel. Roderick Williams has sung concert repertoire with all the BBC orchestras, and many other ensembles including the Royal Scottish National Orchestra, the Philharmonia, London Sinfonietta, Royal Liverpool Philharmonic Orchestra, the Hallé, Britten Sinfonia, Bournemouth Symphony and Scottish Chamber Orchestra.

Abroad he has worked with the Berlin Philharmonic, Deutsches Symphonie-Orchester Berlin, Russian National Orchestra, Orchestre Philharmonique de Radio France among others. Recent and future concert engagements include concerts with the Rias Kammerchor, Seoul Philharmonic, Gabrieli Consort, London Philharmonic Orchestra, BBC Proms, Melbourne Symphony Orchestra, Berlin Philharmonic Orchestra.

Hugo Hymas – tenor Hugo Hymas was born and raised in Cambridge.

After starting his musical life on the clarinet he sung as a chorister in church and then later on with Clare College Choir, Cambridge. In 2014 he gained an honours degree in Music from the University of Durham and is currently based in London. He is in increasing demand on the international stage and is building a reputation as an Evangelist for Bach’s Passions. In 2016 he performed the tenor arias in a European tour of the Matthew Passion with Monteverdi Choir, and later that year on a tour of Bach’s Magnificat. Exciting events coming up later this season include Handel’s Ormisda with Opera Settecento (Leo Duarte), Bach Cantatas with English Baroque Soloists (John Eliot Gardiner) and Die Schöpfung (Uriel) and Acis and Galatea (Damon) with Les Arts.

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Louise Kemény – soprano A graduate of UCL, Cambridge University and Royal Conservatoire of Scotland, Louise Kemény is a Britten-Pears Young Artist, Independent Opera Fellow and Yeoman of the Worshipful Company of Musicians. Opera roles include Barbarina Le nozze di Figaro for Dutch National Opera; Teofane Ottone for English Touring Opera; Jano Jenufa for Scottish Opera; Poppea Agrippina for Iford Arts and Serpetta (cover) La Finta Giardiniera, Elisa (cover) Hipermestra and First Noble Orphan Der Rosenkavalier for Glyndebourne Festival Opera.

Recent concert highlights include Beethoven Missa Solemnis at Kings College, Cambridge, Carmina Burana at Cadogan Hall and Mozart Mass in C minor at Snape Maltings. A keen exponent of modern and contemporary repertoire, Kemény has performed Stravinsky’s Les noces with the Royal Scottish National Orchestra, Schoenberg Quartet No.2, Pierrot Lunaire and Ravel Trois Poèmes de Mallarmé at Conway Hall. Forthcoming engagements include Second Woman Dido and Aeneas at Wigmore Hall, Mendelssohn Elijah with Sinfonieorchester Basel and Zerlina Don Giovanni in Florence for New Generation Festival.

Jessica Cale – soprano Jessica Cale is a soprano currently studying with Rosa Mannion on the Masters of Performance course at the Royal College of Music. Jessica is the Robert Lancaster scholar supported by a Helen Marjorie Tonks Award and is also generously supported by the Josephine Baker Trust. Jessica works regularly with many of today's leading Baroque vocal ensembles including the Monteverdi Choir, The Sixteen, and the Gabrieli Consort. Jessica has performed as a soloist for Sir John Eliot Gardiner in Mendelssohn's A Midsummer Night's Dream at the Barbican Centre, and in performances of Bach’s St Matthew Passion across Europe. Recent concert performances include Brahms’ Requiem, Handel’s Messiah, Poulenc’s Gloria, Mozart’s ‘Great' Mass in C Minor, Mendelssohn's Elijah, Monteverdi’s Vespers, Handel’s Dixit Dominus.

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Matthew Brook - bass Matthew Brook has appeared as a soloist throughout Europe, Australia, North and South America and the Far East. He has worked with many of the world's greatest conductors including Sir John Eliot Gardiner, Richard Hickox, Sir Charles Mackerras, Harry Christophers, Christophe Roussel and Sir Mark Elder. Recent and future highlights include Haydn's Creation with the City of Birmingham Symphony Orchestra, Handel's Messiah with the Danish National Symphony Orchestra and with the Los Angeles Symphony Orchestra, Bach's Magnificat and Brahms' Triumphlied with the Cincinnati Symphony Orchestra, IL Re di Scozia Ariodante with the Staatstheater Stuttgart and on tour with the English Concert, Bach's B minor Mass at the Al Bustan Festival in Beirut, Faure's Requiem with the Orchestre de Chambre de Paris and with the Royal Philharmonic Orchestra, Mozart's Requiem with the Fryderyk Chopin Institute in Warsaw, a tour of Bach cantatas with the Monteverdi Choir and Sir John Eliot Gardiner and the roles of Herod and Father in Berlioz's L'Enfance du Christ with the Melbourne Symphony Orchestra and Sir Andrew Davis.

Eleanor Minney – mezzo-soprano Eleanor's recent solo engagements include Bach’s St. Matthew Passion, B Minor Mass, Magnificat and Cantata 198 “Trauer-Ode” with Sir John Eliot Gardiner and the English Baroque soloists, Schumann’s Paradies und die Peri with the Leipzig Gewandhaus Orchestra, and Handel's Messiah with the Mormon Metropolitan Tabernacle Choir in Salt Lake City, UT. Operatic roles include Ninfa/Proserpina (Monteverdi L'Orfeo), Ruggiero (Handel Alcina), Cherubino (Mozart Marriage of Figaro), Fanny Price (Dove Mansfield Park), Mercedes (Bizet Carmen), Claretta (Leoncavallo Zazà), and Sukanya's Friend (Shankar Sukanya) for Royal Opera. Future solo engagements include Bach's B Minor Mass with the Academy of Ancient Music and Copland's In the Beginning with 037 The Sixteen.

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Orchestra of the Age of Enlightenment “Not all orchestras are the same”.

Three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch.

They began by throwing out the rulebook.

Put a single conductor in charge? No way.

Specialise in repertoire of a particular era?

Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born.

And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning and inventing as long as it lived. Residencies at Southbank Centre and the Glyndebourne Festival didn’t numb its experimentalist bent. A major record deal didn’t iron out its quirks. Instead, the OAE examined musical notes with ever more freedom and resolve.

That creative thirst remains unquenched.

Informal night-time performances are redefining concert formats. Searching approaches to varied repertoire see the OAE working frequently with symphony and opera orchestras. New generations of exploratory musicians are encouraged into its ranks.

Great performances now become recordings on the Orchestra’s own CD label. It thrives internationally: New York and Amsterdam court it; Oxford and Bristol cherish it.

Andrew Mellor ©

Choir of the Age of Enlightenment

The Choir of the Age of Enlightenment is a group of professional singers, many of whom are soloists in their own right. Originally the choir had appeared exclusively with the Orchestra of the Age of Enlightenment – at British and European festivals, as well as regularly as part of their concert series at London’s Southbank Centre. However 2016 saw the choir performing their first unaccompanied concerts, without the OAE by their side.

The Choir has taken part in many of the OAE’s recordings over the years, including Monteverdi’s Vespers of 1610, Purcell’s Dido and Aeneas, Bach Cantatas with Gustav Leonhardt, and Mozart’s Così fan tutte with Sir Simon Rattle. It has also appeared frequently on radio and television with the Orchestra, perhaps most memorably in July 2000 when the Choir and Orchestra performed Bach’s B Minor Mass at the BBC Proms on the 250th anniversary of his death.

During recent seasons the Choir of the Age of Enlightenment has performed with the Orchestra in the UK and further afield, working on a wide range of repertoire with conductors such as Richard Egarr, Emmanuelle Haim, John Butt, Sir Roger Norrington and Sir Mark Elder. In 2013 the Choir performed the Brahms Requiem at the BBC Proms with Marin Alsop and the OAE. One review praised ‘the most homogenous sound I think I’ve ever heard from a choir…. they rightly received the loudest ovation of the night’.

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OAE team

Chief Executive Crispin Woodhead

Finance Officer Fabio Lodato

Director of Finance and Operations Ivan Rockey

Digital Content Officer Zen Grisdale

Development Director Emily Stubbs Director of Marketing and Audience Development John Holmes Director of Press Katy Bell Projects Manager Jo Perry Orchestra Manager Philippa Brownsword Choir Manager David Clegg Projects Officer Ella Harriss Librarian Colin Kitching Education Director Cherry Forbes Education Officer Andrew Thomson

Marketing and Press Officer Thomas Short Head of Individual Giving Marina Abel Smith Development and Events Administrator Helena Wynn Development Manager Catherine Kinsler Trusts and Foundation Manager Andrew Mackenzie Development Trainee Andrea Jung

Board of Directors Sir Martin Smith [Chairman] Luise Buchberger Steven Devine Denys Firth Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Olivia Roberts Susannah Simons Katharina Spreckelsen Mark Williams Crispin Woodhead OAE Trust Sir Martin Smith [Chair] Edward Bonham Carter Paul Forman Julian Mash Imogen Overli Rupert Sebag-Montefiore Diane Segalen Leaders Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Luise Buchberger Steven Devine Max Mandel Roger Montgomery (Chair) Katharina Spreckelsen

The OAE is a registered charity number 295329 and a registered company number 2040312 Registered office: Kings Place, 90 York Way, London N1 9AG Telephone 020 7239 9370 info@oae.co.uk Design and art direction –LucienneRoberts+ Photography – Angela Moore 039

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OAE Advert 14.5x10.5cm_2012_v2_PRESS.pdf

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Lubbock Fine is proud to be associated with The Orchestra of the Age of Enlightenment and wishes it every success.

LF Creative, the dedicated arts and music division of Lubbock Fine, provides specialist accounting and tax advice for musicians.

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OAE Education news

KS1 The Fairy Queen (Soloists: Tim Dickinson/Kirsty Hopkins)

Vision 4 Music Our work has focused in London this month with over 2,000 pupils receiving workshops and attending schools concerts. Early year’s pupils took part in our Apple Tree TOTS project learning about the seasons and KS1 students participated in our retelling of Purcell’s The Fairy Queen.

Our Music is Special project culminated with a performance of Wondrous Machine at the Royal Albert Hall as part of the Camden Music Festival which was truly wonderful.

A programme to involve, empower and inspire So far this season we have undertaken

165 workshops 30 concerts With over 12,000 people across the country

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Wondrous Machine with 2,500 performers at the Royal Albert Hall

Music is Special: Wondrous Machine “This was undoubtedly the most ambitious project we have ever undertaken combining every single instrumentalist and singer participating in the event together with the creation of a brand new Wondrous Machine Band. The performance made a huge impact and many people including our Director of Children Schools and Families, representatives from Youth Music, John Lyons and Arts Council England talked about the extraordinarily high quality of achievement coupled with a philosophy of maximum inclusion.�

Peter West, Head of Service, Camden Music Support our education programme

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The work we do could not happen without the support of our generous donors.

If you would like to support our Education programme please contact: Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk Telephone 020 7239 9380

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Supporters

The OAE continues to grow and thrive through the generosity of our supporters.

We are very grateful to our sponsors and Patrons and hope you will consider joining them. We offer a close involvementin the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour.

OAE Thirty Circle The OAE is particularly grateful to the following members of the Thirty Circle who have so generously contributed to the re-financing of the Orchestra through the OAE Trust.

Thirty Circle Patrons Bob and Laura Cory Sir Martin Smith and Lady Smith OBE Thirty Circle Members Victoria and Edward Bonham Carter Nigel Jones and Françoise Valat-Jones Selina and David Marks Julian and Camilla Mash Mark and Rosamund Williams Our Supporters Ann and Peter Law OAE Experience scheme Ann and Peter Law Principal Sponsor

Corporate Partners Apax Partners E.S.J.G. Limited Lubbock Fine Chartered Accountants Mark Allen Group Parabola Land Stephen Levinson at Keystone Law Swan Turton

Season Patrons Julian and Annette Armstrong Bob and Laura Cory Adrian Frost Bruce Harris John Armitage Charitable Trust Nigel Jones and Françoise Valat-Jones Selina and David Marks Sir Martin Smith and Lady Smith OBE Mark and Rosamund Williams Project Patrons JMS Advisory Limited Julian and Camilla Mash Haakon and Imogen Overli Philip and Rosalyn Wilkinson Aria Patrons Denys and Vicki Firth Madeleine Hodgkin Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Caroline Steane Eric Tomsett Chair Patrons Felix Appelbe and Lisa Bolgar Smith – Co-principal Cello Mrs Nicola Armitage – Education Director Hugh and Michelle Arthur – Viola Victoria and Edward Bonham Carter – Principal Trumpet Anthony and Celia Edwards – Principal Oboe Sir Vernon and Lady Ellis – Co-Principal Viola James Flynn QC – Co-Principal Lute/Theorbo Paul Forman – Co-Principal Cello, Co-Principal Bassoon and Co-Principal Horn Su Li and Stephen Gibbons – Violin The Mark Williams Foundation – Co-Principal Bassoon

Jenny and Tim Morrison – Second Violin Andrew Nurnberg – Co-Principal Oboe Professor Richard Portes CBE FBA – Co-Principal Bassoon Olivia Roberts – Violin John and Rosemary Shannon – Principal Horn Christopher Stewart Roger and Pam Stubbs – Sub-Principal Clarinet Crispin Woodhead and Christine Rice – Principal Timpani Education Patrons John and Sue Edwards – Principal Education Patrons Mrs Nicola Armitage Patricia and Stephen Crew The Nigel Gee Foundation Venetia Hoare Rory and Louise Landman Professor Richard Portes CBE FBA Associate Patrons Noël and Caroline Annesley David and Marilyn Clark Christopher and Lesley Cooke David Emmerson Ian S Ferguson and Dr Susan Tranter Jonathan and Tessa Gaisman Peter and Sally Hilliar Jonathan Parker Charitable Trust Noel De Keyzer Marc-Olivier and Agnes Laurent Madame M Lege-Germain Sir Timothy and Lady Lloyd Michael and Harriet Maunsell Roger Mears and Joanie Speers David Mildon in memory of Lesley Mildon Andrew and Cindy Peck Ivor Samuels and Gerry Wakelin Emily Stubbs and Stephen McCrum Shelley von Strunckel Rev’d John Wates OBE and Carol Wates Mr J Westwood

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We are also very grateful to our anonymous supporters and OAE Friends for their ongoing generosity and enthusiasm.

For more information on supporting the OAE please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381

Young Ambassador Patrons William Norris

Mrs Joy Whitby David Wilson

Young Patrons Josh Bell and Adam Pile Nina Hamilton Marianne and William Cartwright-Hignett Sam Hucklebridge Joseph Cooke and Rowan Roberts Natalie Watson

Trusts and foundations AMK Angus Allnatt Charitable Foundation Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Fund Barbour Foundation Boltini Trust Boshier-Hinton Foundation Brian Mitchell Charitable Settlement Catherine Cookson Charitable Trust The Charles Peel Charitable Trust Chapman Charitable Trust Chivers Trust Cockayne – London Community Foundation John S Cohen Foundation Derek Hill Foundation D’Oyly Carte Charitable Trust Dunard Fund Ernest Cook Trust Esmee Fairbairn Foundation Fenton Arts Trust Foyle Foundation Garfield Weston Foundation Geoffrey Watling Charity The Golden Bottle Trust Goldsmiths’ Company Charity Idlewild Trust Jack Lane Charitable Trust JMCMRJ Sorrell Foundation J Paul Getty Jnr General Charitable Trust John Lyon’s Charity Lord and Lady Lurgan Trust The Mark Williams Foundation Michael Marks Charitable Trust National Foundation for Youth Music Nicholas Berwin Charitable Trust Old Possum’s Practical Trust Orchestras Live Palazzetto Bru-Zane Paul Bassham Charitable Trust The Patrick Rowland Foundation PF Charitable Trust PRS Foundation

Gold Friends Mrs A Boettcher Michael Brecknell Mr and Mrs C Cochin de Billy Geoffrey Collens Hugh Courts Silver Friends Dennis Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Michael A Conlon Mr and Mrs Michael Cooper Simon Edelsten Norman and Sarah Fiore Malcolm Herring Patricia Herrmann Rupert and Alice King Stephen and Roberta Rosefield David and Ruth Samuels Susannah Simons Her Honour Suzanne Stewart Bronze Friends Tony Baines Keith Barton Mr Graham Buckland Dan Burt Anthony and Jo Diamond Mrs SM Edge Mrs Mary Fysh Ray and Liz Harsant Auriel Hill Nigel Mackintosh Angus Macpherson Julian Markson Anthony and Carol Rentoul Paul Rivlin Alan Sainer Gillian Threlfall Mr and Mrs Tony Timms

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Pye Charitable Settlement RK Charitable Trust RVW Trust Schroder Charity Trust Sir James Knott Trust The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation Valentine Charitable Trust Violet Mauray Charitable Trust

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Upcoming concerts Like what you heard tonight? There are plenty of opportunities to hear us throughout the year...

What's next?

A night at the cinema

Credit: Phil Sharp

Handel's Last Prima Donna Saturday 7 April 2018 St George's Hanover Square 7.30pm We’ve just released an album with Ruby Hughes featuring arias popularised by one of her idols, 18th century soprano Giulia Frasi.

Dubbed ‘Handel’s last prima donna’, Frasi was a star of London’s music scene in the 1740s and 1750s, singing in the world premiere of Handel’s oratorios Susanna, Jephtha and Theodora. Ruby has picked her favourite arias from these pieces to feature on the album and in this concert.

Handel – Overtures and arias from Solomon, Susanna, Theodora and Jephtha Thomas Arne – Gracious heav’n, O hear me Handel – Oboe Concerto no. 3 Ruby Hughes – soprano Laurance Cummings – conductor

Der Rosenkavalier Thursday 17 May 2018 Queen Elizabeth Hall, Southbank Centre 7pm We perform the soundtrack to a cinema version of Strauss’ great comic opera Der Rosenkavalier, with the film playing on a big screen. Geoffrey Paterson conducts, as Strauss himself did at the Tivoli Theatre on The Strand at the film’s London premiere. And before the film, hear some of Strauss’ best-loved songs, just as they served as a prelude to the main event back in 1926.

Richard Strauss – Selection of songs Richard Strauss – Der Rosenkavalier (salon score) Charlotte Beament – soprano Geoffrey Paterson – conductor

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Visit oae.co.uk for more details on all upcoming concerts.

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Explore the symphony

Celebrate next Easter with Simon Rattle

Credit: Oliver Helbig

Haydn: First and Last of a Great Genius Saturday 12 May 2018 Kings Place 7pm

This concert explores the first and last symphonies of Joseph Haydn, the composer credited with inventing the symphony as we know it. Understand how Haydn created by architecture of classical music by comparing two very different pieces.

Bach's St John Passion

Our journey begins with a 27 year-old Haydn and his Symphony No. 1 – a symphony in miniature drawing influence from Baroque music. In contrast, Symphony No. 104, is an altogether more dramatic and mightier affair. Here Haydn – a London celebrity of the day – was at the height of his powers.

Sir Simon Rattle has assembled an extraordinary team for this definitive staging of one of Bach’s great masterpieces, the St John Passion.

There's an all-star cast of singers, and he’s brought in celebrated director Peter Sellars to bring it to life on stage.

Haydn – Symphony no. 1 Haydn – Symphony no. 104 London

Bach – St John Passion

Book now southbankcentre.co.uk/oae 020 3879 9555, daily 9am–8pm Ticket Office, Royal Festival Hall, daily 10am–8pm Transaction fees apply: £3 online, £3.50 over the phone. No transaction fees for in-person bookings, Southbank Centre Members and Supporters Circles

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Tuesday 2 April 2019 Royal Festival Hall, Southbank Centre 7pm

Sir Simon Rattle – conductor Peter Sellars – director Camilla Tilling – soprano Magdalena Kožená – mezzo-soprano Mark Padmore – tenor Andrew Staples – tenor Roderick Williams – baritone Christian Gerhaher – baritone Choir of the Age of Enlightenment 047

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Concerts at Queen Elizabeth Hall, Southbank Centre

Handel: Apollo and Daphne Thursday 25 October 2018

Handel: Pipedreams Monday 3 December 2018

Bach: Toutes Suites Tuesday 14 May 2019

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Photo: Elena Lekhova

Dancing with the Stars

2018

Students 12+ yrs

Faculty Sarah Lamb Yasmine Naghdi Federico Bonelli Begoña Cao Roberta Marquez Stephen Beagley Vanessa Fenton Susan Robinson Andrew Ward

4 Day Easter Ballet Course

30 March – 02 April

Venue: RAD Studios London

BOOK NOW Call 020 8480 7118 or book online Quote “GOOD” and get £10 off!

danceforward.co.uk

Theatre Angels Love Theatre?

Want to be more involved?

A Theatre Angel can enjoy the benefits such as….

What is a theatre Angel?

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The lifeblood of Commercial Theatre are the investors. The ordinary people who invest the money through Producers to make the Shows Happen.

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Complimentary tickets to opening night performances.

Invitations to meet the cast and company at opening night parties.

Access to VIP house seats across the West End. The opportunity to organise special theatre evenings for friends, colleagues, or clients.

Industry insider status, recommendations, and information.

Advance notice of further investment opportunities.

By doing so they join a select club of individuals who are an integral part of the producing process, and enjoy the insider benefits of glamorous press night parties, priority booking and of course if the production is successful, the financial rewards.

“Go on, be an angel” www.theatreangels.com

Roger Montgomery – Principal Horn [above] and Luise Buchberger – Co-Principal Cello [frontcover]

Principal sponsor oae.co.uk orchestraoftheageofenlightenment theoae oae_photos

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