St John Passion programme

Page 1


BACH St John Passion BWV 245 Recorded at Battersea Arts Centre, London March 2021

A co-production of OAE Player and Marquee TV

Film Director Grant Gee Music Director & Artistic Concept Mark Padmore Spoken Word/Actor Nakhane

Flute Lisa Beznosiuk Katy Bircher Oboe/Oboe da caccia/Oboe d'amore Katharina Spreckelsen Sarah Humphrys Bassoon Sally Jackson

Violin I Margaret Faultless (leader) Matthew Truscott Huw Daniel

Organ Steven Devine

Violin II Kati Debretzeni Rodolfo Richter Andrew Roberts

Soprano Jessica Cale (Zerfliesse) Rowan Pierce (Ich folge) Daisy Walford (Maid)

Viola d'amore Rodolfo Richter Huw Daniel

Alto Helen Charlston (Es ist vollbracht) David Clegg Bethany Horak-Hallett (Von den Stricken)

Viola Max Mandel Annette Isserlis Cello Jonathan Manson Andrew Skidmore Viola da gamba Jonathan Manson Double Bass Cecelia Bruggemeyer

Tenor Hugo Hymas (Erwäge, Ach mein Sinn) Laurence Kilsby (Servant) Mark Padmore (Evangelist) Bass Jonathan Brown (Peter & Eilt) Neal Davies (Pilate & Mein teurer Heiland) Gerald Finley (Christus & Betrachte) Philip Tebb

We are grateful for the support of Jenny and Tim Morrison and our friends at Battersea Arts Centre

PROGRAMME NOTES Nicholas Anderson

ST JOHN PASSION Johann Sebastian Bach (1685 - 1750) Although the practice of incorporating, by various means, the story of Christ's Passion within the services of Holy Week goes back many hundreds of years, the idea of performing it musically was a very new one in the Leipzig of Bach's day. In 1721, two years before Bach's arrival at Leipzig, his predecessor, Johann Kuhnau, performed his own St Mark Passion at St Thomas's Church as part of the liturgy of the Vesper Service on the afternoon of Good Friday. The music was divided into two parts, the first to be sung before the sermon, the second to be sung after it. As part of this newly established custom the performances were to alternate yearly beween the two principal churches of St Thomas and St Nicholas; thus the first performance of Bach's St John Passion, during the Vesper service on Good Friday in 1724, (not 1723 as was once thought), took place in St Nicholas's church. Curiously, Bach may at first have overlooked this arrangement, as the following written exchange, included in the Proceedings of the Council of Leipzig (3rd April 1724) indicates: "Mr Johann Sebastian Bach, Cantor of the Thomas-Schule, was notified .... that the Passion Music for Good Friday should be given alternately in the Nicolai-Kirche and the Thomas-Kirche. But since the title of the music [the libretto or order of service] sent round this year

revealed that it was to take place again in the Thomas- Kirche ... the Cantor should for his part act accordingly". Bach's response was that "he would comply with the same, but pointed out that the booklet was already printed, that there was not room available, and that the harpsichord needed some repair, all of which, however, could be attended to at little cost; but he requested at any rate that a little additional room be provided in the choir loft, so that he could place the persons needed for the music, and that the harpsichord be repaired". To which the Senate replied that "the Cantor should, at the expense of the Honoured and Most Wise Council, have an announcement printed stating that the music was to take place this time in the Nicolai-Kirche, have the necessary arrangements in the choir loft made, with the aid of the sexton, and have the harpsichord repaired". Such passages are interesting to us today, not so much for the detail of their contents but because they place us a little bit nearer to the circumstances and occasion of Bach's own performance. The genesis of Bach's St John Passion is exceptionally complicated, for although the orchestral score, instrumental and vocal parts of the first performance have survived there are, nevertheless, four distinct versions of the work. The chief differences lie between the first and second versions, performed in 1724 and 1725, respectively; many of the known alterations which Bach made for the third version (1728-32) are lost, while the fourth version, on which Bach worked intermittently during the last years of his life, closely resembles and, indeed, largely reverts to that of the first performance. From the listener's point of view the versions of 1724 and 1725 are markedly different and contain sufficient

individual material for them to be thought of as distinct from one another. The New Bach Edition uses as its principal source for the opening movements the autograph score of the final version. Bach began this probably in about 1739, but he stopped after 21 pages, and the remainder is in the hand of a copyist. The several versions which Bach made of the St John Passion, together with the multiple revisions, are apt to suggest that an overall conception of the work was lacking in the composer's mind. Evidence to the contrary has been cited by scholars such as Friedrich Smend, Alfred Dürr and, more recently, Christoph Wolff, who have stressed the geometrical regularity of musical patterns within the Passion. Wolff in particular has drawn our attention to certain features of the St John Passion of a unique character. Bach or his unidentified librettist (the possibility that Bach may have written his own libretto cannot be entirely discounted) began, for example, with words at that time commonly associated with the opening exhortation to prayer in Saxony, "Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!" ("Lord our Redeemer, Thou whose name is glorious in all the world"). There are several fundamentally divergent aspects, between the St John Passion and the St Matthew Passion which followed it three years later in 1727. In the St Matthew greater emphasis is placed on the solo items - arias, ariosi, ensembles - while in the St John we find only two ariosi, no ensembles and seven arias in all. Another striking difference between the two Passions is that in the St Matthew the direct speech of Christ is surrounded by a halo of strings, whereas in the St John

the words of Christ are accompanied by 'secco' continuo. For this reason the contrast between the words of Christ and the narrative of the Evangelist may not immediately seem to us as being quite so effective in the St John; yet in its favour is the subtlety with which the words themselves are treated; in fact the recitatives of the St John Passion, in general, are of considerable dramatic intensity. We may also find a similarly dramatic and intense treatment of the words in the choruses, the interjections of the crowd. In keeping, by-and-large, with the text of the rest of the work, these are based on words from the Gospel and the impact is, consequently, all the greater. In this respect, Christoph Wolff reminds us that the St John Passion forms a link in the history of Passion settings between the Passion-Histories of the seventeenth century and the later Passion-Oratorios with their freer and often more reflective poetic texts. Then there are the chorales, the popular German hymns of Bach's day. We can only speculate as to what extent, if any, the congregation took part in these; for while it seems likely, on the face of it, that it would have joined in the music with which it was familiar, nevertheless the printed texts of the Passion did not include the chorales, nor would Bach's more elaborate settings, often involving an awkward compass, have been effective under such conditions.

TEXT AND TRANSLATION Chor Herr, unser Herrscher, dessen Ruhm In allen Landen herrlich ist! Zeig uns durch deine Passion, Daß du, der wahre Gottessohn, Zu aller Zeit, Auch in der größten Niedrigkeit, Verherrlicht worden bist!

Chorus Lord, our ruler, Whose fame In every land is glorious! Show us, through Your passion, That You, the true Son of God, Through all time, Even in the greatest humiliation, Have become transfigured!

Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garte, darein ging Jesus und seine Jünger. Judas aber, der ihn verriet, wußte den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Facheln, Lampen und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:

Evangelist Jesus went with His disciples over the brook Cedron, where there was a garden, into which Jesus entered with His disciples. Judas, however, who betrayed Him, also knew the place, for Jesus often met there with His disciples. Now Judas, having gathered a band of servants of the high priests and Pharisees, came there with torches, lamps, and weapons. Now Jesus, knowing all that would happen to Him, went out and said to them:

Jesus Wen suchet ihr?

Jesus Whom do you seek?

Evangelist Sie antworteten ihm:

Evangelist They answered Him:

Chor Jesum von Nazareth.

Chorus Jesus of Nazareth.

Evangelist Jesus spricht zu ihnen:

Evangelist Jesus said to them:

Jesus Ich bin's.

Jesus I am He.

Evangelist Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bin's, wichen sie zurücke und fielen zu Boden. Da fragete er sie abermal:

Evangelist Judas, however, who betrayed Him, stood also with them. Now when Jesus said to them: I am He, they drew back and fell to the ground. Then He asked them again:

Jesus Wen suchet ihr?

Jesus Whom do you seek?

Evangelist Sie aber sprachen:

Evangelist They said, however:

Chor Jesum von Nazareth.

Chorus Jesus of Nazareth.

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Ich hab's euch gesagt, daß ich's sei, suchet ihr denn mich, so lasset diese gehen!

Jesus I have told you, that I am He, if you seek Me, then let these go!

Choral O große Lieb, o Lieb ohn alle Maße, Die dich gebracht auf diese Marterstraße! Ich lebte mit der Welt in Lust und Freuden, Und du mußt leiden.

Chorale O great love, o love beyond measure, that brought You to this path of martyrdom! I lived with the world in delight and joy, and You had to suffer.

Evangelist Auf daß das Wort erfüllet würde, welches er sagte: Ich habe der keine verloren, die du mir gegeben hast. Da hatte Simon Petrus ein Schwert und zog es aus und schlug nach des Hohenpriesters Knecht und hieb ihm sein recht Ohr ab; und der Knecht hieß Malchus. Da sprach Jesus zu Petro:

Evangelist So that the word might be fulfilled, which He spoke: "I have lost none that You have given to me." Then Simon Peter, who had a sword, drew it out and struck at the servant of the high priest and cut off his right ear; and the servant's name was Malchus. Then Jesus said to Peter:

Jesus Stecke dein Schwert in die Scheide! Soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat?

Jesus Put your sword in its sheath! Shall I not drink the cup, which My Father has given to Me?

Choral Dein Will gescheh, Herr Gott, zugleich Auf Erden wie im Himmelreich. Gib uns Geduld in Leidenszeit, Gehorsam sein in Lieb und Leid; Wehr und steur allem Fleisch und Blut, Das wider deinen Willen tut!

Chorale Your will be done, Lord God, likewise on earth as in heaven. Grant us patience in time of sorrow, to be obedient in love and suffering; check and guide all flesh and blood that acts contrary to Your will!

Evangelist Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum und bunden ihn und führeten ihn aufs erste zu Hannas, der was Kaiphas Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Juden riet, es wäre gut, daß ein Mensch würde umbracht für das Volk.

Evangelist The band, however, and the captain and the servants of the Jews took Jesus and bound Him and led Him first to Annas, who was the father-in-law of Caiaphas, the high priest that year. It was Caiaphas, however, who counselled the Jews, that it would be good for one man to be destroyed for the people.

Arie Von den Stricken meiner Sünden Mich zu entbinden, Wird mein Heil gebunden. Mich von allen Lasterbeulen

Aria To untie me from the knots of my sins, my Savior is bound. To completely heal me

Völlig zu heilen, Läßt er sich verwunden.

of all blasphemous sores, He allows Himself to be wounded.

Evangelist Simon Petrus aber folgete Jesu nach und ein ander Jünger.

Evangelist Simon Peter however followed after Jesus with another disciple.

Arie Ich folge dir gleichfalls mit freudigen Schritten Und lasse dich nicht, Mein Leben, mein Licht. Befördre den Lauf, Und höre nicht auf, Selbst an mir zu ziehen, zu schieben, zu bitten.

Aria I follow You likewise with happy steps and do not leave You, my Life, my Light. Pursue your journey, and don't stop, continue to draw me on, to push me, to urge me.

Evangelist Derselbige Jünger war dem Hohenpriester bekannt und ging mit Jesu hinein in des Hohenpriesters Palast. Petrus aber stund draußen für der Tür. Da ging der andere Jünger, der dem Hohenpriester bekannt war, hinaus und redete mit der Türhüterin und führete Petrum hinein. Da sprach die Magd, die Türhüterin, zu Petro:

Evangelist This same disciple was known to the high priest and went inside with Jesus in the high priest's palace. Peter however stood outside at the door. Then the other disciple, who was known to the high priest , went outside and spoke with the girl guarding the door and brought Peter inside. Then the maid, the doorkeeper, said to Peter:

Magd Bist du nicht dieses Menschen Jünger einer?

Maid Aren't you one of this man's disciples?

Evangelist Er sprach:

Evangelist He said:

Petrus Ich bin's nicht.

Peter I am not.

Evangelist Es stunden aber die Knechte und Deiner und hatten ein Kohlfeu'r gemacht (denn es war kalt) und wärmeten sich. Petrus aber stund bei ihnen und wärmete sich. Aber der Hohepriester fragte Jesum um seine Jünger und um seine Lehre. Jesus antwortete ihm:

Evangelist However the soldiers and servants stood around and they had made a coal fire (for it was cold) and warmed themselves. Peter however stood with them and warmed himself. But the high priest questioned Jesus about His disciples and about His teachings. Jesus answered him:

Jesus Ich habe frei, öffentlich geredet für der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammenkommen, und habe nichts im Verborgenen geredt. Was fragest du mich darum? Frage die darum, die gehöret haben, was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe.

Jesus I have freely and openly spoken before the world. I have taught all the time in the synagogue and in the temple, where all Jews gather, and I have said nothing in secret. Why do you ask me about this? Ask those about it, who have heard what I said to them! Behold, these same people know what I have said.

Evangelist Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesu einen Backenstreich und sprach:

Evangelist As He was saying this, however, one of the servants who stood by gave Jesus a blow on his cheek and said:

Diener Solltest du dem Hohenpriester also antworten?

Servant Is this how You answer the high priest?

Evangelist Jesus aber antwortete:

Evangelist Jesus however answered:

Jesus Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber recht geredt, was schlägest du mich?

Jesus If I have spoken ill, then make it known that it is ill spoken; however if I spoke rightly, why do you strike Me?

Choral Wer hat dich so geschlagen, Mein Heil, und dich mit Plagen So übel zugericht'? Du bist ja nicht ein Sünder Wie wir und unsre Kinder, Von Missetaten weißt du nicht.

Chorale Who has struck you thus, my Saviour, and with torments so evilly used You? You are not at all a sinner like us and our children, You know nothing of transgressions.

Ich, ich und meine Sünden, Die sich wie Körnlein finden Des Sandes an dem Meer, Die haben dir erreget Das Elend, das dich schläget, Und das betrübte Marterheer.

I, I and my sins, that can be found like the grains of sand by the sea, these have brought You this misery that assails You, and this tormenting martyrdom.

Evangelist Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich, da sprachen sie zu ihm:

Evangelist And Hannas send Him bound to the high priest Caiaphas. Simon Peter stood and warmed himself, when they said to him:

Chor Bist du nicht seiner Jünger einer?

Chorus Aren't you one of His disciples?

Evangelist Er leugnete aber und sprach:

Evangelist He denied it however and said:

Petrus Ich bin's nicht.

Peter I am not.

Evangelist Spricht des Hohenpriesters Knecht' einer, ein Gefreundter des, dem Petrus das Ohn abgehauen hatte:

Evangelist One of the high priest's servants, a friend of the man whose ear Peter had cut off, said:

Knecht Sahe ich dich nicht im Garten bei ihm?

Servant Didn't I see you in the garden with Him?

Evangelist Da verleugenete Petrus abermal, und alsobald krähete der Hahn. Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich.

Evangelist Then Peter denied it again, and just then the cock crew. Then Peter recalled Jesus' words and went out and wept bitterly.

Arie Ach, mein Sinn, Wo willt du endlich hin, Wo soll ich mich erquicken? Bleib ich hier, Oder wünsch ich mir Berg und Hügel auf den Rücken? Bei der Welt ist gar kein Rat, Und im Herzen Stehn die Schmerzen Meiner Missetat, Weil der Knecht den Herrn verleugnet hat.

Aria Alas, my conscience, where will you flee at last, where shall I find refreshment? Should I stay here, or do I desire mountain and hill at my back? In all the world there is no counsel, and in my heart remains the pain of my misdeed, since the servant has denied the Lord.

Choral Petrus, der nicht denkt zurück, Seinen Gott verneinet, Der doch auf ein' ernsten Blick Bitterlichen weinet. Jesu, blicke mich auch an, Wenn ich nicht will büßen; Wenn ich Böses hab getan, Rühre mein Gewissen!

Chorale Peter, who did not recollect, denied his God, who yet after a serious glance wept bitterly. Jesus, look upon me also, when I will not repent; when I have done evil, stir my conscience!



Choral Christus, der uns selig macht, Kein Bös' hat begangen, Der ward für uns in der Nacht Als ein Dieb gefangen, Geführt für gottlose Leut Und fälschlich verklaget, Verlacht, verhöhnt und verspeit, Wie denn die Schrift saget.

Chorale Christ, who makes us blessed, committed no evil deed, for us He was taken in the night like a thief, led before godless people and falsely accused, scorned, shamed, and spat upon, as the Scripture says.

Evangelist Da führeten sie Jesum von Kaiphas vor das Richthaus, und es war frühe. Und sie gingen nicht in das Richthaus, auf daß sie nicht unrein würden, sondern Ostern essen möchten. Da ging Pilatus zu ihnen heraus und sprach:

Evangelist Then they led Jesus before Caiaphas in front of the judgment hall, and it was early. And they did not go into the judgment hall, so that they would not become unclean; rather that they could partake of Passover. Then Pilate came outside to them and said:

Pilatus Was bringet ihr für Klage wider diesen Menschen?

Pilate What charge do you bring against this Man?

Evangelist Sie antworteten und sprachen zu ihm:

Evangelist They answered and said to him:

Chor Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.

Chorus If this man were not an evil-doer, we wouldn't have turned Him over to you.

Evangelist Da sprach Pilatus zu ihnen:

Evangelist Then Pilate said to them:

Pilatus So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!

Pilate Then take Him away and judge Him after your law!

Evangelist Da sprachen die Jüden zu ihm:

Evangelist Then the Jews said to him:

Chor Wir dürfen niemand töten.

Chorus We may not put anyone to death.

Evangelist Auf daß erfüllet würde das Wort Jesu, welches er sagte, da er deutete, welches Todes er sterben würde. Da ging Pilatus wieder hinein in das Richthaus und rief Jesu und sprach zu ihm:

Evangelist So that the word of Jesus might be fulfilled, which He spoke, where He indicated what death He would die. Then Pilate went back into the judgment hall and called Jesus and said to Him:

Pilatus Bist du der Jüden König?

Pilate Are You the King of the Jews?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Redest du das von dir selbst, oder haben's dir andere von mir gesagt?

Jesus Do you say this of yourself, or have others said this of Me?

Evangelist Pilatus antwortete:

Evangelist Pilate answered:

Pilatus Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir überantwortet; was hast du getan?

Pilate Am I a Jew? Your people and the high priests have delivered You to me; what have You done?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Mein Reich ist nicht von dieser Welt; wäre mein Reich von dieser Welt, meine Diener würden darob kämpfen, daß ich den Jüden nicht überantwortet würde; aber nun ist mein Reich nicht von dannen. Choral Ach großer König, groß zu allen Zeiten, Wie kann ich gnugsam diese Treu ausbreiten? Keins Menschen Herze mag indes ausdenken, Was dir zu schenken.

Jesus My Kingdom is not of this world; if my Kingdom were of this world, my servants would fight over this, so that I would not be handed over to the Jews; now however my Kingdom is not from here. Chorale Ah great King, great for all times, how can I sufficiently proclaim this love? No human's heart, however, can conceive of a fit offering to You.

Ich kann's mit meinen Sinnen nicht erreichen, Womit doch dein Erbarmen zu vergleichen. Wie kann ich dir denn deine Liebestaten Im Werk erstatten?

I cannot grasp with my mind, how to imitate Your mercy. How can I then repay Your deeds of love with my actions?

Evangelist Da sprach Pilatus zu ihm:

Evangelist Then Pilate said to Him:

Pilatus So bist du dennoch ein König?

Pilate Then You are a King?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Du sagst's, ich bin ein König. Ich bin dazu geboren und in die Welt kommen, daß ich die Wahrheit zeugen soll. Wer aus der Wahrheit ist, der höret meine Stimme.

Jesus You say I am a King. I was born for this, and came into the world, that I might bear witness to the Truth. Whoever is of the truth hears My voice.

Evangelist Spricht Pilatus zu ihm:

Evangelist Pilate said to Him:

Pilatus Was ist Wahrheit?

Pilate What is truth?

Evangelist Und da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen:

Evangelist And when he had said this, he went out again to the Jews and said to them:

Pilatus Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daß ich euch einen losgebe; wollte ihr nun, daß ich euch der Jüden König losgebe?

Pilate I find no fault in Him. However, you have a custom, that I release someone to you; do you wish now, that I release the King of the Jews to you?

Evangelist Da schrieen sie wieder allesamt und sprachen:

Evangelist Then they all cried out together and said:

Chor Nicht diesen, sondern Barrabam!

Chorus Not this one, but Barrabas!

Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn.

Evangelist Barrabas however was a murderer. Then Pilate took Jesus and scourged Him.

Arioso Betrachte, meine Seel, mit ängstlichem Vergnügen, Mit bittrer Lust und halb beklemmtem Herzen Dein höchstes Gut in Jesu Schmerzen, Wie dir auf Dornen, so ihn stechen, Die Himmelsschlüsselblumen blühn! Du kannst viel süße Frucht von seiner Wermut brechen Drum sieh ohn Unterlass auf ihn!

Arioso Contemplate, my soul, with anxious pleasure, with bitter joy and half-constricted heart, your highest Good in Jesus' suffering, how for you, out of the thorns that pierce Him, the tiny 'keys of Heaven' bloom! You can pluck much sweet fruit from his wormwood; therefore gaze without pause upon Him!

Arie Erwäge, wie sein blutgefärbter Rücken In allen Stücken Dem Himmel gleiche geht, Daran, nachdem die Wasserwogen Von unsrer Sündflut sich verzogen, Der allerschönste Regenbogen Als Gottes Gnadenzeichen steht!

Aria Consider, how His blood-stained back in every aspect is like Heaven, in which, after the watery deluge of the flood of our sins was released, the most beautiful rainbow as God's sign of grace was placed!

Evangelist Und die Kriegsknechte flochten eine Krone von Dornen und satzten sie auf sein Haupt und legten ihm ein Purpurkleid an und sprachen:

Evangelist And the soldiers wove a crown of thorns and set it upon His head, and laid a purple mantel on Him, and said:

Chor Sei gegrüßet, lieber Jüdenkönig!

Chorus Hail to You, dear King of the Jews!

Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen:

Evangelist And gave Him blows on the cheek. Then Pilate went back outside and spoke to them:

Pilatus Sehet, ich führe ihn heraus zu euch, daß ihr erkennet, daß ich keine Schuld an ihm finde.

Pilate Behold, I bring Him out to you, so that you recognize, that I find no fault in Him.

Evangelist Also ging Jesus keraus und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen:

Evangelist Then Jesus went out and wore a crown of thorns and a purple mantel. And Pilate said to them:

Pilatus Sehet, welch ein Mensch!

Pilate Behold, what a Man!

Evangelist Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen:

Evangelist When the high priests and servants saw Him, they screamed and said:

Chor Kreuzige, kreuzige!

Chorus Crucify, crucify!

Evangelist Pilatus sprach zu ihnen:

Evangelist Pilate said to them:

Pilatus Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!

Pilate You take Him away and crucify Him; for I find no fault in Him!

Evangelist Die Jüden antworteten ihm:

Evangelist The Jews answered him:

Chor Wir haben ein Gesetz, und nach dem Gesetz soll er sterben; denn er hat sich selbst zu Gottes Sohn gemacht.

Chorus We have a law, and according to that law He should die; for He has made Himself into God's Son.

Evangelist Da Pilatus das Wort hörete, fürchtet' er sich noch mehr und ging wieder hinein in das Richthaus und spricht zu Jesu:

Evangelist When Pilate heard this, he became more afraid and went back inside to the judgment hall and said to Jesus:

Pilatus Von wannen bist du?

Pilate Where do You come from?

Evangelist Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm:

Evangelist But Jesus gave him no answer. Then Pilate said to Him:

Pilatus Redest du nicht mit mir? Weißest du nicht daß ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben?

Pilate You don't speak to me? Don't You know that I have the power to crucify You, and the power to release You?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

Jesus Du hättest keine Macht über micht, wenn sie dir nicht wäre von oben herab gegeben; darum, der mich dir überantwortet hat, der hat's größ're Sünde.

Jesus You would have no power over Me, if it were not given to you from above; therefore, he who has delivered Me to you has the greater sin.

Evangelist Von dem an trachtete Pilatus, wie er ihn losließe.

Evangelist From then on Pilate considered how he might release Him.

Choral Durch dein Gefängnis, Gottes Sohn, Muß uns die Freiheit kommen; Dein Kerker ist der Gnadenthron, Die Freistatt aller Frommen; Denn gingst du nicht die Knechtschaft ein, Müßt unsre Knechtschaft ewig sein.

Chorale Through Your prison, Son of God, must freedom come to us; Your cell is the throne of grace, the sanctuary of all the righteous; for if you had not undergone servitude, our slavery would have been eternal.

Evangelist Die Jüden aber schrieen und sprachen:

Evangelist The Jews, however, screamed and said:

Chor Lässest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Könige machet, der ist wider den Kaiser.

Chorus If you let this man go, you are not a friend of Caesar; for whoever makes himself a king is against Caesar.

Evangelist Da Pilatus da Wort hörete, führete er Jesum heraus und satzte sich auf den Richtstuhl, an der Stätte, die da heißet: Hochpflaster, auf Ebräisch aber: Gabbatha. Es war aber der Rüsttag in Ostern um die sechste Stunde, und er spricht zu den Jüden:

Evangelist When Pilate heard this, he brought Jesus outside and sat upon the judgment seat, at the place that is called High Pavement, in Hebrew however: Gabbatha. But it was the Sabbath-day at Passover at the sixth hour, and he said to the Jews:

Pilatus Sehet, das ist euer König!

Pilate Behold, this is your King!

Evangelist Sie schrieen aber:

Evangelist But they shrieked:

Chor Weg, weg mit dem, kreuzige ihn!

Chorus Away, away with Him, crucify Him!

Evangelist Spricht Pilatus zu ihnen:

Evangelist Pilate said to them:

Pilatus Soll ich euren König kreuzigen?

Pilate Shall I crucify your King?

Evangelist Die Hohenpriester antworteten:

Evangelist The high priests answered:

Chor Wir haben keinen König denn den Kaiser.

Chorus We have no King but Caesar.

Evangelist Da überantwortete er ihn daß er gekreuziget würde. Sie nahmen aber Jesum und führeten ihn hin. Und er trug sein Kreuz und ging hinaus zur Stätte, die da heißet Schädelstätt, welche heißet auf Ebräisch: Golgatha.

Evangelist Then he delivered Him to be crucified. They took Jesus and led him away. And He carried His Cross, and went up to the place that is called the Place of the Skull, which is called in Hebrew: Golgatha.

Arie und Chor Eilt, ihr angefochtnen Seelen, Geht aus euren Marterhöhlen, Eilt -- Wohin? -- nach Golgatha! Nehmet an des Glaubens Flügel, Flieht -- Wohin? -- zum Kreuzeshügel, Eure Wohlfahrt blüht allda!

Aria and Chorus Hurry, you tempted souls, come out of your caves of torment, hurry - where? - to Golgatha! Take up the wings of faith, fly - where? -- to the Hill of the Cross, Your salvation blooms there!

Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und satzte sie auf das Kreuz, und war geschrieben: "Jesus von Nazareth, der Jüden König." Diese Überschrift lasen viel Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohenpriester der Jüden zu Pilato:

Evangelist There they crucified Him, and two others with Him on either side, Jesus however in the middle. Pilate however wrote a signpost and set it upon the Cross, and there was written on it: "Jesus of Nazareth, the King of the Jews." This signpost was read by many Jews, for the place where Jesus was crucified was near the city. And it was written in the Hebrew, Greek and Latin languages. Then the high priests of the Jews said to Pilate:

Chor Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König.

Chorus Do not write: The King of the Jews, rather that He said: I am the King of the Jews.

Evangelist Pilatus antwortet:

Evangelist Pilate answered:

Pilatus Was ich geschrieben habe, das habe ich geschrieben.

Pilate What I have written, I have written.

Choral In meines Herzens Grunde Dein Nam und Kreuz allein Funkelt all Zeit und Stunde, Drauf kann ich fröhlich sein. Erschein mir in dem Bilde Zu Trost in meiner Not, Wie du, Herr Christ, so milde Dich hast geblut' zu Tod!

Chorale In the bottom of my heart Your name and Cross alone sparkles at all times and hours, for which I can be joyful. Shine forth for me in that image as comfort in my need, how You, Lord Christ, so gently bled to death!

Evangelist Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider und machten vier Teile, einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber war ungenähet, von oben an gewürket durch und durch. Da sprachen sie untereinander:

Evangelist The soldiers however, that had crucified Jesus, took His clothing and made four parts, one part for each soldier, the same also with His robe. The robe, however, had no seam, being woven from top to bottom. Then they said to each other:

Chor Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.

Chorus Let's not divide this, rather let's toss for it, to see whose it will be.

Evangelist Auf daß erfüllet würde die Schrift, die da saget: "Sie haben meine Kleider unter sich geteilet und haben über meinen Rock das Los geworfen." Solches taten die Kriegesknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, Kleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter sahe und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter:

Evangelist So that the Scripture might be fulfilled, which says: "They have divided my clothing among themselves and have cast lots over my robe." These things the soldiers did. However there stood by Jesus' Cross His mother and His mother's sister, Mary, the wife of Cleophas, and Mary Magdalene. Now when Jesus saw His mother and the disciple standing near, whom He loved, He said to His mother:

Jesus Weib, siehe, das ist dein Sohn!

Jesus Woman, behold, this is your son!

Evangelist Darnach spricht er zu dem Jünger:

Evangelist Afterwards He said to the disciple:

Jesus Siehe, das ist deine Mutter!

Jesus Behold, this is your mother!

Choral Er nahm alles wohl in acht In der letzten Stunde, Seine Mutter noch bedacht, Setzt ihr ein' Vormunde. O Mensch, mache Richtigkeit, Gott und Menschen liebe, Stirb darauf ohn alles Leid, Und dich nicht betrübe!

Chorale He took good care of everything in the last hour, still thinking of His mother, He provided a guardian for her. O mankind, do justice, love God and humanity, die without any sorrow, and do not be troubled!

Evangelist Und von Stund an nahm sie der Jünger zu sich. Darnach, als Jesus wußte, daß schon alles vollbracht war, daß die Schrift erfüllet würde, spricht er:

Evangelist And from that hour the disciple took her to himself. Afterwards, when Jesus knew that everything was already accomplished, so that the Scripture might be fulfilled, He said:

Jesus Mich dürstet!

Jesus I thirst!

Evangelist Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig und legten ihn um einen Isopen, und heilten es ihm dar zum Munde. Da nun Jesus den Essig genommen hatte, sprach er:

Evangelist There was a vessel full of vinegar. They filled a sponge with vinegar and placed it on a hyssop, and held it directly to His mouth. Now when Jesus had taken the vinegar, He said:

Jesus Es ist vollbracht!

Jesus It is finished!

Arie Es ist vollbracht! O Trost vor die gekränkten Seelen!

Aria It is finished! O comfort for the ailing soul!

Die Trauernacht Läßt nun die letzte Stunde zählen. Der Held aus Juda siegt mit Macht Und schließt den Kampf. Es ist vollbracht!

The night of sorrow now measures out its last hour. The hero out of Judah conquers with might and concludes the battle. It is finished!

Evangelist Und neiget das Haupt und verschied.

Evangelist And bowed His head and departed.

Arie und Chor Mein teurer Heiland, laß dich fragen, Da du nunmehr ans Kreuz geschlagen Und selbst gesagt: Es ist vollbracht, Bin ich vom Sterben frei gemacht? Kann ich durch deine Pein und Sterben Das Himmelreich ererben? Ist aller Welt Erlösung da? Du kannst vor Schmerzen zwar nichts sagen; Doch neigest du das Haupt Und sprichst stillschweigend: ja.

Aria and Chorus My precious Saviour, let me ask, Now that you have been nailed to the Cross and have said yourself: It is finished, Am I made free from death? Can I, through your pain and death inherit the kingdom of heaven? Has the redemption of the whole world arrived? You cannot say a single thing out of pain; yet you bow Your head and say silently: yes.

Jesu, der du warest tot, Lebest nun ohn Ende, In der letzten Todesnot Nirgend mich hinwende Als zu dir, der mich versühnt, O du lieber Herre! Gib mir nur, was du verdient, Mehr ich nicht begehre!

Jesus, You, who were dead, live now unendingly, in the last pangs of death I will turn nowhere else but to You, who has absolved me, O beloved Lord! Only give me what You earned, more I do not desire!

Evangelist Und siehe da, der Vorhang im Tempel zeriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen.

Evangelist And behold, the curtain in the temple was torn in two pieces from top to bottom. And the earth shook, and the cliffs were rent, and the graves opened up, and many bodies of saints arose.

Arioso Mein Herz, in dem die ganze Welt Bei Jesu Leiden gleichfalls leidet, Die Sonne sich in Trauer kleidet, Der Vorhang reißt, der Fels zerfällt, Die Erde bebt, die Gräber spalten, Weil sie den Schöpfer sehn erkalten, Was willst du deines Ortes tun?

Arioso My heart - while the entire world with Jesus' suffering likewise suffers; the sun drapes itself in mourning, the curtain is rent, the crag crumbles, the earth trembles, the graves split open, since they behold the Creator growing cold; - how shall you react from your depths?

Aria Zerfleiße, mein Herze, in Fluten der Zähren Dem Höchsten zu Ehren! Erzähle der Welt und dem Himmel die Not: Dein Jesus ist tot!

Aria Dissolve, my heart, in floods of tears to honor the Highest! Tell the world and heaven the anguish: Your Jesus is dead!

Evangelist Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben den Sabbat über (denn desselbigen Sabbats Tag war sehr groß), baten sie Pilatum, daß ihre Beine gebrochen und sie abgenommen würden. Da kamen die Kriegsknechte und brachen dem ersten die Beine und dem andern, der mit ihm gekreuziget war. Als sie aber zu Jesu kamen, da sie sahen, daß er schon gestorben war, brachen sie ihm die Beine nicht; sondern der Kriegsknechte einer eröffnete seine Seite mit einem Speer, und alsobald ging Blut und Wasser heraus. Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr, und derselbige weiß, daß er die Wahrheit saget, auf daß ihr gläubet. Denn solches ist geschehen, auf daß die Schrift erfüllet würde: "Ihr sollet ihm kein Bein zerbrechen." Und abermal spricht eine andere Schrift: "Sie werden sehen, in welchen sie gestochen haben."

Evangelist The Jews however, since it was the Sabbath day, so that the corpses would not remain on their crosses over the Sabbath (for this particular Sabbath day was very great), asked Pilate for their bones to be broken and that they be taken away. So the soldiers came and broke the bones of the first and the other one, who had been crucified with Him. But when they came to Jesus, and they saw that He was already dead, they did not break His bones; instead one of the soldiers opened His side with a spear, and immediately blood and water came out. And he that saw this, bore witness to it, and his testimony is true, and this same knows that he speaks the truth so that you believe. For all this has happened in order that the Scripture might be fulfilled: "You shall break none of His bones." And in addition another Scripture says: "They will behold what they have pierced."

Choral O hilf, Christe, Gottes Sohn, Durch dein bitter Leiden, Daß wir dir stets untertan All Untugend meiden, Deinen Tod und sein Ursach Fruchtbarlich bedenken, Dafür, wiewohl arm und schwach, Dir Dankopfer schenken!

Chorale O help, Christ, Son of God, through Your bitter Passion, that we, being always obedient to You, might shun all vice, Your death and its cause consider fruitfully, so that, although poor and weak, we might offer you thanksgiving!

Evangelist Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu war (doch heimlich aus Furcht vor den Jüden), daß er möchte abnehmen den Leichnam Jesu. Und Pilatus erlaubete es. Derowegen kam er und nahm den Leichnam Jesu herab. Es kam aber auch Nikodemus, der vormals bei der Nacht zu Jesu kommen war, und brachte Myrrhen und Aloen untereinander, bei hundert Pfunden. Da nahmen sie den Leichnam Jesu und bunden ihn in leine Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget war, ein Garte, und im Garten ein neu Grab, in welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Rüsttags willen der Jüden, dieweil das Grab nahe war.

Evangelist Afterwards Joseph from Arimathia, who was one of Jesus' disciples (though secretly out of fear of the Jews), asked Pilate whether he might take away Jesus' body. And Pilate permitted it. Therefore he came and took the body of Jesus away. But Nicodemus also came, who previously had come to Jesus in the night, and brought myrrh and aloe with him in hundred-weights. Then they took the body of Jesus and wrapped it in linen cloths with spices, as is the Jewish custom of burial. However, there was a garden near the place where He was crucified, and in this garden a new grave, in which no one had ever been laid. In that same grave they laid Jesus, according to the Sabbath wishes of the Jews, since the grave was nearby.

Chor Ruht wohl, ihr heiligen Gebeine, Die ich nun weiter nicht beweine, Ruht wohl und bringt auch mich zur Ruh! Das Grab, so euch bestimmet ist Und ferner keine Not umschließt, Macht mir den Himmel auf und schließt die Hölle zu.

Chorus Rest well, you blessed limbs, now I will no longer mourn you, rest well and bring me also to peace! The grave that is allotted to you and encloses no further suffering, opens heaven for me and closes off Hell.

Choral Ach Herr, lass dein lieb Engelein Am letzten End die Seele mein In Abrahams Schoß tragen, Den Leib in seim Schlafkämmerlein Gar sanft ohn eigne Qual und Pein Ruhn bis am jüngsten Tage! Alsdenn vom Tod erwecke mich, Dass meine Augen sehen dich In aller Freud, o Gottes Sohn, Mein Heiland und Genadenthron! Herr Jesu Christ, erhöre mich, Ich will dich preisen ewiglich!

Chorale Ah, Lord, let Your dear little angel, at my final end, take my soul to Abraham's bosom. Let my body, in its little sleeping chamber, absolutely softly, without any anguish or pain, rest until the last day! At that day wake me from death, so that my eyes may see You in all joy, o Son of God, my Saviour and Throne of grace! Lord Jesus Christ, hear me, I will praise You eternally!

Translation © Pamela Dellal, courtesy Emmanuel Music Inc.

SPOKEN WORD TEXT John 1:1 King James Version 1 In the beginning was the Word, and the Word was with God, and the Word was God. 2 The same was in the beginning with God. 3 All things were made by him; and without him was not any thing made that was made. 4 In him was life; and the life was the light of men. 5 And the light shineth in darkness; and the darkness comprehended it not. Psalm 22 King James Version 1 My God, my God, why hast thou forsaken me? why art thou so far from helping me, and from the words of my roaring? 2 O my God, I cry in the day time, but thou hearest not; and in the night season, and am not silent. 3 But thou art holy, O thou that inhabitest the praises of Israel. 4 Our fathers trusted in thee: they trusted, and thou didst deliver them. 5 They cried unto thee, and were delivered: they trusted in thee, and were not confounded. 6 But I am a worm, and no man; a reproach of men, and despised of the people. 7 All they that see me laugh me to scorn: they shoot out the lip, they shake the head, saying, 8 He trusted on the Lord that he would deliver him: let him deliver him, seeing he delighted in him. 9 But thou art he that took me out of the womb: thou didst make me hope when I was upon my mother's breasts. 10 I was cast upon thee from the womb: thou art my God from my mother's belly. 11 Be not far from me; for trouble is near; for there is none to help. 12 Many bulls have compassed me: strong bulls of Bashan have beset me round. 13 They gaped upon me with their mouths, as a ravening and a roaring lion. 14 I am poured out like water, and all my bones are

out of joint: my heart is like wax; it is melted in the midst of my bowels. 15 My strength is dried up like a potsherd; and my tongue cleaveth to my jaws; and thou hast brought me into the dust of death. 16 For dogs have compassed me: the assembly of the wicked have inclosed me: they pierced my hands and my feet. 17 I may tell all my bones: they look and stare upon me. 18 They part my garments among them, and cast lots upon my vesture. 19 But be not thou far from me, O Lord: O my strength, haste thee to help me. Ash Wednesday part 1 - T S Eliot Because I do not hope to turn again Because I do not hope Because I do not hope to turn Desiring this man's gift and that man's scope I no longer strive to strive towards such things (Why should the agèd eagle stretch its wings?) Why should I mourn The vanished power of the usual reign? Because I do not hope to know The infirm glory of the positive hour Because I do not think Because I know I shall not know The one veritable transitory power Because I cannot drink There, where trees flower, and springs flow, for there is nothing again Because I know that time is always time And place is always and only place And what is actual is actual only for one time And only for one place I rejoice that things are as they are and I renounce the blessèd face And renounce the voice Because I cannot hope to turn again Consequently I rejoice, having to construct something Upon which to rejoice And pray to God to have mercy upon us And pray that I may forget These matters that with myself I too much discuss Too much explain

Because I do not hope to turn again Let these words answer For what is done, not to be done again May the judgement not be too heavy upon us Because these wings are no longer wings to fly But merely vans to beat the air The air which is now thoroughly small and dry Smaller and dryer than the will Teach us to care and not to care Teach us to sit still. Pray for us sinners now and at the hour of our death Pray for us now and at the hour of our death. Final Motet - Jacob Handl Ecce quomodo moritur justus, et nemo percipit corde: Viri justi tolluntur, et nemo considerat. A facie iniquitatis sublatus est justus: et erit in pace memoria ejus. In pace factus est locus ejus et in Sion habitat ejus et erit in pace memoria ejus. Ecce quomodo moritur justus, et nemo percipit corde: Viri justi tolluntur, et nemo considerat. A facie iniquitatis sublatus est justus: et erit in pace memoria ejus. In pace factus est locus ejus et in Sion habitat ejus et erit in pace memoria ejus. Behold how the Just One dies, and no one takes it to heart: and just men are taken away, and no one considers it: the Just One is taken away from the face of iniquity, And his memory shall be in peace. In peace is his place And in Sion is his dwelling-place. And his memory shall be in peace.

The authoritative voice on classical music since 1923 THE WORLD’S BEST CLASSICAL MUSIC REVIEWS


on record Film music special

The changing way we hear the composer’ s music FILM MUSIC SPECIAL PLUS

Kirill Petrenko

Anne-Sophie Mutter records John Williams

Schumann’s Second Symphony

Handel’s Acis and Galatea

• Ockeghem’s Requiem

Ingrid Fliter: exploring P LU S the darker Theside craft of the soundtrack of Chopin

Paul McCreesh

Ingrid Fliter

Anne-Sophie Mutter

Bach on record

Pavarotti and his greatest roles

Paul McCreesh celebrates 20th-century coronation music



JUNE 2019


Est 1923 . SEPTEMBER 2019

and his greatest roles

Four Last Songs: inside Strauss’s powerful score


Est 1923 . JUNE 2019


Est 1923 . OCTOBER 2018

A newly discovered recording by Kirill Petrenko Rachmaninov

The enigmatic conductor starts in Berlin


Cover UK June aamaMA.indd 1

29/04/2019 14:27

Volume 97

Volume 97

Remembering early music pioneer Christopher Hogwood

Season Preview Our guide to the best events of 2019/20 UNITED KINGDOM £5.99

Cover Sept UK aaaaMAA.indd 1

23/07/2019 15:00

Volume 96


Cover October UK aaMA.indd 1

19/09/2018 12:58

Discover the world’s best classical music reviews magazine today SUPERB RECORDINGS



Discover essential classical music recordings every month, with over 100 reviews every issue, written by an unrivalled panel of expert critics.

We are devoted to exploring the artists stamping their mark on recording today, with captivating features and exclusive interviews.

We celebrate composers both past and present, providing you with a unique perspective on the lives and work of the greats of the classical music world.

To find out more about our five subscription packages, visit or call our team on 0800 137 201

ABOUT BATTERSEA ARTS CENTRE Since 1974, Battersea Arts Centre has pioneered creative change, based in an iconic building with a radical history, the old Battersea Town Hall. "We see ourselves as a creative hub, meaning we use our resources to give creative people the space to play, experiment, fail and grow. We call this Scratch. For us, everyone is creative, and we exist to support our community to discover their creativity through co-creation. We might provide the tools, the space and the time, but the ideas and invention are yours." In 2015, Battersea Arts Centre’s Grand Hall was destroyed by fire. In 2018, they relaunched their newly restored Grand Hall with The Phoenix Season, and welcomed thousands of people back into their building. For more information about the history of Battersea Arts Centre please visit: f our-history/

BEHIND THE SCENES Mark Padmore Music Director & Artistic Concept Part 1 of Bach’s St John Passion ends with a chorale reflecting on Peter’s denials of Jesus. The last line of the chorale is ‘rühre mein Gewissen’ - stir up (disturb) my conscience

(consciousness). This is a perfect description of our task in this filmed version of the

Passion. The root of the word ‘Passion’ is passio the Latin word for suffering and the whole work is really a meditation on suffering and an attempt to make some sense of it. Dennis Potter, the great tv filmmaker, said that religion is found in the wound, not the bandage something Bach surely understood.

Particularly at this moment, in the midst of a pandemic, it is vitally important that we

approach the Passion, not simply as a beautiful piece of music, but as a disturbing story

for our time that tells of betrayal, wrongful arrest, imprisonment, interrogation, torture and killing.

What the camera will be able to do is to witness us bearing witness. The absence

of a conductor opens up all the channels of communication between players and

singers - and our body-language and eye-contact will be as much part of the film as our music-making. Attentiveness, being present, being actively engaged whether we are playing or singing or just listening, is what will make this version different from others.

Grant Gee will be given full licence to linger on faces, or instruments, arms, hands or feet

so that the camera does not simply follow the music but has its own dynamic relationship with the story.

We will also use spoken elements to disturb the expectations of the viewer/listener.

The opening lines of the John Gospel - In the beginning was the Word - will ask us to pay attention to the words. And instead of a sermon between the two Parts we will have the

wonderful South African actor, Nakhane, read from Psalm 22 - My God, my God, why hast thou forsaken me? - and from TS Eliot’s Ash Wednesday.

Bach’s St John Passion is a timeless masterpiece but it also speaks immediately to us now, here in London, in a theatre closed to the public, in a city disrupted and damaged by the pandemic. The Passion speaks to each of us in our daily, suffering lives. The experience of this Passion should stir up in each of us - our compassion.


Mark Padmore Mark Padmore was born in London and studied at King’s College, Cambridge. He has established an international career in opera, concert and recital. His appearances in Bach Passions have gained particular notice, especially his renowned performances as Evangelist in the St Matthew and St John Passions with the Berlin Philharmonic Orchestra and Sir Simon Rattle, staged by Peter Sellars. In opera Mark has worked with directors Peter Brook, Katie Mitchell, Mark Morris and Deborah Warner. Work has 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 both for Glyndebourne Festival Opera; Third Angel/John in George Benjamin Written on Skin with the Royal Opera, Covent Garden and the world premiere of Tansy Davies Cave with the London Sinfonietta. Most recently, he appeared in a new ROH production of Britten’s Death in Venice, where his performance was described as a “tour de force” and “exquisite of voice, [presenting] Aschenbach’s physical and spiritual breakdown with extraordinary detail and insight” In concert Mark performs with the world’s leading orchestras. He was Artist in Residence for the 2017-18 Season with the Berlin Philharmonic Orchestra and held a similar position with the Bavarian Radio Symphony Orchestra for 2016-17. His work with the Orchestra of the Age of Enlightenment has involved projects exploring both Bach St

John and St Matthew Passions and has attracted worldwide acclaim. Mark gives recitals worldwide. He has performed all three Schubert song cycles in Amsterdam, Barcelona, Birmingham, London, Liverpool, Paris, Tokyo, Vienna and New York. Regular recital partners include Kristian Bezuidenhout, Jonathan Biss, Imogen Cooper, Julius Drake, Till Fellner, Simon Lepper, Paul Lewis, Roger Vignoles and Andrew West. Composers who have written for him include Sally Beamish, Harrison Birtwistle, Jonathan Dove, Thomas Larcher, Nico Muhly, Alec Roth, Mark-Anthony Turnage, Huw Watkins and Ryan Wigglesworth. His extensive discography includes: Beethoven Missa Solemnis and Haydn Die Schöpfung with Bernard Haitink and Bavarian Radio Symphony Orchestra on BR Klassik and lieder by Beethoven, Haydn and Mozart with Kristian Bezuidenhout for Harmonia Mundi. Other Harmonia Mundi recordings; Schubert cycles with Paul Lewis (Winterreise won the 2010 Gramophone magazine Vocal Award); Schumann Dichterliebe with Kristian Bezuidenhout (2011 Edison Klassiek Award) and Britten Serenade, Nocturne and Finzi Dies Natalis with the Britten Sinfonia (ECHO/ Klassik 2013 award). Mark was voted 2016 Vocalist of the Year by Musical America and was awarded an Honorary Doctorate by Kent University in 2014. He was appointed CBE in the 2019 Queens’ Birthday Honours List. Mark is Artistic Director of the St. Endellion Summer Music Festival in Cornwall.

Gerald Finley Grammy-award winning Canadian bass-baritone Gerald Finley is a leading singer and dramatic interpreter of his generation, with acclaimed performances at the world’s major opera and concert venues and award-winning recordings on CD and DVD with major labels in a wide variety of repertoire. He began with Mozart’s baritone roles: his Don Giovanni and Count Le nozze di Figaro have been heard live throughout the world and on DVD. Recent signature roles include Guillaume Tell (Metropolitan Opera, Accademia di Santa Cecilia, ROH, recorded on EMI), Scarpia (ROH, Berlin Staatsoper), Iago (ROH, Bayerische Staatsoper, COC), and Bartok’s Bluebeard (Met, LSO). He created Harry Heegan in Mark Anthony Turnage's The Silver Tassie, Howard K. Stern in Turnage’s Anna Nicole, J. Robert Oppenheimer in John Adams’ Doctor Atomic, Jaufré Rudel in Saariaho's L’amour de loin and Mr. Fox in Tobias Picker’s Fantastic Mr. Fox. In recent years, critical successes have been in the Wagner repertoire: Hans Sachs (Glyndebourne, Opéra de Paris), Amfortas Parsifal (ROH, Vienna Staatsoper), and Wolfram Tannhäuser (Lyric Opera of Chicago). His expanding repertoire includes Verdi’s Falstaff (COC), Iago Otello (ROH, LSO/LSO Live and COC), and The Traveller/multiple role Death in Venice (ROH). Other recent and important roles include Don Alfonso Cosi fan tutte (Met), Golaud, Eugene Onegin and Nick Shadow. Concert appearances include King of Scotland Ariodante, title role Il prigioniero (NYPO and BRSO) and Chou en Lai Nixon in China (BBC SO). On the LSO Live label he has recently released an acclaimed recording of Janacek’s Cunning Little Vixen.

Mr Finley’s concert work is a vital part of his career with recent appearances with the Berlin Philharmonic, the Concertgebouw Orchestra Amsterdam, the Bavarian Radio Symphony Orchestra, the Mahler Chamber Orchestra, and the Los Angeles Philharmonic Orchestra. Modern day composers have written extensively for Mr Finley including Peter Lieberson (“Songs of Love and Sorrow” with the Boston Symphony, recorded with the Helsinki Radio Orchestra), Mark Anthony Turnage (“When I woke” with the LPO), Huw Watkins, Julian Philips, Kaija Saariaho (“True Fire” with the Los Angeles Philharmonic), and Einojuhani Rautavaara (“Rubáiyát” with the Helsinki Philharmonic). He appeared as the star soloist for the 2018 BBC Last Night of the Proms. As a celebrated song recitalist, he works regularly with pianist Julius Drake. Recent engagements include the Schubertiade, recitals throughout Europe, a residency at the Wigmore Hall, at New York’s Carnegie-Zankel Hall and appearances at the Tanglewood and Ravinia Festivals. He presents Schubert’s Schwanengesang at the 2021 Salzburg Festival, and Schumann’s Dichterliebe at the Edinburgh Festival. Mr Finley’s many critically acclaimed solo recital CD releases on the Hyperion label have been devoted to complete discs of songs of Barber, Britten, Ives, Liszt, Ravel, Schumann’s song cycles Dichterliebe and Liederkreis Op. 24 & 39, Schubert’s Schwanengesang, Winterreise and the soon to be released Die schöne Müllerin. He has been awarded an unprecedented three Gramophone Magazine Awards in the Solo Vocal category. The release of Schubert’s Winterreise won a Canadian Juno Award in 2015. His recent Orchestral songs by Sibelius (Bergen Philharmonic, Chandos) was nominated "Best Vocal Album” by Gramophone Magazine. Gerald Finley, born in Montreal, began singing as a chorister in Ottawa, Canada, and completed his musical studies in the UK at the Royal College of Music, King’s College, Cambridge, and the National Opera Studio. He is a Fellow and Visiting Professor at the Royal College of Music. In 2014 he climbed Kilimanjaro for the charity Help Musicians UK. He has been appointed Commander of the Order of the British Empire and an Officer of the Order of Canada. Mr Finley also features on a Canadian stamp celebrating Canadians in opera.

Neal Davies Neal Davies studied at King's College, London and the Royal Academy of Music, and won the Lieder Prize at the 1991 Cardiff Singer of the World Competition. He has appeared with the Oslo Philharmonic Orchestra under Mariss Jansons, BBC Symphony Orchestra under Pierre Boulez, Cleveland and Philharmonia orchestras under Christoph von Dohnányi, Chamber Orchestra of Europe under Nikolaus Harnoncourt, Orchestra of the Age of Enlightenment under Frans Brüggen, English Concert with Harry Bicket, Gabrieli Consort under Paul McCreesh, Hallé Orchestra with Sir Mark Elder, Concerto Koeln under Ivor Bolton, Scottish Chamber Orchestra with Adam Fischer, Bergen Philharmonic Orchestra with Edward Gardner, Deutsches Symphonie Orchester Berlin with David Zinman, Melbourne Symphony Orchestra with Sir Andrew Davis, and the London Symphony and Vienna Philharmonic orchestras under Daniel Harding. He has been a regular guest of the Edinburgh Festival and BBC Proms. Recent concert appearances include Shostakovich 14 with the BBC Symphony Orchestra and Kirill Karabits, a return to the Deutsche Staatsoper Berlin for King Arthur; concert performances of Peter Grimes with the Bergen Philharmonic and Messiah with the Lucerne Symphony. Previous seasons highlights featured the Edinburgh Festival with Edward Gardner (Creation), BBC Proms (Vaughan Williams’ Dona nobis pacem), with David Afkham and the Spanish National Orchestra, and with Maxime Pascal conducting the Hallé Orchestra. The 2018/19 season saw appearances with Les violons du Roy and the New York Philharmonic Orchestra (Jonathan Cohen), the Bach Collegium Japan (Masaaki Suzuki), Music of the Baroque (Jane

Glover) and the Philadelphia Orchestra (Bernard Labadie). Operatic appearances have included: Major General Stanley The Pirates of Penzance and Ko-Ko The Mikado for the Lyric Opera of Chicago; Giulio Cesare, Figaro Le nozze di Figaro and Alaska Wolf Joe The Rise and Fall of the City of Mahagonny for the Royal Opera House, Covent Garden; L’Allegro, Zebul Jephtha, Publio La clemenza di Tito, Ariodates Xerxes, Kolenaty The Makropoulos Case and a new commission by Ryan Wigglesworth, A Winter’s Tale, for English National Opera; Radamisto for Opera de Marseille; Leporello Don Giovanni for Scottish Opera and Opera de Montreal; Curlew River for the Edinburgh Festival; Guglielmo and Don Alfonso Cosi fan tutte, Papageno Die Zauberflöte, Leporello, Dulcamara L’elisir d’amore, Zebul and Sharpless Madame Butterfly for the Welsh National Opera; Agrippina for the Deutsche Staatsoper Berlin. With William Christie and Les Arts Florissants, Neal has sung in Theodora (Paris and Salzburg) and in the Aix-en-Provence Festival production of Charpentier’s David et Jonathas (Aix, Edinburgh and New York), which is available on DVD. He sang Traveler in the Barbican Centre production of Curlew River, which toured to New York’s Lincoln Center, and Alaska Wolf Joe for the Opera di Roma. Neal’s wide discography includes Acis and Galatea under Christian Curnyn (BBC Music Magazine Award, 2019) Messiah, Theodora, Saul and Creation (Gramophone Award, 2008) under McCreesh, Jenufa and Makropulos Case under Sir Charles Mackerras, Barber’s Vanessa under Leonard Slatkin, Messiah under René Jacobs, the Hyperion Complete Schubert Edition with Graham Johnson, and Britten’s Billy Budd with Daniel Harding (Grammy Award, 2010).


Grant Gee

Nakhane is a South African musician, singer and songwriter. Their musical style spans over songs rooted in African indigenous music and indie rock. Nakhane, who is a native speaker of Xhosa, was born Nakhane Mahlakahlaka in Alice, a small town in the Eastern Cape; their artistic name was chosen in reverence to Ali Farka Touré. They grew up predominantly in Port Elizabeth before relocating to Johannesburg at age 15.

Grant Gee is a director and filmmaker based in Brighton. He is currently completing postproduction of a BFI/DocSociety funded film The Gold Machine with original script by Iain Sinclair, and is in production of How It Is: The Movie! a film on and about an epic performance of Beckett’s unperformed novel. Other recent work includes, A New Dark Age, a 40 minute film portrait of COVID London for the Royal Opera House in October 2020 and Judith, a 40 minute drama film to precede and set up a performance of Bluebeard’s Castle at the Bayerische Staatsoper, Munich. His film Innocence of Memories a documentary-fiction with original script by Nobel Laureate Orhan Pamuk premiered at the Venice Film Festival in 2015 and was distributed internationally by The Match Factory. Other feature film work includes Patience (After Sebald) and Joy Division which won the Grierson award 2008 for Best Cinema Documentary, the Mojo Vision Award 2009, CPH:DOX festival’s Sound and Vision award (2008) and Audience Awards for Best Film at both Gdansk and ‘In-Edit’ Barcelona (also 2008). In a previous life he directed many music videos including the iconic clip for Radiohead’s No Surprises and also directed Meeting People is Easy, a Grammy-nominated feature-documentary about the band. Since 2013 he has collaborated (as Video Director) with acclaimed theatre director Katie Mitchell on high profile Live Cinema projects at flagship European venues, most recently an adaptation of Virginia Woolf’s ‘Orlando’ for Schuabuhne Berlin and Barbican Theatre London.

Nakhane made their recording debut in 2013 with a series of releases produced by Matthew Fink/Just Music and recorded at the Sting Music Studio. Their first release was the EP Abraham which contained three songs written by Nakhane and covers of The Cure's Just Like Heaven and a parody rendition of Radiohead's Optimistic. It was given four stars out of five by Rolling Stone, which praised the lyrics and remarking that "As an EP, Abraham is the beginning of an autobiography that swells with a kind of universal biography." Then followed the single Christopher (2013: Just Music), a teaser single for the album. The Mail & Guardian described their voice as "Jeff Buckley meets Thom Yorke" and detected influences from Billie Myers, Billy Joel and Barry Manilow.

Rowan Pierce

Jessica Cale

Yorkshire-born Rowan Pierce is a former Rising Star of the OAE and Harewood Artist at English National Opera. She appears regularly with ensembles including the Academy of Ancient Music, Gabrieli Consort, Scottish Chamber Orchestra, BBC Scottish Symphony, OAE, City of Birmingham Symphony Orchestra, Florilegium and Royal Northern Sinfonia. In 2017 she made her BBC Proms and Wigmore Hall debuts. Recent and future operatic roles include Tiny / Paul Bunyan and Papagena / The Magic Flute for English National Opera, Barbarina / Le Nozze di Figaro (Covent Garden, Nevill Holt Opera, Grange Festival and ENO), Papiria / Lucio Papirio Dittatore for the Buxton Opera Festival, Oberto / Alcina for Glyndebourne Festival Opera and Quivera and Orazia / The Indian Queen for the Opéra de Lille under Emmanuelle Haïm. Recent and future festival performances include appearances at the Ryedale, Oxford Lieder, Bath, Cheltenham, BBC Proms, Edinburgh, Leeds Lieder and Chiltern Arts Festivals. Recordings include a solo disc of Purcell songs, Vaughan Williams’ Ninth Symphony with the RLPO / Andrew Manze and the award winning recordings of King Arthur and the Fairy Queen with the Gabrieli Consort.

Welsh Soprano, Jessica Cale, completes her studies in 2021 with Rosa Mannion at the Royal College of Music International Opera Studio where she is the Robert Lancaster scholar. Jessica is the 2020 First Prize winner of the Kathleen Ferrier Awards and Audience prize winner at the London Handel Festival International Singing Competition. Jessica holds a Master of Performance with distinction from the Royal College of Music, and a First Class Honours degree from Cardiff University. Jessica’s operatic experience includes the roles of Flaminia in Haydn’s Il mondo della luna, Susan in Berkeley’s A Dinner Engagement; Second Bridesmaid in Mozart’s Le nozze di Figaro; Despina in Mozart’s Cosi fan tutte (Ryedale Festival Opera); Serpetta in Mozart’s The Garden of Disguises (Ryedale Festival Opera). In addition to her studies, Jessica has a successful career performing as both a soloist and consort singer, working regularly with many of today's leading ensembles including the Orchestra of the Age of Enlightenment, the Monteverdi Choir, and the Gabrieli Consort. Recent notable solo engagements include Handel’s Messiah at the Royal Albert Hall and Mendelssohn’s Elijah at the Berlin Philharmonie. In 2021 Jessica will give her final performance at the Royal College of Music in the title role of Rodelinda. Jessica is hugely grateful for the support of an Help Musicians UK Sybil Tutton Award, the Josephine Baker Trust and the Countess of Munster Trust.

Bethany Horak-Hallett

Helen Charlston

British mezzo soprano Bethany Horak-Hallett is currently an OAE Rising Star for their 19/20-20/21 seasons.

Acclaimed for her musical interpretation, presence and “warmly distinctive tone” (The Telegraph), Helen Charlston is quickly cementing herself as a key performer in the next generation of British singers. Helen won first prize in the 2018 Handel Singing Competition and was a finalist in the Hurn Court Opera Competition, and the Grange Festival International Singing Competition.

Bethany studied at Trinity Laban Conservatoire of Music and Dance before joining the Glyndebourne Festival chorus and Iford Arts as a Young Artist. Bethany won first prize in September at the 2019 Concours Corneille Baroque singing competition in association with Le Poème Harmonique and she has made several operatic appearances, including her role debut at Glyndebourne as Kitchen Girl in Dvořák’s Rusalka. Other roles include Cherubino in Mozart’s Le nozze di Figaro at Merry Opera and Cupid in Blow’s Venus and Adonis at the Brighton Early Music Festival.

Recent concert highlights include Handel’s Messiah with the Royal Liverpool Philharmonic Orchestra, Mendelssohn’s Lobgesang with the Royal Northern Sinfonia and Paul McCreesh, her debut at the Palau de la Musica in Barcelona for Bach’s St Matthew Passion with the Gabrieli Consort and Players, a worldwide tour of Handel’s Messiah with the Seattle Symphony, the Western Australian Symphony Orchestra and Adelaide Symphony Orchestra, performances as part of Barbican Sound Unbound 2019 and solo recitals at York Early Music Festival, London Handel Festival, Händel-festspiele Halle, Korčula Baroque Festival, Leicester International Music Festival and Fitzrovia Festival. In 2020, Helen premiered the full role of Anna in the newly completed opera Blue Electric by Tom Smail. Last season, Helen made debuts with the Academy of Ancient Music, Cambridge Handel Opera Company, Queensland Symphony Orchestra, Slovenian Philharmonic Orchestra, the Concertgebouw Chamber Orchestra, joined  Fretwork for a solo recital programme at Wigmore  Hall, and continued her commissioning project of lute songs with duo partner Toby Carr. In 2020,  Helen premiered the full role of Anna in the newly completed opera Blue Electric by Tom Smail.

Hugo Hymas

Jonathan Brown

Hugo Hymas has travelled far and wide so far in his career performing frequently in Europe and also in the far East and USA. He recently made his first trip to Australia performing tenor solos in Purcell’s King Arthur with Gabrieli Consort. Recent concert performances include a German tour of Purcell and Handel with Freiburg Baroque Orchestra, Handel’s Messiah in Helsinki with The English Concert, both Monteverdi’s Vespers and Bach’s St Matthew Passion with Dunedin Consort. Bach’s B minor mass with Münchener Motettenchor and Handel’s Semele with Monteverdi Choir directed by Thomas Guthrie as a semistaged concert performance for a tour which brought his debut at La Scala Milano. Hugo has also performed the role of Uriel in Haydn’s Creation with Les Arts Florissants in New York and on tour in France. Recent opera roles include Septimius in Theodora (Handel) for Potsdamer Winteroper, Jupiter in Semele (Handel) with Shanghai Symphony Orchestra, and Indian Boy and Fame in The Indian Queen (Purcell) with Opera de Lille. Hugo is a keen song recitalist, a former Britten-Pears young artist, and is currently on the OAE’s Rising Stars scheme

Jonathan Brown was born in Toronto and studied at the Royal Conservatory of Music and the University of Western Ontario. After moving to England he continued his studies at the University of Cambridge as well as the Britten-Pears School in Aldeburgh with Sir Thomas Allen and Anthony Rolfe Johnson. Operatic roles include Marcello (La Boheme, Royal Albert Hall), Belcore (L'Elisir d'Amore), Count Almaviva, Yamadori (Madam Butterfly), Giove (La Calisto), Orestes (Giasone), Garibaldo (Rodelinda), Ariodate (Xerxes), Silvio (I Pagliacci), Malatesta (Don Pasquale), Masetto (Don Giovanni), Shepherd (Venus and Adonis) and Aeneas (Dido and Aeneas). He performed the role of Trojan (Idomeneo) for Sir Simon Rattle with the Berlin Philharmonic in the Salzburg Easter Festival. He has performed Orfeo (Pastore) at Lille Opera, Le Chatêlet, Paris and Opera du Rhin with Emmanuelle Haim. Last year he created the role of Leon in a new production of Tom Smail’s opera Blue Electric in London. He made his debut with Sir John Eliot Gardiner in Holland as the baritone soloist in a concert of Bach cantatas and thereafter was a regular soloist with performances in Zurich, Brussels and Paris. These performances formed part of the Bach Cantata Pilgrimage and the subsequent CD release of all the cantatas on the Soli Deo Gloria label. He features as a soloist in Purcell's Ode to St Cecilia and Dido and Aeneas for Harmonia Mundi. He has recorded the baritone solos in the Fauré Requiem with the London Festival Orchestra for BMG and appears in the role of the Forester in Sullivan's The Golden Legend for Hyperion. Recent recordings have included world premieres of Wesley’s cantata Confitebor tibi (Priory) and Eccles’ Semele (AAM).

“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, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots. At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It began to make benchmark recordings and attract the finest conductors. It became the toast of the European touring circuit. It bagged distinguished residencies at Southbank Centre and Glyndebourne Festival Opera. It began, before long, to thrive. And then came the real challenge. The ensemble’s musicians were branded eccentric idealists. And that they were determined to remain. In the face of the music industry’s big guns, the OAE kept its head. It got organised but remained experimentalist. It sustained its founding drive but welcomed new talent. It kept on exploring performance formats, rehearsal approaches and musical techniques. It searched for the right repertoire, instruments and approaches with even greater resolve. It kept true to its founding vow.

In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America. And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its former home at London’s Kings Place has fostered further diversity of planning and music-making. The ensemble has formed the bedrock for some of Glyndebourne’s most ground-breaking recent productions. In keeping with its values of always questioning, challenging and trailblazing, in September 2020, the OAE became the resident orchestra of Acland Burghley School, Camden. The residency – a first for a British orchestra – allows the Orchestra of the Age of Enlightment to live, work and play amongst the students of the school. Remarkable people are behind it. Simon Rattle, the young conductor in whom the OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, the visionary who punted some of his most individual musical ideas on the young orchestra, continues to challenge it. Mark Elder still mines it for luminosity, shade and line. Vladimir Jurowski, the podium technician with an insatiable appetite for creative renewal, has drawn from it some of the most revelatory noises of recent years. And, most recently, it’s been a laboratory for John Butt’s most exciting Bach experiments. All five of them share the title Principal Artist. Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. ©Andrew Mellor

OAE TEAM Chief Executive Crispin Woodhead

Orchestra Consultant Philippa Brownsword

Life President Sir Martin Smith

Finance and Governance Director Pascale Nicholls

Choir Manager David Clegg

Board of Directors Imogen Overli [Chairman] Steven Devine Denys Firth Adrian Frost Nigel Jones Max Mandel David Marks Rebecca Miller Roger Montgomery Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead

Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Communications Director Elle Docx General Manager Edward Shaw Head of Individual Giving and Digital Development Marina Abel Smith Education Officer Andrew Thomson Projects Officer Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Anna Bennett Box Office and Data Manager Carly Mills Development Operations Officer Kiki Betts-Dean

Librarian Colin Kitching Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Steven Devine Max Mandel Roger Montgomery Andrew Roberts Katharina Spreckelsen Principal Artists John Butt Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Sir András Schiff Emeritus Conductors William Christie Sir Roger Norrington

OAE Trust Adrian Frost [Chairman] Mark Allen Paul Forman Steven Larcombe Alison McFadyen Caroline Noblet Imogen Overli Rupert Sebag-Montefiore Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Stephen Levinson Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Diane Segalen Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams

TECHNICAL TEAM Lighting Paule Constable

Venue and Lighting Battersea Arts Centre

Production Consultant Vicki Mortimer

Catering Café Parisienne, Battersea

Technical Director/Post Production/Editor Zen Grisdale

Covid Testing DNA Nudge / Imperial College, London

Vision Mix/Subtitles Crispin Woodhead Camera Operator Sophie Adams Camera Operator/Key Grip Edward Shaw Camera Operator Bettina Adela Camera Operator Pasha Mansurov Camera Operator Jerry Chater Logistical Support/Grip Adrian Bending Digital Consultant Dave Hinitt Audio Engineer Ben Connellan Music Producer Martin Kelly Organ and Tunings Robin Jennings


We are 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

OAE Experience scheme

Ann and Peter Law

Corporate Partners

Jonathan and Tessa Gaisman - Viola

Michael and Harriet Maunsell - Principal Keyboard

Champagne Deutz

Jenny and Tim Morrison

Swan Turton

Caroline Noblet

Corporate Associates

Andrew Nurnberg

Bannenberg and Rowell

Professor Richard Portes

Mark Allen Group

Aston Lark Gelato

Season Patrons

John Armitage Charitable Trust Julian and Annette Armstrong Adrian Frost

Nigel Jones and Françoise Valat-Jones

Selina and David Marks

Imogen and Haakon Overli

Sir Martin Smith and Lady Smith OBE Philip and Rosalyn Wilkinson

Mark and Rosamund Williams

One Anonymous Donor Project Patrons

Anthony and Celia Edwards Bruce Harris

One Anonymous Donor Aria Patrons

Steven Larcombe Stanley Lowy

Gary and Nina Moss

Rupert Sebag-Montefiore

Maarten and Taina Slendebroek

Caroline Steane Eric Tomsett

Chair Patrons

Mrs Nicola Armitage

- Education Director

Hugh and Michelle Arthur - Double Bass

Katharine Campbell - Violin

Victoria and Edward Bonham Carter -PrincipalTrumpet

Christina - Flute

Ian S Ferguson and Dr Susan Tranter - Double Bass

James Flynn QC

- Principal Lute/Theorbo

Paul Forman

- Principal Cello, Principal Horn, Violin

- Second Violin - Oboe

- Principal Oboe

- Principal Bassoon

John and Rosemary Shannon - Principal Horn

Sue Sheridan OBE - Education

Roger and Pam Stubbs - Clarinet

Crispin Woodhead and Christine Rice - Principal Timpani

Education Patrons

Mrs Nicola Armitage

Patricia and Stephen Crew Rory and Louise Landman

Sir Timothy and Lady Lloyd

Andrew & Cindy Peck

Professor Richard Portes CBE FBA Rising Stars Supporters

Annette and Julian Armstrong Denys and Vicki Firth Bruce Harris

Ms Madeleine Hodgkin Mrs Sarah Holford

Nigel Jones and Francoise Valat-Jones Peter & Veronica Lofthouse Mr Andrew Nurnberg

Old Possum's Practical Trust Imogen and Haakon Overli

Associate Patrons

Charles and Julia Abel Smith Noël and Caroline Annesley

Sir Richard Arnold and Mary Elford

Catherine and Barney Burgess David and Marilyn Clark David Emmerson

Elisabeth Green in Memory of June Mockett

Peter and Sally Hilliar

Moira and Robert Latham

Sir Timothy and Lady Lloyd

Alison McFadyen

Roger Mears and Joanie Speers

David Mildon in memory of Lesley Mildon

Stuart Martin

Michael Marks Charitable Trust

Stephen and Penny Pickles

Old Possum’s Practical Trust

Paul Rivlin

Palazzetto Bru-Zane

MM Design - France

Cynthia and Neil McClennan

Jonathan Parker Charitable Trust

John Ransom

Peter Rosenthal

Alan Sainer

Emily Stubbs and Stephen McCrum

Mr and Mrs Tony Timms

The Patrick Rowland Foundation

David Wilson

Peter Stebbings Memorial Charity

John Nickson and Simon Rew Andrew and Cindy Peck

Ivor Samuels and Gerry Wakelin Shelley von Strunckel Mr J Westwood

Matthew & Sarah Shorter Mrs Joy Whitby

Two Anonymous Donors

Six Anonymous Donors

Gold Friends

Young Patron

Gerard Cleary

Elizabeth George

Michael Brecknell Mr and Mrs C Cochin de Billy

Ed Abel Smith David Gillbe

Chris Gould

Sam Hucklebridge

David and Ruth Samuels

Peter Yardley-Jones

Anthony and Carol Rentoul Mr Anthony Thompson

Henry Mason

Two Anonymous Donors

Young Ambassador Patron

Silver Friends

Jessica Kemp

Haylee and Michael Bowsher

Rebecca Miller

Dennis and Sheila Baldry

Tony Burt

Christopher Campbell

Marianne and William Cartwright-Hignett Breandán Knowlton

Apax Foundation

Rachel & Charles Henderson

Ashley Family Foundation

Malcolm Herring

Patricia Herrmann

Rupert and Alice King

Alison and Ian Lowdon

Chivers Trust

Chapman Charitable Trust Derek Hill Foundation

Bronze Friends

Dyers Company

Dan Burt

D’Oyly Carte Charitable Trust Ernest Cook Trust

Esmee Fairbairn Foundation Fidelio Charitable Trust Foyle Foundation

Sir Anthony & Lady Cleaver

Garfield Weston Foundation

Roger Easy

Geoffrey Watling Charity

Michael A Conlon Mrs SM Edge

Mrs Mary Fysh

Stephen & Cristina Goldring Martin and Helen Haddon

Garrick Charitable Trust Henocq Law Trust

JMCMRJ Sorrell Foundation J Paul Getty Jnr

General Charitable Trust

Ray and Liz Harsant

John Lyon’s Charity

Mrs Auriel Hill

Lord and Lady Lurgan Trust

The Lady Heseltine Julian Markson

PF Charitable Trust

Pitt-Rivers Charitable Trust Radcliffe Trust

Rainbow Dickinson Trust RK Charitable Trust

Schroder Charity Trust Sir James Knott Trust Sobell Foundation

Stanley Picker Trust

The 29th May 1961 Charitable Trust The Loveday Charitable Trust

The R&I Pilkington Charitable Trust The Vernon Ellis Foundation

Brian Mitchell Charitable Settlement

Catherine Cookson Charitable Trust

Two Anonymous Donors

Graham and Claire Buckland

Peter Cundill Foundation

Boshier-Hinton Foundation

Simon and Karen Taube

Robin Broadhurst

Paul Bassham Charitable Trust

Barbour Foundation

The Charles Peel Charitable Trust

Tony Baines

Parabola Foundation

Arts Council England

Susannah Simons

Her Honour Suzanne Stewart

Orchestras Live

Trusts & Foundations

Mr and Mrs Michael Cooper

Anthony and Jo Diamond

National Foundation for Youth Music

Linbury Trust

Metropolitan Masonic Charity

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 involvement in the life of the Orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour. For more information on supporting the OAE please contact Emily Stubbs Development Director

0208 159 9318

WE MOVED INTO A SCHOOL We are thrilled to announce that we are now the resident orchestra of Acland Burghley School in Camden, North London. The residency – a first for a British orchestra – allows us to live, work and play amongst the students of the school. Three offices have been adapted for our administration team, alongside a recording studio and library. We use the Grade II listed school assembly hall as a rehearsal space, with plans to refurbish it under the school’s ‘A Theatre for All’ project, so for the first time, we will all be in the same place: players, staff and library! Crispin Woodhead, our chief executive who came up with the idea of a new partnership, says: “Our accommodation at Kings Place was coming to an agreed end and we needed to find a new home. I felt that we should not settle for a conventional office space solution. We already had a strong relationship with many schools in Camden through our education programme and our appeal hit the desk of Kat Miller, director of operations at Acland Burghley School. She was working on ways to expand the school’s revenue from its resources and recognised that their excellent school hall might be somewhere we could rehearse. It felt like a thunderbolt and meant we wanted to find a way for this place to be our home, and embark on this new adventure to challenge and transform the way we engage with young adults.” The school isn't just our landlord or physical home. Instead, it will offer the opportunity to build on twenty years of work in the borough through OAE’s long-standing partnership with Camden Music. Having already worked in eighteen of the local primary schools that feed into ABS, the plans moving forward are to support music and arts across the school into the wider community. This new move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible. A similar project was undertaken in 2015 in Bremen, Germany. The Deutsche Kammerphilharmonie moved into a local comprehensive school in a deprived area and the results were described as “transformational”, with improved academic performance, language skills, mental health and IQ scores; reputational benefits; greater interest in and engagement with music among pupils; strengthened links between school, orchestra and community; and even, according to some of the musicians who took part, an improvement in the Kammerphilharmonie’s playing. Margaret Faultless, OAE leader and violinist, said: “As classical musicians, it can often feel as though we exist in a bubble. I think I can speak for the whole Orchestra when I say that we’re all looking forward to this new adventure. We are all used to meeting with people from outside the classical music world of course, but the value of our new project lies in the long-term work we’ll be doing at the school and the relationship that will hopefully develop between the students, their parents and teachers and the orchestra.” “The members of the Bremen Kammerphilharmonie said their experience actually improved them as an orchestra and I think the same will happen to us over the next five or so years, and it will remind all of us of the reasons we make music, which are sometimes easy to forget, especially in our strange and troubled times.” continues Margaret. “I am certainly looking forward to learning from the young people at Acland Burghley and in turn introducing them to the joys of our music and music-making.” The move has been made possible with a leadership grant of £120,000 from The Linbury Trust, one of the Sainsbury Family Charitable Trusts. Their support is facilitating the move to the school and underwriting the first three years of education work.

OAE EDUCATION A PROGRAMME TO INVOLVE, EMPOWER AND INSPIRE Over the past twenty years OAE Education has grown in stature and reach to involve thousands of people nationwide in creative music projects. Our participants come from a wide range of backgrounds and we pride ourselves in working flexibly, adapting to the needs of local people and the places they live. The extensive partnerships we have built up over many years help us engage fully with all the communities where we work to ensure maximum and lasting impact. We take inspiration from the OAE's repertoire, instruments and players. This makes for a vibrant, challenging and engaging programme where everyone is involved; players, animateurs, composers, participants, teachers, partners and stakeholders all have a valued voice.

SUPPORT OUR EDUCATION PROGRAMME 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 and Digital Development 0208 159 9319

OAE TOTS at Saffron Hall  orchestraoftheageofenlightenment  theoae  oae_photos

The OAE is a registered charity number 295329 Registered company number 2040312. Acland Burghley School, 93 Burghley Road, London NW5 1UH 0208 159 9310 | Photography | Zen Grisdale With thanks to DNA Nudge / Imperial College, London for providing covid testing for this event