St John Passion

ST JOHN PASSION 26 MARCH 2022

Hello! We are the Orchestra of the Age of Enlightenment (OAE) We play on historic instruments using techniques from the time the composer was writing. This means that every time we perform, you will see a stage of intriguing instruments and hear our passion for making the old feel new.

Welcome to the fifth concert of our 2021-22 season, The Wilderness Pleases; exploring the Enlightenment fascination with nature and its awe-striking beauty. The title of the series, The Wilderness Pleases is inspired by a book from the Enlightenment era; Shaftesbury’s controversial 'The Moralists.'

In the book, the main character, Theocles, describes the terror of encountering a group of crocodiles in an Egyptian desert. After escaping the monsters, he is overcome with a desire to admire them as wondrous creatures of the natural world.

‘let us fly to the vast deserts of these parts […] ghastly and hideous as they appear they want not their peculiar beauties.

The Wilderness pleases.’

-Anthony Ashley Cooper, the third Earl of Shaftesbury, 1709

BACH ST JOHN PASSION

JAKOB HANDL ECCE QUOMODO MORITUR JUSTUS Director/Evangelist Mark Padmore

Bass/Pilate Jonathan Brown

Soprano/Arias Mary Bevan

Bass/Peter Philip Tebb

Soprano/Maid Daisy Walford

Violin I Margaret Faultless Daniel Edgar Andrew Roberts

Soprano Jessica Cale Alto/Arias Paula Murrihy Alto Rebecca Leggett Alto David Clegg Tenor/Arias Laurence Kilsby Tenor/Servant Tom Robson Bass/Christus Raoul Steffani

Violin II Rodolfo Richter Henry Tong Stephen Rouse Viola Annette Isserlis Martin Kelly Cello Luise Buchberger Cello/Viola da Gamba Richard Tunnicliffe Bass Christine Sticher

Flute Lisa Beznosiuk Sophia Aretz Oboe Katharina Spreckelsen Sarah Humphrys Bassoon Gyorgyi Farkas Organ Steven Devine

programme notes 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 between 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

CONTINUED 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.

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BIOGRAPHIES

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 Simon Rattle, staged by Peter Sellars.

A highlight of Mark's 2021/22 season is a residency at Wigmore Hall where he celebrates his relationship with pianists Till Fellner, Imogen Cooper, Mitsuko Uchida and Paul Lewis. He will also appear in recital in Brussels with Simon Lepper, Madrid with Kristian Bezuidenhout and in a six-concert US tour with Mitsuko Uchida.

Other appearances in this busy season include a staged Britten War Requiem at the Liceu Barcelona, Evangelist St Matthew Passion at the Bayerische Rundfunk conducted by Simon Rattle, and directing performances of St John Passion with the Orchestra of the Age of the Enlightenment.

Mark recently appeared in a new Royal Opera House, Covent Garden 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”. Other opera roles have included the leading roles in Harrison Birtwistle The Corridor and The Cure at the Aldeburgh Festival; Captain Vere in Britten Billy Budd and Evangelist in a staging of St Matthew Passion both for Glyndebourne Festival Opera and the world premiere of Tansy Davies Cave with the London Sinfonietta.

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.

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.

MARY BEVAN Praised by Opera for her “dramatic wit and vocal control”, British soprano Mary Bevan is internationally renowned in baroque, classical and contemporary repertoire, and appears regularly with leading conductors, orchestras and ensembles around the world. She is a winner of the Royal Philharmonic Society’s Young Artist award and UK Critics’ Circle Award for Exceptional Young Talent in music and was awarded a MBE in the Queen’s birthday honours list in 2019.

In the 2021/22 season, Bevan performs Haydn The Creation at the Barbican Hall with the Academy of Ancient Music, Belinda and First Witch Dido & Aeneas

with the Early Opera Company at St John’s Smith Square, a European tour of Handel Messiah with Kammerorchester Basel, Handel Theresienmesse with the Handel and Haydn Society and Bach B Minor Mass with the Philhamonia Baroque Orchestra. Further highlights include recitals at Wigmore Hall, Lammermuir Festival and Osafestivalen alongside returns to Oxford Lieder, the Bolshoi Theatre and Carnegie Hall.

Last season, she returned to Royal Danish Opera for her role debut as Marzelline Fidelio and for the production LIGHT Bach Dances with director John Fuljames and conductor Lars Ulrik Mortensen. She also made her house debut at the Bolshoi Theatre in David Alden’s production of Ariodante as Dalinda. On the concert stage, she sang the world premiere of Sir James MacMillan's Christmas Oratorio at the Amsterdam Concertgebouw and A.Bliss Rout with the London Philharmonic Orchestra.

Highlights of previous seasons include Rose Maurrant in Weill’s Street Scene for Opera de Monte Carlo and Eurydice in Offenbach’s Orpheus in the Underworld for English National Opera. Bevan recently garnered praise for her Royal Danish Opera debut as Bellezza in Il Trionfo del tempo e del desinganno, for the title role in Turnage’s new opera Coraline for the Royal Opera at the Barbican, as well as for her return to the English National Opera as Zerlina in Don Giovanni, and her debut as Merab in Saul for the Adelaide Festival. For the Royal Opera House she created the role of Lila in David Bruce’s The Firework-Maker’s Daughter, sang Barbarina Le nozze

di Figaro on the main stage, and the title role in Rossi’s Orpheus at the Sam Wanamaker Playhouse.

On the concert platform, recent highlights include appearences with the BBC Symphony, BBC Concert Orchestra at the Proms, and with Mirga Gražinytė-Tyla and the CBSO in the world premiere of Roxanna Panufnik’s Faithful Journey. She joined the Orchestra of the Age of Enlightenment as Mary in Sally Beamish The Judas Passion; performed Bach Christmas Oratorio on tour in Australia with the Choir of London and Australian Chamber Orchestra; and Handel Messiah with the Academy of Ancient Music. She also headlined a tour of Asia with The English Concert and Harry Bicket and made her Carnegie Hall debut with the ensemble as Dalinda in Handel Ariodante.

Bevan’s discography includes her art song album Voyages with pianist Joseph Middleton and Handel's Queens with London Early Opera, both released

by Signum Records, Mendelssohn songs for Champs Hill Records, Handel: The Triumph of Time and Truth and Handel: Ode for St Cecilia’s Day with Ludus Baroque, and Vaughan Williams Symphony No.3 and Schubert Rosamunde with the BBC Philharmonic.

In autumn 2019 Signum released her second disc with Joseph Middleton including Lieder by Schubert, Haydn and Wolf.

PAULA MURRIHY Irish mezzo-soprano Paula Murrihy enjoys a busy career working at the highest level in both Europe and the US. Previously a member of the ensemble at the Oper Frankfurt, Paula’s roles in Frankfurt have included creating the title role Carmen in Barrie Kosky’s iconic production, Octavian Der Rosenkavalier, and title role Pénélope, amongst many others.

Recent highlights include her house debut at the Bolshoi Theatre, Moscow in the title of Ariodante, her debut at the Metropolitan Opera, as Stéphano Roméo et Juliette, a return to Santa Fe Opera as Ruggiero in Alcina and Orlofsky Die Fledermaus and the Salzburg Festival as Idamante in Peter Sellars’ production of Idomeneo. On the concert platform she works regularly with MusicAeterna and Teodor Currentzis, most recently joining them for a tour of the EU and Russia performing Mozart’s Da Ponte operas.

In her 21-22 season Paula made her debut at the Gran Teatre del Liceu in Barcelona as Komponist Ariadne auf Naxos, and returned to the Palau de les Arts as Nicklausse Les Contes d’Hoffmann.

On the concert platform she joins The English Concert to sing Ruggiero Alcina for a US tour, Micah Samson in London, and Arsemene Serse for a tour of the US and Europe.

LAURENCE KILSBY

Passion with the Orchestra of the Age of Enlightenment/Sir Simon Rattle.

Laurence began his formal training as a chorister with the Tewkesbury Abbey Schola Cantorum, and won the title of BBC Radio 2 Young Chorister of the Year in 2009, subsequently making his solo debut at the Royal Albert Hall. He appears as treble soloist on a number of recordings, including the Grammy nominated album, Handel’s L’Allegro, Penseroso ed il Moderato with the Gabrieli Consort and Paul McCreesh.

He has appeared in masterclasses with Dame Sarah Connolly, Roderick Williams, Kathryn Harries and James Gilchrist and has given recitals at the Akademie der Künste, Berlin and Cheltenham Festival.

Currently a student at the Curtis Institute of Music in Philadelphia, Laurence was formally an ABRSM Vocal Scholar at the Royal College of Music in London and an inaugural Lies Askonas Fellow. He was the winner of the 2018 Kathleen Ferrier Society Bursary for Young Singers. In the 2021/22 season Laurence makes his debut at the Festival d’Aix-en-Provence in L’incoronazione di Poppea and tours Bach’s Johannes Passion with Ensemble Pygmalion.

His recent engagements have included Apollo/Pastore/Spirito in Monteverdi’s L’Orfeo for the Nederlandse Reisopera, Henrik Egerman in Sondheim’s A Little Night Music for Opera North, Mozart’s Mass in C and Schubert’s Hymnus an den heiligen Geist at the Salzburg Festival with Ensemble Pygmalion/Raphaël Pichon and Peter Sellars’ staging of Bach’s St. John

RAOUL STEFFANI Baritone Raoul Steffani is praised by Opernwelt as singing “fresh and lyrically clear, with a sensitive interpretation, from an intelligent theatrical distance." He is a recipient of the Elisabeth Evertsprijs 2016, the Dutch Classical Talent Audience Award 2018 and the Grachtenfestival

Prize 2018. Raoul studied at the University of Music and Performing Arts in Vienna and at the conservatories of Amsterdam and Tilburg, from which he graduated summa cum laude. In 2021, Raoul was a member of Equilibrium, the Young Artist Programme of Barbara Hannigan.

His first song album Deep in a Dream with Gerold Huber was released by Challenge Records in 2018. His second album Robert and Clara Schumann: Love’s Spring with mezzo-soprano Magdalena Kožená and Gerold Huber will come out in November 2021.

As a soloist he has worked with conductors such as Sir Mark Elder, Vladimir Jurowsky, David Zinman, Sigiswald Kuijken, Ed Spanjaard, Jos van Veldhoven and Anthony Hermus.

Orchestras with whom he has worked include the Concertgebouw Chamber Orchestra, Camerata RCO, Camerata Salzburg, the Radio Philharmonic Orchestra, philharmonie zuidnederland, the Orkest van het Oosten and PHION. In 2020/21 he was a member of the Studio de L’Opéra National de Lyon, where he sang Ramiro in L'heure espagnole, a role he performs this season at Opéra de Toulon. Other performed roles include Eisenstein as well as Falke (Die Fledermaus), Papageno (Die Zauberföte), Guglielmo (Così fan tutte), Aeneas (Dido and Aeneas) and Ned Keene (Peter Grimes).

As a recitalist, Raoul works with pianists Gerold Huber and Lucie Horsch, and has performed at the Royal Concertgebouw Amsterdam, the Elbphilharmonie Hamburg, the Megaron Concert Hall in Athen, among others. He is a returning guest and ambassador of the International Lied Festival Zeist and he often appears on Dutch national radio and television.

JONATHAN BROWN 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).

Erster Teil

Part One

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!

2a. Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garte, darein ging Jesus und seine Jünger. Judas aber, der ihn verriet, wußte den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Facheln, Lampen und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:

2a. 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:

2b. Chor Jesum von Nazareth.

2b. Chorus Jesus of Nazareth.

2c. Evangelist Jesus spricht zu ihnen:

2c. 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:

2d. Chor Jesum von Nazareth.

2d. Chorus Jesus of Nazareth.

2e. Evangelist Jesus antwortete:

2e. 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!

3. 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.

3. 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.

4a. 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:

4a. 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?

5. 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!

5. 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!

6. Evangelist Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum und bunden ihn und führeten ihn aufs erste zu Hannas, der 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.

6. 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.

7. Arie A Von den Stricken meiner Sünden Mich zu entbinden, Wird mein Heil gebunden.

Mich von allen Lasterbeulen Völlig zu heilen, Läßt er sich verwunden.

7. Aria A To untie me from the knots of my sins, my Savior is bound.

To completely heal me of all blasphemous sores, he allows himself to be wounded.

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

8. Evangelist Simon Peter however followed after Jesus with another disciple.

9. Arie S 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.

9. Aria S 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.

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

10. 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?

11. 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.

11. Chorale Who has struck you thus, my Savior, 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.

12a. Evangelist Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich, da sprachen sie zu ihm:

12a. Evangelist And Hannas send him bound to the high priest Caiaphas. Simon Peter stood and warmed himself, when they said to him:

12b. Chor Bist du nicht seiner Jünger einer?

12b. Chorus Aren't you one of his disciples?

12c. Evangelist Er leugnete aber und sprach:

12c. 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.

13. Arie T 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.

13. Aria T 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.

14. 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!

14. 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!

Zweiter Teil

Part Two

15. 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.

15. 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.

16a. 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:

16a. Evangelist Then they led Jesus away from Caiaphas before 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:

16b. Chor Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.

16b. Chorus If this man were not an evil-doer, we wouldn't have turned him over to you.

16c. Evangelist Da sprach Pilatus zu ihnen:

16c. 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:

16d. Chor Wir dürfen niemand töten.

16d. Chorus We may not put anyone to death.

16e. Evangelist Auf daß erfüllet würde das Wort Jesu, welches er sagte, da er deutete, welches Todes er sterben würde. Da ging Pilatus wieder hinein in das Richthaus und rief Jesu und sprach zu ihm:

16e. 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.

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.

17. 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.

17. 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?

18a. Evangelist Da sprach Pilatus zu ihm:

18a. 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:

18b. Chor Nicht diesen, sondern Barrabam!

18b. Chorus Not this one, but Barrabas!

18c. Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn.

18c. Evangelist Barrabas however was a murderer. Then Pilate took Jesus and scourged him.

19. Arioso B 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!

19. Arioso B 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!

20. Arie T 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!

20. Aria T Consider, how his blood-stained back in every aspect is like Heaven, in which, after the watery deluge of the flood of our sins retreated, the most beautiful rainbow, as God's sign of grace, was placed!

21a. Evangelist Und die Kriegsknechte flochten eine Krone von Dornen und satzten sie auf sein Haupt und legten ihm ein Purpurkleid an und sprachen:

21a. Evangelist And the soldiers wove a crown of thorns and set it upon his head, and laid a purple mantel on him, and said:

21b. Chor Sei gegrüßet, lieber Jüdenkönig!

21.b Chorus Hail to You, dear King of the Jews!

21c. Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen:

21c. 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:

21d. Chor Kreuzige, kreuzige!

21d. Chorus Crucify, crucify!

21e. Evangelist Pilatus sprach zu ihnen:

21e. 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:

21f. Chor Wir haben ein Gesetz, und nach dem Gesetz soll er sterben; denn er hat sich selbst zu Gottes Sohn gemacht.

21f. Chorus We have a law, and according to that law he should die; for he has made himself into God's Son.

21g. Evangelist Da Pilatus das Wort hörete, fürchtet'er sich noch mehr und ging wieder hinein in das Richthaus und spricht zu Jesu:

21g. 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.

22. 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.

22. 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.

23a. Evangelist Die Jüden aber schrieen und sprachen:

23a. Evangelist The Jews, however, screamed and said:

23b. Chor Lässest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Könige machet, der ist wider den Kaiser.

23b. Chorus If you let this man go, you are not a friend of Caesar; for whoever makes himself a king is against Caesar.

23c. 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:

23c. 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:

23d. Chor Weg, weg mit dem, kreuzige ihn!

23d. Chorus Away, away with him, crucify him!

23e. Evangelist Spricht Pilatus zu ihnen:

23e. 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:

23f. Chor Wir haben keinen König denn den Kaiser.

23f. Chorus We have no King but Caesar.

23g. Evangelist Da überantwortete er ihn daß er gekreuziget würde. Sie nahmen aber Jesum und führeten ihn hin. Und er trug sein Kreuz und ging hinaus zur Stätte, die da heißet Schädelstätt, welche heißet auf Ebräisch: Golgatha.

23g. 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.

24. Arie B 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!

24. Aria B 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!

25a. Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und satzte sie auf das Kreuz, und war geschrieben: "Jesus von Nazareth, der Jüden König."Diese Überschrift lasen viel Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohenpriester der Jüden zu Pilato:

25a. 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:

25b. Chor Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König.

25b. Chorus Do not write: The King of the Jews, rather that he said: I am the King of the Jews.

25c. Evangelist Pilatus antwortet:

25c. Evangelist Pilate answered:

Pilatus Was ich geschrieben habe, das habe ich geschrieben.

Pilate What I have written, I have written.

26. 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!

26. 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!

27a. Evangelist Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider und machten vier Teile, einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber war ungenähet, von oben an gewürket durch und durch. Da sprachen sie untereinander:

27a. 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:

27b. Chor Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.

27b. Chorus Let's not divide this, rather let's toss for it, to see whose it will be.

27c. Evangelist Auf daß erfüllet würde die Schrift, die da saget: "Sie haben meine Kleider unter sich geteilet und haben über meinen Rock das Los geworfen."Solches taten die Kriegesknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, Kleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter sahe und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter:

27c. 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!

28. 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!

28. 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!

29. Evangelist Und von Stund an nahm sie der Jünger zu sich.

Darnach, als Jesus wußte, daß schon alles vollbracht war, daß die Schrift erfüllet würde, spricht er:

29. 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!

30. Arie A Es ist vollbracht!

O Trost vor die gekränkten Seelen!

Die Trauernacht Läßt nun die letzte Stunde zählen.

Der Held aus Juda siegt mit Macht Und schließt den Kampf.

Es ist vollbracht!

30. Aria A It is finished!

O comfort for the ailing soul!

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!

31. Evangelist Und neiget das Haupt und verschied.

31. Evangelist And bowed his head and departed.

32. Arie B 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.

32. Aria B and Chorus My precious Savior, 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!

33. 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.

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!

33. 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.

34. Arioso T 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?

34. Arioso T 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?

35. Aria S Zerfleiße, mein Herze, in Fluten der Zähren Dem Höchsten zu Ehren!

Erzähle der Welt und dem Himmel die Not: Dein Jesus ist tot!

35. Aria S Dissolve, my heart, in floods of tears to honor the Highest!

Tell the world and heaven the anguish: Your Jesus is dead!

36. 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."

36. 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."

37. 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!

37. 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!

38. 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.

38. 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.

39. 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.

39. 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.

40. 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!

40. 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 Savior and Throne of grace!

Lord Jesus Christ, hear me, I will praise you eternally!

©Pamela Dellal

ABOUT THE ORCHESTRA Over 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.

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 association 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 OAE to live, work and play amongst the students of the school.

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

orchestraoftheageofenlightenment theoae oae_photos YouTube.com/OrchestraEnlighten

SOUTHBANK INFORMATION Welcome to the Southbank Centre We hope you enjoy your visit. We have a Duty Manager available at all times. If you need any information or help, please ask a member of staff.

Eating, drinking and shopping? Take in the views over food and drinks at the Riverside Terrace Cafe, Level 2, Royal Festival Hall. Visit our shops for products inspired by our great cultural experiences, iconic buildings and central London location.

Explore across the site with Beany Green, Côte Brasserie, Foyles, Giraffe, Honest Burger, Las Iguanas, Le Pain Quotidien, Ping Pong, Pret, Strada, Skylon, Spiritland, wagamama and Wahaca.

If you’d like to get in touch with us following your visit, please write to the Visitor Contact Team at Southbank Centre, Belvedere Road, London SE1 8XX, or email hello@southbankcentre.co.uk.

We look forward to seeing you again soon.

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] Daniel Alexander Steven Devine Denys Firth Adrian Frost Max Mandel Alison McFadyen David Marks Rebecca Miller Andrew Roberts Katharina Spreckelsen Matthew Shorter Dr. Susan Tranter Crispin Woodhead

Development Director Emily Stubbs Projects Director Jo Perry Education Director Cherry Forbes Marketing Director Doug Buist General Manager Edward Shaw Education Officer Andrew Thomson Projects Manager Sophie Adams Finance Officer Fabio Lodato Digital Content Officer Zen Grisdale Marketing and Press Officer Anna Bennett Box Office and Data Manager Paola Rossi Development Manager Kiki Betts-Dean Development Officer Luka Lah Projects Officer Ed Ault Operations Assistant Henry Ashmall Nathanael Jordine

Librarian Roy Mowatt Leaders Huw Daniel Kati Debretzeni Margaret Faultless Matthew Truscott Players’ Artistic Committee Adrian Bending Steven Devine Max Mandel 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 Imogen Overli Rupert Sebag-Montefiore Maarten Slendebroek Sir Martin Smith Caroline Steane Honorary Council Sir Victor Blank Edward Bonham Carter Cecelia Bruggemeyer Nigel Jones Marshall Marcus Julian Mash Greg Melgaard Susan Palmer OBE Jan Schlapp Diane Segalen Susannah Simons Lady Smith OBE Rosalyn Wilkinson Mark Williams

OAE YOUNG PRODUCERS The value of our residency in Acland Burghley School can be realised in many ways beyond the immediate practice of orchestral musicianship.

One of the key objectives in our mission is to lift aspirations and broaden horizons for life beyond school. We want to help students leave school with richer CVs and stronger professional prospects.

One great way to do that is to mentor the next generation in all those things we have learned as an organisation. At the start of the 2021-2022 school year, we launched our Young Producers’ programme in which we offer mentoring, training and work-placement apprenticeship so that the young people in our new community acquire essential skills in management and production, from budgets, compliance and risk assessment to camera operation and stage design.

We are proud of our first cohort, who have already learned so much and become a key part of our working routine. They will one day graduate, as accredited Producers, and become the mentors, at our side, for future recruits.

More than just an extra curricular enterprise, this is a programme that we expect to connect with sixth form education in the new government T-level examination programme.

Young Producers Jessica Sexton-Smith Sophie Vainstock Raphael Thornton Tom Cohen Matas Juskevicius Riley Silver Sidney Crossing Raphael Thornton

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THANK YOU

OAE Experience scheme Henocq Law Trust The Harold Hyam Wingate Foundation Corporate Partners Champagne Deutz Mark Allen Group Marquee TV Swan Turton Corporate Associates Gelato Season Patrons John Armitage Charitable Trust Julian and Annette Armstrong Denys and Vicki Firth Adrian Frost Nigel Jones and Françoise Valat-Jones Selina and David Marks Haakon and Imogen Overli Sir Martin and Lady Smith OBE Philip & Rosalyn Wilkinson Mark and Rosamund Williams Project Patrons Bruce Harris Ian S Ferguson CBE and Dr Susan Tranter Aria Patrons Madeleine Hodgkin Steven Larcombe Peter and Veronica Lofthouse Stanley Lowy Gary and Nina Moss Rupert Sebag-Montefiore Maarten and Taina Slendebroek Caroline Steane Eric Tomsett Chair Patrons Mrs Nicola Armitage - Education Director Victoria and Edward Bonham Carter - Principal Trumpet Katharine Campbell - Violin Anthony and Celia Edwards - Principal Oboe

- James Flynn QC - Co-Principal Lute/Theorbo Jonathan and Tessa Gaisman – Viola Michael and Harriet Maunsell - Principal Keyboard Jenny and Tim Morrison - Second Violin Caroline Noblet – Oboe Professor Richard Portes CBE FBA - Principal Bassoon Christina – Flute John and Rosemary Shannon - Principal Horn Sue Sheridan OBE – Education Roger and Pam Stubbs - Clarinet Crispin Woodhead and Christine Rice - Principal Timpani Associate Patrons Charles and Julia Abel Smith Noël and Caroline Annesley Sir Richard Arnold and Mary Elford Hugh and Michelle Arthur Barney and Catherine Burgess David and Marilyn Clark Damaris Albarrán David Emmerson Jonathan Parker Charitable Trust Elisabeth Green in memory of June Mockett Miss Claire Espiner Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Moira and Robert Latham Sir Timothy and Lady Lloyd Roger Mears and Joanie Speers Rebecca Miller David Mildon in memory of Lesley Mildon John Nickson and Simon Rew Andrew and Cindy Peck Stephen and Penny Pickles Peter Rosenthal Emily Stubbs and Stephen McCrum

Shelley von Strunckel Mr J Westwood Education Patrons Mrs Nicola Armitage Sir Victor Blank Stephen and Patricia Crew John and Sue Edwards Sir Timothy and Lady Lloyd Andrew and Cindy Peck Professor Richard Portes Sue Sheridan OBE Rising Stars Supporters Annette and Julian Armstrong Fenton Arts Trust Denys and Vicki Firth Garrick Charitable Trust 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 Gold Friends Michael Brecknell Gerard Cleary Mr and Mrs C Cochin de Billy Chris Gould Michael Spagat Silver Friends Dennis and Sheila Baldry Haylee and Michael Bowsher Tony Burt Christopher Campbell Mr and Mrs Michael Cooper David Cox Anthony and Jo Diamond Suzanne Doyle Stephen and Cristina Goldring Rachel and Charles Henderson Malcolm Herring Patricia Herrmann Stephen Hodge Rupert and Alice King Alison and Ian Lowdon Anthony and Carol Rentoul Bridget Rosewell David and Ruth Samuels

Susannah Simons Victor Smart Her Honour Suzanne Stewart Simon and Karen Taube Bronze Friends Tony Baines Penny & Robin Broadhurst Graham and Claire Buckland Dan Burt Michael A Conlon Roger Easy Mrs SM Edge Mrs Mary Fysh Simon Gates Martin and Helen Haddon Ray and Liz Harsant The Lady Heseltine Mrs Auriel Hill Stuart Martin Patricia Orwell Paul Rivlin Alan Sainer Matthew and Sarah Shorter Mr and Mrs Tony Timms John Truscott Mrs Joy Whitby David Wilson Young Patron Marianne and William Cartwright-Hignett Ed Abel Smith David Gillbe Elizabeth George Henry Mason Peter Yardley-Jones Young Ambassador Patron Jessica and Alex Kemp Breandán Knowlton Trusts & Foundations Apax Foundation Arts Council England Ashley Family Foundation Boshier-Hinton Foundation Brian Mitchell Charitable Settlement CAF Resilience Fund The Charles Peel Charitable Trust Chivers Trust Derek Hill Foundation Dyers Company Ernest Cook Trust Esmee Fairbairn Foundation

Fidelio Charitable Trust Foyle Foundation Garfield Weston Foundation Geoffrey Watling Charity John Lyon’s Charity Linbury Trust Lord and Lady Lurgan Trust Michael Marks Charitable Trust National Foundation for Youth Music Orchestras Live Paul Bassham Charitable Trust The Patrick Rowland Foundation Peter Cundill Foundation Peter Stebbings Memorial Charity Pitt-Rivers Charitable Trust Radcliffe Trust Rainbow Dickinson Trust Stanley Picker Trust The 29th May 1961 Charitable Trust The Loveday Charitable Trust The R&I Pilkington Charitable Trust The Shears Foundation The Vernon Ellis Foundation

APPEAL DONORS We have been overwhelmed by the support of our audiences since the beginning of the pandemic. Many of you have generously helped us tackle this challenging time by donating to our Regeneration Appeal. We gratefully acknowledge those donors below Charles and Julia Abel Smith Mark and Sue Allen Deborah Anthony Julian and Annette Armstrong Hugh and Michelle Arthur John Birks Sir Victor Blank Bob and Elisabeth Boas A & FDW Boettcher William Bordass Mr Roger Bowerman Ms Susan Bracken Neil Brock Sir Anthony Cleaver Professor Susan Cooper Ms Harriet Copperman Dr David Cox Gill Cox Stephen and Patricia Crew

Mrs Melanie Edge Esmee Fairbairn Foundation Ms Margaret Faultless Denys and Vicki Firth Adrian Frost Jennifer Frost Jonathan N Gaisman, QC Dr David Glynn Roy Greenhalgh David Guthrie Martin Haddon Ray Harsant Roger Heath MBE and Alison Heath MBE Peter and Sally Hilliar Nigel Jones and Françoise Valat-Jones Jerome Karter Sue Lamble Steven Larcombe Sir Timothy Lloyd and Lady Lloyd Dr Alan Lord Stanley Lowy, MBE Ellie Makri Michael and Harriet Maunsell Tim and Jenny Morrison Mr Clive Murgatroyd, MBE Robert Nash John Nickson & Simon Rew Andrew Nurnberg Johanna Nusselein Imogen and Haakon Overli Andrew and Cindy Peck Mike Raggett Ruth and David Samuels Laura Sheldon Sue Sheridan OBE Maarten and Taina Slendebroek Sir Martin Smith and Lady Smith OBE Michael Spagat Caroline Steane Para Sun Iain Taylor Christopher Tew Lady Marina Vaizey, CBE Eva Maria Valero Mark and Rosamund Williams Peter Williams

OUR WORK AT ACLAND BURGHLEY SCHOOL

In September 2020, we took up permanent residence at 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. The school isn't just our landlord or physical home. Instead, it allows us 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. Our move underpins our core ‘enlightenment’ mission of reaching as wide an audience as possible.

What do backflips, smoke machines and baroque drums all have in common? Answer: our first video collaboration with Acland Burghley students. We teamed up with year 10 students who performed an original dance that they choreographed for their GCSE exam, accompanied by us performing Rameau’s ‘Danse des Sauvages’ from Les Indes Galantes. The pupils were given their own agency in carving out the framework of the project. After taking inspiration from baroque dances on YouTube and being drawn to the distinctive rhythmic pulse in the Rameau, the pupils sparked enthusiastic discussion with our players to allow the choreograph and music to evolve hand in hand. They also had their say in the direction and recording of the music video, which you can watch on our YouTube channel.

We brought The Moon Hares, an opera for young families which we commissioned in 2019, into the school hall and performed it alongside pupils from ABS as well as Gospel Oak and Kentish Town primary schools. The electrifying performance included music both old and new, with sections from Purcell’s 17th century opera Dioclesian mixed with original, modern music by James Redwood.

There’s also been a bustle of activity away from the camera in our ongoing private classroom education.

We’ve delivered numerous interactive workshops for all students in years 7, 8 and 9, including an exploration of the orchestra’s instruments, illustrated sessions on blues and jazz compositional techniques as part of curriculum studies and a study a day for all GCSE music students on Bach’s Brandenburg Concerto No.4.

The move has been made possible with a leadership grant from The Linbury Trust, one of the Sainsbury Family Charitable Trusts.

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 Emily Stubbs, Development Director emily.stubbs@oae.co.uk 0208 159 9318

NEXT CONCERT

SIR ANDRÁS SCHIFF PLAYS BEETHOVEN'S PIANO CONCERTOS Southbank Centre's Queen Elizabeth Hall Monday 6 June | 7.30pm Beethoven Piano Concerto No.2 Haydn Symphony No.93 Beethoven Piano Concerto No.1 Wednesday 8 June | 7.00pm Beethoven Piano Concerto No.3 Haydn Symphony No.99 Beethoven Piano Concerto No.4 Thursday 9 June | 7.00pm Beethoven Coriolan Overture Haydn Symphony No.103 Beethoven Piano Concerto No.5 TICKETS FROM £10 - 80*

OAE.CO.UK/SEE-US-LIVE/ or scan the QR code 020 815 9323 | boxoffice@oae.co.uk

*For tickets bought from the Southbank Centre, booking fees apply online (£3.50) and over the phone (£4). There are no booking fees for Southbank Centre Members and Supporters Circles.

The OAE is a registered charity number 295329. Registered company number 2040312.

Acland Burghley School, 93 Burghley Road, London NW5 1UH | 0208 159 9310 | info@oae.co.uk We are grateful for the support of our environmental partner Oxford Botanic Garden and Arboretum who generously allowed us to conduct our season photoshoot in their grounds.

Photo credit Emma-Jane Lewis.