Bach's St John Passion programme

Life, Liberty and the Pursuit of Happiness

Bach’s St John Passion

Tuesday 2 April 2019 Royal Festival Hall 7pm

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Tonight’s performance of Bach’s St John Passion has been many years in the making. Sir Simon Rattle’s collaboration with director Peter Sellars premiered with the Berliner Philharmoniker in 2014. But this is the first time it’s been seen live on these shores, born of Sir Simon’s longstanding relationship with us as Principal Artist.

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Peter Sellars’ staging brings the St John Passion to life with intense imagery, so you see the drama unfurl on stage as well as hear it. We’re confident (unless, of course, you’ve been to Berlin to see it!), it will be unlike any performance you’ve seen before.

We’re also excited to be welcoming an all-star cast of singers to perform with us – Georg Nigl, Mark Padmore, Christine Rice, Andrew Staples, Camilla Tilling and Roderick Williams.

After tonight, our St John Passion goes on tour to Luxembourg, Hamburg and Frankfurt. To make these extraordinary events happen, we are very grateful to the syndicate of donors that has supported them. They are Vahid and Maryam Alaghband, Denys and Vicki Firth, Adrian Frost, Stanley Lowy, Julian and Camilla Mash, Michael and Harriet Maunsell, Ivor Samuels and Gerry Wakelin and Sir Martin Smith and Lady Smith OBE. Please read on through this programme for more about our orchestra, this production and instruments we play.

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Contents Welcome 03 Introducing our Orchestra 06 OAE Education 08 Soloists, concert information and Orchestra 10 Programme notes Andrew Mellor 12 Instruments 16 Biographies 20 Support us 26 Texts and translations 28 OAE team 43 Supporters 44 Upcoming concerts 47 Introducing our 19/20 Southbank Centre season 48

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Introducing our Orchestra We know that in tonight’s full Royal Festival Hall, there’s going to be more than a few of you coming to see our Orchestra for the first time. Welcome!

We hope you enjoy the show.

We even perform at a different pitch to modern orchestras. Did you know that the note known as ‘A’ has increased in frequency from roughly 415hz to 440hz (making it higher in pitch) over the past three hundred years?

But we’re much more than a collection of old instruments. We’re a different approach to making music.

You might be wondering what the Orchestra of the Age of Enlightenment is all about, and why we have such a long and unusual name.

As our name suggests, we’re inspired the by the 18th century Enlightenment, when new ideas in science and politics started overturning the old order.

The first thing to know is that we play music on instruments (or replicas) from the time the music was written. In the case of tonight’s St John Passion, that means Bach’s Germany of the 1720s.

That’s why our current season at Southbank Centre is called Life, Liberty and the Pursuit of Happiness, exploring ideas of personal freedom connected to the American Declaration of Independence. And it’s why we’re always questioning how we play to make sure the music is as fresh as the day it was written.

As a result, our strings are made of gut rather than metal, our cellos don’t have endpins and our wind instruments are more primitive than their modern equivalents. They usually don’t have keys or valves, which often gives them a softer, more soulful sound, but makes them much more difficult to play.

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Pictured above, left to right: Katharina Spreckelsen – principal oboe Matthew Truscott – violin, leader David Blackadder – principal trumpet

We also like to do things differently. So rather than being controlled by a single individual, we’re run by our players, who get to choose the music we play and the conductors and singers we work with.

And we like to break down boundaries, so instead of us playing and you sitting and listening, you’re involved and feel part of the performance.

That’s why at many concerts (although not tonight, as it would ruin the drama of Peter Sellars’ staging!) our players will talk to you about the music they’re playing and what it means to them.

And, inspired by those Enlightenment ideas of liberty and equality, we want as many people as possible to be able to hear and enjoy the music we play.

As well as playing here at Royal Festival Hall, you can also see us down the pub with our intimate Night Shift gigs, collaborating with leading scientists for our Sunday morning Bach, the Universe and Everything series, or introducing youngsters to our music and instruments at schools across the country.

So don’t assume you’ve heard it all before.

If you join us for more, we’ll share with you more brilliant music and the stories behind it.

To hear more from our players and to see them demonstrate how they play their instruments, visit youtube.com/ orchestraoftheageofenlightnement.

Our history

The Choir of the Age of Enlightenment

Our Orchestra was founded more than three decades ago by a group of players who were fed up with the way orchestras were run. Instead of having a single conductor in charge or focusing on repertoire from a particular era, they favoured freedom and flexibility above all else, with players calling the shots. Since then, these innovations have spread to the wider classical music world.

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

We are a Resident Orchestra at Southbank Centre, Associate Orchestra at Glyndebourne and an Artistic Associate at Kings Place, but we aren't just UK focused. Our tours take us beyond the European touring circuit to Australia, South East Asia and beyond.

Our principal artists include tonight's conductor Sir Simon Rattle and Sir András Schiff, and we love working with artists who are bringing whole new audiences to classical music, from Nicola Benedetti to Marin Alsop.

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

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OAE Education

OAE TOTS at Saffron Hall

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.

Last season we undertook

Support our education programme

265 workshops 54 concerts in 33 towns, cities and villages with over 20,165 people across the country.

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

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

Students from Cricket Green School performing with our musicians and 1500 singers at the #RAHMerton concert.

2019: Musical Communities To sit alongside Life, Liberty and the Pursuit of Happiness, in 2019 we are creating a programme of events inspired by the communities we live and work in, exploring how we can work together to build relationships and how music can be a fantastic tool for creativity.

A snapshot of OAE Education in Spring 2019 OAE TOTS More than 800 London nursery and reception children joined us last month for concerts entitled A World Around Us, presented by double bass Cecelia Bruggemeyer. Our next Southbank Centre TOTS is A World of Magic on Sunday 28 April, inspired by Mozart’s The Magic Flute.

Schools More than 1,000 pupils age 5 to 7 from our six partner London Boroughs joined us for a wonderful journey through Mozart’s Symphony No 29, led by James Redwood.

Opera We were delighted to have been the orchestra for the community opera Agreed at Glyndebourne.

Special needs Workshops have been taking place in our special schools and colleges, culminating in a performance at the Royal Albert Hall with our friends from Cricket Green school, the Merton concert bands and 1,200 singers.

Flagship We are creating our new community opera The Moon and the Hares which will tour to Durham, Norfolk, Suffolk and Devon – exciting times!

Nurturing Talent We’ve worked with our Experience students, LPO Young Artists, students from Huddersfield University and Community Music (CM) in Whitechapel. Meanwhile, our young players in String Club in King's Cross are coming on really well this year.

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St John Passion

Repertoire and soloists

Tuesday 2 April 2019

Sir Simon Rattle conductor

Royal Festival Hall 7pm Bach St John Passion This concert will finish at approximately 9.15pm, with one 20 minute interval.

Pre-concert talk Peter Sellars in conversation with Susannah Simons Clore Ballroom Royal Festival Hall Surtitles translation by Andrew Huth Surtitles operator Jonathan Burton German coach Norbert Meyn

Peter Sellars director

Mark Padmore Evangelist Roderick Williams Christus Camilla Tilling soprano Christine Rice mezzo-soprano Andrew Staples tenor Georg Nigl baritone

Concert supporters

Choir of the Age of Enlightenment

This concert is supported by Vahid and Maryam Alaghband, Denys and Vicki Firth, Adrian Frost, Stanley Lowy, Julian and Camilla Mash, Michael and Harriet Maunsell, Ivor Samuels and Gerry Wakelin, Sir Martin Smith and Lady Smith OBE.

Simon Halsey chorus master Ben Zamora lighting designer Hans-Georg Lenhardt assistant director Betsy Ayer Production Stage Manager

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Orchestra Violin 1 Margaret Faultless Huw Daniel (+ viola d'amore) Andrew Roberts Henry Tong Alba Encinas Aliza Vicente Violin 2 Rodolfo Richter Sijie Chen Debbie Diamond Christiane Eidsten Dahl Louise Ayrton Olivia Jarvis Viola Max Mandel Simone Jandl (+ viola d'amore) Martin Kelly Kate Heller

Cello Luise Buchberger Helen Verney Richard Tunnicliffe (+ viola da gamba) Bianca Riesner Bass Margaret Urquhart Cecelia Bruggemeyer Flute Lisa Beznosiuk Neil McLaren Oboe Katharina Spreckelsen Sarah Humphrys Bassoon Sally Jackson

Lute Robin Jeffrey Organ Steven Devine

Sponsor an instrument: Become one of our Chair Patrons and enjoy getting to know the musician in that role.

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

Contrabassoon David Chatterton

Choir Soprano

Miriam Allan, Emily Dickens, Rosemary Galton, Alice Gribbin, Kirsty Hopkins, Hannah King, Helen Lacey, Charlotte Shaw*, Carine Tinney, Daisy Walford

Alto

David Clegg, Nancy Cole, Tristram Cooke, Martha McLorinan, Eleanor Minney, Timothy Morgan, Feargal Mostyn Williams

Tenor

Ross Buddie, Tom Castle, Benjamin Durrant, Christopher Fitzgerald Lombard, Samuel Jenkins, Laurence Kilsby*, Edward Ross

Bass

Richard Bannan, Francis Brett, Jonathan Brown, Malachy Frame, Andrew Mahon, Brian McAlea, Benjamin Rowarth, Philip Tebb * step out solo 011

St John Passion

Programme Notes Andrew Mellor

Johann Sebastian Bach (1685-1750)

St John Passion BWV 245 “Show us by your Passion that you, the Son of God, even in the deepest humiliation, hast been exalted.” The story of Jesus’s ‘extraordinary rendition’ and execution is wrenched open in Johann Sebastian Bach’s St John Passion by a barbed chorus that demands, with those words, that the events be played out in ritual form.

The ritualisation of Bach’s two surviving Passion settings masterminded by Peter Sellars and Sir Simon Rattle responds to that demand literally: not by making theatre, but by ‘making music visible’. Many have questioned the legitimacy of this dramatic pointing of music written for liturgical use.

For those determined to pose that question, the opening demand to ‘show us’ answers it clearly enough.

But the whole question of legitimacy is a shaky one, not least as we’re now separated from Bach’s time by some 300 years and by an entirely new way of living, communicating and believing or disbelieving.

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Bach himself was castigated for the theatricality of his St John Passion after it was performed, perhaps for the first time (we can’t be sure), on Good Friday 1724.

The composer spent the next 25 years adapting the score, partly to make it tighter musically, partly to accommodate new logistical realities, and partly to satisfy those who always thought it liturgically inappropriate.

Congregations in Leipzig were used to chanted recitations of the Passion story and by the early 1700s, they had been introduced to more complex musical portrayals including arias and choruses, courtesy of Bach’s predecessor as Cantor at the Leipzig churches, Johann Kuhnau.

Bach took the nascent tradition forward. His own Passion settings constituted a conscious effort, along Lutheran lines, to remind the men and women of Leipzig how pertinent the story of Christ’s sacrifice remained. A central tenet of Lutheranism was that the crucifixion should be marked not by sacraments or pious acts, but by a reliving of its details, gore and all.

“Show us.”

Yet despite the suffering, the St John Passion dares to hope, praise and rejoice.

The Crucifixion of Christ (1503)

by Lutheran painter Lucas Cranach the Elder.

Still, the drama of the St John Passion probably took its first congregation aback. Suffering is at the heart of the score, which invites close identification with Christ’s pain, Peter’s denial and Pilate’s knowing injustice.

It is, as Rattle has said, ‘not a melodic piece’ outside the hymn-like chorales that serve as congregational muster-stations.

The instrumental churn of the work’s opening – pairs of flutes and oboes locked in twisting anguish over an agitated orchestra – actually induces a choral song of praise with words from Psalm 8: ‘O Lord our governor, how excellent is thy name in all the world.’ Rather than end in quiet commemoration after the crucifixion (as does the St Matthew Passion), the St John ends with a confident look to the future. Peter Sellars puts it like this: ‘we can see how the greatest degradation is the other side of infinite glory.’

The opening to the St John Passion has been described as an anticipation of the Overtures to Mozart’s Don Giovanni and Idomeneo. Bach was an enthusiastic operagoer. In a thesis of 1721, his contemporary Gottfried Ephraim Scheibel had asked ‘why opera alone should have the privilege of squeezing tears from us; why is that not true in the church?’

Bach had little use for operatic conventions, even if his Passion could be said to include a clear-cut villain and hero conflict.

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But from listening in the theatre, he honed an ability to use music (and more importantly, to allocate it) extremely effectively in the manipulation of human emotions.

In the St John Passion, Bach ensnared his congregation with a series of techniques that he knew would feel new to them. On the simplest level, he reinforced Luther’s idea of ‘living the story’ by having members of his cast step over the line and sing of their own faith and feelings, as if they themselves were members of the congregation too. That would prove all the more effective if the singer in question had, a few minutes previously, sung as Jesus, Peter or Pilate. Sellars points to the fact that Parts I and II of the Passion are structured not around Jesus, but those who find themselves close to him.

Structurally, Bach plots a journey through multiple conflicts, crises and resolutions that, in its central torso, is perfectly symmetrical: the chorale Durch dein Gefängnis (‘through your prison, freedom has come to us’) forms the pivot, after which we travel back through the same configuration of choruses, fugal choruses, solos and chorales but in reverse order. Many say they feel the St John Passion moves with notably unity, concision and pace; tricks like this ensure it.

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While those design features are products of the composer’s mathematically inclined mind, the more expressionist elements of the St John Passion are products of a deeply religious soul for whom this story was as real as anything.

The level of dissonance and experimentation in the St John Passion is extraordinary, to the point that it sometimes doesn’t feel like Bach’s work at all. The chorus’s demands for Pilate to ‘crucify!’ Jesus has been compared

by Rattle to Stravinsky’s The Rite of Spring.

Just as affecting are the glimpses of individuality that lie behind this work’s ability to communicate far beyond the coordinates of its own culture and doctrine. In the St John Passion, they have special power: the tenor’s aria of anguish Ach, mein Sinn (‘Oh my soul, where can you seek comfort now?’), or the alto’s taking up of the evangelist’s descending phrase on ‘it is finished’ in her music, joined with the soulful viola da gamba.

It’s here, says Rattle, that the ritualization allows singers to do things they should do in a concert, but would never dare.

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22/08/2018 14:03

Bach's St John Passion

Instruments

A guide to many of the instruments you hear in tonight's performance, taken from videos on our YouTube channel. youtube.com / orchestraoftheageofenlightenment

The Baroque viola "The Baroque viola is lighter and the tension of the strings is lower, which means it sounds softer than a modern viola.

We are not using chinrests or shoulder rests, which means we have to support our instrument mainly with the thumb of the left hand. Whereas a shoulder rest enables you to move more freely along the fingerboard, playing without it allows more movement when you move between top and bottom strings.

We play on gut strings, which are more sensitive to humidity changes than the metal or synthetic strings which nowadays are widely used on modern instruments but were only invented around a century ago.

The use of gut strings requires a different approach from the player – they are a lot less forgiving when you apply too much force, for example, but also need some speed and decisiveness to actually produce some sound. My instrument is a copy of an Odoardi model from the 18th century, which was made in 2006 by Eduard Schwen in Germany, the bow is also a modern-made copy by Maryan Atwood."

Simone Jandl, principal viola

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The baroque cello "My baroque cello was made around 1730 in Italy in Perugia by Giacomo Gavelli. It's a very fine instrument and I feel incredibly lucky to have it. It is in a baroque setup and the most obvious difference probably is the absence of a spike or end pin. That is simply because it hadn't been invented in the 18th century and came much later, around the middle of the 19th century.

Then, the role of the cello changed from being mainly a bass instrument, being used in the lower positions, to be more of a soloistic instrument where the player had to whizz around in higher positions.

The strings are made out of gut.

Compared to modern metal strings these gut strings make a more textured sound, it's raspy in comparison. If you think of the sound as peanut butter, gut strings would be the rough kind with bits, with more texture and you feel more of the original material.

Of course, composers had these instruments in mind when they wrote the music and we at the OAE think this is the best way to get close to what the composer had in mind at the time of writing. For us it doesn't feel like we're playing old music, we're making old music new and I hope that's how it feels for our audiences too."

Luise Buchberger, principal cello

The Oboe da Caccia "The oboe da caccia was used so much by J.S.Bach in his cantatas and passions that its rather surprising that it didn't last.

We don't know any compositions from the 19th century for the instrument. Very few are still around and are in various museums so there's a real mystery about this instrument which makes this instrument really even more special.

Its sound is very soothing, plaintive and I think slightly enigmatic. Possibly it being curved does something to the sound which mellows it a little bit but certainly the brass bell gives it a slight silver quality which to my ears adds that little bit of sadness to the sound, which I love very much."

Katharina Spreckelsen, principal oboe 017

The baroque double bass "I am very lucky to have my bass. It is an old Italian instrument. At one point it was thought to have been made in 1600.

That's been revised by repairers since, and the latest information I have is that it could have being made towards the end of the 1600s. It's had lots of cracks along the way, but on a double bass we manage to survive with those. Somehow the sound is ok, whereas on a smaller instrument, like a violin, a crack might be disaster.

Compared to a modern bow, the tip of the Baroque bass bow is narrower and therefore lighter, there's less wood. There is a heavier end and a lighter end, and that means that it's easier to play stronger at one end and quieter at the other."

Cecelia Bruggemeyer, bass

The baroque flute "The flute I use in OAE for playing Baroque composers such as Bach is made of grenadilla wood and is about ten years old. It was made in south Germany by Martin Wenner and is a copy of an original instrument from the mid-18th century by Carlo Palanca.

The original instrument is in a private collection. Woodwind players tend to play copies because the originals often deteriorate, which is opposite to how violins and cellos seem to get better with age. It’s different from a modern flute in that it’s made of wood. It’s also a very simple instrument compared to a modern flute.

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The wood makes the sound gentler, and the size of the blowing hole is smaller, therefore the sound is sweeter and smaller and not as loud. There’s less volume, but to my ear a lot of subtlety with each note.

Due to the fact there are only six holes, we have to use cross fingerings, which means all of the notes have their own colour."

Lisa Beznosiuk, principal flute

The viola d'amore "The viola d'amore is a 7- or 6-string instrument normally also with sympathetic strings, and is played under the chin like a violin. The played strings are normally made of gut, and the sympathetic strings are made of wire.

The shape of the instument is rather more like a viol than a violin, and the sound holes are shaped like the Flaming Sword of Islam. We don't know the origins of the instrument exactly, but it's likely to have evolved from the Middle East; "d'amore" could of course mean "of love", but it could also mean "of the Moors". The strings are usually tuned to the key of the piece."

Huw Daniel, violin

The baroque violin "The Baroque violin has catgut strings made from sheep intestines. The angle of the neck is different from a modern violin – it’s parallel with the rest of the body – and the fingerboard is shorter because you don’t need to play as high in Baroque repertoire.

The bow is perhaps what’s changed the most between when Bach was writing and modern violins. It’s a completely different shape, the curve goes outwards rather than inwards. There’s less hair, and the hairs are less rigid. It creates a very incisive sound especially when you’re playing fast notes, while a modern bow is designed to sustain the sound.

We play these instruments because they suit the music, they are the instruments the music was written for. But it’s not only about the instruments, but also about the way we play them. That at the end of the day makes even more of a difference."

Huw Daniel, violin

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Bach's St John Passion

Biographies

Sir Simon Rattle – conductor

Peter Sellars – director

Sir Simon Rattle was born in Liverpool and studied at the Royal Academy of Music in London.

Peter Sellars has gained international renown for his groundbreaking and transformative interpretations of artistic masterpieces and for collaborative projects with an extraordinary range of creative artists. He has staged operas at the Dutch National Opera, English National Opera, Festival d’Aix-en-Provence, Lyric Opera of Chicago, Opéra National de Paris and the Salzburg Festival among others.

From 1980 to 1998, Sir Simon was Principal Conductor and Artistic Adviser of the City of Birmingham Symphony Orchestra and was appointed Music Director in 1990. He moved to Berlin in 2002 and held the positions of Artistic Director and Chief Conductor of the Berliner Philharmoniker until he stepped down in 2018. Sir Simon became Music Director of the London Symphony Orchestra in September 2017 and spent the 2017-18 season at the helm of both ensembles.

Music education is of supreme importance to Sir Simon, and his partnership with the Berliner Philiharmoniker broke new ground with the education programme Zukunft@Bphil, earning him the Comenius Prize, the Schiller Special Prize from the city of Mannheim, the Golden Camera and the Urania Medal. He and the Berliner Philharmoniker were also appointed International UNICEF Ambassadors in 2004 - the first time this honour has been conferred on an artistic ensemble. Sir Simon has also been awarded several prestigious personal honours which include a knighthood in 1994, becoming a member of the Order of Merit from Her Majesty the Queen in 2014 and most recently, being given the Freedom of the City of London in 2018.

During the 2018-19 season Sir Simon embarks upon tours to Japan, South Korea and Europe with the London Symphony Orchestra. He conducts the Czech Philharmonic Orchestra for the first time in Mahler’s Das Lied von der Erde and returns to the Deutsche Staatsoper Berlin for Hippolyte et Aricie, the Symphonieorchester des Bayerischen Rundfunks for Die Walküre and the Berliner Philharmoniker for Puccini’s Manon Lescaut.

Sir Simon Rattle is an OAE Principal Artist.

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He has collaborated on the creation of many works with composer John Adams, including Nixon in China, The Death of Klinghoffer, El Niño, Doctor Atomic, A Flowering Tree and The Gospel According to the Other Mary. Inspired by the compositions of Kaija Saariaho, Sellars has guided the creation of productions of her work (L’Amour de loin, Adriana Mater, Only the Sound Remains) that have expanded the repertoire of modern opera.

Recent projects include the premiere of the latest Adams/Sellars collaboration, Girls of the Golden West, at the San Francisco Opera, a new production of Doctor Atomic at the Santa Fe Opera, and an acclaimed staging of Claude Vivier’s Kopernikus for Festival D’Automne (Paris). Sellars has led several major arts festivals, including the 1990 and 1993 Los Angeles Festivals and the 2002 Adelaide Arts Festival.

In 2006 he was Artistic Director of New Crowned Hope, a festival in Vienna for which he invited artists from diverse cultural backgrounds to create new work in the fields of music, theater, dance, film, the visual arts and architecture for the celebration of Mozart’s 250th birth anniversary. He served as the Music Director of the 2016 Ojai Music Festival. He is a Distinguished Professor in the Department of World Arts and Cultures at UCLA, a resident curator of the Telluride Film Festival, and was a Mentor for the Rolex Arts Initiative. Sellars is the recipient of a MacArthur Fellowship, the Erasmus Prize for contributions to European culture, the Gish Prize, and is a member of the American Academy of Arts and Sciences. He has been awarded the prestigious Polar Music Prize and been named Artist of the Year by Musical America.

Georg Nigl – baritone, Pilate, Peter Whether at his celebrated Wozzeck at The Scala or his interpretations of the Bach cantatas with Luca Pianca, Georg Nigl consistently inspires audiences and press with his passionate, authentic performances. He has appeared at the Bolshoi Theater Moscow, the Staatsoper Berlin, the Bayerische Staatsoper Munich, the Théâtre des Champs-Elysées in Paris, the Nederlandse Opera Amsterdamand the Théatre de La Monnaie in Brussels as well as at festivals such as Salzburger, Aix-en-Provence, Ruhrtriennale and the Wiener Festwochen. Highlights of season 2018/2019 include Papageno at the Théatre de la Monnaie in Brussels, the title part in Monteverdi’s Orfeo and the world premiere of Beat Furrer’s Violetter Schnee at the Staatsoper Unter den Linden Berlin, the title role in Mozart’s Le nozze di Figaro at the Hamburgische Staatsoper as well as Don Alfonso in Così fan tutte at the Staatsoper Stuttgart. For his interpretation of Wolfgang Rihm’s Lenz Georg, Nigl has been awarded the “Singer of the Year 2015” award by the magazine Opernwelt.

Mark Padmore – tenor, Evangelist Born in London, Mark Padmore was awarded a choral scholarship to King’s College, Cambridge and graduated with an honours degree in music in 1982.

He has established an international career in opera, concert and recital. In opera Mark has worked with directors Peter Brook, Katie Mitchell, Mark Morris and Deborah Warner. He has performed leading roles in Harrison Birtwistle The Corridor and The Cure at the Aldeburgh Festival and Linbury Theatre, Covent Garden; Captain Vere in Britten Billy Budd and Evangelist in a staging of St Matthew Passion for Glyndebourne Festival Opera; Third Angel/ John in George Benjamin Written on Skin with the Royal Opera, Covent Garden. Recent projects have included the world premiere of Tansy Davies Cave with the London Sinfonietta and future opera plans include a new ROH production of Death in Venice.

Mark gives recitals worldwide. Composers who have written for him include Sally Beamish, Harrison Birtwistle, Jonathan Dove, Thomas Larcher, Nico Muhly, Alec Roth, Mark-Anthony Turnage, Huw Watkins, Ryan Wigglesworth and Hans Zender.

Christine Rice – mezzo-soprano Christine studied at the RNCM. At the Royal Opera House her many roles have included the title role in Carmen and The Rape of Lucretia, Judith Bluebeard’s Castle, Maddalena Rigoletto and two world premieres: Ariadne in Birtwistle’s The Minotaur and Miranda in Ades’ The Tempest. For ENO she has sung Donna Elvira Don Giovanni, Arsace Partenope, Nero Agrippina, Zenobia Radamisto, Marguerite The Damnation of Faust.

Other roles include a debut as Béatrice Béatrice et Bénédict at the Opéra Comique in Paris; Diana/ Destino La Calisto for the Grand Théâtre de Genève; and Almaltea in Rossini’s Mose in Egitto for Welsh National Opera and Teatro di San Carlo. She made her debut at The Metropolitan Opera as Hansel and returned as Giulietta Les contes d’Hoffmann (also for Dutch National Opera) and Blanca The Exterminating Angel.

Recent and future engagements include Bach’s Christmas Oratorio with the Boston Symphony Orchestra and Andris Nelsons, Bersi Andrea Chernier at the ROH, Verdi Requiem with the Philharmonia Orchestra and Edward Gardner.

Andrew Staples – tenor Andrew Staples is considered one of the most versatile tenors of his generation. He sings regularly with Sir Simon Rattle, Daniel Harding and Yannick Nézet-Séguin, and with the Berliner Philharmoniker, Wiener Philharmoniker, Swedish Radio Orchestra, Bayerischer Rundfunk Sinfonieorchester, and the London Symphony Orchestra. Andrew made his debut at the Royal Opera House Covent Garden as Jacquino Fidelio, returning for Flamand Capriccio, Tamino Die Zauberflöte, Artabenes Artaxerxes and Narraboth Salome. He sang Belfiore La Finta Giardiniera for the National Theatre, Prague and La Monnaie, Don Ottavio Don Giovanni for the Salzburger Festspiele, and Tamino in Die Zauberflöte for the Lucerne Festival, Drottningholm with Daniel Harding and the Lyric Opera of Chicago. Engagements this season include Froh Das Rheingold and Tichon Katya Kabanova for the Royal Opera House, Handel’s Messiah for the New York Philharmonic, Britten’s Nocturne with the Swedish Radio Symphony, and a tour of Britten’s War Requiem with the Orchestre de Paris.

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Camilla Tilling - soprano Camilla Tilling’s top flight career spans two decades.

A successful debut at the Royal Opera House, Covent Garden as Sophie (Der Rosenkavalier) was the start of a relationship which has seen her return to London as Pamina (Die Zauberflöte), Dorinda (Orlando), Oscar (Un ballo in maschera), Arminda (La finta giardiniera), Gretel (Hansel und Gretel) and most recently as Susanna (Le nozze di Figaro) – a role she has also performed for San Francisco Opera, Festival d’Aix-en-Provence, Bayerische Staatsoper and Opéra national de Paris. Camilla Tilling has appeared at The Metropolitan Opera as both Zerlina (Don Giovanni) and Nannetta (Falstaff), at Opéra national de Paris and Teatro alla Scala as Ilia (Idomeneo), and performed the role of Sophie at the Lyric Opera of Chicago, Moscow's Bolshoi Theatre, La Monnaie and at the Munich Opera Festival.

Highlights for the current season include Haydn’s Nelson Mass with the London Symphony Orchestra and François-Xavier Roth, Brahms’ Ein deutsches Requiem with Orchestre National de Lyon and David Zinman, and Beethoven’s Symphony No.9 with the Royal Stockholm Philharmonic Orchestra and Sakari Oramo in Tokyo.

Simon Halsey – chorus master Simon Halsey is the trusted advisor on choral singing to the world’s greatest conductors, orchestras and choruses, and also an ambassador for choral singing to amateurs of every age, ability and background.

Making singing a central part of the world-class institutions with which he is associated, he has been instrumental in changing the level of symphonic singing across Europe. He holds positions across the UK and Europe as Choral Director of London Symphony Orchestra and Chorus, Chorus Director of City of Birmingham Symphony Orchestra Chorus, Artistic Director of Orfeó Català Choirs and Artistic Adviser of Palau de la Música, Barcelona, Artistic Director of Berliner Philharmoniker Youth Choral Programme, Director of BBC Proms Youth Choir; Artistic Advisor of Schleswig-Holstein Musik Festival Choir, Conductor Laureate of Rundfunkchor Berlin and Professor and Director of Choral Activities at University of Birmingham.

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Roderick Williams - baritone, Jesus Roderick Williams is one of the most sought after baritones of his generation with a wide repertoire spanning baroque to contemporary which he performs in opera, concert and recital. He enjoys relationships with all the major UK opera houses and has sung opera world premières by David Sawer, Sally Beamish, Michel van der Aa, Robert Saxton and Alexander Knaifel as well as roles including Papageno, Don Alfonso, Onegin and Billy Budd.

He performs regularly with leading conductors and orchestras throughout the UK, Europe, North America and Australia, and his many festival appearances include the BBC Proms, Edinburgh, Cheltenham, Aldeburgh and Melbourne.

As a composer he has had works premièred at Wigmore Hall, the Barbican, the Purcell Room at Queen Elizabeth Hall and on national radio. Roderick Williams was awarded an OBE in June 2017 and was nominated for Outstanding Achievement in Opera in the 2018 Olivier Awards for his performance in the title role of the Royal Opera House production of Monteverdi’s Il ritorno d’Ulisse in patria.

Ben Zamora – lighting designer Ben Zamora is an American artist, whose work is primarily based in light, addressing universal themes of life, transformation, and transcendence. His work focuses on creating experiences that are boldly immersive and intimate, engaging the viewer as an active participant. He has created large-scale installations and sculptures for the Park Avenue Armory in New York, The Coachella Valley Music and Arts Festival, Amsterdam Light Festival, Art Basel/Design Miami, Kunsthalle Krems in Austria, The Frye Art Museum, Suyama Space, as well as a number of other galleries, museums, private art collections, and public art projects. Zamora’s work moves seamlessly between performance and visual art, where he creates light-based sculptures and art installations for performance-based work, including projects with Kronos Quartet, the Berlin Philharmonic, the Barbican, Deutsche Oper Berlin, Deutsches Symphonie-Orchester, and the Los Angeles Philharmonic. His artistic collaborators have included Bill Viola, Gronk, Peter Sellars, Steve Reich and Beryl Korot, architecture firm Olson Kundig Architects, Casey Curren, and Saint Genet.

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THROWING OUT THE RULEBOOKS

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Life, Liberty and the Pursuit of Happiness

Katharina Spreckelsen co-principal oboe

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Patrons OAE Patrons [from £1,000] enjoy unrivalled access to our artistic activity, with opportunities for involvement including invitations to Glyndebourne dress rehearsals, dinner with OAE players and guest artists, Patron trips, and the chance to select a concert in our Southbank Centre season, gaining special insight into the artistic process through backstage and rehearsal access.

To become an OAE Patron, contact Marina Abel Smith Head of Individual Giving marina.abelsmith@oae.co.uk 020 7239 9380 Supporting our projects Every year, the OAE curates a season full of inspiring and unique projects. We are always looking for enlightened individuals who are interested in supporting this aspect of our work. Project supporters enjoy the chance to meet players and soloists and be involved in the creative process from the early stages right up to the performance.

For more information please contact: Emily Stubbs Development Director emily.stubbs@oae.co.uk Telephone 020 7239 9381 OAE Corporate supporters OAE Corporate supporters recognise the need for corporate sponsorship of the arts and relish the experiences such sponsorship affords. A wide variety of options await companies looking to offer their staff or clients unique opportunities. From private recitals in exclusive clubs, to Gala dinners with internationally-acclaimed stars and the unparalleled delights of Glyndebourne Festival Opera, our OAE Corporate supporters benefit from unforgettable events.

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Support us The past 32 years have seen the OAE grow to become one of the world’s leading period instrument orchestras performing to a global audience of over 5 million people each year.

Our education work reaches over 20,000 participants annually across the UK. The Night Shift, our pioneering late night series of informal performances, now takes place in pubs and clubs across London. We love what we do and we’re proud of our international reputation for performing with warmth, imagination and expertise.

We could not have reached these milestones without our loyal band of supporters. Our box office sales, touring and public funding bring in 70% of the income we need and the generosity of our donors is vital to make up the remaining 30%. Without this support, we could not realise our ambitious plans to continue our pioneering work on the concert platform and beyond.

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Left to right: Max Mandel – principal viola Camilla Morse-Glover – cello, OAE Experience Scheme Ursula Paludan Monberg – horn

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Bach's St John Passion

Text and translation

Please note that the surtitles will differ from the translation below to fit with the delivery of sung text.

PART I VERRAT UND GEFANGENNAHME (Johannes 18, 1–14)

BETRAYAL AND CAPTURE (St John 18, 1 - 14)

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 O Lord, our Ruler, Whose glory Is magnified in all lands, Testify to us by Thy passion That Thou, the true Son of God, Hast at all times, Even in time of deepest lowliness, Been glorified.

Evangelist Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garten, darein ging Jesus und seine Jünger.

Judas aber, der ihn verriet, wusste den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jüngern.

Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Fackeln, Lampen und mit Waffen. Als nun Jesus wusste alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:

Evangelist Jesus went forth with His disciples over the brook Cedron, where there was a garden, into which He entered, and His disciples. Now Judas who betrayed Him, also knew the place; for Jesus often resorted thither with His disciples. Judas then, having received a band of men and officers from the chief priests and Pharisees, cometh thither with lanterns and torches and weapons, Jesus therefore, knowing all things that should come upon Him, went forth, and said unto them:

Jesus Wen suchet ihr?

Jesus Whom seek ye?

Evangelist Sie antworteten ihm:

Evangelist They answered him,

Chor Jesum von Nazareth!

Chorus Jesus of Nazareth!

Evangelist Jesus spricht zu ihnen:

Evangelist Jesus saith unto 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 Now Judas who betrayed Him, also stood with them. As soon as He had said unto them, I am He, they drew back, and fell to the ground. Then He asked them again:

Jesus Wen suchet ihr?

Jesus Whom seek ye?

Evangelist Sie aber sprachen:

Evangelist And they said:

Chor Jesum von Nazareth!

Chorus Jesus of Nazareth!

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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 therefore ye seek me, let these go their way.

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, boundless love, that hath brought Thee to this path of martyrdom!

I lived among the worldly in contentment and pleasure and Thou must 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 That the saying might be fulfilled, which He spake: Of them which Thou gavest me I have lost none. Then Simon Peter, having a sword, drew it, and smote the high priest¹s servant and cut off his right ear. The servant¹s name was Malchus.

Then said Jesus unto Peter:

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

Jesus Put up thy sword into the sheath: shall I not drink from the cup which my Father hath given 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 steu’r allem Fleisch und Blut, Das wider deinen Willen tut!

Chorale Thy will be done, O God, our Lord, on earth as it is in heaven; give us patience in time of trouble, obedience in love and grief, restrain and hold in check all flesh and blood that acteth contrary to Thy 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 war Kaiphas’ Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Jüden riet, es wäre gut, dass ein Mensch würde umbracht für das Volk.

Evangelist Then the band and the captain and officers of the Jews took Jesus, and bound Him. And led Him away to Annas first; for he was father-in-law to Caiaphas, which was the high priest that same year. Now Caiaphas was he, which gave counsel to the Jews, that it was expedient that one man should die for the people.

Arie (Alt) Von den Stricken meiner Sünden Mich zu entbinden, Wird mein Heil gebunden.

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

Arie (Alto) To set me free from my sins chains, my Saviour is being bound; to heal me fully all the sores of vice, He doth allow Himself to be wounded.

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VERLEUGNUNG (Johannes 18, 15–27; Matthäus 26, 75)

DENIAL (St John 18, 15-27; St Matthew 26, 75)

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

Evangelist Now Simon Peter followed Jesus and so did another disciple.

Arie (Sopran) Ich folge dir gleichfalls mit freudigen Schritten Und lasse dich nicht, Mein Leben, mein Licht.

Beförd’re den Lauf Und höre nicht auf, Selbst an mir zu ziehen, zu schieben, zu bitten.

Aria (Soprano) I, too, follow Thee, my Saviour, rejoicing, and will not let Thee go, my Saviour, my light.

Lead me forth cease not to push, to pull and to urge me on.

Evangelist Derselbige Jünger war dem Hohenpriester bekannt und ging mit Jesus hinein in des Hohenpriesters Palast.

Petrus aber stund draußen vor 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 That disciple was known unto the high priest, and went in with Jesus into the palace of the high priest. But Peter stood at the door without. Then went out that other disciple, which was known unto the high priest, and spake unto her that kept the door, and brought in Peter. Then saith the damsel that kept the door unto Peter;

Ancilla Bist du nicht dieses Menschen Jünger einer?

Maid Art thou not also one of this man¹s disciples?

Evangelist Er sprach:

Evangelist He saith:

Petrus Ich bin’s nicht!

Peter I am not.

Evangelist Es stunden aber die Knechte und Diener und hatten ein Kohlfeu’r gemacht (denn es war kalt) und wärmeten sich.

Petrus aber stund bei ihnen und wärmete sich. Aber der Hohepriester fragte Jesum um seine Jünger und um seine Lehre. Jesus antwortete ihm:

Evangelist And the servants and officers stood there, who had made a fire of coals; for it was cold; and they warmed themselves; and Peter stood with them and warmed himself. The high priest then asked Jesus of His disciples, and of His doctrine.

Jesus answered him:

Jesus Ich habe frei, öffentlich geredet vor der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Jüden zusammenkommen, und habe nichts im Verborgnen geredt. Was fragest du mich darum?

Frage die darum, die gehöret haben, was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe!

Jesus I spake openly to the world; I ever taught in the synagogue, and in the temple, whither the Jews always resort; and in secret have I said nothing. Why askest thou me? Ask them which heard me, what I have said unto them: behold, they know what I said.

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

Evangelist And when He had thus spoken, one of the officers which stood by struck Jesus with the palm of his hand saying:

Servus Solltest du dem Hohenpriester also antworten?

Servant Answerest thou the high priest so?

Evangelist Jesus aber antwortete:

Evangelist Jesus answered him:

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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 evil, bear witness of the evil; but if well, why smitest thou 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 hath beaten Thee thus, my Saviour, and with torments so mistreated Thee?

Surely, Thou art not a sinner, like unto us and our children; Thou knowest naught of misdeeds.

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 are as the grains of the sand by the sea, they it is that have caused Thee the misery that layeth Thee low, and the dejected host of martyrs.

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

Evangelist Now Annas had sent Him bound unto Caiaphas the high priest. And Simon Peter stood and warmed himself.

They said therefore unto him:

Chor Bist du nicht seiner Jünger einer?

Chorus Art thou not also one of his disciples?

Evangelist Er leugnete aber und sprach:

Evangelist He denied it and said:

Petrus Ich bin’s nicht!

Peter I am not!

Evangelist Spricht des Hohenpriesters Knecht’ einer, ein Gefreundter des, dem Petrus das Ohr abgehauen hatte:

Evangelist One of the servants of the high priest, being his kinsman whose ear Peter cut off, saith:

Servus Sahe ich dich nicht im Garten bei ihm?

Servant Did not I see thee in the garden with Him:

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

Evangelist Peter then denied again: and immediately the cock crew.

Then Peter remembered the word of Jesus, and went outside, and wept bitterly.

Arie (Tenor) 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 (Tenor) O, my senses, where will you end?

Where shall I refresh myself?

Shall I stay here?

Or do I desire to drag myself through trial and tribulation?

In the world, there is no counsel, and in my heart there are the pains, of my misdoing, since Thy servant hath renounced his master.

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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 reflecteth not, denieth his God, who yet at that earnest look weepeth bitter tears: Jesu, look upon me, too, when I will not repent; when I have done ill, stir my conscience.

PART II VERHÖR UND GEISSELUNG (Johannes 18, 28–40; 19, 1)

INTERROGATION AND FLAGELLATION (St John 18, 28-40; 19,1)

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

Chorale Christ, Who bringeth us salvation, Who hath done no wrong, For our sakes was taken Like a thief in the night, Was brought before godless men And wrongly accused, Derided, mocked and spat upon: Thus saith the Scripture.

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 led they Jesus from Caiaphas unto the hall of judgment: and it was early; and they themselves went not into the judgment hall, lest they should be defiled; but that they might eat the passover. Pilate then went out unto them, and said:

Pilatus Was bringet ihr für Klage wider diesen Menschen?

Pilate What accusation bring ye against this man?

Evangelist Sie antworteten und sprachen zu ihm:

Evangelist They answered him and said unto him:

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

Chorus If He were not a malefactor, we would not have delivered Him up unto thee.

Evangelist Da sprach Pilatus zu ihnen:

Evangelist Then said Pilate unto them:

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

Pilate Take ye Him, and judge Him according to your law!

Evangelist Da sprachen die Jüden zu ihm:

Evangelist The Jews therefore said unto him:

Chor Wir dürfen niemand töten.

Chorus It is not lawful for us to put any man to death.

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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 That the saying of Jesus might be fulfilled, which He spake, signifying what death He should die. Then Pilate entered into the judgment hall again, and called Jesus, and said unto Him:

Pilatus Bist du der Jüden König?

Pilate Art thou the King of the Jews?

Evangelist Jesus antwortete:

Evangelist Jesus answered him:

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

Jesus Sayest thou this thing of thyself, or did others tell it thee 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? Thine own nation and the chief priests have delivered Thee unto me: what hast Thou 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, then would my servants fight, that I should not be delivered to the Jews; but now is my kingdom not from hence.

Choral Ach großer König, groß zu allen Zeiten, Wie kann ich g’nugsam diese Treu ausbreiten?

Kein’s Menschen Herze mag indes ausdenken, Was dir zu schenken.

Chorale O great King, at all times great, How may I sufficiently spread this faith abroad?

Yet no human heart may imagine What thing to offer Thee.

Ich kann’s mit meinen Sinnen nicht erreichen, Womit doch dein Erbarmen zu vergleichen.

Wie kann ich dir denn deine Liebestaten Im Werk erstatten?

My senses cannot conceive With what to compare Thy compassion; How, then, may I repay Thy deeds of love With any deeds of mine?

Evangelist Da sprach Pilatus zu ihm:

Evangelist Pilate therefore said unto Him:

Pilatus So bist du dennoch ein König?

Pilate Art Thou a king then?

Evangelist Jesus antwortete:

Evangelist Jesus answered:

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Jesus Du sagt’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 Thou sayest that I am a King. To this end was I born, and for this cause I came unto the world, that I should bear witness unto the truth. Everyone that is of the truth heareth my voice.

Evangelist Spricht Pilatus zu ihm:

Evangelist Pilate saith unto 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 unto the Jews and saith unto them:

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

Pilate I find in Him no fault at all. But ye have a custom, that I should release unto you one at the passover: will ye therefore that I release unto you the King of the Jews?

Evangelist Da schrieen sie wieder allesamt und sprachen:

Evangelist Then cried they all again saying:

Chor Nicht diesen, sondern Barrabam!

Chorus Not this man, but Barabbas!

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

Evangelist Now Barabbas was a murderer. Then Pilate therefore took Jesus, and scourged Him.

Arioso (Bass) Betrachte, meine Seel, mit ängstlichem Vergnügen, Mit bitt’rer Lust und halb beklemmtem Herzen, Dein höchstes Gut in Jesu Schmerzen, Wie dir auf Dornen, so ihn stechen, Die Himmelsschlüsselblumen blühen; Du kannst viel süße Frucht von seiner Wermut brechen, Drum sieh ohn’ Unterlass auf ihn.

Arioso (Bass) Contemplate, my soul, with fearful pleasure, With bitter joy and half-oppressed heart, In Jesu¹s sorrows see thy highest good.

How for you from the horns that pierce Him, heavenly flowers blossom; You can garner many sweet fruits from his wormwood Look upon Him, therefore, without cease.

Arie (Tenor) 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!

Arie (Tenor) Imagine, that His blood-bespattered body in every member is a part of Heaven above.

There, after the rolling waters of our flood of sins has dispersed, the fairest rainbow stands, God¹s token of His grace and love.

VERURTEILUNG UND KREUZIGUNG (Johannes 19, 2–22)

TRIAL AND CRUCIFIXION St John 19, 2-22

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 plaited a crown of thorns, and put it on His head, and they put Him a purple robe, and said:

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Chor Sei gegrüßet, lieber Jüdenkönig!

Chorus Hail, King of the Jews!

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

Evangelist And they smote Him with their hands. Pilate therefore went forth again, and saith unto them:

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

Pilate Behold, I bring Him forth to you, that ye may know that I find no fault in Him.

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

Evangelist Then Jesus came forth, wearing the crown of thorns and the purple robe. And Pilate saith unto them:

Pilatus Sehet, welch ein Mensch!

Pilate Behold the man!

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

Evangelist When the chief priests and officers saw Him, they cried out, saying:

Chor Kreuzige, kreuzige!

Chorus Crucify Him, crucify Him!

Evangelist Pilatus sprach zu ihnen:

Evangelist Pilate saith unto them:

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

Pilate Take ye Him, 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 by our law He ought to die, because He made himself the Son of God.

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 therefore heard that saying, he was the more afraid; and went again into the judgment hall, and saith unto Jesus:

Pilatus Von wannen bist du?

Pilate Whence are Thou?

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

Evangelist: But Jesus gave him no answer. Then saith Pilate unto Him:

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

Pilate: Speakest Thou not unto me? Knowest Thou not that I have the power to crucify Thee, and have the power to release Thee?

Evangelist Jesus antwortete:

Evangelist Jesus answered: 035

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

Jesus Thou couldest have no power at all against me, except it were given thee from above: therefore he that delivered me unto thee hath the greater sin.

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

Evangelist: And from thenceforth Pilate sought to release Him.

Choral Durch dein Gefängnis, Gottes Sohn, Ist 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 By way of Thy prison, Son of God, Freedom must come to us; Thy prison is the throne of grace, The refuge of all godly folk; For if Thou hadst not suffered imprisonment, Our slavery would be everlasting.

Evangelist Die Jüden aber schrieen und sprachen:

Evangelist But the Jews cried out saying:

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 thou let this man go, thou art not Caesar¹s friend: whosoever maketh himself a king speaketh against Caesar.

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

Evangelist When Pilate therefore heard that saying, he brought Jesus forth and sat down in the judgment seat in a place that is called the Pavement, but in the Hebrew, Gabbatha. And it was the preparation of the passover, and about the sixth hour: and he saith unto the Jews,

Pilatus Sehet, das ist euer König!

Pilate: Behold your King!

Evangelist Sie schrieen aber:

Evangelist: But they cried out:

Chor Weg, weg mit dem, kreuzige ihn!

Chorus Away with Him, away with Him, crucify Him!

Evangelist Spricht Pilatus zu ihnen:

Evangelist Evangelist: Pilate saith unto them:

Pilatus Soll ich euren König kreuzigen?

Pilate Shall I crucify your King?

Evangelist Die Hohenpriester antworteten:

Evangelist The chief 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 hebräisch: Golgatha.

Evangelist Then he delivered Him unto them to be crucified. And they took Jesus, and led Him away. And He bore His cross and went forth into a place called the place of a skull, which is called in the Hebrew: Golgotha.

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Arie (Bass) mit Chor Eilt, ihr angefocht’nen Seelen, Geht aus euren Marterhöhlen, Eilt – Wohin? – nach Golgatha!

Aria Bass with Chorus Hasten, ye troubled souls, Quit your dens of martyrdom, Haste ye – Whither? – to Golgotha!

Nehmet an des Glaubens Flügel, Flieht – Wohin? – zum Kreuzeshügel, Eure Wohlfahrt blüht allda!

Take to wings of faith, Fly – Whither? – to the hill of the cross, Your welfare doth flourish 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 viele Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist.

Und es war geschrieben auf hebräische, 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 one, and Jesus in the midst. And Pilate wrote a title, and put it in the cross. And the writing was: Jesus of Nazareth the King of the Jews.This title then read many of the Jews: for the place where Jesus was crucified was nigh to the city: and it was written in Hebrew, and Greek and Latin. Then said the chief priest of the Jews to Pilate:

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

Chorus Write not, The King of the Jews; but 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’t zu Tod.

Chorale Deep in my heart Thy name and cross alone Shine all the time and every hour, For that I may rejoice.

Appear to me in that likeness As comfort to my need, How Thou, Lord Christ, so meek and mild Hast bled Thyself to death.

TOD JESU (Johannes 19, 23–30)

THE DEATH OF JESUS (St John 19, 23-30)

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 Then the soldiers, when they had crucified Jesus, took His garments, and made four parts, to every soldier a part, and also His coat. Now the coat was without a seam, woven from the top throughout. They said therefore among themselves:

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

Chorus Let us not rend it, but cast lots for it, whose it shall be.

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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 That the scripture might be fulfilled, which saith: They parted my raiment among them, and for my vesture they did cast lots. These things therefore the soldiers did. Now there stood by the cross of Jesus His mother, and His mother¹s sister, Mary the wife of Cleophas, and Mary Magdalene. When Jesus therefore saw His mother, and the disciple standing by, whom He loved, He saith unto His mother:

Jesus Weib, siehe, das ist dein Sohn!

Jesus Woman, behold thy son!

Evangelist Darnach spricht er zu dem Jünger:

Evangelist Then saith He to the disciple:

Jesus Siehe, das ist deine Mutter!

Jesus Behold thy mother!

Choral Er nahm alles wohl in acht In der letzten Stunde, Seine Mutter noch bedacht’, Setzt ihr ein’n Vormunde.

O Mensch mache Richtigkeit, Gott und Menschen liebe, Stirb darauf ohn’ alles Leid, Und dich nicht betrübe!

Chorale He had a care for everything, In His last hour, He took thought for His mother still, And assigned to her a guardian.

Oh, mankind, exercise righteousness, Love both God and man, Then die free from pain, And grieve not!

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 unto his own home. After this, Jesus knowing that all things were now accomplished, that the scripture might be fulfilled, saith:

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 Lsopen und hielten es ihm dar zum Munde.

Evangelist Now there was set a vessel full of vinegar: and they filled a sponge with vinegar, and put it upon hyssop, and put it to His mouth.

Da nun Jesus den Essig genommen hatte, sprach er:

When Jesus therefore had received the vinegar, He said:

Jesus Es ist vollbracht!

Jesus It is finished!

Arie 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!

Aria It is finished!

Oh, consolation for all hurt souls; That night of mourning Approaches its final hour.

The Hero from Judah hath triumphed in strength And ends the struggle.

It is finished!

Evangelist Und neiget’ das Haupt und verschied.

Evangelist and He bowed His head, and gave up the ghost.

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Arie (Bass) mit Choral Bass Mein teurer Heiland, lass dich fragen, Da du nunmehr ans Kreuz geschlagen Und selbst gesaget: 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 (Bass with Chorus) Bass My dear Saviour, let me ask Thee Since Thou now art nailed to the cross And since Thou sayest Thyself: It is finished!

Am I now set free from death?

May I, through Thy suffering and death, Inherit heaven?

Hath salvation come for all the world?

True, Thou canst not speak for pain, Yet Thy head Thou bowest And tacitly Thou sayest: Yes.

Chor 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!

Chorua Jesu, Thou who wert dead, Now livest for ever; In my last agony Nowhere will I turn but to Thee Who hast redeemed me.

O my beloved Lord!

Give me only that which Thou hast won, More I do not desire.

GRABLEGUNG (Matthäus 27, 51–52; Johannes 19, 31–42)

BURIAL St Matthew 27, 51-52; St John 19, 31-42

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

Evangelist And, behold, the veil of the temple was rent in twain from thetop to the bottom; and the earth did quake, and the rocks rent; and the graves were opened; and many bodies of the saints which slept arose.

Arioso (Tenor) 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 seh’n erkalten, Was willst du deines Ortes tun?

Arioso (Tenor) My heart, wherein the whole world Suffers likewise with Jesu¹s sorrow, The sun is wrapped in mourning.

The curtain is torn asunder, the rock crumbleth, The earth trembleth, the tombs burst open, Because they behold the Creator grow cold: What wilt thou do for thy part?

Arie (Sopran) Zerfließe, mein Herze, in Fluten der Zähren Dem Höchsten zu Ehren.

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

Aria (Soprano) Melt, my heart, in floods of tears In honour of the Lord most high.

Tell the misery to the world and to the heavens, Thy 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.

Evangelist The Jews therefore, because it was the Day of Preparation, that the bodies should not remain upon the cross on the Sabbath day (for that Sabbath day was an high day), besought Pilate that their legs might be broken, and that they might be taken away.

039

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 abermals spricht eine andere Schrift: Sie werden sehen, in welchen sie gestochen haben.

Then came the soldiers and brake the legs ofthe first, and of the other which was crucified with Him. But when they came to Jesus, and saw that He was dead already, they brake not His legs. But one of the soldiers with a spear pierced His side, and forthwith came there out blood and water. And he that saw it bare record, and His record is true; and he knoweth that He saith true, that ye might believe. For these things were done, that the scripture should be fulfilled, a bone of Him shall not be broken.

And again another scripture saith, They shall look on Him whom they 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 us, Jesus Christ, Son of God, Through Thy bitter suffering, To be always obedient to Thee, Eschewing all sin: To contemplate fruitfully Thy death and its cause: For which, though poor and weak, We will offer up our thanks.

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 leinen Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget ward, ein Garte, und im Garten ein neu Grab, in welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Rüsttags willen der Jüden, dieweil das Grab nahe war.

Evangelist And after this Joseph of Arimathaea, being a disciple of Jesus, (but secretly for fear of the Jews) besought Pilate that he might take away the body of Jesus: and Pilate gave him leave. He came therefore, and took the body of Jesus.

And there came also Nicodemus, which at the first came to Jesus by night, and brought a mixture of myrrh and aloes, about an hundred pound weight.

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 in peace, you holy bones, Which I will now no longer mourn; Rest in peace, and take me, too, to rest.

The grave, that is destined for you And encloseth no more grief, Openeth the heavens up to me and closeth hell.

Choral Ach Herr, lass dein lieb’ Engelein Am letzten End’ die Seele mein In Abrahams Schoß tragen; Den Leib in sein’m Schlafkämmerlein Gar sanft, ohn’ ein’ge Qual und Pein, Ruh’n bis am jüngsten Tage!

Chorale O Lord, let Thy dear angels Carry my soul when my end comes To Abraham¹s bosom; Let my body in its resting chamber Gently repose, without pain or grief, Till Judgment Day!

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Then took they the body of Jesus, and wound it in linen clothes with the spices, as the manner of the Jews is to bury. Now in the place where He was crucified there was a garden; and in the garden a new sepulchre, wherein was never man yet laid. There they laid Jesus therefore because of the Jews¹ preparation day; for the sepulchre was nigh at hand.

Alsdann vom Tod erwecke mich, Dass meine Augen sehen dich In aller Freud’, o Gottes Sohn, Mein Heiland und Genadenthron!

Herr Jesu Christ, erhĂśre mich, Ich will dich preisen ewiglich!

Awaken me from death, That my eyes may behold Thee In all joy, O Son of God, My Saviour and my Throne of Grace!

Lord Jesus Christ, hear my prayer, I will ever praise Thee!

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A balance of pleasures

A symphony for independence

Bach: Toutes Suites

Sibelius: States of Independence

Tuesday 14 May 2019 Queen Elizabeth Hall 7pm

Friday 31 May 2019 Royal Festival Hall 7pm

Order and moderation versus rebellion and pleasure. Battling forces at the heart of us, in between which lies that elusive ideal we call happiness.

We round off our Life, Liberty and the Pursuit of Happiness season with the definitive musical celebration of freedom and liberty. Even in its own time, Sibelius’ Second Symphony was hailed as a statement against Russian occupation and a proud assertion of Finnish national identity. An extremely powerful piece with a stirring finale, it played its part in paving the way for Finland’s independence in 1917, and helped make Sibelius a national hero.

Bach achieved a balance of pleasures with his set of Orchestral Suites. After years in the service of various church employers, he let loose with a bit of Gallic flair, trying his hand at writing in various styles of French dance music.

In each Orchestral Suite, Bach brings his usual mathematical precision to the gigues, gavottes and minuets that were the popular music of the day.

Bach - Orchestral Suites No. 1 , 2, 3 and 4 Margaret Faultless - director Lisa Beznosiuk - flute

Vladimir Jurowski is joined by violinist Alina Ibragimova for a programme also featuring the music of Richard Strauss.

Elgar – Serenade for Strings Strauss – Violin Concerto Sibelius – Symphony No. 2 Vladimir Jurowski – Conductor Alina Ibragimova – Violin To book, visit southbankcentre.co.uk/oae

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Introducing our 19/20 Resident Orchestra season at Southbank Centre Welcome to Salvation and Damnation, the third part of our Six Chapters of Enlightenment.

These Chapters are the six special seasons we’re staging to explore through music the golden age of science and philosophy that gave our orchestra its name.

This time we’re asking the tough questions – questions that taxed the composers and thinkers of the Enlightenment. How will I be judged? What will people think of me when I’m gone?

These concerts feature music that is often uplifting, occasionally challenging, and always compelling.

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To unlock these questions we’re joined by a host of great artists, including singers Ian Bostridge and Iestyn Davies, violinist Alina Ibragimova and pianist Stephen Hough.

We’ll be playing music by composers you’re used to hearing us perform, such as Vivaldi, Mozart and Beethoven, and some that you’re not, including Wagner, Liszt and Schoenberg. southbankcentre.co.uk/oae Pictured opposite - Left to right - Alina Ibragimova (Saving Michael Haydn), Masaaki Suzuki (Mendelssohn's Elijah), Ian Bostridge (If Music be the Food of Love, Curse Me), Iván Fischer (Mozart's Final Flourish), Sir Roger Norrington (Beethoven's Major Heroes), Thomas Mann (Faust: The Life of a Composer), Stephen Hough (Lizst and Wagner: Mad, Bad and Dangerous to Know), Katherine Watson (Vivaldi and Pergolesi: Sacred Baroque)

Heaven or Hell?

Hero or villain?

Vivaldi and Pergolesi: Sacred Baroque

Beethoven’s Major Heroes

Monday 11 November 2019 Queen Elizabeth Hall

Tuesday 28 January 2020 Queen Elizabeth Hall

Faust: The Life of a Composer

Liszt and Wagner: Mad, Bad and Dangerous to Know

Wednesday 25 March 2020 Queen Elizabeth Hall

Friday 26 June 2020 Royal Festival Hall

Remembered or Forgotten?

Blessed or cursed?

Mozart’s Final Flourish

Mendelssohn’s Elijah

Friday 7 February 2020 Royal Festival Hall

Thursday 3 October 2019 Royal Festival Hall

Saving Michael Haydn

If Music be the Food of Love, Curse Me

Tuesday 19 May 2020 Queen Elizabeth Hall

Sunday 26 April 2020 Queen Elizabeth Hall 049

KIRKER MUSIC FESTIVALS F O R

D I S C E R N I N G

T R A V E L L E R S

Kirker Holidays offers an extensive range of independent and escorted music holidays.

These include tours to leading festivals in Europe such as the Puccini Festival in Torre del Lago and the Verdi Festival in Parma, as well as Glyndebourne, Buxton and opera weekends in Vienna, Milan and Venice.

We also host our own exclusive music festivals on land and at featuring internationally acclaimed musicians. For those who prefer to travel independently we arrange short breaks with opera, ballet or concert tickets, to all the great classical cities in Europe.

THE KIRKER MUSIC FESTIVAL IN TENERIFE A SEVEN NIGHT HOLIDAY | 12 JANUARY 2019 For our fourth exclusive music festival on the island of Tenerife, we will present a series of six concerts featuring the Gould Piano Trio, pianist Benjamin Frith, soprano Ilona Domnich and violist Simon Rowland-Jones.

Staying at the 5* Hotel Botanico, surrounded by lush tropical gardens, we shall also enjoy a programme of fascinating excursions. Highlights include the Sitio Litro Orchid Garden, a cable car journey to the peak of Mount Teide and a visit to the primeval cloud forest of the Anaga Mountains. We will also visit historic and picturesque villages along the spectacular north coast, including Garachico with its 17th century convent.

Price from £2,698 per person (single supp. £375) for seven nights including flights, transfers, accommodation with breakfast, six dinners, six private concerts, all sightseeing, entrance fees and gratuities and the services of the Kirker Tour Leader.

THE KIRKER MUSIC FESTIVAL IN MALLORCA A SIX NIGHT HOLIDAY | 29 MAY 2019 The works of Frédéric Chopin are central to our Festival in Mallorca and for our seventh visit we will be joined by the Phoenix Piano Trio, Marta Fontanals-Simmons, soprano and Lorena Paz Nieto, mezzo-soprano.

Based in the village of Banyalbufar, we will discover the gloriously unspoilt north coast of Mallorca. There will be visits to the picturesque artists’ village of Deia, the capital Palma and the villa of San Marroig. Our series of private concerts includes a recital in the monastery at Valldemossa where Chopin spent three months with his lover the aristocratic Baroness Dudevant, better known as the writer George Sand.

Price from £2,290 per person (single supp. £189) for six nights including flights, accommodation with breakfast, two lunches, six dinners, five concerts, all sightseeing and gratuities and the services of the Kirker Tour Leader.

Speak to an expert or request a brochure:

020 7593 2284 quote code GOG www.kirkerholidays.com

Perfectly tuned insurance

Because helping even the youngest musician strikes a chord with us Our Music policy has been carefully designed to allow you to enjoy playing your instrument with complete peace of mind, whatever your age. Lark Music is focused on protecting your possessions and supporting the musical arts.

www.larkmusic.com Lark Music is a trading name of Aston Lark Limited Registered in England and Wales No: 02831010.

Registered office: Ibex House, 42-47 Minories, London, EC3N 1DY Aston Lark Limited is authorised and regulated by the Financial Conduct Authority.

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