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Calvary Presents… The Promise of the Passion: Graun’s Der Tod Jesu (The Death of Jesus) Music for Good Friday Concert Series

A Benefit Performance for the Shalom Scholarship Fund Calvary Baptist Church 755 8th Street. NW Washington, DC 20001

April 6, 2012 7:30 p.m.


The Chalice Singers & Ensemble Cheryl Branham, Conductor Concerti Singers Natalie Barrens Susan Sevier Dwayne Pinkney Rameen Chaharbaghi

Soprano Mezzo-Contralto Tenor Baritone Ripieni Singers

Rachel Barham Marguerite Toscano Terrance Johns Kyung Kok

Soprano Alto Tenor Bass-Baritone Instrumentalists

Pamela Lassell Lisa Cridge Evelyn Harpham Danielle Cho Eric Seay Gary Davison

Violin Violin Viola Cello Contrabass Organ

Special Note: Tonight, Gary Davison plays a portative organ built in 1986 by Karl Wilhelm, a beautiful one-manual, 4-stop instrument in the Germanic tradition incorporating 8' Gedackt, 4' Rohrflote, 2' Principal, and 1-1/3' Quinte. We are indebted to Washington DC organist William Neil, who owns this fine instrument.

Tonight’s concert is a production of Serate Musicali LTD and the Calvary Presents‌ concert series. The proceeds from this performance benefit the Shalom Scholarship Fund, a scholarship created to help students in El Salvador continue their education. There, public education ends at the 8th grade. With the assistance of Shalom, future leaders without the means to do so can finish high school and go on to college.


Program Der Tod Jesu (1755) Music: Carl Heinrich Graun (1704-1759) Text: Karl Wilhelm Ramler (1725-1798) 1. Choral: Du, dessen Augen flossen

Ensemble

2. Tutti: Sein Odem ist schwach

Ensemble

3. Recitative: Gethsemane! Gethsemane!

Ms. Barrens

4. Aria: Du Held, auf den die Köcher

Ms. Barrens

5. Choral: Wen hab' ich sonst als dich allein

Ensemble

6. Recitative: Ach mein Immanuel!

Ms. Sevier

7. Aria: Ein Gebeth um neue Stärke

Ms. Sevier

8. Recitative: Nun klingen Waffen

Mr. Pinkney

9. Aria: Ihr weichgeschaffnen Seelen

Mr. Pinkney

10. Tutti: Unsre Seele ist gebeuget zu der Erden

Ensemble

11. Choral: Ich will von meiner Missethat

Ensemble

12. Recitative: Jerusalem voll Mordlust ruft

Mr. Chaharbaghi

13. Aria: So stehet ein Berg Gottes

Mr. Chaharbaghi

14. Tutti: Christus hat uns ein Vorbild gelassen

Ensemble

15. Choral: Ihr werde Dir zu Ehren alles wagen

Ensemble

16. Recitative: Da steht der traurige

Ms. Sevier

17. Duetto: Feinde, die ihr mich betrübt

Ms. Barrens Ms. Sevier

18. Recitative: Wer ist der Heilige

Ms. Barrens

19. Aria: Singt dem göttlichen Propheten

Ms. Barrens

20. Tutti: Freuet euch alle Ihr Frommen

Ensemble

21. Choral: Wie herrlich ist die neue Welt

Ensemble

22. Recitative: Auf einmal fällt der aufgehaltne Schmerz

Mr. Chaharbaghi

23. Accompagnement: Es steigen Seraphim

Mr. Chaharbaghi

24. Choral: Ihr Augen, weint!

Ensemble

25. Chor: Hier liegen wir

Ensemble

Please NO APPLAUSE due to the sacred nature of the performance and in reverence to the meaning of Good Friday. Join us in Woodward Hall, to the left as you exit the sanctuary, for a reception if you wish to express your appreciation to the performers. Donations for the Shalom Scholarship fund will be collected as you leave the Sanctuary and in Woodward Hall. Program duration: approximately 1 hour 20 minutes.


Biographies Natalie Barrens, soprano, a native of Albuquerque, New Mexico, received her Bachelor’s degree in Music from Southern Methodist University’s Meadows School of the Arts and her Master’s degree in Vocal Performance from Brooklyn College Conservatory of Music. Ms. Barrens is a current member of The Friday Morning Music Club and a former member of The 7 Sopranos. She is the Soprano soloist for Calvary Baptist Church, located in DC's Chinatown. Ms. Barrens has performed the role of Tituba in Robert Ward’s The Crucible where she worked with Mr. Ward, the Second Lady (Die Zauberflöte), as well as part of the Second Prisoner in the North American premiere of Bruno Rigacci’s Ecuba, she has also performed the roles of Oberto (Alcina) and Illia (Idomeneo) in the California MusicFestival. Ms Barrens varying range of roles includes Sally Brown in You're A Good Man CharlieBrown to Lakmé and Fiordiligi. She was featured as a soloist with the Montgomery CountyCollege Choir and Orchestra and most recently sang the soprano solo in Brahms’ German Requiem in Silver Spring, Maryland. In addition to numerous appearances in the Northern California, New York, Western Massachusetts and Philadelphia areas, Ms. Barrens has given recitals in her native Albuquerque (www.nataliebarrens.com). Susan Sevier, contralto, equally at home in oratorio, opera, and theatrical musicals, with repertoire from Handel to Wagner to Sondheim, receives general acclaim for her sacred music performances: for her recent performance of Haydn’s rarely performed Stabat Mater, the Concertnet.com critic said: “Contralto Susan Sevier is always a joy to hear. A ‘true’ contralto of enormous depth and range, she conveyed a great sense of pathos and sorrow in her singing”, and, for her performances in the Opera Bel Canto production of Rossini’s Petite Messe Solennelle , the Washington Post critic called her performance of the “Agnus Dei” as “eloquent”. Recent opera performances include Wagner’s Das Rheingold Erda with the Washington National Wagner Society and the West End Opera in NY, and as Rossweisse in Act III of Die Walküre, featuring James Morris as Wotan and Christine Brewer as Brunhilde at Baltimore’s Meyerhoff Symphony Hall; as “The Witch” in Humperdinck’s Hansel & Gretel , and as Acuzena in Verdi’s Il Trovatore with the Maryland Opera Society; as Marcellina, in Mozart's Le Nozze di Figaro at the Tuscia Opera Festival (Italy); and as Verdi’s Amneris in Aida, Acuzena in Il Trovatore, and as Mozart’s Dritte Dame with the Bourgas Philharmonic and Opera Society (Bulgaria). Her musical theatre credits include appearances as the Duchess of Plaza Toro in the Mt. Vernon Players production of Gilbert & Sullivan’s Gondoliers; Bloody Mary in South Pacific at the Ashlawn Summer Festival; and Frau Peachum in the Brecht/Weill Three Penny Opera at the Theatre Project in Baltimore, for which Baltimore’s City Paper review cited her “excellent performance”. Ms. Sevier appears courtesy of Serate Musicali, Ltd. (www.seratemusicali.org).


Dwayne Pinkney, tenor, is a native of Washington, D.C. From a young age he was interested in singing and ultimately attended the Duke Ellington School for the Arts in Washington, D.C. Upon graduation, Mr. Pinkney decided to attend Morgan State University in Baltimore, Maryland. During his time at Morgan, he performed with the nationally acclaimed Morgan State University Choir, the Opera Workshop and various other organizations on campus. Mr. Pinkney has served as President, Vice President and Secretary of the Pi Eta Chapter of Phi Mu Alpha Sinfonia Fraternity of America Inc. and was also given the honor of being Mr. Senior for the 2009-2010 school year. In May of 2010, Mr. Pinkney received his Bachelors of Arts in Music from Morgan State University. Dwayne has studied with Samuel Bonds, Lorriana Markovic and James Bailey. Mr. Pinkney plans to pursue a Master of Arts in Teaching degree in early childhood education. Also outside of school, Mr. Pinkney has had the opportunity to work with Opera Vivente and the Handel Choir of Baltimore. Mr. Pinkney is currently working as a paraprofessional with The District of Columbia Public School System, serves as the tenor section leader at Calvary Baptist Church in Washington, DC, sings with Thomas Chircle Singers, a professional chorus in Washington, DC and applying to graduate school in hopes to be in school and a lead teacher in the fall of 2012. Rameen Chaharbaghi, Baritone, is known for his nuanced singing and his polished stage presence, has sung numerous operatic roles, including Dr. Falke (Die Fledermaus) with Victorian Lyric Opera Company, Papageno (Die Zauberflöte) with Bel Cantanti Opera Summer Festival, Malatesta (Don Pasquale) and Belcore (L’elisir d’amore) with Repertory Opera Theater of Washington, and Ben (The Telephone) at the University of Maryland. Rameen has also appeared in Maryland Opera Studio’s productions of Il barbiere di Siviglia, Eugene Onegin, and Così fan tutte. Outside of the operatic repertoire, Rameen excels in a multitude of genres, including chamber music, art song, oratorio, and theater. He has sung Barber’s chamber work Dover Beach in San Francisco and in Maryland, and has appeared as the bass soloist at the University of Maryland in performances of several Bach Cantatas. His singing has earned him several awards, including first place at the state level of the National Association for Teachers of Singing student auditions, the Presser Foundation Scholarship, and the Stringer Foundation Scholarship. Rameen received his Bachelor’s degree in Music Education at the University of Maryland. In his studies to become a teacher, he discovered that his true passions were performance and composition, and he premiered several of his own compositions, including the song cycles Strange Boy and Ahanghaye Rudaki, set to classic Farsi poetry. He also performed with Maryland’s renowned choirs, including the Chamber Singers and University Chorale, under the baton of Ed Maclary. Rameen is also a recent alumnus of the OperaWorks Advanced Artist Program in Los Angeles. This summer, Rameen will be attending the CoOPERAtive training program in New Jersey, where he will perform in solo concerts and receive training from some of the industry’s most knowledgeable professionals. He currently lives in Silver Spring, Maryland.


Gary Davison, Organist, is an internationally acclaimed musician of diverse talents. His work as a keyboard artist, composer, and conductor has been described by various critics as "seductive and spirited...smooth, flexible and clear, allowing the music to shine from within" (Hamburger Abendblatt, Germany), "persuasive ...imaginative and polished... sumptuous and engaging" (The Washington Post), as well as "breathtaking and exquisite" (The Journal of the Association of Anglican Musicians). Mr. Davison has been a featured artist throughout the United States and Europe, on public radio, and in such notable venues as The National Cathedral and The Kennedy Center for the Performing Arts in Washington, DC, Saint Thomas Church and Columbia University in New York City, the renowned Methuen Memorial Music Hall in Massachusetts, Harvard University and Church of the Advent in Boston, London's Southwark Cathedral and Hamburg's famed Hauptkirche Sankt Katherinen. Both The American Guild of Organists and The Association of Anglican Musicians have featured him at regional and national conventions. Currently, Mr. Davison is the Organist and Choirmaster of Saint Francis Episcopal Church in Potomac, Maryland. He served as Composer-in-Residence and Keyboard Artist for the Washington area's Cantate Chamber Singers for seven seasons, and has held two fellowships in composition at The Virginia Center for the Creative Arts. Chalice Singers and Ensemble. The Chalice Singers and Ensemble were founded in 2009 to celebrate life through music-making, using performances and educational programs to lift up the soul and to help heal the bodies of those in need. This is their seventh benefit program, the first being the very successful “One Child, One Life, One Light” concert, featuring as guests the Kieskamma Gospel Choir from Hamburg, SA. Please contact Cheryl Branham, cbranham@calvarydc.org for more information.

Cheryl Branham, Conductor, and pianist Cheryl Branham currently serves as Director of Music at historic Calvary Baptist Church in downtown Washington DC, where she conducts the Calvary Chamber Singers, Sanctuary Choir, Festival Choir, Handbell Choir, and supervises the Children’s Choir program. She was instrumental in planning Calvary’s 150th Anniversary Season of Celebration for 2011-12, and this season she will conduct four concert events as part of that series. A former assistant conductor of The Washington Chorus, working alongside Robert Shafer, Cheryl’s principal conducting teachers include John Farrer, Daniel Lewis, and Donald Thulean at California Conducting Institute; Ann Howard Jones and David Hoose at Boston University; Bingham Vick Jr. and Thomas Joiner at Furman University. In demand as a collaborative pianist throughout the DC area, she also teaches piano in the Arts Adjunct program of the Holton-Arms School in Bethesda.


About Tonight’s Program The great Spanish mystic, St. John of the Cross, once wrote: “It is not the act of a good disciple to flee from the Cross in order to enjoy the sweetness of easy piety.” Tonight, we do not flee. We’ve called our program The Promise of the Passion because if we are Christian, we gather tonight to remember Jesus at his most human, at that time in the liturgical calendar set aside to remember his physical death. We weep for his humanity and for our own, as we wonder what is next. But even in our sorrow and our fear, we know that there is a promise in his suffering, a promise of hope and light for us. And if we are not practicing Christians, we gather simply because we are human ourselves and experience in that humanness the same trials and challenges that are part of Jesus’ story on this day. What We Mean by Passion The Passion is a theological term used for the events and suffering – physical, spiritual, and mental – of Jesus in the hours before and including his trial and execution by crucifixion. The Crucifixion of Jesus is an event central to Christian beliefs. The origin of the word is Greek, from the verb paschō, to suffer. Those parts of the four Gospels that describe these events are known as the "Passion narratives". In the liturgical calendar, Holy Week, beginning on Palm Sunday and ending on Easter Saturday, commemorates the events of the Passion narrative. Why We Sing the Passion Story If we are lovers of classical vocal music, when we hear the word “Passion” in relationship to music, we first think of the Passion settings by J. S. Bach. While his great works, the St. Matthew Passion and the Passion of St. John, may be the most often performed and the most familiar to us, they are just two works among a large liturgical genre that reached its zenith in the first half of the 18th century in Germany. The practice of reading the Passion narrative from the Gospels during Holy Week dates back at least to the 4th century. In the 5th century Pope Leo ordered the gospel of Matthew to be read on Palm Sunday and the following Wednesday and that of John on Good Friday. The practice of singing the Passion began in the Middle Ages, possibly as early as the 8th century. By the 13th century different singers were used for different characters in the narrative. The 15th century polyphonic settings began to add turba passages (turba, while literally meaning "crowd," is used in this case to mean any passage in which more than one speaker speaks simultaneously). In the later 15th century a number of new styles began to emerge, that included the type of Passion setting we will hear tonight: the Summa Passionis, a poetic text that


draws on the events of all four Gospel narratives. Familiar works in this genre include The Seven Last Words of Christ by Franz Joseph Haydn and the version by Theodore Dubois, as well as The Crucifixion by John Stainer. The work we hear tonight, like the Passions of J.S. Bach, is a creation of the Protestant Reformation in Germany. Martin Luther believed that the suffering of Christ must be experienced by all who believe and not through words alone. And so, the sung Passion, the Passion Cantata and the Passion Oratorio became important sacred music genres in the German states of the day. Church Music in 18th-Century Germany In our present day, Passion music such as we hear tonight rarely appears in a liturgical setting. Even if the performance we attend is set in a church, as it is tonight, we generally will experience this music in a concert setting. But in the composer’s day, the crowds arriving at church to experience this music would come not just for the music but for the worship: a Passion setting would be part of a larger service, often 4 or 5 hours long, including other music before or after, one or more sermons, and multiple prayers. The music took the place of the readings – it told the story of Good Friday in the form of music. The singing of the Passion would also be the first concerted music (music with instruments) that was offered in church during the entire season of Lent, a time of austerity and reflection, during which instrumental music was banned from service. And, most likely, the performing forces would have been similar to what you see and hear tonight. We know from the performing parts that remain to us from the 18th century that singing forces were organized in a similar fashion to that of the instrumental performers: there were concerti singers (soloists, who sang all parts in the choruses and chorales as well) and ripieni singers (who were applied to specific movements to broaden the fullness and the impact of the sound). The practice of performing Bach’s Passions, for example, with soloists, large choruses and even larger orchestras is one developed during the 20th century as amateur choral societies and symphonic choruses embraced the works for performance in large concert halls. The Composer, Carl Heinrich Graun (1703 or 1704-1759) Carl Heinrich Graun was a very famous man in his day, even though he is virtually unknown to any but the most serious Baroque music specialist today. A contemporary Johann Adolf Hasse, George Phillip Telemann, and of J. S. Bach, he was a well-known and celebrated composer of his time, and a tenor, Kapellmeister to the court of Frederick the Great of Prussia, and founder of the Italian Opera in Berlin. With all that accomplishment, even in his day, Graun was most famous for his religious music, and in particular, for the work that we perform this night, Der Tod Jesu (The Death of Jesus).


Der Tod Jesu (The Death of Jesus) Tonight, the work we perform is made of music by Graun set to a text by the poet Carl Wilhem Ramler (1725-1798), a very popular devotional text, set to music by Graun, and Telemann and J C F Bach (son of J.S.), among others. Graun’s setting of Der Tod Jesu received its first performance on the Wednesday of Holy Week in 1755 in Berlin’s Domkirche (Cathedral), “in the presence of an uncommonly large crowd,” according to contemporary sources. Telemann’s version premiered a week earlier in Hamburg. Der Tod Jesu, often called a Passion Cantata (as compared to a Passion Oratorio such as those written by Bach and Telemann, that assign arias to specific characters in the drama) continued its popularity in Berlin through the 19th century, with its last Holy Week performance in 1894 before its revival as a concert work in the late 20th century. The text was published in 1760 as part of a trilogy: Geistliche Kantaten: Der Tod Jesus (1754), Die Hirten bei der Krippe Zu Bethlehem (1757) and Die Auferstehung und Himmelfart Jesu (1760)i. These libretti are the most frequently set texts for German cantatas and oratorios in the second half of the 18th century. Ramler’s text does not attempt to recount, step by step, the events of the narrative, but instead focuses on the gift of redemption offered to Christians in the moment of Jesus’ sacrifice. The result is a meditation on the Passion story, including familiar hymns, poetry and parallel Biblical texts designed to expand the listener’s experience of the event. While the argument about whether or not the passions are “dramatic” works or not continues to rage in the musical world, we can see from the structure that Graun’s Der Tod Jesu is a purely sacred work. No Evangelist, no direct representation of Jesus or Peter or any other character graces the pages. In fact, you will hear the women sing some of the most famous of the seven last words of Christ. The structure is quite simple: each recitative describes an important event in the story and the following aria comments on the event. For example, in the recitative No. 6, “Ach, mein Immanuel”, the mezzo-soprano describes the events in the Garden of Gethsemane, when the Apostles sleep rather than watch as asked. The last line is: “O wake and pray, Brothers!”. The following aria, “Ein Gebet um neue Stärke”, comments on the possibility and beauty of prayer. The work also includes both chorales (originally hymn tunes sung by the congregation) and choruses. The chorales provide a moment of rest and reflection for the listener: familiar tunes, set with text that underscores the meaning of what they have just heard or are about to hear. The chorale was a central feature of the Lutheran liturgy of the day and would have been very familiar to the worshipers of the day (even we will clearly hear”O Sacred Head Now Wounded” in the opening chorale). . The choruses provide the commentary of the crowd (the turba) on the segment of the story in the following or preceding section.


As is often the case with Baroque music, our modern ears may experience this work as inappropriately cheerful for the subject matter. However, the tone is completely appropriate to the theological vision of the Enlightenment in which it was written. Jesus was worshipped primarily as a hero (a theory of atonement that theologians label as “Christus Victor”, and the Passion story was set to music that reflected the great joy brought to humankind through the efforts of his suffering and death. Tonight, we will be performing from the Carus Verlag edition 10.379, edited by Herbert Lölkes. About this Concert Series Calvary Presents… is a performance series created to showcase the work of local artists and arts organizations, residing at and supported by the ministry of the Calvary Baptist Church of Washington, D.C. For more information, visit our website, www.calvarydc.org. On a Personal Note: Six Years Ago… Six years ago, before I was a member of this community, when hardly anyone knew anything about me, the wonderful, loving and faith-filled members of this church welcomed my proposal for the first Music for Good Friday concert. That night, we performed music by Pergolesi and Donizetti, and we remembered: we remembered the events of Good Friday, and the man who brought music into my life again, my first teacher, Michael Patterson. Six years later, we are here again, singing, playing and remembering, remembering the ever-present sacrifice of this day, remembering 150 years of worship and faith that have lived on this corner in Washington, DC; remembering that we are a community formed to live out the mission of the Gospel about which we sing, whatever that may mean. I am most personally grateful for the chance to make wonderful, meaningful music here, with all that has meant to my own life and my own spiritual journey. The fact that this program exists is a testament to the amazing openness and faith of this congregation, its inspiring pastor the Rev. Dr. Amy Butler and its staff, its lay leadership, the hard work of our Mission Board, our music staff and our guest performers, and most especially, our talented and energetic music director, Dr. Cheryl Branham. As performers, we feel blessed by the opportunity to speak through music, especially the opportunity to speak for those whose voices are muted and ignored. We hope that if some part of this evening’s music moves or inspires you, you will consider helping these students who thirst for education, who thirst to honor the sacrifice about which we sing tonight. Susan Sevier i

Sacred Cantatas: The Death of Jesus (1754), The Shepherds at the Cradle in Bethlehem (1757), and The Resurrection and Ascension of Jesus (1760)


No 01. Choral: Du, dessen Augen flossen Du, dessen Augen flossen, Sobald sie Zion sahn, Zur Freveltat entschlossen, Sich seinem Falle nah’n; Wo ist das Thal, die Höhle, Die, Jesu! dich verbirgt? Verfolger seiner Seele, Habt ihr ihn schon erwürgt?

Thou, who wept tears On seeing Zion Resolved to commit the crime That led to its fall; Where is the valley, where the cave That hides Thee, O Jesus? You who persecute His soul, Have you already strangled Him?

No 02. Chor: Tutti: Sein Odem ist schwach Sein Odem ist schwach: Seine Tage Sind abgekürzet. Seine Seele ist voll Jammer. Sein Leben ist nahe bei der Hölle.

His breath is weak: His days Are short. His soul is full of misery. His life is near Hell.

No 03. Recitative: Gethsemane! Gethsemane! Gethsemane! Gethsemane! Wen hören deine Mauren So bange, so verlassen trauren? Wer ist der peinlich langsam sterbende? Ist das mein Jesus? Bester aller Menschenkinder, Du zagst, du zitterst, gleich dem Sünder, Dem man sein Todesurtheil fällt? Ach seht! er sinkt, belastet mit den Missethaten Von einer ganzen Welt. Sein Herz, in Arbeit, fliegt aus seiner Höhle, Sein Schweiss rollt purpurroth Die Schläf’ herab: Er ruft: Betrübt ist meine Seele Bis in den Tod!

Gethsemane! Gethsemane! Who is it that your walls can hear Lamenting so fearfully and alone? Who is dying so painfully and slowly? Is it my Jesus? O finest of all human beings, Dost Thou quake and tremble, like the sinner Who is sentenced to death? Behold! His strength is failing, weighed down By the evil deeds of the entire world. His panting heart leaves its house, His purple sweat courses down His temples: He cries: My soul is afflicted Unto death!

No 04. Aria: Du Held, auf den die Köcher Du Held, auf den die Köcher Des Todes ausgeleert, Du hörest den, der schwächer Am Grabe Trost begehrt, Du willst und kannst sein Schutzgott seyn. Wenn ich am Rande dieses Lebens Abgründe sehe, wo vergebens Mein Geist zurücke strebt; Wenn ich den Richter kommen höre Mit Waag’ und Donner, und die Sphäre Von seinem Fusstritt bebt, Wer wird allda mein Schutzgott seyn?

O hero, struck by all Of Death’s quivers, Thou dost hear those weaker ones Who long for comfort at the graveside, Thou wilt be their protective God. When I am about to depart this life And see the abyss open, when in vain My spirit struggles to cling to life; When I hear the Judge approach With scales and thunder, and the universe Trembles as he draws near, Who will then be my protective God?

Text and Translation


No 05. Choral: Wen hab' ich sonst als dich allein Wen hab’ ich sonst als dich allein, Der mir in meiner letzten Pein Mit Trost und Rath weiß beyzuspringen? Wer nimmt sich meiner Seele an, Wenn nun mein Leben nichts mehr kann, Und ich muss mit dem Tode ringen, Wenn allen Sinnen Kraft gebricht? Tust du es, Gott, mein Heiland, nicht?

Who else have I but You alone Who to me in my last suffering With trust and comfort to rush to my aid? Who will accept my soul, When now my life nothing more can be, And I must with Death struggle, When all my strong senses are broken? You do all this, God, my Savior, yes?

No 06. Recitative: Ach mein Immanuel! Ach mein Immanuel! Da liegt er, tief gebückt Im Staube, ringt dem Tod’ entgegen, blickt Gen Himmel, jammert laut: Lass, Vater, diese Stunde, Lass sie vorüber gehn! Nimm weg! Nimm weg den bittern Kelch von meinem Munde! Du nimmst ihn nicht? Wohlan, dein Wille soll geschehen. Erheitert steht er auf von der erstaunten Erde, Gestärckt durch eines Engels Hand. Und seht! die Jünger hat ein Schlummer übermannt; Hier liegen sie gestützt mit trauriger Geberde. Betrachtend steht der Menschenfreund und spricht mit über sie gehängtem holdem Angesicht: Der Geist ist willig nur der Leib ist schwach; Und bückt sich, Petrus Hand sanft anzurühren, nieder: Auch du bist nie mehr wach? O wacht und betet, meine Brüder!

Ah, my Emmanuel! There He lies, bent deep In the dust, struggling towards death, gazing Heavenward and crying out: Father, let this hour , Let this hour pass away! Take it away! Take away the bitter chalice from my mouth! You take it not? Then, Thy will shall be done. Exhalted, He rises from the astonished earth, Strengthened by an angel’s hand. And see! The disciples are overcome with sleep; Here they lie sadly slumped on the ground. Looking at them stands Jesus and , Speaks to them, his face inclined to them: The spirit is willing but the flesh is weak; And He bends low to gently touch Peter’s hand: Are you too no longer awake? O wake and pray, my brothers!

No 07. Aria: Ein Gebeth um neue Stärke Ein Gebeth um neue Stärke, Zur Vollendung edler Werke, Theilt die Wolken, dringt zum Herrn, Und der Herr erhört es gern.

A prayer for new strength, For the accomplishment of new works, Parts the clouds and reaches the Lord, And the Lord hears it gladly.

Text and Translation


No 08. Recitative: Nun klingen Waffen Nun klingen Waffen, Lanzen blinken bey dem Schein Der Fackeln, Mörder dringen ein: Ich sehe Mörder: Ach! Es ist um Ihn geschehen! Er aber unerschrocken nahet sich Den Feinden selbst; grossmüthig spricht er: Sucht ihr mich? Sucht ihr mich, So lasset meine Freunde gehen. Die schüchternen Gefährten fliehn auf dieses Wort. Ihn bindet man, Ihn führt man fort. Sein Petrus folgt, der einzige von allen, Er folgt, zur Hülfe schwach, von fern; Mitleidig folgt er seinen Herrn Zum Cajaphas. Was hör ich hier für Worte schallen! Ach ist es Petrus, der itzt spricht: Ich kenne diesen Menschen nicht, Diesen Menschen kenn’ ich nicht, ich kenn’ ihn nicht, Ich kenne diesen Menschen nicht. Wie tief bist du von deinem Edelmuth gefallen! Doch siehe! Jesus wendet sich, Und blickt ihn an: er fühlt den Blick, Er geht zurück, Er weinet bitterlich.

Weapons clash, spears gleam in the glow Of torches, murderers force their way in: I see murderers: ah! He is doomed! Yet He without fear approaches The foe; magnanimously He speaks: Is it me you seek? If it is me you seek, Let my friends depart. Whereupon His timid companions flee. They bind Him, they lead Him away. Peter alone follows Him, He follows from afar, too weak to help; Compassionately he follows his Lord To Caiaphas. What words I hear ring out! It is Peter who now speaks: I do not know this man, I do not know him, I do not know him, I do not know this man. How far have you fallen from your charity! But behold! Jesus turns And looks at him: he feels the gaze, He turns, He weeps bitterly.

No 09. Aria: Ihr weichgeschaffnen Seelen Ihr weichgeschaffnen Seelen, Ihr könnt nicht lange fehlen; Bald höret euer Ohr Das strafende Gewissen, Bald weint aus euch der Schmerz.

O you weak-minded souls, You cannot err for long; You shall soon hear Chastising conscience, You shall soon weep with pain.

Ihr thränenlosen Sünder bebet! Einst mitten unter Rosen hebet Die Reu den Schlangenkamm empor, Und fällt mit unheilbaren Bissen Dem Frevler an das Herz.

Tremble, you sinners who do not weep! One day among your bed of roses Remorse will rise up like a snake And attack the sinner’s heart With a poisonous bite that cannot be cured.

No 10. Tutti: Unsre Seele ist gebeuget zu der Erden Unsre Seele ist gebeuget zu der Erden. O wehe! dass wir so gesündiget haben.

Our soul is deeply bowed to earth. Alas that we have sinned so much!

Text and Translation


No 11. Choral: Ich will von meiner Missethat Ich will von meiner Missetat Zum Herren mich bekehren, Du wollest selbst mir Hülf’ und Rat Hierzu, o Gott! bescheren, Und deines guten Geistes Kraft, Der neue Herzen in uns schafft, Aus Gnaden mir gewähren.

I want from my misdeeds To my Lord to convert; You wanted, O God,to lend me help And counsel in this, And the strength of your good spirit, A new heart in us creates, By grace to me is granted.

No 12. Recitative: Jerusalem voll Mordlust ruft Jerusalem voll Mordlust ruft mit wildem Thon: Sein Blut komm über uns, sein Blut komm über uns, Und unsre Söhn’ und Töchter! Du siegst Jerusalem, und Jesus blutet schon; In Purpur ist er schon des Volkes Hohngelächter: Damit er ohne Trost in seiner Marter sey, Damit die Schmach sein Herz ihm breche. Voll Liebe steht er da, Von Gram und Unmuth frey, Und trägt sein Dornen Diadem. Und eine freche, verworfne Mörderhand fasst einenStab und schlägt sein Haupt: Ein Strom quillt Stirn und Wang’ herab. Seht welch ein Mensch! Des Mitleids Stimme, vom Richtstuhl des Tyrannen, Spricht: Seht welch ein Mensch! Und Juda hört sie nicht, Und legt dem Blutenden mit unerhörtem Grimme den Balken auf, woran er langsam, Woran er langsam sterben soll. Er trägt ihn willig und sinkt ohnmachtsvoll. Nun kann kein edles Herz die Wehmuth mehr Verschliessen, die lang verhaltnen Thränen fliessen. Er aber sieht sich tröstend um und spricht: Ihr Töchter Zions weinet nicht, weinet nicht, Ihr Töchter Zions weinet nicht, weinet nicht.

Jerusalem cries savagely and bloodthirstily: Let His blood be upon us, His blood be upon us, And upon our sons and daughters! Jerusalem is victorious, and Jesus bleeds to death; Wearing purple, He is mocked by the people: That He might suffer torment without comfort, That shame might break His heart. He stands there full of love, Without sorrow or displeasure, And wears His crown of thorns. And an insolent, depraved and murderous hand seizes a stick And beats His head: a river streams Down His brow and cheeks. Behold him: what a human being! Compassion’s voice, from the tyrant judge’s seat, Says: Behold, what a human being! And Judea does not hear it, And with outrageous fury raises up The bleeding man onto the cross, Where He is slowly to die. He bears it willingly and faints. No noble heart can now refrain from sadness, Tears, long held in check, now flow. But He, comforting Himself, looks round and says: O daughters of Zion, do not weep, O daughters of Zion, do not weep.

No 13. Aria: So stehet ein Berg Gottes So stehet ein Berg Gottes, Den Fuss in Ungewittern, Das Haupt in Sonnenstrahlen, So steht der Held aus Kanaan.

Thus does a mountain of God stand, Its foot washed by thunderstorms, Its head glittering in sun, Thus stands the hero of Canaan. .

Text and Translation


No 14. Tutti: Christus hat uns ein Vorbild gelassen Christus hat uns ein Vorbild gelassen, Auf dass wir sollen nachfolgen seinen Fußstapfen.

Christ has left us an example, That we might follow in His footsteps.

No 15. Choral: Ihr werde Dir zu Ehren alles wagen Ihr werde Dir zu Ehren alles wagen, Kein Kreutz nicht achten, kein Schmach noch Plagen, Nichts von Verfolgung, nichts von Todes Schmerzen Nehmen zu Herzen.

You shall dare all to honor Christ, Do not ignore the Cross; Not shame, nor plagues, Nothing of affliction, Nothing of the pain of death, Take to heart.

No 16. Recitative: Da steht der traurige, verhängnisvolle Pfahl Da steht der traurige, verhängnisvolle Pfahl: Unschuldiger, Gerechter! hauche doch einmal Die matt gequälte Seele von dir! Wehe! wehe! Nicht Ketten, Bande nicht, ich sehe Gespitzte Keile! Jesus reicht die Hände dar, Die teuren Hände, deren Arbeit Wolthun war. Auf jedem wiederholten Schlag, durchschneidet Die Spitze Nerv und Ader und Gebein. Er leidet es mit Geduld, bleibt heiter, und hängt da, Zur Schmach erhöh’t, voll Blut, in Todesschmerzen am Golgotha. Ihr Männer Israels, o ruft in eure Herzen Erbarmung! Lasst die Rach im Tode ruhn! Umsonst: die Väter höhnen ihn; Ihr Hohn ist bitter, grausamfröhlich ihre Minen. Und Jesus ruft: Mein Vater, ach! vergieb es ihnen: Sie thun unwissend, was sie thun.

There stands the sad and fateful stake: Blameless one, just one! Breathe but once Your weak hurting soul from you!. Woe! It is not chains, not ropes that I see, But sharpened nails! Jesus spreads His hands, His dear hands, from whom came good works. At every blow, the nails cut through His nerves, his veins, his bones. He suffers with patience, remains serene, and hangs on the cross, Raised up to be scorned, bleeding, suffering pangs of death, on Calvary. You men of Israel, O call into your hearts Pity! Be not vengeful in death! In vain: the fathers scorn him; Their scorn is bitter, cruelly joyful their faces. And Jesus cries: My Father, ah! forgive them: For they know not what they do

No 17. Duetto: Feinde, die ihr mich betrübt Feinde, die ihr mich betrübt, Seht, wie sehr mein Herz euch liebt: Euch verzeihn ist meine Rache. Die ihr mich im Unglück schmäht, Hört mein ernstliches Gebeth: Dass euch Gott beglückter mache. Solche Tugend lernt ein Christ. Gott! Gott! Jehova, Heiligster, Du verzeihst dem Uebertreter Alle Schuld. Gott! Gott! Jehova, Gütigster, Du erzeigst dem Missethäter Tausend Huld. Selig wer dir ähnlich ist!

Enemies who sadden me, See how much my heart loves you: My revenge is to pardon you. You who revile me in my misery, Hear my earnest prayer: That God might make you happier. A Christian learns such virtue. God! God! Jehovah, most holy one, Pardon the transgressor All his sins. God! God! Jehovah, most gracious one, Look upon the malefactor With favour. Blessed be he who resembles Thee.

Text and Translation


No 18. Recitative: Wer ist der Heilige Wer ist der Heilige, zum Muster uns verliehn, Und unter diesen Missethätern aufgehenket? An seiner Tugend kennt ihr ihn. Schmach, Folter, Todesangst vergisst er, und bedenket, Maria, dein verlassnes Alter, und ertheilt dem Freunde seines Busens diesen letzten Willen: O Jüngling, das ist deine Mutter! Dieser eilt, Ein Schüler Jesu, sein Vermächtniss zu erfüllen: Und Jesus sieht es an: Und wird noch mehr entzückt und fühlet keine Wunden, Weil er itzt einen Strahl von Trost den trüben Stunden noch eines reuerfüllten Sünders schenken kann: Er kehrt sein Antlitz hin zu dem an seiner Seite Gekreutzigten Verbrecher, ihm zu prophezeihn: Ich sage dir, du wirst noch heute Mit mir im Paradiese sein.

Who is the saintly one, given us as an example, And hanged together with these criminals? You shall know Him by His virtue. He forgets outrage, torture, fear of death, and thinks, Maria, of you in your abandonment, and imparted to his friend This last will of his bosom: Oh boy, this is your mother! This hastens, A disciple of Jesus to fulfill his bequest:And Jesus And Jesus looks at it: And even more delighted and feels no wounds, Because He can now give a ray of comfort to the Final sad hours of a truly penitent sinner: He turns His face toward the side of The crucified criminal , and prophesies to him: I tell you, you shall even today Be with me in Paradise.

No 19. Aria: Singt dem göttlichen Propheten Singt dem göttlichen Propheten, Der den Trost vom Himmel bringet: Dass der Geist sich aufwärts schwinget; Erdensöhne singt ihm Dank. .

Sing to the divine prophet, Who brings comfort from Heaven: That the spirit might soar upwards; The sons of earth sing to him their thanks.

No 20. Tutti: Freuet euch alle Ihr Frommen Freuet euch alle Ihr Frommen, denn des Herren Wort ist wahrhaftig. Und was er zusaget, Das hält er gewiss.

Rejoice, all devout ones, for the word of the Lord Is true. And when He promises, He truly keeps His word.

No 21. Choral: Wie herrlich ist die neue Welt Wie herrlich ist die neue Welt, Die Gott den Frommen vorbehält, Kein Mensch kann sie erwerben. O Jesu, Herr der Herrlichkeit, Du hast die Stätt’ auch mir bereit’t, Hilf sie mir auch ererben. Einen kleinen Blick in jene Freuden-Scene Gieb mir Schwachen, Mir den Abschied leicht zu machen.

How splendid is the new world That God reserves for the devout, No human can acquire it. O Jesus, Lord of splendors, Thou hast also accorded me this place, Help me to acquire it. A small glimpse Into that world Of joy Will enable me, in my weakness, To die with ease. Text and Translation


No 22. Recitative: Auf einmal fällt der aufgehaltne Schmerz Auf einmal fällt der aufgehaltne Schmerz, Des Helden Seele wütend an: Sein Herz Hebt die gespannte Brust. In jeder Ader wühlet Ein Dolch. Sein ganzer Körper fliegt Am Kreutz empor. Er fühlet Des Todes siebenfache Gräuel. Auf ihm liegt Die Hölle ganz. Er kann ihn nicht mehr fassen, Den Schmerz, der ihn allmächtig drückt; Er ruft: Mein Gott! mein Gott! wie hast du mich verlassen? Und seht, die finstre Stunde rückt Vorbey. Nun seufzet er: Mich dürstet, mich dürstet! Ihn erfrischet Sein Volk mit Wein, den es mit Galle mischet. Nun steigt sein Leiden höher nicht; Nun triumphirt er laut, und spricht: Es ist vollbracht: Es ist vollbracht! Empfang, o Vater, empfang, o Vater, meine Seele! Und neigt sein Haupt auf seine Brust und stirbt.

Suddenly the repressed pain Attacks the hero’s soul with fury: His heart Rises up in His tensed breast. A dagger digs deep In every vein. His whole body soars Upon the cross. He feels The sevenfold torment of death. He feels Nothing but hellish pain, Which penetrates His whole being; He cries: My God, my God, why hast Thou forsaken me? And behold, darkness falls. Now He sighs: I am thirsty, I am thirsty! His subjects Refresh Him with wine, mixed with gall. Now His suffering has reached its peak; Now He rejoices out loud, and says: It is finished! It is finished! Receive, O Father, receive, O Father, my soul! And He inclines His head upon His breast and dies.

No 23. Accompagnement: Es steigen Seraphim von allen Sternen nieder Es steigen Seraphim von allen Sternen nieder, Und klagen laut: Er ist nicht mehr! Der Erde Tiefen schallen wieder: Er ist nicht mehr! Erzittre, Golgotha! Er starb auf deinen Höhen! O Sonne fleuch, und leuchte diesem Tage nicht! Zerreisse, Land, worauf die Mörder stehen! Ihr Gräber thut euch auf! Ihr Väter steigt ans Licht! Das Erdreich das euch deckt, Ist ganz mit Blut befleckt. Er ist nicht mehr! So sage Ein Tag dem anderen Tage: Er ist nicht mehr! Der Ewigkeiten Nachhall klage: Er ist nicht mehr!

Seraphim descend from all the stars, Lamenting loud: He is no more! The entire earth echoes: He is no more! Tremble, Golgotha! He died upon your heights! Flee, O sun, and do not brighten this day! Break open, O earth, on which the murderers stand! Open, O graves! Your Father ascends! The earth that covers you Is stained all over with blood. He is no more! Let each day Say to the next: He is no more! Let eternity lament and echo: He is no more!

Text and Translation


No 24. Choral: Ihr Augen, weint! Ihr Augen, weint! Der Menschenfreund Verlässt sein theures Leben: Künftig wird sein Mund uns nicht Lehren Gottes geben.

Weep, O eyes! The friend of man Abandons His dear life: His lips shall no more Inform us of God’s teachings.

Weinet nicht! Es hat überwunden der Löwe vom Stamm Juda!

Do not weep! The Lion of Judah has conquered!

Ihr Augen, weint! Der Menschenfreund Sinkt unter tausend Plagen; Konnte seine sanfte Brust So viel Schmerz ertragen.

Weep, O eyes, The friend of man Dies amid a thousand torments; How could His gentle breast Bear so much pain.

Weinet nicht! Es hat überwunden der Löwe vom Stamm Juda!

Do not weep! The Lion of Judah has conquered!

Ihr Augen, weint! Der Menschenfreund Der Edle, der Gerechte, Wird verachtet, wird verschmäht, Stirbt den Tod der Knechte.

Weep, O eyes, The friend of man, The noble one, the just one, Is despised, is scorned, Dies a vassal’s death.

Weinet nicht! Es hat überwunden der Löwe vom Stamm Juda!

Do not weep! The Lion of Judah has conquered!

No 25. Chor: Hier liegen wir Hier liegen wir gerührte Sünder, O Jesu! O Jesu, tiefgebückt, Mit Thränen diesen Staub zu netzen, Der deine Lebensbäche trank: O Jesu! Nimm unser Opfer an, O Jesu nimm es an, nimm unser Opfer an.

Here we lie, compassionate sinners, O Jesus! O Jesus, and bow down deep To wet with tears this dust Which drank in Thy life’s blood: O Jesus! Accept our sacrifice, O Jesus, accept it, accept our sacrifice.

Freund Gottes und der Menschenkinder, Der seinen ewigen Gesetzen Des Todes Siegel aufgedrückt, Anbethung sey dein Dank, Den opfre jedermann.

Friend of God and friend of man, Who has set the seal of death Upon His eternal laws. Let adoration be Thy reward, Offered Thee by everyone.

Text and Translation


The Shalom Scholarship Fund In 1998, Laura Beth Blythe-Goodman initiated the Shalom Scholarship Fund (known in the Mayan language as Colmecac – a Mayan word for school – along with the help of the Latino Fellowship, the Women’s Missionary Society and the rest of Calvary Baptist Church – as an outgrowth of her Girl Scout Silver Award project. In recent years, the Mission Board has become a co-sponsor for the annual fund-raising dinner and other fund raising events throughout the year. The fund supports students from two Baptist churches in El Salvador with scholarship assistance. Currently, we have 11 students from these two churches: the Shalom Baptist Church in San Salvador or the Church of Light & Peace in San Juan Nonuelco (a small village a couple of hours south of San Salvador). In 2012, we are working to raise $10,000 to ensure that all can attend University. Motivated to complete their education, many of these students also work to support their families. One young woman rises each morning at 4:00 am to sell bread before she goes to class. This is just one example of the dedication these students demonstrate while pursing their education. The cost of a university education is around $1500 a year in El Salvador. But even this minimal cost is a challenge to the students in our sister churches as their families have very limited resources. Because our own Pastor Edgar's daughter, Xochitl, lives in San Salvador and manages the scholarship for us on that end, we have no administrative costs. Every dollar you give goes directly to helping the students. During a recent visit to El Salvador, members of our congregation had an opportunity to meet with many of the students, and with Pastor Fito, their mentor. Pastor Fito thanked us and thanked God for this scholarship assistance. He explained that the support we give to these students means they can then help their communities and their country which still struggles with the devastation from the civil war of the 1980's. Tonight, you too can contribute to the education of a student who wants to help make their world, and ours, a better place. Please, give whatever you can to help a young person’s dreams become reality. As you exit the Sanctuary, there will be people standing by to collect your donation. Thank you for your generous gifts tonight.


Calvary Baptist Church 755 Eighth Street NW Washington DC 20001

202.347.8355 fax 202.347.6360 www.calvarydc.org


Music for Good Friday 2012