St John Passion

Friday 14 March 2008 at 7.30pm
Bach St John Passion
part of Homeward Bound
Academy of Ancient Music
Polyphony
Stephen Layton conductor
Ian Bostridge tenor / Evangelist
James Rutherford bass / Christus
Carolyn Sampson soprano
Michael Chance counter-tenor
Roderick Williams bass / Pilate
There will be no interval in this performance, which will end at approximately 9.45pm.
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Homeward Bound
The voice of Ian Bostridge
Wed 14 May 7pm
Tue 21 Oct 7.30pm
Ian Bostridge in Mozart’s Idomeneo
with Europa Galante
Ian Bostridge and Mitsuko Uchida
perform Schubert’s Winterreise
Thu 16 & Sat 18 Oct 7.30pm
Sat 6 Dec 3pm
LSO St Luke’s
An evening of music and poetry with
Ian Bostridge, Mitsuko Uchida
and Fiona Shaw
Ian Bostridge sings in a family matinée
of Britten’s Saint Nicolas
Sat 6 Dec 7.30pm
Ian Bostridge performs Bach Cantatas
and Britten’s Saint Nicolas
For free downloads, soundclips, video interviews and more, visit www.barbican.org.uk/homewardbound
Tickets on sale now Box Office 0845 120 7557
Lufthansa Festival of Baroque Music
The Barbican Centre is
provided by the City of
London Corporation
in association with
Rolls-Royce plc
The Triumph of Peace | 15 May – 21 May 2008
St. John’s, Smith Square | Westminster Abbey
Westminster School | St. Margaret’s Church, Westminster
Carolyn Sampson & The English Concert • Philippe Herreweghe & Collegium Vocale Gent • Elin Manahan Thomas
& Concordia • Robert Hollingworth & I Fagiolini • Iestyn Davies & The Wallfisch Band • Paolo Pandolfo &
Labyrinto • Maria Cristina Kiehr & Concerto Soave • James O’Donnell & The Choir of Westminster Abbey
Booking opens 3 March 2008
www.lufthansafestival.org.uk
www.sjss.org.uk | 020 7222 1061
All tickets from the Box Office, St. John’s, Smith Square, London SW1P 3HA
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Introduction
Homeward Bound – The voice of Ian Bostridge
Welcome to Homeward Bound, part of the Barbican’s Great Performers season.
I am thrilled and honoured to have been given the opportunity, in my home city, to present so
much varied and ambitious work over the next two seasons. The works included cover virtually the
entire span of what we call classical music (with a little popular music thrown in for good measure)
from the closing days of Elizabeth I to the eve of the accession of Elizabeth II. The musical palette
ranges from the microcosmic lute song to the cosmic, Britten's grandest opera, Billy Budd.
My particular interest in English 17th-century culture is reflected in an evening of prose and poetry
by John Donne, who was once Dean of St Paul’s just round the corner. The evening includes
settings of Donne's work by his contemporaries as well as by Benjamin Britten.
The series ends with Britten’s Christmas cantata, Saint Nicolas, which I first sang more than 30
years ago at school. Britten remains, for many of us, the model composer and musician of
modern times. As a singer, I return for inspiration to his words on receiving the first Aspen Award
in 1964:
‘I believe in roots, in associations, in backgrounds, in personal relationships. I want my music to be
of use to people, to please them, to enhance their lives. My music has its roots in where I live and
work.’
Ian Bostridge
3
Notes
Johann Sebastian Bach (1685-1750)
The Passion according to St John, BWV245
Bach
Bach spent the last 27 years of his life as Cantor of St
Thomas’s choir school in Leipzig – an important and
historic post in Lutheran music, which involved not only
teaching music in the school itself but also taking charge
of all the music in the city’s churches. Among his many
duties was the provision each Good Friday of a Passion,
a musical depiction of, and commentary on, the arrest,
trial, crucifixion and burial of Christ. This was normally
performed in alternate years in the two main churches,
St Thomas’s and St Nicholas’s.
evolved from a centuries-old tradition of musical
representations of the Passion story, scored for
instruments as well as voices. They tell the Gospel story in
recitative, allotted to a tenor Evangelist and to individual
characters, together with dramatic turba (crowd)
choruses. Added to these are two levels of commentary
on the action: solo arias and Lutheran chorales.
From the diary of the sexton of St Thomas’s, Johann
Christoph Rost (translated in The New Bach Reader), we
know something about the context of these Passion
performances. The service began at two in the
afternoon, after the ringing of the bells, with a hymn sung
by the choir. After the first part of the Passion came two
hymn verses, one of them sung by the congregation,
during which the priest ascended to the pulpit, where he
delivered a sermon. The second part of the Passion was
followed by a motet, a reading, a prayer and a final
congregational hymn. It must have been late in the
afternoon before the worshippers emerged from the
most solemn ceremony of the church year onto the streets
of Leipzig.
An obituary of Bach, written shortly after his death by his
son Carl Philipp Emanuel and one of his pupils, claims
that he composed five such Passions. But of these only the
Passions according to St John and St Matthew have
survived. The St John Passion is the earlier: it was first
given at St Nicholas’s Church in 1724, and Bach later
directed it (in a slightly different form each time) in 1725,
around 1730 and in 1749. A performance was also
planned for 1739 but was cancelled because of
objections (apparently to the text) raised by the Leipzig
town council. This must be why Bach began writing out a
new score around that time, making substantial revisions
to most of Part I, but then stopped. Although his revisions
for some reason failed to be copied into the vocal and
instrumental parts for the 1749 performance, they are
usually incorporated into present-day editions including
the one by Bärenreiter used this evening.
Rost’s diary also records that the custom of Passion
performances had only recently been established in the
two churches when Bach arrived in Leipzig: the first
performance ‘in concerted style’ (with chorus, soloists
and orchestra) had taken place as recently as 1721. But
since the middle of the 17th century there had been
regular performances in other parts of Protestant
Germany of ‘oratorio Passions’, a form which had
Compared to the St Matthew Passion, with its double
chorus and double orchestra, the St John is on a small
scale. In Leipzig, in fact, it would have been performed as
what would seem to us almost vocal chamber music – not
so different from the forces employed in tonight’s
performance, in fact. There would have been no more
than a dozen or so singers, including the soloists, and
about two dozen instrumentalists, all projecting their
4
Notes
sound from a gallery into a space very much smaller and
more resonant than a modern concert hall. The orchestra
consists of strings, two flutes and two oboes (whose
players double on other members of the family including
tonight the oboe da caccia). The continuo section would
probably have included a harpsichord as well as an
organ, together with cello and violone (double bass) and,
in the more fully scored numbers, a bassoon. In addition,
there are obbligato parts in individual numbers for
several instruments which in Bach’s time were already
considered old-fashioned, including lute, two viola
d’amore and violas with fretted fingerboards and extra
resonating strings (though modern violas are often
substituted today) and viola da gamba.
The core of the St John Passion is the Gospel narrative,
which augments St John’s account with passages from
St Matthew, describing the crowing of the cock after
Peter’s denial of Christ and the destruction of the Temple.
Bach’s treatment is dramatic, often with fluid alternation
between passages of recitative and short contrapuntal
‘crowd’ choruses – although the repetition of some of the
choruses to different words also creates a larger
symmetrical structure. Another factor which keeps the
drama moving is that Jesus’s words are accompanied by
the continuo only, like those of the Evangelist and the
other figures: they have no ‘halo’ of strings, as in the
St Matthew and in many earlier German Passions.
Bach himself) from a well-known Passion text by the
Hamburg writer Barthold Heinrich Brockes, which had
been set by several composers including the young
Handel, and from other existing Passion librettos. The
arias are scored with a variety of accompaniments, some
with obbligato wind instruments, and some without the
usual orchestral strings. They are mostly in the da capo
form (the first section repeated after a second section) of
the Baroque operatic aria, either strictly observed or
more freely interpreted, and so constitute the most
‘modern’ element in the work.
The role played by the chorus is crucial to the whole
Passion. As well as being involved in the narrative, as the
crowd (and also in places as groups of soldiers and
priests), it contributes to the texture of two of the arias – in
one case with a chorale. It sings the separate chorales
which act as a second layer of commentary on the action:
even if (as is now thought) the congregation did not join in
these familiar hymns, the chorus here still directly
represents the worshippers. And it is given large-scale
numbers at the beginning and end of the work: the first in
praise of Jesus and of His Passion; the second a gentle
lullaby for the body of the crucified Christ. But it is striking
that the work does not actually close with this chorus: a
final chorale reminds us that for Bach the St John Passion
was not a dramatic performance but part of an act of
worship.
Interleaved with the dramatic action are the arias which
Notes by Anthony Burton © 2008
offer a parallel commentary – together with two ariosos,
with declamatory but measured vocal lines and
orchestral accompaniment. The words for these reflective
numbers were adapted by an unknown hand (possibly
5
Notes
PART ONE
Over an accompaniment that is restless and almost
discordant, the flowing vocal parts of the opening chorus
– majestically punctuated by the word ‘Herr’ – represent
surging crowds making their impassioned declaration of
praise and glory. The actual story begins with Jesus and
the disciples going to the Garden of Gethsemane (not
specifically named here but alluded to as being in the
Cedron ravine). Accompanied by soldiers and police,
Judas Iscariot arrives to betray Jesus – his arrival
registered in the music (No.2) with a strange and
disturbing chromatic chord. The course of Jesus’s arrest
is punctuated by choral interjections and chorales as well
as the description of Peter cutting off the ear of the High
1 Chorus
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.
Priest’s servant (No.4). In Annas’s house, at the reference
to Jesus being bound, the action is halted for a subdued
aria about the sins which bind the Christian (No.7).
After a joyful soprano aria declaring allegiance to Christ
(No.9), the scene changes to the palace of the High
Priest. Peter’s starkly declaimed denial (No.12) and the
crowing of the cock – a restrained phrase sung by the
Evangelist over a simple arpeggio for the continuo – is
followed by a striking tenor aria expressing Peter’s
despair in abruptly dotted rhythms and a halting, jagged
melodic line. The subsequent chorale (No.14) sounds
unusually modern for its time and the tonal disruption
near its end must have surprised listeners in the early 18th
century.
Lord, our master, whose glory fills the whole earth, show
us by your Passion that you, the true Son of God, triumph
even in the deepest humiliation.
2 Recitative
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 versammelte 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:
Jesus went out with his disciples, and crossed the Cedron
ravine. There was a garden there, and he and his
disciples went into it. The place was known to Judas, his
betrayer, because Jesus had often met there with his
disciples. So Judas took a detachment of soldiers, and
police provided by the chief priests and the Pharisees,
equipped with lanterns and weapons, and made his way
to the garden. Jesus, knowing all that was coming upon
him, went out to them and asked,
Jesus
Wen suchet ihr?
Who is it you want?
Evangelist
Sie antworteten ihm:
They answered,
Chorus
Jesum von Nazareth!
Jesus of Nazareth!
Evangelist
Jesus spricht zu ihnen:
Jesus said,
6
Notes
Jesus
Ich bin’s!
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:
And there stood Judas the traitor with them. When Jesus
said ‘I am he’, they drew back and fell to the ground.
Again Jesus asked,
Jesus
Wen suchet ihr?
Who is it you want?
Evangelist
Sie aber sprachen:
They answered,
Chorus
Jesum von Nazareth!
Jesus of Nazareth!
Evangelist
Jesus antwortete:
Jesus said,
Jesus
Ich hab’s euch gesagt, dass ich’s sei, suchet ihr denn
mich, so lasset diese gehen!
I have told you that I am he. If I am the man you want, let
these others go.
3 Chorale
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!
4 Recitative
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:
Jesus
Stecke dein Schwert in die Scheide! Soll ich den Kelch
nicht trinken, den mir mein Vater gegeben hat?
5 Chorale
Dein Will’ gescheh’, Herr Gott, zugleich
Auf Erden wie im Himmelreich.
Gib uns Geduld in Leidenszeit,
Gehorsamsein in Lieb’ und Leid;
Wehr’ und steur’ allem Fleisch und Blut,
Das wider deinen Willen tut.
O measureless Love, to have brought you to this way of
the cross, to suffer while I lived heedless in the world of
pleasure.
This was to make good his words, ‘I have not lost one of
those whom thou gavest me.’ Thereupon Simon Peter
drew the sword he was wearing and struck at the High
Priest’s servant, cutting off his right ear. The servant’s
name was Malchus. Jesus said to Peter,
Sheathe your sword. This is the cup my Father has given
me; shall I not drink it?
May your will be done on earth as in Heaven, Lord God;
make us patient in suffering, obedient in everything,
guide and protect all rebellious flesh and blood.
please turn page quietly …
7
Notes
6 Recitative
Evangelist
Die Schar aber und der Oberhauptmann, und die
Diener der Juden nahmen Jesum und bunden ihn, und
führeten ihn auf’s erste zu Hannas, der war Caiphas
Schwäher, welcher des Jahres Hoherpriester war. Es war
aber Caiphas, der den Juden riet, es wäre gut, dass ein
Mensch würde umbracht für das Volk.
7 Aria
Alto
Von den Stricken meiner Sünden
Mich zu entbinden,
Wird mein Heil gebunden;
Mich von allen Lasterbeulen
Völlig zu heilen,
Lässt er sich verwunden.
8 Recitative
Evangelist
Simon Petrus aber folgete Jesu nach, und ein and’rer
Jünger.
9 Aria
Soprano
Ich folge dir gleichfalls
Mit freudigen Schritten,
Und lasse dich nicht,
Mein Leben, mein Licht.
Befördre den Lauf
Und höre nicht auf
Selbst an mir zu ziehen,
Zu schieben, zu bitten.
The troops with their commander, and the Jewish police,
now arrested Jesus and secured him. They took him first
to Annas. Annas was father-in-law of Caiaphas, the High
Priest for that year – the same Caiaphas who had
advised the Jews that it would be in their interest if one
man died for the whole people.
To free me from the bond of my sin my Saviour is bound.
He gives his body to be wounded to heal the infection of
my wickedness.
Jesus was followed by Simon Peter and another disciple.
I follow you with eager steps and will not forsake you, my
light and my life. Show me the way, urge me on, ask me to
go with you always.
10 Recitative
Evangelist
Derselbige Jünger war dem Hohenpriester bekannt, und
ging mit Jesu 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:
The disciple, who was acquainted with the High Priest,
went with Jesus into the High Priest’s courtyard, but Peter
halted at the door outside. So the other disciple, the High
Priest’s acquaintance, went out again and spoke to the
woman at the door, and brought Peter in. The maid on
duty at the door said to Peter,
Maid
Bist du nicht dieses Menschen Jünger einer?
Are you another of this man’s disciples?
8
Notes
Evangelist
Er sprach:
He said,
Peter
Ich bin’s nicht!
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:
The servants and the police had made a charcoal fire,
because it was cold, and were standing round it warming
themselves. And Peter too was standing with them, sharing
the warmth. The High Priest questioned Jesus about his
disciples and about what he taught. Jesus replied,
Jesus
Ich habe frei, öffentlich geredet vor der Welt. Ich habe
allezeit gelehret in der Schule und in dem Tempel, da alle
Juden zusammen kommen, und habe nichts im
Verborg’nen 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.
I have spoken openly to all the world; I have always
taught in the synagogue and in the temple, where all
Jews congregate; I have said nothing in secret. Why
question me? Ask my hearers what I told them; they know
what I said.
Evangelist
Als er aber solches redete, gab der Diener einer, die
dabei stunden, Jesu einen Backenstreich, und sprach:
When he said this, one of the police struck him on the
face, exclaiming,
Servant
Solltest du dem Hohenpriester also antworten?
Is that the way to answer the High Priest?
Evangelist
Jesus aber antwortete:
Jesus replied,
Jesus
Hab’ ich übel geredt, so beweise es, dass es böse sei;
hab’ ich aber recht geredt, was schlägest du mich?
If I spoke amiss, state it in evidence; if I spoke well, why
strike me?
11 Chorale
Wer hat dich so geschlagen,
Mein Heil, und dich mit Plagen
So übel zugericht’t?
Du bist ja nicht ein Sünder,
Wie wir und unsre Kinder,
Von Missetaten weisst du nicht.
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.
Who has hit you like that, my Saviour, and ill-treated you?
After all, you are not a sinner like us and our children; you
have never done anything wrong. It is I, with my sins
countless as grains of sand, who have brought down on
you this host of sorrows and torments.
please turn page quietly …
9
Notes
12 Recitative
Evangelist
Und Hannas sandte ihn gebunden zu dem
So Annas sent him bound to Caiaphas the High Priest.
Hohenpriester Caiphas. Simon Petrus stund und wärmete Meanwhile Peter stood warming himself. The others
sich; da sprachen sie zu ihm:
asked,
Chorus
Bist du nicht seiner Jünger einer?
Are you another of his disciples?
Evangelist
Er leugnete aber und sprach:
But he denied it and said,
Peter
Ich bins nicht!
I am not.
Evangelist
Spricht des Hohenpriesters Knecht einer, ein
Gefreund’ter des, dem Petrus das Ohr abgehauen hatte:
One of the High Priest’s servants, a relation of the man
whose ear Peter had cut off, insisted,
Servant
Sahe ich dich nicht im Garten bei ihm?
Did I not see you with him in the garden?
Evangelist
Da verleugnete Petrus abermal und alsobald krähete der Peter denied again; and just then a cock crew. Peter
Hahn. Da gedachte Petrus an die Worte Jesu, und ging
remembered what Jesus had said and he went away and
hinaus und weinete bitterlich.
cried bitterly.
13 Aria
Tenor
Ach, mein Sinn,
Wo willst du endlich hin,
Wo soll ich mich erquicken?
Wo willt du endlich hin, wohin?
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.
14 Chorale
Petrus, der nicht denkt zurück,
Seinen Gott verneinet,
Der doch auf ein’n ernsten Blick
Bitterlichen weinet.
Jesu, blicke mich auch an,
Wenn ich nicht will büssen;
Wenn ich Böses hab’ getan,
Rühre mein Gewissen!
10
O my troubled mind, where are you leading me, where
shall I find relief? Shall I stay here, or hide beyond the hills
and mountains? Nothing in the world can help me, and
my heart aches with the pain of my shameful deed: I have
broken faith with my Lord.
Without thinking, Peter denies his God, but weeps bitterly
at a reproachful look. If I am unrepentant, look at me,
Jesus, touch my conscience whenever I do wrong.
Short pause 3‘
Notes
PART TWO
Jesus is taken to Pilate, who begins his long argument
with the Jews about whether or not, and of what, Jesus is
guilty. The music reflects a number of elements of the
story: the disrespect of the crowd, Jesus’s enigmatic
answers – that his end is to ‘bear witness to the truth’ –
and Pilate’s repetitive questioning, which turns to
impatience. In measured tones, deliberately
unprovocative and neutral, Pilate asks if, in honour of
Passover, he should release the ‘King of the Jews’ (No.18).
The crowd response is brief and to the point: ‘Not him,
we want Barabbas!’ The subsequent abuse of Jesus is
graphically depicted in an astonishingly tortuous
sequence of 49 notes on the word ‘geisselte’ (flogged).
The following bass arioso (No.19), described by one
commentator as ‘a vision of celestial bliss arising out of
physical pain’, is remarkable for its delicate
instrumentation and Bach’s use of dissonances over
repeated bass notes. The sighing instrumental figures
and the mournful colour of the violas d’amore obbligato
in the tenor aria (No.20) lighten at the airy vocal
elaboration around the description of the ‘Regenbogen’
(rainbow) ‘as sign of Heaven’s blessing’.
Pilate declares more emphatically that he can find no
fault in Jesus yet the crowd clamours relentlessly for him
to be crucified. Finally Pilate delivers him over (No.23)
and the Evangelist’s pronouncement of the word ‘crucify’
is angularly stressed. Jesus is led away to Golgotha, to
the accompaniment of some of the work’s bleakest
15 Chorale
Christus, der uns selig macht,
Kein Bös’s 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.
music. The brisk bass aria (No.24) comes as a welcome
relief; the interruption with questions from just the upper
three voices of the choir is part of a long Lutheran
tradition. A tender and touching chorale (No.28)
approves of Jesus’s concern for his mother and notes the
lesson mankind can draw from his gentleness. Jesus
speaks his last word from the cross (No.29): ‘It is
accomplished’ – a musically descending phrase which
provides the theme for the next aria, coloured by viola
da gamba. In No.32 a reflective bass aria is quietly
accompanied by a chorale.
With a lightning change of mood, Bach paints a vivid
musical picture of the tearing of the curtain of the temple,
the earthquake and the saints rising from their graves in
a tenor arioso (No.34) before a sorrowful soprano aria
accompanied by haunting woodwind. The final section
of St John’s account of the Passion contains the only
reference in all four Gospels to the visit of Nicodemus to
the tomb (No.38), bearing myrrh and aloes. The
Evangelist concludes his part by recounting how Jesus’s
body was laid, according to the custom, in a new tomb.
Mirroring the opening chorus, the final chorus (No.39) is
a large-scale farewell, a lullaby of a resigned nature,
sung at the tomb of Jesus. There the faithful plead that
they too may enjoy in Heaven the peace that the Saviour
has found, before the closing chorale presents the idea
of human death in the protection of the holy angels,
ending affirmatively with the hope of resurrection after
death.
Christ, who brings us joy and has done no wrong, was for
our sake seized like a thief in the night, taken before
unbelievers and falsely accused. He was derided, spat
upon, vilely mocked, as the scripture tells.
please turn page quietly …
11
Notes
16 Recitative
Evangelist
Da führeten sie Jesum von Caiphas 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 hinaus und
sprach:
From Caiaphas Jesus was led into the Governor’s
headquarters. It was now early morning, and the Jews
themselves stayed outside the headquarters to avoid
defilement, so that they could eat the Passover meal. So
Pilate went out to them and asked,
Pilate
Was bringet ihr für Klage wider diesen Menschen?
What charge do you bring against this man?
Evangelist
Sie antworteten und sprachen zu ihm:
They replied,
Chorus
Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht
überantwortet.
If he were not a criminal we should not have brought him
before you.
Evangelist
Da sprach Pilatus zu ihnen:
Pilate said,
Pilate
So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze! Then take him away and try him by your own law.
Evangelist
Da sprachen die Juden zu ihm:
The Jews answered,
Chorus
Wir dürfen niemand töten.
We are not allowed to put any man to death.
Evangelist
Auf dass erfüllet würde das Wort Jesu, welches er sagte,
da er deutete, welches Todes er sterben würde. Da ging
Pilatus wieder hinein in das Richthaus, und rief Jesu, und
sprach zu ihm:
Thus they ensured the fulfilment of the words by which
Jesus had indicated the manner of his death. Pilate then
went back into his headquarters and summoned Jesus,
and asked,
Pilate
Bist du der Juden König?
Are you the King of the Jews?
Evangelist
Jesus antwortete:
Jesus said,
Jesus
Redest du das von dir selbst, oder haben’s dir andere
von mir gesagt?
Is that your own idea, or have others suggested it to you?
Evangelist
Pilatus antwortete:
Pilate said,
Pilate
Bin ich ein Jude? Dein Volk und die Hohenpriester haben
dich mir überantwortet; was hast du getan?
What! Am I a Jew? Your own nation and their chief priests
have brought you before me. What have you done?
12
Notes
Evangelist
Jesus antwortete:
Jesus
Mein Reich ist nicht von dieser Welt; wäre mein Reich von
dieser Welt, meine Diener würden darob kämpfen, dass
ich den Juden nicht überantwortet würde! Aber, nun ist
mein Reich nicht von dannen.
17 Chorale
Ach, grosser König, gross zu allen Zeiten,
Wie kann ich g’nugsam diese Treu’ ausbreiten?
Keins Menschen Herze mag indess ausdenken,
Was dir zu schenken.
Ich kann’s mit meinen Sinnen nicht erreichen,
Womit doch dein Erbarmen zu vergleichen.
Wie kann ich dir denn deine Liebestaten im Werk
erstatten?
Jesus replied,
My kingdom does not belong to this world. If it did, my
followers would be fighting to save me from arrest by the
Jews. My kingly authority comes from elsewhere.
O mighty king, great for ever, how can I ever express my
allegiance? No human heart can think of a gift fit to offer
you, nor can I find anything to compare with your
merciful goodness. What then can I do to be worthy of
your loving deeds?
18 Recitative
Evangelist
Da sprach Pilatus zu ihm:
Pilate said,
Pilate
So bist du dennoch ein König?
You are a king, then?
Evangelist
Jesus antwortete:
Jesus answered,
Jesus
Du sagst’s, ich bin ein König. Ich bin dazu geboren und in ‘King’ is your word. My task is to bear witness to the truth.
die Welt kommen, dass ich die Wahrheit zeugen soll. Wer For this was I born; for this I came into the world, and all
aus der Wahrheit ist, der höret meine Stimme.
who are not deaf to truth listen to my voice.
Evangelist
Spricht Pilatus zu ihm:
Pilate said,
Pilate
Was ist Wahrheit?
What is truth?
Evangelist
Und da er das gesaget, ging er wieder hinaus zu den
Juden und spricht zu ihnen:
And with those words went out again to the Jews, and
said,
Pilate
Ich finde keine Schuld an ihm. Ihr habt aber eine
Gewohnheit, dass ich euch einen losgebe: wollt ihr nun,
dass ich euch der Juden König losgebe?
For my part, I find no case against him. But you have a
custom that I release one prisoner for you at Passover.
Would you like me to release the King of the Jews?
please turn page quietly …
13
Notes
Evangelist
Da schrieen sie wieder allesamt und sprachen:
Again the clamour rose:
Chorus
Nicht diesen, diesen nicht, sondern Barrabam!
Not him; we want Barabbas!
Evangelist
Barrabas aber war ein Mörder. Da nahm Pilatus Jesum
und geisselte ihn.
Barabbas was a bandit. Pilate now took Jesus and had
him flogged.
19 Arioso
Bass
Betrachte, meine Seel’, mit ängstlichem Vergnügen,
Mit bittern Lasten hart beklemmt von Herzen,
Dein höchstes Gut in Jesu Schmerzen,
Wie dir auf Dornen, so ihn stechen,
Die Himmelsschlüsselblume blüht!
Du kannst viel süsse Frucht
Von seiner Wermut brechen,
Drum sieh’ ohn’ Unterlass auf ihn!
20 Aria
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.
My soul, think how a heavenward-guiding flower springs
from the thorns that pierce the Saviour’s head. Consider
in anxious relief, in bitter joy, with a heart torn between
grief and consolation, how his suffering is your most
precious treasure. What is wormwood to him is for you
the sweetest fruit, so fix your gaze always on him.
Look how his back, stained with blood, is just like the sky;
after the clouds of our sins have poured down, a lovely
rainbow appears as sign of Heaven’s blessing.
21 Recitative
Evangelist
Und die Kriegsknechte flochten eine Krone von Dornen,
und setzten sie auf sein Haupt, und legten ihm ein
Purpurkleid an, und sprachen:
And the soldiers plaited a crown of thorns and placed it
on his head, and robed him in a purple cloak. Then time
after time they came up to him, crying,
Chorus
Sei gegrüsset, lieber Judenkönig!
Hail, King of the Jews!
Evangelist
Und gaben ihm Backenstreiche. Da ging Pilatus wieder
heraus und sprach zu ihnen:
And struck him on the face. Once more Pilate came out
and said to the Jews,
Pilate
Sehet, ich führe ihn heraus zu euch, dass ihr erkennet,
dass ich keine Schuld an ihm finde.
Here he is; I am bringing him out to let you know that I
find no case against him.
14
Notes
Evangelist
Also ging Jesus heraus, und trug eine Dornenkrone und
Purpurkleid. Und er sprach zu ihnen:
And Jesus came out, wearing the crown of thorns and the
purple cloak. And Pilate said,
Pilate
Sehet, welch ein Mensch!
Behold the Man!
Evangelist
Da ihn die Hohenpriester und die Diener sahen, schrieen
sie und sprachen:
The chief priests and their henchman saw him and
shouted,
Chorus
Kreuzige!
Crucify!
Evangelist
Pilatus sprach zu ihnen:
Pilate said,
Pilate
Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Take him and crucify him yourselves; for my part I find no
Schuld an ihm!
case against him.
Evangelist
Die Juden antworteten ihm:
The Jews answered,
Chorus
Wir haben ein Gesetz, und nach dem Gesetz soll er
sterben, Denn er hat sich selbst zu Gottes Sohn gemacht,
We have a law; and by that law he ought to die, because
he has claimed to be the Son of God.
Evangelist
Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr und When Pilate heard that, he was more afraid than ever,
ging wieder hinein in das Richthaus, und spricht zu Jesu:
and going back into his headquarters he asked Jesus,
Pilate
Von wannen bist du?
Where have you come from?
Evangelist
Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm: But Jesus gave him no answer. Pilate said,
Pilate
Redest du nicht mit mir? Weissest du nicht, da ich Macht
habe, dich zu kreuzigen, und Macht habe, dich
loszugeben?
Do you refuse to speak to me? Surely you know that I
have authority to release you, and I have authority to
crucify you?
Evangelist
Jesus antwortete:
Jesus replied,
Jesus
Du hättest keine Macht über mich, wenn sie dir nicht wäre You would have no authority at all over me if it had not
von oben herab gegeben; darum, der mich dir
been granted you from above; and therefore the deeper
überantwortet hat, der hat’s gröss’re Sünde.
guilt lies with the man who handed me over to you.
Evangelist
Von dem an trachtete Pilatus, wie er ihn losliesse.
From that moment Pilate tried hard to release him.
please turn page quietly …
15
Notes
22 Chorale
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.
23 Recitative
Evangelist
Die Jüden aber schrieen und sprachen:
Your imprisonment, Son of God, brings us liberty, for if
you had not accepted serfdom we would never become
free.
But the Jews kept shouting,
Chorus
If you let this man go, you are no friend to Caesar; any
Lässest du diesen los, so bist du des Kaisers Freund nicht;
Denn wer sich zum Könige machet, der ist wider den Kaiser. man who claims to be a king is defying Caesar.
Evangelist
Da Pilatus das Wort hörete, führete er Jesum heraus, und
setzte sich auf den Richtstuhl, an der Stätte, die da heisset:
Hochpflaster, auf Ebräisch aber: Gabbatha. Es war aber
der Rüsttag in Ostern, um die sechste Stunde, und er
spricht zu den Juden:
When Pilate heard what they were saying, he brought
Jesus out and took his seat on the tribunal at the place
known as ‘The Pavement’ (‘Gabbatha’ in the language of
the Jews). It was the eve of Passover, about noon. Pilate
said to the Jews,
Pilate
Sehet, das ist euer König!
Here is your king.
Evangelist
Sie schrieen aber:
They shouted,
Chorus
Weg, weg mit dem, kreuzige ihn!
Away with him! Crucify him!
Evangelist
Spricht Pilatus zu ihnen:
Pilate said to them,
Pilate
Soll ich euren König kreuzigen?
Crucify your king?
Evangelist
Die Hohenpriester antworteten:
The chief priests answered,
Chorus
Wir haben keinen König denn den Kaiser.
We have no king but Caesar.
Evangelist
Da überantwortete er ihn, dass er gekreuziget würde. Sie
nahmen aber Jesum und führeten ihn hin. Und er trug
sein Kreuz und ging hinaus zur Stätte, die da heisset
Schädelstätt, welche heisset auf Ebräisch: Golgatha.
Then at last, to satisfy them, he handed Jesus over to be
crucified. Jesus was now taken in charge and, carrying
his own cross, went out to the Place of the Skull, as it is
called (or, in the Jews’ language, ‘Golgotha’).
16
Notes
24 Aria
Bass
Eilt, ihr angefocht’nen Seelen,
geht aus euren Marterhöhlen.
Eilt …
Chorus
Wohin?
Bass
… nach Golgatha!
Nehmet an des Glaubens Flügel,
Flieht …
Chorus
Wohin?
Bass
… zum Kreuzes Hügel,
Eure Wohlfahrt blüht allda.
Eilt, ihr angefocht’nen Seelen, etc.
25 Recitative
Evangelist
Allda kreuzigten sie ihn, und mit ihm zween andere zu
beiden Seiten, Jesum aber mitten inne. Pilatus aber
schrieb eine Überschrift, und setzte sie auf das Kreuz,
und war geschrieben: ‘Jesus von Nazareth, der Juden
König!’ Diese Überschrift lasen viel Juden, denn die
Stätte war nahe bei der Stadt, da Jesus gekreuziget ist.
Und es war geschrieben auf ebräische, griechische und
lateinische Sprache. Da sprachen die Hohenpriester der
Juden zu Pilato:
Hurry, you tormented souls, leave your dens of misery.
Where to?
Hurry to Golgotha!
Where to?
Take the wings of faith and fly to the hill of the Cross; that
is where your powers will be revived.
There they crucified him, and with him two others, one on
the right, one on the left, and Jesus between them. And
Pilate wrote an inscription to be fastened to the cross; it
read, ‘Jesus of Nazareth, King of the Jews’. This
inscription was read by many Jews, because the place
where Jesus was crucified was not far from the city, and
the inscription was in Hebrew, Latin and Greek. Then the
Jewish chief priests said to Pilate,
Chorus
Schreibe nicht: der Juden König, sondern dass er
gesaget habe: Ich bin der Juden König!
You should not write ‘King of the Jews’; write, ‘He claimed
to be King of the Jews’.
Evangelist
Pilatus antwortet:
Pilate replied,
Pilate
Was ich geschrieben habe, das habe ich geschrieben.
What I have written, I have written.
26 Chorale
In meines Herzens Grunde,
Dein Nam’ und Kreuz allein
Funkelt allzeit und Stunde,
Drauf kann ich fröhlich sein.
May your name and cross alone be written on my heart,
shining there always to make me rejoice. When I am in
need, console me with the picture of you so patiently
enduring death.
please turn page quietly …
17
Notes
Erschein’ mir in dem Bilde
Zu Trost in meiner Not,
Wie du, Herr Christ, so milde,
Dich hast geblut’t zu Tod.
27 Recitative
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:
Chorus
Lasset uns den nicht zerteilen,
Sondern darum losen,
Wes er sein soll.
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, Cleophas
Weib, und Maria Magdalena. Da nun Jesus seine Mutter
sahe, und den Jünger dabei stehen, den er lieb hatte,
spricht er zu seiner Mutter:
The soldiers, having crucified Jesus, took possession of
his clothes, and divided them into four parts, one for each
soldier, leaving out the tunic. The tunic was seamless,
woven in one piece throughout; so they said to one
another,
We must not tear this; let us toss for it,
And thus the text of Scripture came true: ‘They shared my
garments among them, and cast lots for my clothing.’
That is what the soldiers did. But meanwhile near the
cross where Jesus hung stood his mother, with her sister,
Mary wife of Cleophas, and Mary Magdalene. Jesus
saw his mother, with the disciple whom he loved standing
beside her. He said to her,
Jesus
Weib! Siehe, das ist dein Sohn.
Mother, there is your son;
Evangelist
Darnach spricht er zu dem Jünger:
And to the disciple,
Jesus
Siehe, das ist deine Mutter!
There is your mother.
28 Chorale
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.
18
He thought of everything in his last hour, and gave his
mother someone to protect her. You too should act rightly,
loving God and man, so that you may die untroubled,
without anxiety.
Notes
29 Recitative
Evangelist
Und von Stund’ an nahm sie der Jünger zu sich. Darnach, And from that moment the disciple took her into his
als Jesus wusste, dass schon alles vollbracht war, dass die home. After that, Jesus, aware that all had now come to
Schrift erfüllet würde, spricht er:
its appointed end, said in fulfilment of Scripture,
Jesus
Mich dürstet!
I thirst.
Evangelist
Da stund ein Gefässe voll Essigs. Sie fülleten aber einen
A jar stood there full of sour wine, so they soaked a
Schwamm mit Essig und legten ihn um einen Isoppen und sponge with the wine, fixed it on a javelin, and held it up
hielten es ihm dar zum Munde. Da nun Jesus den Essig
to his lips. Having received the wine, he said,
genommen hatte, sprach er:
Jesus
Es ist vollbracht!
It is accomplished!
30 Aria
Alto
Es ist vollbracht! O Trost für die gekränkten Seelen!
It is accomplished; what comfort for suffering human
Die Trauernacht lässt mich die letzte Stunde zählen.
souls! I can see the end of the night of sorrow. The hero
Der Held aus Juda siegt mit Macht und schliesst den Kampf. from Judah ends his victorious fight. It is accomplished!
Es ist vollbracht!
31 Recitative
Evangelist
Und neigte das Haupt und verschied.
32 Aria
Bass
Mein teurer Heiland, lass dich fragen,
Da du nunmehr an’s Kreuz geschlagen
Und selbst gesagt: es ist vollbracht,
Bin ich vom Sterben freigemacht?
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!
Chorus
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!
He bowed his head and gave up his spirit.
My dearest Saviour, let me ask you, as you are nailed to
the cross and have yourself said it is accomplished, am I
released from death? Can I gain the heavenly kingdom
through your suffering and death? Is it that the whole
world is redeemed? You cannot speak for agony, but
incline your head to give a speechless ‘Yes!’
Jesus, you who were dead and now live for ever,
bring me, in death’s extremity, nowhere but to
you who have paid the debt I owe to God, my true
and faithful master.
please turn page quietly …
19
Notes
Gib mir nur, was du verdient,
Mehr ich nicht begehre!
Give me only what you have won, for how could there be
anything more to wish for?
33 Recitative
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 viele Leiber der Heiligen.
At that moment, the curtain of the temple was torn in two
from top to bottom. There was an earthquake, the rocks
split, and the graves opened and many of God’s people
arose from sleep.
34 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 sehn erkalten:
Was willst du deines Ortes tun?
35 Aria
Soprano
Zerfliesse, mein Herze, in Fluten der Zähren
Dem Höchsten zu Ehren.
Erzähle der Welt und dem Himmel die Not:
Dein Jesus ist tot!
36 Recitative
Evangelist
Die Jüden aber, dieweil es der Rüsttag war, dass nicht die
Leichname am Kreuze blieben den Sabbath über (denn
desselbigen Sabathtags war sehr gross), baten sie Pilatum,
dass ihre Beine gebrochen, und sie abgenommen würden.
Da kamen die Kriegsknechte und brachen dem ersten die
Beine, und dem andern, der mit ihm gekreuziget war. Als
sie aber zu Jesu kamen, da sie sahen, dass er schon
gestorben war, brachen sie ihm die Beine nicht; sondern
der Kriegsknechte einer eröffnete seine Seite mit einem
Speer, und alsobald ging Blut und Wasser heraus. Und der
das gesehen hat, der hat es bezeuget, und sein Zeugnis ist
wahr, und derselbige weiss, dass er die Wahrheit saget,
auf dass ihr glaubet. Denn solches ist geschehen, auf dass
die Schrift erfüllet würde: ‘Ihr sollet ihm kein Bein
zerbrechen’. Und abermal spricht eine andere Schrift: Sie
werden sehen, in welchen sie gestochen haben.’
20
Oh my heart! While the whole world shares Jesus’s
suffering, the sun in mourning, the veil rent, the rocks split,
the earth quaking, the graves opening, because they see
the creator himself grow cold in death: what will you do
for your part?
Dissolve then, heart, in floods of tears as your tribute to
our God. Tell earth and Heaven the grievous news, your
Jesus is dead, dead!
Because it was the eve of Passover, the Jews were anxious
that the bodies should not remain on the cross for the
coming Sabbath, since that Sabbath was a day of great
solemnity; so they requested Pilate to have the legs
broken and the bodies taken down. The soldiers
accordingly came to the first of his fellow victims and to
the second, and broke their legs; but when they came to
Jesus, they found that he was already dead, so they did
not break his legs. But one of the soldiers stabbed his side
with a lance, and at once there was a flow of blood and
water. This is vouched for by an eye-witness, whose
evidence is to be trusted. He knows that he speaks the
truth, so that you too may believe; for this happened in
fulfilment of the text of Scripture: ‘No bone of his shall be
broken.’ And another text says, ‘They shall look on whom
they pierced.’
Notes
37 Chorale
O hilf, Christe, Gottes Sohn,
Durch dein bittres Leiden,
Dass wir, dir stets untertan, all Untugend meiden,
Deinen Tod und sein Ursach’ furchtbarlich bedenken,
Dafür, wiewohl arm und schwach,
Dir Dankopfer schenken!
38 Recitative
Evangelist
Darnach bat Pilatum Joseph von Arimathia, der ein
Jünger Jesu war (doch heimlich, aus Furcht vor den
Juden), dass er möchte abnehmen den Leichnam Jesu.
Und Pilatus erlaubete es. Derowegen kam er und nahm
den Leichnam Jesu herab. Es kam aber auch Nicodemus,
der vormals in der Nacht zu Jesu kommen war, und
brachte Myrrhen und Aloen unter einander, bei hundert
Pfunden. Da nahmen sie den Leichnam Jesu, und
bunden ihn in leinen Tücher mit Spezereien, wie die
Juden pflegen zu begraben. Es war aber an der Stätte,
da er gekreuziget ward, ein Garten, und im Garten ein
neu Grab, in welches niemand je gelegen war. Daselbst
hinlegten sie Jesum, um des Rüsttag willen der Juden,
dieweil das Grab nahe war.
39 Chorus
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.
40 Chorale
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 einge Qual und Pein,
Ruhn bis am jüngsten Tage!
Alsdann vom Tod erwecke mich,
Dass meine Augen sehen dich
In aller Freud’, o Gottes Sohn,
Mein Heiland und Genadenthron!
Herr Jesu Christ, erhöre mich,
Ich will dich preisen ewiglich!
Help us, Christ, the son of God, as your loyal followers, to
avoid wrong doing and, with the thought of your death
and its cause, to bring you offerings of thanks for all that
you have done, poor and weak though we may be.
After that, Pilate was approached by Joseph of
Arimathea, a disciple of Jesus (but a secret disciple for
fear of the Jews) who asked to be allowed to remove the
body of Jesus. Pilate gave the permission; so Joseph
came and took the body away. He was joined by
Nicodemus (the man who had first visited Jesus by night),
who brought with him a mixture of myrrh and aloes,
more than half a hundredweight. They took the body of
Jesus and wrapped it, with the spices, in strips of linen
cloth according to Jewish burial customs. Now at the
place where he had been crucified there was a garden,
and in the garden a new tomb, not yet used for burial.
There, because the tomb was near at hand and it was the
eve of the Jewish Sabbath, they laid Jesus.
Rest in peace, sacred body, for which I weep no longer,
and bring me also to my rest. The grave that is yours and
holds no further suffering, for me opens Heaven and
closes Hell.
O Lord, send your cherubs in my last hour to bear my
soul away to Abraham’s bosom; let it rest there
untouched by any pain until the last day. Wake me then
from death’s sleep, so that my joyful eyes may see you,
the Son of God, my Saviour; grant me this and I will
glorify you throughout eternity.
Musical commentary by Lynne Walker © 2008
21
About the performers
Ian Bostridge tenor
Ian Bostridge was a post-doctoral
fellow in history at Corpus Christi
College, Oxford, before
embarking on a full-time career
as a singer. His international
recital career includes the world’s
major concert halls and the
Salzburg, Edinburgh, Munich,
Vienna, Aldeburgh and Schubertiade Festivals. In 1999
he premiered a song-cycle written for him by Hans
Werner Henze. In 2003/04 he held artistic residencies at
the Vienna Konzerthaus and the Schubertiade
Schwarzenberg, in 2004/05 he shared a Carte-Blanche
series with Thomas Quasthoff at the Amsterdam
Concertgebouw, in 2005/06 he had his own Perspectives
series at Carnegie Hall and in 2008 here at the Barbican.
He made his operatic debut in 1994 as Lysander in
Britten’s A Midsummer Night’s Dream with Opera
Australia at the Edinburgh Festival. In 1996 he made his
debut at English National Opera as Tamino, returning for
Jupiter in Semele. In 1997 he sang Quint in Deborah
Warner’s award-winning production of Britten’s The Turn
of the Screw for The Royal Opera, and has since returned
for Caliban in Adès’s The Tempest, Don Ottavio in Don
Giovanni under Pappano, and Vas̆ek in The Bartered
Bride under Haitink. In 1998 he made his debut at the
Munich Festival singing Nerone in David Alden’s
production of L’incoronazione di Poppea, returning for
Tom Rakewell in The Rake’s Progress and the Male
Chorus in The Rape of Lucretia. He sang Janác̆ek’s Diary
of One who Vanished in a new translation by Seamus
Heaney, staged by Deborah Warner in London, Paris,
Munich, Amsterdam and New York. Most recently he
sang Don Ottavio at the Vienna State Opera and his first
Aschenbach in a new production of Death in Venice for
English National Opera.
His recordings include Schubert’s Die schöne Müllerin
with Graham Johnson (Gramophone Award 1996); Tom
Rakewell with John Eliot Gardiner (Grammy Award,
1999); and Belmonte with William Christie. Under his
exclusive contract with EMI Classics, he has recorded
Schubert Lieder and Schumann Lieder (Gramophone
Award 1998), English song and Henze Lieder with Julius
22
Drake, Britten’s Our Hunting Fathers with Daniel
Harding, Idomeneo with Charles Mackerras, Janác̆ek
with Thomas Adès, Schubert with Leif Ove Andsnes and
Mitsuko Uchida, Noel Coward with Jeffrey Tate, Britten
Orchestral cycles with the Berlin Philharmonic and Simon
Rattle, Wolf with Antonio Pappano and, for EMI/Virgin,
Bach cantatas with Fabio Biondi, Britten’s Canticles and
Britten’s The Turn of the Screw (Gramophone Award,
2003) and Handel Arias with Harry Bicket.
Concert engagements include the Berlin Philharmonic,
Vienna Philharmonic, Chicago Symphony, Boston
Symphony, London Symphony, London Philharmonic, BBC
Symphony, Rotterdam Philharmonic, Royal
Concertgebouw, New York Philharmonic and Los Angeles
Philharmonic orchestras and the Orchestra of the
Metropolitan Opera under Simon Rattle, Colin Davis,
Andrew Davis, Seiji Ozawa, Riccardo Muti, Mstislav
Rostropovich, Daniel Barenboim, Daniel Harding, Donald
Runnicles, James Levine and Antonio Pappano.
In 2001 he was elected an honorary fellow of Corpus
Christi College, Oxford and in 2003 he was made an
Honorary Doctor of Music by the University of St
Andrew’s. He was created a CBE in the 2004 New Year’s
Honours. He is married to the author and literary critic,
Lucasta Miller. They live in London with their two children.
Stephen Layton conductor
Stephen Layton’s interpretations of
Bach and Handel have been heard
from the Sydney Opera House to
the Amsterdam Concertgebouw,
with orchestras ranging from the
Academy of Ancient Music and
Orchestra of the Age of
Enlightenment to the London Philharmonic and
Philadelphia Orchestras. He also conducted Deborah
Warner’s staged St John Passion for English National
Opera. Layton’s composer collaborations include
premieres of Pärt, MacMillan and Tavener (including the
epic The Veil of the Temple). He is Chief Guest Conductor
of the Danish Radio Choir, Director of the Holst Singers
and Director of Music at Trinity College Cambridge.
Layton’s eclectic discography ranges from Adès to
About the performers
Walton. Awards include a Gramophone Award and
Diapason d’Or (Britten, 2001) and two US Grammy
Award nominations, Lauridsen, 2006 and Whitacre,
2007.
Roderick Williams baritone
Roderick Williams encompasses a
wide repertoire, from baroque to
contemporary music, in the opera
house, on the concert platform, in
recital and on disc. He has enjoyed
Carolyn Sampson soprano
close relationships with Opera North
Carolyn Sampson was born in
and Scottish Opera, and is
Bedford and studied music at the
particularly associated with the baritone roles of Mozart.
University of Birmingham. She made He has also sung world premieres of operas by David
her opera debut with English
Sawer, Sally Beamish, Michael van der Aa and
National Opera as Amor The
Alexander Knaifel. He has worked with orchestras
Coronation of Poppea returning for throughout Europe and at festivals including the BBC
Pamina The Magic Flute and title
Proms, Edinburgh, Cheltenham and Aldeburgh. Plans
role Semele. Other opera highlights have included the
include La bohème at Covent Garden as well as a busy
title role in Lully’s Psyché for Boston Early Music Festival,
concert and recital schedule. He is a composer and has
Susanna Le nozze di Figaro for Opéra de Montpellier
had works premiered at the Wigmore and Barbican
and First Niece Peter Grimes for Opéra de Paris. This
Halls and the Purcell Room.
season she performs with Bayerische Rundfunk, WDR
Symphonieorchester Köln, Hallé, Britten Sinfonia,
James Rutherford bass
Tafelmusik and performs Alexander’s Feast with the
Orchestra e Coro dell’Accademia Nazionale di Santa
James Rutherford studied at the Royal
Cecilia. She recently performed recitals at the
College of Music and National
Concertgebouw and for the BBC. Her most recent
Opera Studio in London. He was a
recording of Purcell songs for BIS was selected as Editor’s
BBC New Generation Artist in 2000.
Choice in Gramophone Magazine.
Operatic appearances include the
Paris Opéra, Welsh National Opera,
Opera North, Glyndebourne
Michael Chance
Touring Opera, Royal Opera House, English National
counter-tenor
Opera, the Deutsche Staatsoper Berlin, Scottish Opera ,
Lyric Opera of Chicago and at the Montpellier and
Michael Chance has established a
Innsbruck Festivals. In concert he has appeared with the
worldwide reputation as one of the
BBC SO, LSO, RSNO, RLPO, the Berlin Philharmonic,
foremost exponents of the male alto
Sudwestrundfunk Orchestra, the Hallé, the
voice in all areas of the classical
Bournemouth Symphony Orchestra, the OAE and the
repertoire, and is in equal demand
CBSO. Since winning the inaugural Seattle Opera
as an opera, concert and recording
International Wagner Competition, held in August 2006,
artist. His appearances in oratorio and recital have taken
he has sung Wolfram Tannhäuser for San Francisco
him to concert halls all over the world including Carnegie
Opera.
Hall, Concertgebouw, Musikverein, Neue Gewandhaus,
Berlin’s Philharmonie and London’s Wigmore Hall with a
variety of programmes, ranging from Elizabethan lute
songs to new works commissioned especially for him. His
list of recordings is numerous and widespread.
23
About the performers
Polyphony
Academy of Ancient Music
Polyphony was formed by Stephen Layton in 1986 and
has since then performed and recorded regularly to
wide critical acclaim. For more than a decade Polyphony
has given annual sell-out performances of Bach’s St
John Passion and Handel’s Messiah, broadcast by the
BBC and EBU. Other highlights include several BBC
Proms and premieres of works by Tavener, Pärt,
Macmillan and Lauridsen. Polyphony’s extensive
discography has received two Gramophone Awards, a
Diapason d’Or and two US Grammy Award
nominations, most recently for Cloudburst (Eric
Whitacre). This recently passed its 50th week in the
Billboard Classical Album Chart.
The Academy of Ancient Music is one of the most
recognized names in classical music. Concerts across six
continents and over 250 recordings since its formation by
Christopher Hogwood in 1973 demonstrate the orchestra’s
pre-eminence in music of the baroque and classical
periods. In 2006, Richard Egarr succeeded Hogwood as
Music Director. His inaugural season was crowned when
his first CD directing the orchestra – Handel’s Op.3
Concerti Grossi – was awarded the 2007 Gramophone
Award. This season, performances range from a series of
intimate chamber concerts at London’s Handel House
Museum to iconic choral works by Handel and Bach with
the Choir of the AAM, Polyphony, the Choir of Trinity
College Cambridge and the Choir of King’s College
Cambridge. Highlights include the next four recordings in
an ongoing series for Harmonia Mundi, the second in a
series of Handel operas directed by Christopher
Hogwood, and performances with guest directors
including harpsichordist Masaaki Suzuki and violinists
Giuliano Carmignola and Pavlo Beznosiuk.
Soprano
Katy Cooper
Elizabeth Drury
Juliet Fraser
Amy Haworth
Kate Hopkins
Laura Oldfield
Rachael Parsons
Susannah Vango
Alto
David Allsopp
Aaron Burchell
Ruth Gibbins
Alexandra Loewe
Harriett Webb
Tom Williams
Tenor
Tom Cockett
Jon English
Ben Hymas
John McMunn
Graham Neal
Gautam Rangarajan
Bass
Richard Bannan
James Birchall
Timothy Dickinson
Marcus Farnsworth
Andrew McIntosh
Tom Oldham
Charles Pott
Richard Savage
Violin I
Pavlo Beznosiuk
Rebecca Livermore
Andrea Jones
Liz McCarthy
Silvia Schweinberger
Marianna Szucs
Violin II
Rodolfo Richter (d.d’amore)
William Thorp (d.d’amore)
Joanna Lawrence
Pauline Smith
Lara James
Annette Keimel
Viola
Rachel Byrt
Marina Ascherson
Clare Barwick
Cello
Joseph Crouch
Imogen Seth Smith
24
Viola da Gamba
Reiko Ichise
Double Bass
Judith Evans
Dawn Baker
Flute
Rachel Brown
Guy Williams
Oboe
Belinda Paul (d. da caccia)
Lars Henriksson (d.d’amore)
Bassoon
Alastair Mitchell
Organ
Alastair Ross