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Melissa on booking a show for her and daughter, Olivia
Discount tickets, gossip and reviews
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Contents
Spring Concerts 2015
Welcome to the Southbank Centre and to your free
programme. This is our fifth season of offering
complimentary programmes and we hope that they
are adding to your enjoyment of the evening.
Don’t forget to bring this programme back with you if
you are attending another concert and remember that
you can always download programmes in advance of
the concert at oae.co.uk/programmes. Lastly, perhaps
you might consider putting the £3 you would usually
have paid for this programme towards an OAE
Priority Booking or Friends Membership? These start
from £15 a year and you can find information at our
desk in the foyer, within this programme or online at
oae.co.uk.
OAE Administration
02
Flying the Flag
An Introduction
03
Flying the Flag: Best of Both
Wednesday 4 March 2015
04
Bach’s St Matthew Passion
Thursday 2 April 2015
12
The Rough with the Smooth
Major sponsor
01
Tuesday 12 May 2015
47
Glossary
54
OAE Biography
56
OAE Education
57
OAE News
60
Future Concerts
61
OAE Supporters
62
Management
Chief Executive
Crispin Woodhead
Projects Manager
Laura Sheldon
Assistant Projects
Manager
Sophie Kelland
Orchestra Manager
Philippa Brownsword
Librarian
Colin Kitching
Director of Finance
and Operations
Ivan Rockey
Finance Officer
Daniel da Silva
Board of Directors
Sir Martin Smith
(Chairman)
Lisa Beznosiuk
Cecelia Bruggemeyer
Robert Cory
Nigel Jones
Martin Lawrence
Susannah Simons
Matthew Truscott
Andrew Watts
Mark Williams
Crispin Woodhead
OAE Trust
Sir Martin Smith
(Chair)
Edward Bonham Carter
Robert Cory
David Marks
Julian Mash
Imogen Overli
Rosalyn Wilkinson
Leaders
Alison Bury
Kati Debretzeni
Margaret Faultless
Matthew Truscott
American Friends
Board
Wendy Brooks (Chair)
Players’ Artistic
Committee
Cecelia Bruggemeyer
Lisa Besnoziuk
Martin Lawrence
Matthew Truscott
Andrew Watts
Education Director
Cherry Forbes
Education Officer
Louise Malijenovsky
Communications &
Creative Programming
Director
William Norris
Press Manager
Katy Bell
Digital Content
Officer
Zen Grisdale
Marketing and Press
Officer
Charles Lewis
Regional Marketing
Co-ordinator
Erica Scott
Development Director
Emily Stubbs
Deputy Director of
Development
Harriet Lawrence
Head of Individual
Giving
Liz Scase
Memberships and
Events Manager
Holly Noon
02
Administration
Orchestra of the
Age of Enlightenment
Kings Place, 90 York Way, London, N1 9AG
Tel: 020 7239 9370
Email: [email protected]
Website: oae.co.uk
orchestraoftheageofenlightenment
theoae
Registered Charity No. 295329
Registered Company No. 2040312
Flying the Flag – an introduction
Running through this year’s concert series here at
Southbank Centre is Flying the Flag, a five concert series
exploring the concept of nationhood and music, delving
into national styles, lost nations and turning points in
nation’s musical and political histories. The idea for the
series, which, along with the rest of our 2014-15
concerts is curated by Principal Flute Lisa Beznosiuk
and Principal Double Bass Chi-chi Nwanoku MBE,
sprang from a concert that was already in the diary:
‘When we first looked at curating this season,’ says Chi-chi
Nwanoku, ‘there were already a few confirmed projects in
the diary. The one that leapt off the page and glared at me
was Boris Godunov with Vladimir! A full-on Russian
image appeared before my eyes, and I just came out with
‘flying the flag’. Lisa said, ‘genius’ and that was it! When it
was agreed upon, it helped to form the route down which we
would venture.’
And as for that Flying the Flag title, Lisa comments:
‘Flying the Flag seemed like an appropriate phrase which
embraces the idea of exploring as many distinctive musical
identities as possible within the series.’
Once plans for Russian and French programmes were in
place, Lisa and Chi-chi started to look at what else
might complement them, with Lisa noting:
‘We were looking at other national styles which appealed to us
and would be interesting to perform on period instruments.
The idea of performing Dvořák’s New World Symphony
presented itself as an incredibly exciting idea not least because
it links the old and the new: i.e. Dvořák’s Bohemian roots
and 19th-century European musical tradition combined
with the desire to create a distinctive ‘American’ sound and
symphony.’
Of course, as Chi-chi observes, not everything was
possible within the series:
‘Scandinavia for example. Lisa had some great ideas for that,
and I really wanted to get something that looked like the
Caribbean or Africa in there too, even a Commonwealth flag
would have made me slightly happier. It always comes down
to finance and practicalities... it was not that we did not have
the bigger picture and the rest of the world in our sights!’
So what can we expect from the series and the music
featured? Is it really as simple as saying that French
music sounds, well, French? Lisa explains:
03
‘I believe there is a very distinctive sound to French music
which goes across the centuries – e.g. elegant melodies and
subtle colours and textures which can be heard in Rameau
and Berlioz as well as in Debussy. Also, composers often draw
on their national history, folklore, song and dance rhythms
which can give their work an individual identity and
flavour - this is certainly true of Tchaikovsky, Mussorgsky,
Dvořák and Smetana. Hungarian folk music is a clear
influence in Brahms’ composition. Added to that, power,
politics and wars also play their part directly or indirectly.’
Chi-chi chimes in with a helpful food analogy: ‘there are
several telltale signs that let you know if something is French,
German, American, Bohemian, African. Just like tasting the
foods – and in particular hearing the sound, rhythms and
intonation of the language of different nations.’
So we have the music, but what about the artists? Was it
important to select artists of particular nationalities? Is it
a bit simplistic to have a Russian conductor lead a
Russian programme – or is that really essential in
realising the project? Lisa explains:
‘In the case of Mussorgsky and Jurowski…the idea of doing
‘Boris Godunov’ came from Vladimir and we were only too
happy to run with it! Working with a Russian conductor
(not to mention baritone Sergei Leiferkus) on this repertoire
is bound to foster a deeper understanding of the music, its
context and background because he (or she) is bound to have
an innate understanding of the sensibility of the music with
its melancholy and soul-searching sincerity. Drawing on
those characteristic elements with artists who know them
from the inside will surely help us create the right sound.
Likewise, Hungarian conductor Adam Fischer will bring an
intimate understanding and feel for the music of Central
Europe – Smetana, Brahms and Dvořák, and we’re all
looking forward to working with brilliant conductor
François Xavier-Roth on a French programme which
includes the sparkling overture to Berlioz’ s ‘Beatrice &
Benedict’, a symphony by George Onslow who was known as
the ‘French Beethoven’, and Beethoven’s ‘Eroica’ Symphony
which was originally dedicated to Napoleon.’
Flying the Flag includes earlier concerts on 9 and 22
October (find the programmes on our website) and
concludes on 4 March with a new/old world programme
including Dvořák’s New World Symphony alongside
Brahms’ Violin Concerto.
Flying the Flag: Best of Both
Wednesday 4 March 2015
7pm
Royal Festival Hall
Violins 1
Kati Debretzeni
Jennifer Godson
Maya Magub
Simon Kodurand
Miranda Fulleylove
Andrew Roberts
Judith Templeman
Rachel Isserlis
Madeleine Easton
Claire Sansom
Alice Evans
Jane Gordon
Henry Tong*
Violins 2
Ken Aiso
Colin Scobie
Declan Daly
Claire Holden
Nancy Elan
Debbie Diamond
Jayne Spencer
Stephen Rouse
Julia Kuhn
Catherine Ford
Claudia Norz*
Violas
Caroline Henbest
Nicholas Logie
Martin Kelly
Annette Isserlis
Kate Heller
Marina Ascherson
Thomas Kirby
Penny Veryard
Cellos
Luise Buchberger
Andrew Skidmore
Catherine Rimer
Ruth Alford
Richard Tunnicliffe
Eva Lymenstull*
Jennifer Morsches
Josh Salter*
Penny Driver
Basses
Chi-chi Nwanoku MBE
Cecelia Bruggemeyer
Pippa Macmillan
Matthew Gibson
Kate Aldridge
Flutes
Lisa Beznosiuk
Neil McLaren + piccolo
Katy Bircher
Brahms
Violin Concerto in D major
Interval
Dvořák
Symphony No.9 in E minor,
From the New World
Oboes
Gonzalo Ruiz + cor anglais
Mark Radcliffe
Clarinets
Antony Pay
Jane Booth
Bassoons
Howard Dann
Andrew Watson
Ádám Fischer conductor
Viktoria Mullova violin
Horns
Roger Montgomery
Martin Lawrence
Gavin Edwards
David Bentley
Antonia Gonzalez*
Trumpets
Paul Sharp
Simon Munday
The Orchestra of the Age of Enlightenment would
like to thank the following for their support, without
which this concert would not have been possible:
Trombones
Susan Addison
David Whitson
David Stewart
Robert and Laura Cory
Mark and Rosamund Williams
Tuba
James Anderson
Timpani
Adrian Bending
Percussion
Jeremy Cornes
*OAE Experience participant
04
Smetana
Overture from The Bartered Bride
This concert will finish at approximately 8.50pm
with an interval of 20 mins.
OAE Extras at 5.45pm, free admission
Royal Festival Hall
A talk about the origins of Dvořák’s
New World Symphony.
Flying the Flag: Best of Both Wednesday 4 March 2015
Tonight’s concert is
sponsored by
A message from our major sponsor,
Jupiter:
I am delighted to welcome you to tonight’s concert: Flying the
Flag: Best of Both by the Orchestra of the Age of Enlightenment,
directed by Ádám Fischer.
Jupiter has been sponsoring the Orchestra since 1999 and over the
past fifteen years we have established a successful partnership based
on our shared strengths of integrity and innovation. Founded just
one year apart, in 1985 and 1986 respectively, Jupiter and the OAE
have much in common.
Like the Orchestra, over the past three decades Jupiter has also
developed an impressive reputation for expertise and
professionalism – albeit in the field of fund management rather
than music!
I hope that you will enjoy listening to another memorable
performance from the OAE’s fine musicians.
Maarten Slendebroek
05
Concert in context
*Words indicated by an asterisk
are explained on page 54
06
Music historians tend to use the
word ‘nationalism’ to describe
music born of a particular country’s
indigenous traditions which at the
same time helped argue for that
country’s freedom or recognition.
In Bohemia – the land roughly
equivalent to today’s Czech
Republic – there was a particular
pining for independence from the
controlling Habsburg Austrians in
the middle of the 19th century, just
when Bedřich Smetana was born.
Seventeen years older than his
compatriot Antonín Dvořák,
Smetana laid the foundations of
musical nationalism in Bohemia by
writing music imbued with the
area’s song-and-dance folk
tradition. But he also reflected its
culture in more real ways, writing
operas on normal, provincial
themes just like The Bartered Bride.
By the time Dvořák came to
maturity, Smetana had laid the
ground work. But composers with
an eye on international success
(like Dvořák) were faced with a
vital question: was musical
‘nationalism’ a passing fad which
allowed them to recycle alreadyestablished tunes and rhythms, or
was it something more significant
– an aesthetic shift born of
intellectual conviction?
Dvořák posed one answer to
that question when he wrote a
‘nationalist’ symphony that didn’t
use Bohemian traditions but used
another country’s entirely –
America’s. As a Bohemian in New
York, Dvořák became fascinated by
the spirituals and plantation songs
of the new world and saw his
Ninth Symphony as a manifesto
for how America’s indigenous
music could re-energise the
country’s composers. That must
have felt like a solid vote of
confidence in nationalist
compositional techniques and their
future, non-nationalistic (or at
least, non-political) viability.
Dvořák, though, might have
been following the lead of a
composer he admired and learnt a
huge amount from – Johannes
Brahms. Brahms sought more than
anything to advance the idea of
‘symphonic argument’ established
by Beethoven. But even a
composer with that lofty ambition
recognised the allure of using
vernacular songs and dances in
concert music. He filled the third
movement of his Violin Concerto
with the spirit of Hungary and that
country’s folk-fiddling tradition. It
was a payback for the dedicatee,
violinist Joseph Joachim, who had
earlier dedicated a ‘Hungarian
Concerto’ to Brahms.
Programme Notes
Bedřich Smetana
(1824-1884)
The Bartered Bride –
Overture
Johannes Brahms
(1833-1897)
Concerto for Violin
and Orchestra in D
major Opus 77
(i) Allegro non troppo
(ii) Adagio
(iii) Allegro giocoso, ma non
troppo vivace – Poco più
presto
07
Bedřich Smetana was a true child
of Bohemian nationalism – born
right on cue as the movement
which pressed for Slav nationhood
and independence from the
controlling Habsburg Austrians
started to gather pace. Smetana’s
time away from his homeland,
conducting the orchestra in
Gothenburg on Sweden’s west
coast, may well have strengthened
his nationalist feelings even more.
When he eventually returned
home Smetana wasted no time
converting that strength of feeling
into musical creativity: in 1866 he
finished the stage work that would
become an iconic, ‘national’ opera
for Czechs: The Bartered Bride.
After a slight misfire with his
first opera The Brandenburgers,
Smetana pitched The Bartered
Bride just right. It told a simple,
funny provincial story of
matrimonial mix-up that ended
with smiles all round. After a
lukewarm premiere in 1866,
Smetana added three dances based
on indigenous folk dances from his
country and immediately the opera
became a hit. Smetana took as his
model the most illustrious nuptial
opera of them all – The Marriage of
Figaro – and The Bartered Bride’s
overture seizes the attention just
like the famous overture* to
Mozart’s work.
So thrilled was Smetana when
he saw an early draft of Karel
Sabina’s libretto*, in fact, that he
wrote the overture immediately in
a frenzy of excitement and before
he’d seen the finished text. You
sense some of that in the mood of
virtuosity and attack of the
Overture – a virtuosity that’s
carried over into the opera’s
orchestral dances. As for actual
signposts towards indigenous
Czech music, they’re there in the
Overture’s shape-shifting
syncopations, furious strings and in
the arresting ‘pentatonic’ (see
‘Boffins Corner’) string fanfare
that launches it.
We tend to think of Johannes
Brahms as a portly, bearded,
stubborn conservative who
laboured over those chronically unsexy compositional details of
structure, cohesion and orchestral
balance. It’s not an inaccurate
image of the Hamburg-born
composer, but nor is it a
comprehensive one. When Brahms
met the celebrated violinist and
conductor Joseph Joachim in 1853,
he was a 20-year-old clean-shaven
youth blessed with a blazing talent
and eager to please. Back then,
Joachim described the young
Brahms as ‘pure as diamond, soft as
snow’.
Similarly, Brahms can just as
easily be viewed an innovator as a
conservative: a composer who used
his retrospective admiration for
Bach and Beethoven to tread a new
path, a path perhaps more
recognisable in his concertos than
in his symphonies and chamber
works. Beethoven’s concertos had
progressively acquired symphonic
proportions and Brahms’s would
take that lead. The violin concerto
Brahms wrote for Joachim was
famously described by one critic as
‘a symphony with principal violin’.
Yet Brahms created a
captivating violin part for the
concerto with Joachim by his side,
and a full score which reflects the
composer’s characteristic
combination of orchestral elegance
and argument. But there’s warmth
in the violin concerto, too. Like
Brahms’ B flat Piano Concerto, the
score was inspired in part by Italy,
where the composer had been
Programme Notes
Dvořák
(i)
(ii)
(iii)
(iv)
08
Adagio – Allegro molto
Largo
Scherzo: Molto vivace
Allegro con fuoco
travelling in the Spring of 1878. A
few months later he decamped to a
lakeside summer house at
Pörtschach in southern Austria to
orchestrate the piece. Joachim gave
the first performance of the results
in Leipzig on New Year’s Day 1879
with the composer conducting, and
it was probably the violinist who
advised the conductor some
months earlier to remove the then
third movement Scherzo. Brahms
took the advice, recycling the
movement later as part of that
same B flat Piano Concerto.
The movements that remain
exude Brahmsian poise. There’s
noble expanse aplenty in the first
movement, and yet it never seems
bloated or haughty. The orchestra
is in charge, though the soloist
does lead the second of Brahms’s
two thematic ‘expositions’ (the
introduction of a new musical idea)
at the movement’s opening. The
second movement contains what
one famous violinist called ‘the
only real tune in the work’; the
same violinist protesting later that
it’s given not to the solo violinist
but to the oboe. The soloist is,
though, bestowed similar melodic
gifts soon thereafter. The final
movement is in the rumbustious
Hungarian spirit of Joachim, but
Brahms the perfectionist peers
through its meticulous intricacies.
It was the great Czech conductor
Václav Talich who described
Dvořák’s Ninth Symphony as a
portrait of the composer ‘yearning
for his native soil.’ Thus began a
long association of the piece with
feelings of homesickness, loss and
nostalgia – propagated in the UK
by a famous 1980s TV advert that
aligned the symphony’s famous
Largo with the musical tradition of
England’s floundering industrial
north.
In truth, while the Ninth might
evoke the pain of Dvořák’s
separation from his homeland, it
isn’t so much a homesick letter
from America as an informative
postcard from it. The composer
arrived in New York in September
1892, lured from Prague to take
charge of America’s new National
Conservatory of Music. He quickly
became fascinated with ‘real’
American music – in particular
plantation songs and spirituals,
many sung to him by Harry
Burleigh, a young black composer
and one of the Conservatory’s first
students. At the same time, Dvořák
was beginning to formulate a new
symphony that would convey
‘impressions and greetings from
the New World.’
There’s a good deal of
conjecture surrounding the actual
tunes Dvořák employed in his
symphony: are they genuine
examples of vernacular American
song, or respectful fabrications?
Though some of them feel like
native American tunes, the
composer insisted the themes were
all his own. But there’s evidence to
suggest the music he heard from
Harry Burleigh had a hand in
shaping them.
Take, for example, the Largo’s
winding cor anglais theme. When
Dvořák first wrote it in his
notebook, it didn’t employ dotted
rhythms (an extended note
followed by a shortened one) and
used a G flat as its ninth note; by
the time it reached the symphony,
its rhythms had become wistfully
dotted and its ninth note raised a
tone, rendering it ‘pentatonic’.
Dotted rhythms and the
pentatonic scale were hallmarks of
spirituals including Steal Away, a
tune that Burleigh is known to
Programme Notes
have sung to Dvořák. What we are
probably hearing in the Ninth
Symphony, then, is Dvořák’s own
profound melodic gift refracted
through an American lens.
In a symphonic sense, it’s not so
important where his themes come
from as how Dvořák treats and
links them across his four
movements. Unsurprisingly, they
are integrated with considerable
symphonic skill. The main theme
of the opening movement, for
example, is heard at the
culmination of the Largo, again in
the Scherzo (during the transition
to the waltzing trio section) and
again in the finale, where it
resoundingly joins that
movement’s own main theme at
the music’s apex (not before
Dvořák has referenced separate
themes from all three preceding
movements).
If that sounds rather convoluted
and detailed, then it’s worth
considering how such thematic
links can effect listeners
subliminally (just like Harry
Burleigh’s songs did Dvořák),
convincing them of the piece’s
cumulative journey. That –
alongside the vivid, pictorial
quality of those themes and a
highly-skilled handling of the
orchestra – is what made Dvořák
such a respected symphonist. But
the composer also captured a very
American emotional directness in
his Ninth Symphony, which might
well explain why it’s proved so
consistently popular with
audiences since its first
performance in December 1893.
Programme notes by
Andrew Mellor © 2015
Boffin’s Corner The Pentatonic Scale
The ‘pentatonic’ scale is a series of five notes commonly found in many indigenous folk musics throughout
the world; its first outings can be traced back to the musical endeavours of over four thousand years ago.
Play the five adjacent black notes on any piano and you’ve heard the most common pentatonic scale of them
all – the ‘anhemitonic’ pentatonic, entirely bereft of urbane ‘semitones’ or half-notes.
When we talk of 19th-century nationalist composers incorporating elements of folk music into their works,
one of the most obvious techniques available to them was to embed the earthy-feeling pentatonic scale in
their music, giving it the sound of something rather different, exotic or direct. One example is the opening
call-to-arms of Smetana’s Overture to The Bartered Bride, in which urgent strings punch out a zesty
pentatonic fanfare.
Use of those pentatonic notes – or just a characteristic pentatonic ‘twist’ – can be found all over Smetana’s
music both operatic and instrumental. But Dvořák also knew how evocative a pentatonic glance could
prove. In America, Dvořák heard spirituals like ‘Steal Away’ which are based on the pentatonic scale (you
could play Steal Away’s melody using only the black notes of a piano). But Dvořák went a step further,
bending one of his own themes into a pentatonic shape. As explained above, when he first jotted down the
famous cor anglais theme from the Ninth Symphony’s Largo, the ninth note in the tune was a G flat. When
Dvořák raised it by a whole tone, the melody took on a pentatonic (and a rather more wistful, yearning and
earthy) feel.
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Biography
Ádám Fischer
conductor
The Hungarian-born Ádám Fischer originates from
Budapest and began studying conducting and
composition at the Liszt Ferenc Academy of his home
town. He studied further with the legendary Hans
Swarovsky in Vienna.
His first engagement took him to the Graz Opera
where he worked as repetiteur and assistant conductor.
Following this engagement he assumed the position of
‘Kapellmeister’ at the opera companies in Helsinki,
Karlsruhe and Munich (Bavarian State Opera). From
1981 to 1983 he was General Music Director in
Freiburg and 1987-1992 in Kassel. From 2000 to 2005
Adam Fischer held the position of General Music
Director at the National Theatre of Mannheim. From
2007-2010 he was Music Director of the Hungarian
State Opera in Budapest.
Ádám Fischer regularly conducts at all the major
opera houses and the leading festivals in Europe and
the USA. His collaboration with the Wiener
Staatsoper began in 1973, and he has since conducted
a large number of performances and highly successful
premières there. In 1984 he made his début at the
Paris Opera with Der Rosenkavalier and in 1986 at La
Scala in Milan with The Magic Flute. In 1989 he made
his début at the Royal Opera House with Die
Fledermaus and in 1994 at the Metropolitan Opera in
New York with Otello. In 2001 he gave his first
performances of Wagner’s Der Ring des Nibelungen at
Bayreuth. These were met with outstanding
international media acclaim and culminated in him
being named ‘Conductor of the Year’ by the German
periodical Opernwelt.
On the concert stage Ádám Fischer is a welcome
guest of many of the world’s most prestigious
orchestras, such as the Vienna Philharmonic, Vienna
Symphony, Munich Philharmonic, Tonhalle Zurich,
London Philharmonic, Philharmonia Orchestra,
Royal Philharmonic, Chicago Symphony, Boston
Symphony, Tokyo Metropolitan and NHK Symphony
Orchestra as well as the Orchestre de Paris and both
the Hungarian National Philharmonic Orchestra and
the Hungarian Radio Symphony Orchestra.
In 1987 Ádám Fischer was co-founder of the
Haydn Festival Eisenstadt in Austria. He also founded
the Austro-Hungarian Haydn Orchestra with which
he continues to work. Apart from concert and opera
performances at the Haydn Festival Eisenstadt, they
have recorded the complete symphonies of Josef
Haydn in the Haydn Hall of the Esterházy Palace in
Eisenstadt. This complete cycle was recorded by
Nimbus Records.
Ádám Fischer has received the coveted “Grand
Prix de Disque” twice for his recordings of Goldmark’s
Königin von Saba released by Hungaroton in 1980 and
Bartók’s Bluebeard’s Castle released by CBS/Sony in
1987. In 2008 he received an “Echo” prize for his new
recording of the Haydn Symphonies Nos 88 and 101
with the Austro-Hungarian Haydn Orchestra.
In 1998 he became Principal Conductor of the
Danish National Chamber Orchestra in Copenhagen,
with which he has recorded all ‘seria operas’ by
Mozart: Lucio Silla, Mitridate, Il Re Pastore, Idomeneo
and La Clemenza di Tito. Their latest recording
includes all symphonies by Mozart and they are
presently working on a recording of all Beethoven
symphonies.
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Photo: Lukas Beck
Biography
Viktoria Mullova
violin
Viktoria Mullova studied at the Central Music School
of Moscow and the Moscow Conservatoire. Her
extraordinary talent captured international attention
when she won first prize at the 1980 Sibelius
Competition in Helsinki and the Gold Medal at the
Tchaikovsky Competition in 1982 which was followed,
in 1983, by her dramatic and much publicised defection
to the West. She has since appeared with most of the
world’s greatest orchestras and conductors and at the
major international festivals. She is now known the
world over as a violinist of exceptional versatility and
musical integrity. Her curiosity spans the breadth of
musical development from baroque and classical right
up to the most contemporary influences from the world
of fusion and experimental music.
Her interest in the authentic approach has led to
collaborations with period instrument bands such as the
Orchestra of the Age of Enlightenment, Il Giardino
Armonico, Venice Baroque and Orchestre
Révolutionaire et Romantique. Viktoria has a great
affinity with Bach and his work makes up a large part of
her recording catalogue. Her interpretations of Bach
have been acclaimed worldwide and led Tim Ashley to
write, ‘To hear Mullova play Bach is, simply, one of the
greatest things you can experience…’ in the Guardian.
Her most recent disc of Bach Concerti with the
Accademia Bizantina and Ottavio Dantone has been
highly praised and her recording of Bach’s solo sonatas
and partitas represents a significant milestone in
Viktoria’s personal journey into this music. The
recording received 5-star reviews from all over the world
and she has embarked on an international, several
season-long series of solo Bach recitals.
Her ventures into creative contemporary music
started in 2000 with her album ‘Through the Looking
Glass’ in which she played world, jazz and pop music
arranged for her by Matthew Barley. This exploration
continued with her second album ‘The Peasant Girl’
which she has toured around the world with the
Matthew Barley ensemble. This project shows a
different side to Viktoria as she looks to her peasant
roots in the Ukraine and explores the influence of gypsy
music on the classical and jazz genres in the 20th
Century. Her most recent project, ‘Stradivarius in Rio’ is
inspired by her love of Brazilian songs by composers
such as Antonio Carlos Jobin, Caetano Veloso and
Claudio Nucci. A CD of the same name has been
enthusiastically received and she is now presenting the
project in planned concerts throughout Europe. As well
as her own projects, she has also commissioned works
from young composers such as Fraser Trainer, Thomas
Larcher and Dai Fujikura.
This rich musical diversity has been celebrated in
several high-profile residences, including London’s
Southbank, Vienna’s Konzerthaus, the Auditorium du
Louvre in Paris, Musikfest Bremen, Barcelona
Symphony Orchestra and Helsinki Music Festival. In
the 14/15 season, she is artist in residence in Lille.
Highlights of her 14/15 season include concerts with
the Hallé, Philharmonia Orchestra, Chamber Orchestra
of Europe, Orchestre National de France and a tour with
the Orchestra of the Age of Enlightenment to New
York and the UK. Viktoria will also give duo recitals
with Katia Labèque throughout Europe and South
America.
Mullova’s extensive discography for Philips Classics
and Onyx Classics has attracted many prestigious
awards. Her recording of the Vivaldi Concertos with
Il Giardino Armonico and directed by Giovanni
Antonini, won the Diapason D’Or of the Year award for
2005 and her recording featuring Beethoven’s Op. 12
No. 3 and Kreutzer Sonatas with Kristian Bezuidenhout
won immense critical acclaim. Other discs have included
the Schubert Octet with the Mullova Ensemble,
“Recital” with Katia Labèque, Bach Sonatas with
Ottavio Dantone and ‘6 Solo Sonatas and Partitas’ by
JS Bach. Viktoria either plays on her ‘Jules Falk’ 1723
Stradivarius or a Guadagnini violin.
11
Photo: Henry Fair
Bach’s St Matthew Passion
Thursday 2 April 2015
7pm
Royal Festival Hall
Bach St Matthew Passion
Choir One
Sophie Bevan soprano
Paula Murrihy mezzo-soprano
Mark Padmore Evangelist
Stephan Loges Christus
Choir Two
Fflur Wyn soprano
Robin Blaze countertenor
Andrew Tortise tenor
Matthew Brook baritone
Violins
Matthew Truscott
leader, Orchestra 1
Alison Bury
leader, Orchestra 2
George Crawford
Anna Curzon
Noyuri Hazama
Claire Holden
Julia Kuhn
Nicolette Moonen
Claire Sansom
Andrew Roberts
Alison Teyssier
James Toll
Violas
Jan Schlapp
Annette Isserlis
Nicholas Logie
Louisa Tatlow
Cellos
Luise Buchberger
Richard Tunnicliffe
Helen Verney
Jonny Byers
Basses
Chi-chi Nwanoku MBE
Megan Adie
Viola da gamba
Richard Tunnicliffe
12
Flutes
Lisa Beznosiuk
Michaela Ambrosi
Eva Caballero
Laura Piras
Soloists of the Choir of Enlightenment
Oboes
James Eastaway
Clara Geuchen
Richard Earle
Cait Walker
Organ
Steven Devine
Pawel Siwczak
like to thank the following for their support,
without which this concert would not have been
possible:
Dunard Fund
Julian and Camilla Mash
This concert will finish at approximately 10.20pm
with an interval of 20 mins.
Royal Festival Hall
OAE musicians talk about tonight’s performance of
Bach’s St Matthew Passion and how it is realised
without a conductor.
Bach’s St Matthew Passion Thursday 2 April 2015
Programme Notes
Johann Sebastian
Bach (1685 –1750)
St. Matthew Passion
13
The modern listener to the St
Matthew Passion is confronted, at
the outset and in strength, with the
difficulties of understanding its
literary text or libretto* which will
persist throughout the whole work.
The opening chorus is replete with
images familiar to eighteenth
century Lutherans but arcane to us
nowadays. These difficulties need
not bother us much. There is
always the music, magisterially
moving, to fill our ears and engross
our attention, never mind what
odd words come with it. And
modern musical audiences are
pretty well practised in this sort of
suspension of critical engagement
where the words are concerned.
But all the same, it has to be true
that something is missing without
an appreciation of the words which
is, in the first instance, informed,
and then is capable of an emotional
empathy as heartfelt as we expect
from the music. So these
programme notes intend to
identify and clarify the layers of
text which make up the libretto –
Matthew’s Gospel, its previous
scriptural heritage, and the
commentary on the narrative in
recitatives, arias, choruses and
chorales – and understand their
religious and aesthetic unity.
The opening chorus is a
formidable enough sample of what
is involved. Who are these
‘daughters’ who are summoned to
assist in lamentation? An echo of
the daughters of Jerusalem in the
biblical love poem The Song of
Songs would have occurred to Bach
and his congregation. They are
attendants on the bride who
frequently adjures them to ‘stir not
up nor awaken love until it please’ –
a tantalising admonition. For
centuries this erotic masterpiece
had been taken as a paradigm of
the mutual love of Christ and the
devout soul, so lending a warm
sensuality to spirituality which is
very strongly, and perhaps even
disturbingly, present in the arias
and other additions to the text of
Matthew’s Gospel. There is a
further reference. In Luke’s
Gospel, Jesus turns to the women
who bewailed and lamented him
on his way to crucifixion and says
‘Daughters of Jerusalem, do not
weep for me, but weep for
yourselves and for your children’,
prophesying the catastrophe to
come with the destruction of
Jerusalem by the Romans. This is
not in Matthew’s Gospel but it is,
certainly enough, in Bach’s mind.
And then, in the second line of this
chorus, attention is summoned to
the bridegroom, meaning Christ.
That image is The Song of Songs,
but also in Matthew’s Gospel. A
parable in its twenty-fifth chapter,
just before the passion story, tells
of virgins who ‘took their lamps
and went to meet the bridegroom.’
When the bridegroom arrived at
midnight, some of them found
themselves without oil in their
lamps. The parable enjoins
readiness for Christ’s coming –
now to suffer. The significance of
his sufferings, his passion, is
indicated in the next image of
Christ: ‘as a lamb.’ From the first
beginnings of Christianity, Christ
had been identified with the lamb
which every Jewish family
sacrificed at Passover. The fact that
Jesus was crucified at Passover was
an historical fact packed with
energetic religious significance for
the first Christian churches.
A horrible but minor incident in
history became, for them generally
and for St Paul particularly, the
defining sacrificial event in the
world’s history. Its salient features
are indicated in the rest of the
chorus: Christ’s willing patience
and his bearing of our guilt, out of
love and grace, on the cross. All
this is to be made so visible and
palpable to us, the audience, that
our hearing should become seeing.
‘Seht’ or ‘sehet’, ‘look!’, the chorus
insists, not once but five times in
a row.
Programme Notes
14
Such is a brief analysis of a
brief, if momentous, text. But its
brevity contains a vast time span,
from the origins of Jewish
nationality in the Passover
commemoration of the long-ago
exodus from Egypt to St Thomas’s
Church in Leipzig on Good Friday
1727 and our own present. It has
been traversed back and forth in
the analysis. The contents of that
span or, to revert to the previous
metaphor, the strata underlying
Bach’s work, can be set out in clear
order. First are the Jewish
Scriptures which were the Bible of
the first Christians who, to
mention the obvious, had no New
Testament. Among those first
Christians St Paul was preeminent.
His letters are the earliest
Christian documents to have
survived. He subjected the Jewish
scriptures to a radical
interpretation in which Jesus
Christ’s sacrificial death was their
be all and end all. So insistent and
profound, even obsessive, was his
focus on this point in time that he
had no apparent interest in Christ’s
life of teaching and miracles. It
was an event of eternal
significance, no longer confined to
the time of its happening, but
recurring over and over again in the
lives of individuals, inwardly in the
individuals who had ‘died together
with Christ’ and shared his risen
life – a coinherence which comes
up repeatedly in Bach’s arias. It was
therefore able to survive unscathed
the historical catastrophe some
thirty years later: the destruction in
70 AD of Jerusalem and its temple.
An event so appalling, so
contradictory of hopes, forced
attention to the question of what
was going on in the historical
process itself. History needed to be
written and, for the Christians, this
began with the Gospel of Mark.
This life of Jesus was imbued with
Paul’s principles, so much so that it
has been called a passion narrative
with a long prologue. It is short on
ethical teaching other than the
necessity for disciples of
participation in the death of their
master. It represents Jesus as
prophesying the ruin of the temple,
whose officials, the chief priests,
are about to lead his prosecution.
Matthew’s Gospel was a new
edition of Mark’s. It added
plentiful ethical teaching: the
Sermon on the Mount for
example. It also endorsed and
augmented Mark’s emphasis on
the passion. Emphasis on the
fulfilment of scriptural prophecy
was more insistent too. Jesus is the
prophet of his own sufferings, foreordained in scripture, at least nine
times in the course of the narrative.
This tragic inevitability was not
smoothly straightforward. As in
Mark, Jesus in the garden of
Gethsemane prayed for its
supension. Prophecy was in crisis.
Only through agonised struggle is
it restored: ‘Thy will be done’. It is
then fulfilled: first by the arrest in
Gethsemane and then by
Matthew’s addition to Mark’s
narrative of the purchase of the
Field of Blood with Judas’s blood
money. Matthew added a few
more incidents. He had Pilate’s
wife make a sympathetic
contribution from off-stage with
her dream of ‘that righteous man’.
Pilate exculpates himself by
washing his hands and guilt for the
passion is promptly taken up by ‘all
the people’: ‘His blood be on us and
on our children.’ None of this was
in Mark. By supplying it, Matthew
the Christian Jew savaged
orthodox, traditional Jews with an
injustice (Christ’s was a Roman
sentence and punishment) which
stuck in the later gospels of Luke
and John and poisoned the
Christian Church’s relations with
Judaism for the future. These
distortions became canonical
scripture which Bach could not,
even if he had wished, alter. And
they are, of course, great drama.
So, too, are the earthquake and
resurrection of holy men of old
(Abraham, Moses and others, we
Programme Notes
may imagine) at the moment of
Christ’s death, which Matthew
contributed to the story as
actualisations of the earth-shaking
significance of this point in time
and of its fulfilment of previous
sacred history. As a parting shot at
his orthodox Jewish enemies,
Matthew added the sealing and
guarding of the tomb which ends
Bach’s work.
Apart, that is, from the elegiac
recitative in which all four solo
voices, successively alternating
with the chorus, sing their remorse
and Jesus’s good night. It is
followed by the peace of the final
threnody*. The language is, as
usual in so many of the texts which
the libretto added to Matthew’s
narrative, intimate: ‘My Jesus,
goodnight!’, a maternal lullaby
which brings solace after all the
stress and strain. It is a resolution
won by sacrifice: ‘I weep for you in
penance and remorse (an echo of
the aria ‘Buss und Reu’) because
my lapse (‘Fall’) brought you such
suffering.’ And it is a peace shared
by us, performers and audience
together, at the deep psychological
level plumbed by music:
Your grave and tombstone
shall be a soft pillow
for the uneasy conscience
and a place for the soul to rest.
15
So Paul’s doctrines of Christ’s
redeeming death and of our
coinherence in him return one last
time. They do so in a way which is
not formally or merely
intellectually doctrinal but
shamelessly emotional. It needs to
be noticed and emphasised that
this deeply felt acceptance of
sacrifice, so marked in recitatives,
arias and choruses, is not stuck on
to Matthew’s passion narrative as a
(perhaps to us, rather embarrassing
extra where the words are
concerned) but part of the unity of
the whole masterpiece. Paul’s
doctrine was a matter of profound
feeling rather than dispassionate
philosophy, which he had no time
for. Mark and Matthew, as we
have seen, had absorbed it into
their passion narratives.
Martin Luther, the founder of
Bach’s own Lutheran Christianity,
revived it at the beginning of the
sixteenth century with
extraordinarily vivid eloquence. As
a monk he had been through a
major crisis of tormented
conscience and self condemnation
from which he was liberated by
reading the Bible. In the Psalms he
found emotional companionship.
‘Where do you find deeper, more
sorrowful, more pitiful words of
sadness than in the psalms of
lamentations? There you look into
the hearts of all saints, as into
death, nay, as into hell. How
gloomy and dark it is there!’ And
again ‘There you see into the hearts
of all the saints, as into lovely and
pleasant gardens, yes, as into
heaven itself, and see what fine and
gay flowers spring up out of fair
and happy thoughts towards God
because of his benefits.’ These are
words which might apply to the
experience of listening to Bach. In
any case, it was Paul’s doctrine of
Christ’s sacrificial death that cured
Luther’s psychological illness. He
made it abundantly and repeatedly
clear. ‘We can very well say with
St. Paul, “We will know nothing
save Christ, and him crucified.”’
‘Whence, then, is our defence?
Nowhere save from Christ and in
Christ. For if there shall come
some reproach against the heart
which believes in Christ, testifying
against him concerning some evil
deed, then it turns itself away and
turns to Christ (ad Christum!) and
says “But he made satisfaction. He
is the Righteous one,” this is my
defence. He died for me, he made
his righteousness to be mine, and
made my sin his own, and if he
made my sin his own, then I can
have it now no longer, and I am
free.’ For the other great sixteenth
century reformer, Calvin,
Christianity was an edifice of
Programme Notes
16
systematic doctrine founded on
Paul; but with Luther, as the
historian Harnack noticed, ‘the old
dogmatic Christianity was
discarded and a new evangelical
view was substituted for it’ – and
not so much a view as a heartfelt
love. What Luther said of the
sacrament of Communion can be
said of Bach’s passion music: ‘All
the spiritual possessions of Christ
and the saints are communicated to
him who receives this sacrament:
again, all his sufferings and sins are
communicated to them and love
engenders love and unites all.’ The
Matthew Passion is a decidedly
Lutheran work.
It is at the most emotional
moments in Matthew’s narrative
that Bach excels, communicating
its humanity, with all its various
moods and contradictions, to
performers and listeners with
music of the greatest power and
beauty. Peter’s bitter weeping is
followed by the pathos of the alto
aria ‘Erbarme dich’, ‘Have mercy.’
Matthew’s addition to Mark of
Judas’s remorse is followed by the
bass aria ‘Gebt mir meinen Jesu
wieder’, ‘O give me back my Jesus’
– a sympathetic aria for Judas. It
would not have been proper to give
an aria to Jesus himself, the
emotional focus of the whole work.
He either speaks the words of
scripture with the sparse
adornment of recitative or remains
silent (a silence delicately applied
to us in the tenor aria ‘Geduld’,
‘Patience’ and in the chorale
‘Befiehl du deine Wege’, ‘Entrust
your ways). But there is a near
exception. When Jesus at the last
supper utters the words which turn
Jewish Passover into Christian
Communion, making the bread his
body and the wine his blood, so
that his sacrifice can be physically
absorbed by his disciples ever after,
he does so with melody as beautiful
as any in the entire work – all but
aria. This is a clear indication of a
major fact. The function of all
Bach’s multifarious resources as
composer is to serve the story and
us by full participation of each in
each. There is no remainder or
mere adornment. Aesthetically,
this is the unity of a masterpiece.
Religiously, it is the complete
participation of the devotees
(believers is too intellectual a word)
in the object and subject of their
devotion. In a dedicated (why not
say devout?) performance of Bach’s
work the divisions between voices
and instruments, audience and
performers, words and music, are
removed and wholeness of mutual
attention achieved.
Programme notes by
John Drury ©2015
St Matthew Passion
Part I
Chorus
Kommt, ihr Töchter, helft mir klagen,
sehet - Wen? - den Bräutigam.
Seht ihn - Wie? - als wie ein Lamm!
Sehet, - Was? - seht die Geduld,
Seht - Wohin? - auf unsre Schuld;
Sehet ihn aus Lieb und Huld
Holz zum Kreuze selber tragen
Chorus
Come ye daughters, share my mourning;
See Him! Whom? The Bridegroom Christ.
See him! How? A spotless Lamb.
See it! What? His patient love.
Look! Look where? On our offence.
Look on him, For love of us
He Himself His Cross is bearing.
Ripieno
O Lamm Gottes, unschuldig
Am Stamm des Kreuzes geschlachtet,
Allzeit erfund’n geduldig,
Wiewohl du warest verachtet.
All Sünd hast du getragen,
Sonst müßten wir verzagen.
Erbarm dich unser, o Jesu!
Ripieno
O Lamb of God unspotted,
Upon the Cross Thou art, slaughtered.
Serene and ever patient,
Tho’ scorned and cruelly tortured.
All sin for our sake bearing.
Else would we die despairing.
Have pity on us, O Jesus.
Recitative
Evangelista: Da Jesus diese Rede vollendet hatte,
sprach er zu seinen Jüngern:
Christus: Ihr wisset, daß nach zweien Tagen Ostern
wird, und des Menschen Sohn wird überantwortet
werden, daß er gekreuziget werde.
Recitative
Evangelist: When Jesus had finished all these sayings,
He said unto His disciples;
Christ: Ye know that after two days is the Passover,
and the Son of Man is betrayed to be crucified.
Chorale
Herzliebster Jesu, was hast du verbrochen,
Daß man ein solch hart Urtheil hat gesprochen?
Was ist die Schuld, in was für Missethaten
Bist du gerathen?
Chorale
Ah, Jesus dear, what precept hast Thou broken,
That such a cruel judgement has been spoken?
Of what misdeed has Thou to make confession?
Of what transgression?
Recitative
Evangelista: Da versammleten sich die Hohenpriester
und Schriftgelehrten, und die Ältesten im Volk, in dem
Palast des Hohenpriesters, der da hieß Kaiphas, und
hielten Rath, wie sie Jesum mit Listen griffen und
tödteten. Sie sprachen aber:
Recitative
Evangelist: Then assembled together the chief priest,
and the scribes, and the elders of the people, unto the
palace of the high priest, who was called Caiaphas, and
consulted that they might take Jesus by subtlety, and kill
Him. But they said,
Chorus
Ja nicht auf das Fest, auf daß nicht ein Aufruhr werde im
Volk.
Chorus
Not upon the feast, lest haply there be an uproar among
the people.
Recitative
Evangelista: Da nun Jesus war zu Bethanien, im Hause
Simonis des Aussätzigen, trat zu ihm ein Weib, das hatte
ein Glas mit köstlichem Wasser, und goß es auf sein
Recitative
Evangelist: Now when Jesus was in Bethany, in the house
of Simon the leper, there came unto Him a woman,
having an alabaster box of very precious ointment, and
17
Haupt, da er zu Tische saß. Da das seine Jünger sahen,
wurden sie unwillig und sprachen:
poured it on His head, as He sat at meat. But when His
disciples saw it, they had indignation, saying:
Chorus
Wozu dienet dieser Unrath? Dieses Wasser hätte mögen
theuer verkauft und den Armen gegeben werden.
Chorus
To what purpose is this waste? For this ointment might
have been sold for much, and given to the poor?
Recitative
Evangelista: Da das Jesus merkete, sprach er zu ihnen:
Christus: Was bekümmert ihr das Weib? Sie hat ein gut
Werk an mir gethan!
Ihr habet allezeit Arme bei euch, mich aber habt ihr
nicht allezeit. Daß sie dies Wasser hat auf meinen Leib
gegossen, hat sie gethan, daß man mich begraben wird.
Wahrlich, ich sage euch: Wo dies Evangelium
geprediget wird in der ganzen Welt, da wird man auch
sagen zu ihrem Gedächtniss, was sie gethan hat.
Recitative
Evangelist: When Jesus understood it, He said unto them:
Christ: Why trouble ye the woman? For she hath
wrought a good work upon Me.
For ye have the poor always with you, but Me ye have
not always. For in that she hath poured this ointment on
My body, she did it for My burial. Verily I say unto you,
wheresoever this Gospel shall be preached in the whole
world, there shall also this, that this woman hath done,
be told of her for a memorial.
Recitative and Aria (Mezzo-Soprano)
Du lieber Heiland du,
Wenn deine Jünger thöricht streiten,
Daß dieses fromme Weib
Mit Salben deinen Leib
Zum Grabe will bereiten,
So lasse mir inzwischen zu,
Von meiner Augen Thränenflüssen
Ein Wasser auf dein Haupt zu Gießen!
Recitative and Aria (Mezzo-Soprano)
My Master and my Lord,
In vain do Thy disciples chide Thee,
Because this pitying woman,
With ointment sweet,
Thy flesh For burial maketh ready.
O grant to me, beloved Lord,
The tears where my heart o’erfloweth
An unction on Thy head may pour.
Buß und Reu
Knirscht das Sündenherz entzwei,
Daß die Tropfen meiner Zähren
Angenehme Specerei,
Treuer Jesu, dir gebähren.
Grief for sin
Rends the guilty heart within,
May my weeping and my mourning
Be a welcome sacrifice.
Loving Saviour, hear in mercy!
Recitative
Evangelista: Da ging hin der Zwölfen einer, mit Namen
Judas Ischarioth, zu den Hohenpriestern, und sprach:
Judas: Was wollt ihr mir geben? Ich will ihn euch
verraten.
Evangelista: Und sie boten ihm dreißig Silberlinge.
Und von dem an suchte er Gelegenheit, daß er ihn
verriete.
Recitative
Evangelist: Then one of the twelve, called Judas
Iscariot, went unto the chief priests, and said,
Judas: What will you give me, and I will deliver Him
unto you?
Evangelist: And they covenanted with him for thirty
pieces of silver. And from that time he sought
opportunity to betray Him.
Aria (Soprano)
Blute nur, du liebes Herz!
Ach! ein Kind, das du erzogen,
Das an deiner Brust gesogen,
Droht den Pfleger zu ermorden,
Denn es ist zur Schlange worden.
Aria (Soprano)
Break and die, thou dearest heart.
Ah! A child which Thou hast raised,
Which upon Thy breast remained,
Now a serpent has become.
Murder is the parent’s doom.
Recitative
Evangelista: Aber am ersten Tage der süßen Brot traten
die Jünger zu Jesu, und sprachen zu ihm:
Recitative
Evangelist: Now, the first day of the feast of unleavened
bread, the disciples came to Jesus, saying unto Him:
18
Chorus
Wo willst du, daß wir dir bereiten das Osterlamm zu
essen?
Chorus
Where wilt Thou that we prepare for Thee to eat the
Passover?
Recitative
Evangelista: Er sprach:
Christus: Gehet hin in die Stadt zu Einem, und sprecht
zu ihm ‘Der Meister läßt dir sagen: Meine Zeit ist hier,
ich will bei dir die Ostern halten mit meinen Jüngern’.
Evangelista: Und die Jünger thäten, wie ihnen Jesus
befohlen hatte, und bereiteten das Osterlamm. Und am
Abend setzte er sich zu Tische mit dem Zwölfen.
Und da sie aßen, sprach er:
Christus: Wahrlich, ich sage euch: Einer unter euch
wird mich verrathen.
Evangelista: Und sie wurden sehr betrübt, und huben
an, ein Jeglicher unter ihnen, und sagten zu ihm:
Chor: Herr bin ich’s?
Recitative
Evangelist: And he said:
Christ: Go into the City to such a man, and say unto
him, The Master saith: ‘My time is at hand, I will keep
the Passover at thy house with My disciples’.
Evangelist: And the disciples did as Jesus appointed
them, and they made ready the Passover. Now when the
even was come, He sat down with the twelve.
And as they did eat, He said:
Christ: Verily, I say unto you, that one of you shall betray
Me.
Evangelist: And they were exceedingly sorrowful and
began every one of them to say unto Him:
Chorus: Lord, Is it I?
Chorale
Ich bin’s, ich sollte büßen,
An Händen und an Füßen
Gebunden in der Höll,
Die Geißeln und die Banden,
Und was du ausgestanden,
Das hat verdienet meine Seel’.
Chorale
‘Tis I who should,
repenting in torture unrelenting,
endure the pains of hell
The Shackles and the scourges
Thou bore from sin to purge us,
Were by us all deserved full well.
Recitative
Evangelista: Er antwortete und sprach:
Christus: Der mit der Hand mit mir in die Schüssel
tauchet, der wird mich verrathen. Des Menschen Sohn
gehet zwar dahin, wie von ihm geschrieben
stehet; doch wehe dem Menschen, durch welchen des
Menschen Sohn verrathen wird. Es wäre ihm besser, daß
derselbige Mensch noch nie geboren wäre.
Evangelista: Da antwortete Judas, der ihn verrieth, und
sprach:
Judas: Bin ich’s Rabbi?
Evangelista: Er sprach zu ihm:
Christus: Du sagest¹s.
Evangelista: Da sie aber aßen, nahm Jesus das Brot
dankete und brach’s und gab’s den Jüngern und sprach:
Christus: Nehmet, esset, das ist mein Leib.
Evangelista: Und er nahm den Kelch, und dankete, gab
ihnen den und sprach:
Christus: Trinket Alle daraus; das ist mein Blut des
neuen Testaments, welches vergossen wird für Viele zur
Vergebung der Sünden. Ich sage euch: Ich werde von
nun an nicht mehr von diesem Gewächs des Weinstocks
trinken, bis an den Tag, da ich’s neu trinken werde mit
euch in meines Vaters Reich.
Recitative
Evangelist: And He answered and said:,
Christ: He that dippeth his hand with Me in the dish,
the same shall betray Me. The Son of Man goeth as it is
written of Him; but woe until that man by whom the
Son of Man is betrayed; it had been good for that man, if
he had not been born.
19
Evangelist: Then answered Judas, which betrayed Him,
and said
Judas: Master is it I?
Evangelist: He said unto him
Christ: Thou hast said.
Evangelist: And as they were eating, Jesus took bread, and
blessed it, and brake it, and gave it to His disciples, and said:
Christ: Take, eat, this is My Body
Evangelist: And He took the cup, and gave thanks, and
gave it to them, saying:
Christ: Drink ye all of it; for this is My Blood of the
New Testament, which is shed for many for the
remission of sins. But I say unto you: I will not drink
henceforth of this fruit of the wine, until that day when I
drink it new with you in My Father’s Kingdom.
Recitative and Aria (Soprano)
Wiewohl mein Herz in Thränen schwimmt
Daß Jesus von uns Abschied nimmt,
So macht mich doch sein Testament erfreut:
Sein Fleisch und Blut, o Kostbarkeit,
Vermacht er mir in meine Hände.
Wie er es auf der Welt mit denen Seinen
Nicht böse können meinen,
So liebt er sie bis an das Ende.
Recitative and Aria (soprano)
Although my eyes with tears o’erflow,
Since Jesus now must from us go,
His gracious promise doth the soul uplift.
His Flesh and Blood, O precious gift!
He leaves us for our soul¹s refreshment,
As He while in the world did love His own,
So now, with love unchanging,
He loves them unto the end.
Ich will dir mein Herze schenken,
Senke dich, mein Heil, hinein.
Ich will mich in dir versenken;
Ist dir gleich die Welt zu klein,
Ei, so sollst du mir allein
Mehr als Welt und Himmel sein.
Jesus, Saviour, I am Thine,
Come and dwell my heart within.
All things else I count but loss,
Glory only in Thy Cross.
Dearer than the world beside
Is the Saviour who hath died.
Recitative
Evangelista: Und da sie den Lobgesang gesprochen
hatten, gingen sie hinaus an den Ölberg. Da sprach Jesus
zu ihnen:
Christus: In dieser Nacht werdet ihr euch Alle ärgern an
mir. Denn es stehet geschrieben: Ich werde den Hirten
schlagen, und die Schafe der Herde werden sich
zerstreuen. Wann ich aber auferstehe, will ich vor euch
hingehen in Galiläam.
Recitative
Evangelist: And when they had sung a hymn, they went
out to the Mount of Olives. Then saith Jesus unto them,
Chorale
Erkenne mich, mein Hüter,
Mein Hirte, nimm mich an!
Von dir, Quell aller Güter,
Ist mir viel Gut’s gethan.
Dein Mund hat mich gelabet
Mit Milch und süßer Kost,
Dein Geist hat mich begabet
Mit mancher Himmelslust.
Chorale
Remember mem my saviourm
My Shepherd, take thou me;
The source of every blessing,
Wilt Thou forever be.
By Thine abundance nourished,
With milk and honey blest,
Thy spirit brings me comfort
and heavenly joy and rest.
Recitative
Evangelista: Petrus aber antwortete und sprach zu ihm:
Petrus: Wenn sie auch Alle sich an dir ärgerten, so will
ich doch mich nimmermehr ärgern.
Evangelista: Jesus sprach zu ihm:
Christus: Wahrlich, ich sage dir: In dieser Nacht, ehe
der Hahn krähet, wirst du mich dreimal verläugnen.
Evangelista: Petrus sprach zu ihm:
Petrus: Und wenn ich mit dir sterben müßte,
so will ich dich nicht verläugnen.
Evangelista: Dessgleichen sagten auch alle Jünger.
Recitative
Evangelist: Peter answered, and said unto Him,
Peter: Though all men shall be offended because of
Thee, yet will I never be offended.
Evangelist: Jesus said unto him:
Christ: Verily I say unto thee, that this night before the
cock crow, thou shalt deny Me thrice.
Evangelist: Peter said unto Him:
Peter: Though I should die with Thee, yet will I not
deny Thee.
Evangelist: Likewise also said all the disciples.
Chorale
Ich will hier bei dir stehen; verachte mich doch nicht!
Von dir will ich nicht gehen,
Wenn Dir dein Herze bricht.
Wann dein Herz wird erblassen
Im lezten Todesstoß,
Chorale
I stand here close beside Thee,
Thine anguish I would share.
O Lord, do no despise me,
In this Thine heart’s despair.
For when Thy heart is drooping in deaths last agony,
20
Christ: All ye shall be offended because of Me this
night, for it is written, I will smite the shepherd, and the
sheep of the flock shall be scattered abroad. But after
I am risen again, I will go before you into Galilee.
Alsdenn will ich dich fassen
In meinen Arm und Schoß.
My arms will be about Thee
and hold Thee close to me.
Recitative
Evangelista: Da kam Jesus mit ihnen zu einem Hofe,
der hieß Gethsemane, und sprach zu seinen Jüngern:
Christus: Setzet euch hier, bis daß ich dorthin gehe und bete.
Evangelista: Und nahm zu sich Petrum und die zween
Söhne Zebedäi und fing an zu trauern und zu zagen.
Da sprach Jesus zu ihnen:
Christus: Meine Seele ist betrübt bis an den Tod, bleibet
hie und wachet bei mir.
Recitative
Evangelist: Then cometh Jesus with them unto a place
called Gethsemane, and saith unto the disciples:
Christ: Sit ye here, while I go yonder and pray.
Evangelist: And He took with Him Peter and the two
sons of Zebedee, and began to be sorrowful, and very
heavy. Then saith He unto them,
Christ: My soul is exceedingly sorowful, even unto
death! Tarry ye here and watch with Me.
Recitative und Chorale
Tenor: O Schmerz! hier zittert das gequälte Herz.
Wie sinkt es hin, wie bleicht sein Angesicht!
Der Richter führt ihn vor Gericht,
Da ist kein Trost, kein Helfer nicht.
Er leidet alle Höllenqualen,
Er soll für fremden Raub bezahlen.
Ach, könnte meine Liebe dir,
Meine Heil, dein Zittern und dein Zagen
Vermindern oder helfen tragen,
Wie gerne blieb ich hier!
Chor: Was ist die Ursach’ aller solcher Plagen?
Ach! meine Sünden haben dich geschlagen!
Ich, ach Herr Jesu, habe dies verschuldet,
Was du erduldet!
Recitative and Chorale
Tenor: O grief! how throbs His heavy-laden breast!
His spirit faints, how pale His weary face!
He to the Judgement-hall is brought,
There is no help, no comfort near.
The powers of darkness now assail Him,
His chosen friends will soon forsake Him.
Ah! if my love Thy stay could be.
If I could gauge Thy grief, and share it,
Could make it less, or help to bear it,
How gladly would I watch with Thee.
Choir: My Saviour, why must all this ill befall Thee?
My sin, alas! from highest Heaven did call Thee.
God took the debt from me, who should have paid.
On Thee He laid it.
Aria (Tenor) with Choir
Tenor: Ich will bei meinem Jesu wachen.
Chor: So schlafen unsre Sünden ein.
Tenor: Meinen Tod büßet seiner Seelen noth;
Sein Trauren machet mich voll Freuden.
Chor: Drum muß uns sein verdienstlich Leiden
Recht bitter und doch süße sein.
Aria (Tenor) with Choir
Tenor: I would beside my Lord be watching,
Choir: So all our sins will fall asleep.
Tenor: I am saved from sin and loss by His cross,
His sorrows win my soul its ransom.
Choir: His pain and woe and all His sadness,
How bitter and how sweet are they.
Recitative
Evangelista: Ung ging hin ein wenig, fiel nieder auf sein
Angesicht, und betete, und sprach:
Christus: Mein Vater, ist’s möglich, so gehe dieser Kelch
von mir; doch nicht wie ich will, sondern wie du willst.
Recitative
Evangelist: And He went a little farther, and fell on His
face and prayed, saying,
Christ: My Father, if it be possible, let this cup pass from
me, yet not as I will, but as Thou wilt.
Recitative and Aria (Bass)
Der Heiland fällt vor seinem Vater nieder,
Dadurch erhebt er mich und Alle von unserm Falle
Hinauf zu Gottes Gnade wieder.
Er ist bereit,
Den Kelch, des Todes Bitterkeit zu trinken,
In welchen Sünden dieser Welt
Gegossen sind und häßlich stinken,
Weil es dem lieben Gott gefällt.
The Saviour falleth low before His Father,
Thereby He raiseth me and all The Sons of Adam,
To taste once more the grace of God.
He is prepared,
The cup of deathly bitterness to swallow,
In which the sins of all the world
Are poured, and foul the dregs;
Because the Father’s will is so.
21
Gerne will ich mich bequemen
Kreuz und Becher anzunehmen,
Trink ich doch dem Heiland nach.
Denn sein Mund, der mit Milch und Honig fließet,
Hat den Grund und des Leidens herbe Schmach
Durch den ersten Trunk versüßet.
Gladly will I, fear disdaining,
Drink the cup without complaining,
Drink it as my Saviour did.
By His lips, with milk and honey flowing,
All the shame and bitterness has been hid,
Sweetness on its dregs bestowing.
Recitative
Evangelista: Und er kam zu seinen Jüngern und fand sie
schlafend, und sprach zu ihnen:
Christus: Könnet ihr denn nicht eine Stunde mit mir
wachen? Wachet und betet, daß ihr nicht in Anfechtung
fallet! Der Geist ist willig, aber das Fleisch ist schwach.
Evangelista: Zum andernmal ging er hin, betete und
sprach:
Christus: Mein Vater, ist¹s nicht möglich, daß dieser
Kelch von mir gehe, ich trinke ihn denn, so geschehe
dein Wille.
Recitative
Evangelist: And He cometh unto the disciples, and
findeth them asleep, and saith unto Peter:
Christ: What, could ye not watch with Me one hour?
Watch and pray that ye enter not into temptation; the
spirit indeed is willing but the flesh is weak.
Evangelist: He went away again the second time, and
prayed, saying:
Christ: O My Father, if this cup may not pass away from
Me except I drink it, Thy will be done.
Chorale
Was mein Gott will, das g’scheh altzeit,
Sein Will, der ist der beste;
Zu helfen den’n er ist bereit,
Die an ihn glauben feste.
Er hilft aus Noth,
der fromme Gott,
Und züchtiget mit Maßen.
Wer Gott vertraut,
fest auf ihn baut,
Den will er nicht verlassen.
Chorale
What Gold resolves he will achieve.
His will is perfect ever.
He succors all who firm believe,
And for the best endeavour.
Our help in need,
Our god indeed,
With gentle moderation.
He chastens us;
If Him we trust,
We need not fear damnation
Recitative
Evangelista: Und er kam und fand sie aber schlafend,
und ihre Augen waren voll Schlaf ’s. Und er ließ sie, und
ging abermals hin, und betete zum dritten Mal und
redete dieselbigen Worte. Da kam er zu seinen Jüngern,
und sprach zu ihnen:
Christus: Ach! wollt ihr nun schlafen und ruhen? Siehe,
die Stunde ist hier, daß des Menschen Sohn in der
Sünder Hände überantwortet wird. Stehet auf, lasset uns
gehen; siehe, er ist da, der mich verräth.
Evangelista: Und als er noch redete, siehe, da kam
Judas, der Zwölfen einer, und mit ihm eine große Schar,
mit Schwertern und mit Stangen, von den
Hohenpriestern und Ältesten des Volks. Und der
Verräther hatte ihnen ein Zeichen gegeben, und gesagt:
‘Welchen ich küssen werde, der ist’s, den greifet!’ Und
alsbald trat er zu Jesum und sprach:
Judas: Gegrüßet sei’st du, Rabbi!
Evangelista: Und küssete ihn. Jesus aber sprach zu ihm:
Christus: Mein Freund, warum bist du kommen?
Evangelista: Da traten sie hinzu and legten die Hände
an Jesum, und griffen ihn.
Recitative
Evangelist: And He came and found them asleep again,
for their eyes were heavy. And He left them, and went
away again, and prayed the third time, saying the same
words. Then cometh He to His disciples, and saith unto
them:
Christ: Sleep on now, and take your rest, behold the
hour is at hand, and the Son of Man is betrayed into the
hands of sinners. Rise, let us be going; behold, he is at
hand that doth betray Me.
Evangelist: And while He yet spoke, Judas, one of the
twelve, came, and with him a great multitude with
swords and staves from the chief priests and elders of the
people. Now he that betrayed Him, gave them a sign,
saying: ‘Whomsoever I shall kiss, that same is He, hold
Him fast.’ And forthwith he came to Jesus, and said:
22
Judas: Hail Master!
Evangelist: and kissed Him. And Jesus said unto him:
Christ: Friend, wherefore art thou come?
Evangelist: Then came they and laid hands on Jesus and
took Him.
Duet (Soprano and Mezzo-Soprano) with Choir
Soprano, Mezzo-soprano: So ist mein Jesus nun
gefangen.
Mond und Licht
Ist vor Schmerzen untergangen,
Weil mein Jesus ist gefangen
Sie füren ihn, er ist gebunden.
Chor: Laßt ihn, haltet, bindet nicht!
Sind Blitze, sind Donner in Wolken verschwunden?
Eröffne den feurigen Abgrund, o Hölle,
Zertrümmre, verderbe, verschlinge, zerschelle
Mit plötzlicher Wuth
Den falschen Verräther, das mördrische Blut.
Duet (Soprano and Mezzo-Soprano) with Choir
Soprano, Mezzo-soprano: Behold, my saviour now is
taken.
Moon and stars
Have for grief the night forsaken,
Since my Saviour now is taken.
They lead Him hence; with cords they bind Him!
Choir: Loose Him! Leave Him! Bind Him not!
Have lightnings and thunders their fury forgotten?
Then open, O fathomless pit, all thy terrors!
Destroy them, o’erwhelm them, devour them,
Consume them with tumult rage,
The treach’rous betrayer, the merciless throng.
Recitative
Evangelista: Und siehe, Einer aus denen, die mit Jesu
waren, reckete die Hand aus, und schlug des Hohenpriesters
Knecht und hieb ihm ein Ohr ab. Da sprach Jesus zu ihm:
Christus: Stecke dein Schwert an seinen Ort; denn wer
das Schwert nimmt, der soll durchs Schwert
umkommen. Oder meinest du, daß ich nicht könnte
meinen Vater bitten, daß er mir zuschickte mehr denn
zwölf Legion Engel? Wie würde aber die Schrift
erfüllet? Es muß also gehen.
Evangelista: Zu der Stund’ sprach Jesus zu den Scharen:
Christus: Ihr seid ausgegangen, als zu einem Mörder,
mit Schwertern und mit Stangen, mich zu fahen, bin ich
doch täglich bei euch gesessen und habe gelehret im
Tempel, und ihr habt mich nicht gegriffen. Aber das ist
Alles geschehen, daß erfüllet würden die Schriften der
Propheten.
Evangelista: Da verließen ihn alle Jünger und flohen.
Recitative
Evangelist: And behold, one of which were with Jesus
stretched out his hand, and struck a servant of the High
Priest¹s and smote off his ear. Then Jesus said to him
Christ: Put up thy sword into its place, for all they that
take the sword, shall perish with the sword. For thinkest
thou that I cannot now pray to My Father, and He shall
presently give Me more then twelve legions of angels?
But how then shall the Scriptures be fulfilled, that thus it
must be?
Evangelist: In that hour, said Jesus to the multitudes:
Christ: Are ye come out, as against a thief, with swords
and with staves for to take Me? I sat daily with you
teaching in the temple and ye laid no hold on Me. But all
this was done, that the Scriptures of the Prophets might
be fulfilled.
Chorale
O Mensch, bewein’ dein’ Sünde groß,
Darum Christus sein’s Vaters Schoß
äußert, und kam auf Erden;
Von einer Jungfrau rein und zart
Für uns er hie geboren ward,
Er wollt’ der Mittler werden.
Den’n Todten er das Leben gab
und legt dabei all Krankheit ab,
Bis sich die Zeit herdrange,
Daß er für uns geopfert würd¹,
Trüg’ unsrer Sünden schwere Bürd’
Wohl an dem Kreuze lange.
Chorale
O man,thy heavy sin lament,
For which the Son of God was sent
To die upon the cross.
He left His Father’s throne above
To save thy soul, o wondrous love!
From everlasting loss.
He healed the sick. He raised the dead,
And hungry multitudes He fed,
Until the time drew nigh,
When He should be betrayed and slain,
That we God’s pardon might obtain.
O praise the lamb, the lamb for aye!
Evangelist: Then all the disciples forsook Him, and fled.
INTERVAL
23
Part II
Part II
Aria (Mezzo-soprano) with Choir
Mezzo-soprano: Ach nun is mein Jesus hin!
Ist es möglich, kann ich schauen?
Ach! mein Lamm in Tigerklauen,
Ach! wo ist mein Jesus hin?
Ach was soll ich der Seele sagen,
Wenn sie mich wird ängstlich fragen?
Ach wo is mein Jesus hin?
Aria (Mezzo-soprano) with Choir
Mezzo-soprano: Ah! Now is my Saviour gone!
Is it possible? How can I behold it?
Ah! My Lamb, in tiger’s clutches!
Ah! Where is my Saviour gone!
Ah! How shall I answer my soul
When she anxiously doth ask me:
Whither is my beloved gone?
Chor: Wo ist denn dein Freund hingegangen,
Mezzo-soprano: O du Schönste unter den Wiebern?
Wo hat sich dein Freund hingewandt?
So wollen mir mit dir ihn suchen.
Choir: How we would go with thee to seek Him.
Mezzo-soprano: Ah! How I shall find an answer
To assure my anxious soul?
Ah! Where is my Saviour gone?
Recitative
Evangelista: Die aber Jesum gegriffen hatten, führeten
ihn zu dem Hohenpriester Kaiphas, dahin die
Schriftgelehrten und Ältsesten sich versammlet hatten.
Petrus aber folgete ihm nach von ferne, bis in den Palast
des Hohenpriesters; und ging hinein und setzte sich bei
den Knechte, auf daß er sähe, wo es hinaus wollte. Die
Hohenpriester aber und Ältesten und der ganze Rath
suchten falsches Zeugnis wider Jesum, auf daß sie ihn
tödteten; und fanden keines.
Recitative
Evangelist: And they that had laid hold of Jesus led
Him away to the High Priest, Caiaphas, where the
scribes and the elders were gathered together. Simon
Peter followed Him afar off, unto the palace of the High
Priest, and went in, and sat with the servants, that he
might see how all would be ended. Now the chief priest,
and the elders, and all the Council, sought false witness
against Jesus, that He might be put to death; but found
they none.
Chorale
Mir hat die Welt trüglich gericht’t
Mit Lügen und mit falschem G’dicht,
Viel Netz und heimlich Stricken.
Herr, nimm mein wahr in dieser G’fahr,
B’hüt’ mich vor falschen Tükken!
Chorale
The world, with treachery complete,
With lies and fraud and flas deceit
Would tangle and ensnare me.
Lord, keep Thou me from danger free
From evil malice spare me!
Recitative
Evangelista: Und wiewohl viel falsche Zeugen
herzutraten, fanden sie doch keins. Zuletzt traten herzu
zween falsche Zeugen und sprachen:
Erster und Zweiter Zeuge: Er hat gesagt ‘Ich kann den
Tempel Gottes abbrechen, und in dreien Tagen
denselben bauen.’
Evangelista: Und der Hohepriester stand auf und
sprach zu ihm:
Pontifex: Antwortest du nichts zu dem, was diese wider
dich zeugen?
Evangelista: Aber Jesus schwieg stille.
Recitative
Evangelist: Yea, though many false witnesses came
forward, yet found they none. At the last there came two
false witnesses, and said:
False Witnesses: This fellow said, I am able to destroy
the temple of God, and to build it in three days.
Recitative and Aria (Tenor)
Mein Jesus schweigt zu falschen Lügen stille, um uns
damit zu zeigen, daß sein erbarmens voller Wille vor uns
zum Leiden sei geneigt, und daß wir in dergleichen Pein
ihm sollen ähnlich sein, und in Verfolgung stille schweigen.
Recitative and Aria (Tenor)
My Jesus holds His peace though men accuse Him
falsely, that thereby He may show us how deep
compassion works within Him to bear our sorrows in
His heart. So we, when called to suffer wrong, should try
to be like Him, and in affliction hold our peace.
24
Evangelist: And the High Priest then arose and said to
Him:
High Priest: Answerest Thou nothing? What is it,
which these witness against Thee?
Evangelist: But Jesus held his peace.
Geduld, Geduld!
Wenn mich falsche Zungen stechen.
Leid ich wider meine Schuld
Schimpf und Spott
Ei, so mag der liebe Gott meines Herzens Unschuld
rächen
Endure, endure
Even lying tongues and taunting
Suffer thou, in faith secure,
Scourge and rod,
Wait till justice of our God Smite their hearts with
sword avenging.
Recitative
Evangelista: Und der Hohepriester antwortete und
sprach zu ihm:
Pontifex: Ich beschwöre dich bei dem lebendigen Gott,
daß du uns sagest, ob du seiest Christus, der Sohn Gottes?
Evangelista: Jesus sprach zu ihm:
Christus: Du sagest’s. Doch sage ich euch: Von nun an
wird¹s geschehen, daß ihr sehen werdest des Menschen
Sohn sitzen zur Rechten der Kraft, und kommen
in den Wolken des Himmels.
Evangelista: Da zerriß der Hohepriester seine Kleider
und sprach:
Pontifex: Er hat Gott gelästert; was dürfen wir weiter
Zeugniss? Siehe, jetzt habt ihr seine Gotteslästerung
gehöret. Was dünket euch?
Evangelista: Sie antworteten, und sprachen:
Chor: Er ist des Todes schuldig!
Recitative
Evangelist: And the High Priest answered and said
unto Him:
High Priest: I adjure Thee by the living God, that Thou
tell us, whether Thou be the Christ, the Son of God.
Evangelist: Jesus saith unto him:
Christ: Thou hast said: nevertheless I say unto you;
Hereafter shall ye see the Son of hand sitting on the right
hand of power, and coming in the clouds of Heaven.
Recitative
Evangelista: Da speieten sie aus in sein Angesicht, und
schlugen ihn mit Fäusten. Etliche aber schlugen ihn in’s
Angesicht, und sprachen:
Chor: Weissage und, Christe, wer ist’s, der dich schlug?
Recitative
Evangelist: Then did they spit in His face, and buffeted
Him, and others smote Him with the palm of their
hands, saying,
Chief Priests, Scribes, Elders: Now tell us, Thou
Christ, who is he that smote Thee?
Chorale
Wer hat dich so geschlagen,
Mein Heil, und dich mit Plagen
So übel zugericht?
Du bist ja nicht ein Sünder
Wie wir und unsre Kinder;
Von Missethaten weißt du nicht.
Chorale
Who was it, Lord, did smite Thee,
Thy good with ill requite Thee,
So foully treated Thee?
For thou wert no offender,
Nor didst to sin surrender;
From evil Thou wert ever free
Recitative
Evangelista: Petrus aber saß draußen im Palast; und es
trat zu ihm eine Magd, und sprach:
Anchilla I: Und du warest auch mit dem Jesus aus Galiläa.
Evangelista: Er läugnete aber vor ihnen allen, und sprach:
Petrus: Ich weiß nicht, was du sagest.
Evangelista: Als er aber zu Thür hinausging, sahe ihn
eine andere, und sprach zu denen, die da waren:
Anchilla II: Dieser was auch mit dem Jesu von Nazareth.
Evangelista: Und er läugnete abermal und schwur dazu:
Petrus: Ich kenne des Menschen nicht.
Evangelista: Und über eine kleine Weile traten hinzu,
die da standen, und sprachen zu Petro:
Chor: Wahrlich, du bist auch einer von denen; denn
deine Sprache verräth dich.
Recitative
Evangelist: Now Peter sat without in the palace, and a
maid came unto him, saying:
First Maid: Thou also wast with Jesus of Galilee.
Evangelist: But he denied before them all, saying:
Peter: I know not what you sayest.
Evangelist: And when he was gone out into the porch,
another maid saw him and said unto them that were there:
Second Maid: This fellow was also with Jesus of Nazareth
Evangelist: And again he denied with an oath:
Peter: I do not know the man.
Evangelist: And after a while came unto him they that
stood by, and said to Peter:
Bystanders: Surely thou also art one of them, for thy
speech betrayeth thee.
25
Evangelist: Then the High Priest rent his clothes,
saying:
High Priest: He hath spoken blasphemy; What further
need have we of witnesses? Behold, now ye have heard
His blasphemy. What think ye?
Evangelist: They answered and said,
Chief Priests, Scribes, Elders: He is worthy of death.
Recitative
Evangelista: Da hub er an sich zu verfluchen und zu
schwören:
Petrus: Ich kenne des Menschen nicht.
Evangelista: Und alsbald krähete der Hahn. Da dachte
Petrus an die Worte Jesu, da er zu ihm sagte: ‘Ehe der
Hahn krähen wird, wirst du mich dreimal verläugnen.’
Und ging heraus, und weinete bitterlich.
Recitative
Evangelist: Then began he to curse and to swear, saying:
Aria (Mezzo-soprano)
Erbarme dich,
Mein Gott, um meiner Zähren willen;
Schaue hier,
Herz und Auge weint vor dir
Bitterlich.
Aria (Mezzo-soprano)
Have mercy, Lord, on me,
Regard my bitter weeping,
Look at me, heart and eyes
Both weep to Thee bitterly.
Have mercy, Lord!
Chorale
Bin ich gleich von dir gewichen,
Stell’ ich mich doch wieder ein;
Hat uns doch dein Sohn verglichen
Durch sein’ Angst und Todespein.
Ich verleugne nicht die Schuld,
Aber deine Gnad’ und Huld
Ist viel größer als die Sünde,
Die ich stets in mir befinde.
Chorale
Tho’ from Thee temptation lured me,
Lord, to Thee I come again.
Thy forgiveness is assured me through
Thy son’s despair and pain.
I do not deny my guilt,
But Thy mercy, if Thou Wilt,
Far exceedeth my transgression,
Of which I must make confession.
Recitative
Evangelista: Des morgens aber hielten alle Hohepriester
und die Ältesten des Volks einen Rath über Jesum, daß
sie ihn tödteten. Und banden ihn, führeten ihr hin, und
überantworteten ihn dem Landplfeger Pontio Pilato. Da
das sahe Judas, der ihn verrathen hatte, daß er verdammt
war zum Tode, gereuete es ihn, und brachte her wieder
die dreißig Silberlinge den Hohenpriestern und Ältesten
und sprach:
Judas: Ich habe übel gethan, daß ich unschuldig Blut
verrathen habe.
Evangelista: Sie sprachen
Chor: Was gehet uns das an? Da siehe du zu!
Recitative
Evangelist: When the morning was come, all the chief
priests and elders of the people took counsel against
Jesus to put Him to death. And they bound Him, they
led Him away, and delivered Him to Pontius Pilate the
governor. Then Judas, which had betrayed Him, when
he saw that He was condemned, repented himself and
brought again the thirty pieces of silver to the chief
priests and elders, saying:
Judas: I have sinned, in that I have betrayed the innocent
blood.
Evangelist: And they said,
Chief Priests, Elders: But what is that to us? See thou
to that.
Recitative
Evangelista: Und er warf die Silberlinge in den Tempel,
hub sich davon, ging hin, und erhängete sich selbst. Aber
die Hohenpriester nahmen die Silberlinge, und sprachen:
Pontifices: Es taugt nicht, daß wir sie in den
Gotteskasten legen, denn es ist Blutgeld.
Recitative
Evangelist: And he cast down the pieces of silver in the
temple, and departed, and went and hanged himself.
And the chief priests took the silver pieces, and said,
Chief Priests: It is not lawful for us to put them into the
treasury, because it is the price of blood.
Aria (Bass)
Gebt mir meinen Jesum wieder!
Seht, das Geld, den Mörderlohn,
Wirft euch der verlorne Sohn
Zu den Füßen nieder!
Aria (Bass)
Give, O give me back my Lord,
See the silver, price of blood,
At your feet in horror pour’d
By the lost betrayer.
26
Peter: I know not the man.
Evangelist: And immediately the cock crew. And Peter
remembered the word of Jesus, which said unto him:
‘Before the cock crow, thou shalt deny Me
thrice.’ And he went out, and wept bitterly.
Evangelista: Und er antwortete ihm nicht auf ein Wort,
also daß sich auch der Landpfleger sehr verwunderte.
Recitative
Evangelist: And they took counsel together, and
brought with them the potter’s field, to bury strangers in.
Wherefore that field was called the field of blood, unto
this day. Then was fulfilled that which was spoken by
Jeremiah the Prophet, saying, ‘And they took the thirty
pieces of silver, the price of Him that was valued, whom
they bought of the children of Israel, and gave them for
the potter’s field, as the Lord appointed me’ And
Jesus stood before the governor and the governor asked
Him, saying:
Pilate: Art Thou the King of Jews?
Evangelist: And Jesus said unto him,
Christ: Thou sayest.
Evangelist: And when He was accused of the chief
priests and elders, He answered nothing. Then said
Pilate unto Him:
Pilate: Hearest Thou not how many things they witness
against Thee?
Evangelist: And He anwered him never a word,
insomuch that the governor marvelled greatly.
Chorale
Befiehl du deine Wege,
Und was dein Herze kränkt
Der allertreusten Pflege dess,
der den Himmel lenkt.
Der Wolken, Luft und Winden
giebt Wege, Lauf und Bahn,
Der wird auch Wege finden
Da dein Fuß gehen kann.
Chorale
Entrust thy ways unto Him,
and all thy spirit craves,
The every faithful Guardian,
who guides the wind and waves.
Who rules the clouds of heaven
and bids the breezes blow,
He best can choose the pathway
on which our steps should go.
Recitative
Evangelista: Auf das Fest aber hatte der Landpfleger
Gewohnheit, dem Volk einen Gerfangenen
loszugeben, welchen sie wollten. Er hatte aber zu der
Zeit einen Gefangenen, einen sonderlichen vor andern,
der hieß Barrabas. Und da sie versammlet waren,
sprach Pilatus zu ihnen:
Pilatus: Welchen wollet ihr, daß ich euch losgebe?
Barrabam oder Jesum, von dem gesaget wird, er sei Christus.
Evangelista: Denn er wusste wohl, daß sie ihn aus Neid
überantwortet hatten. Und da er auf dem Richtstuhl saß,
schickete sein Weib zu ihm und ließ ihm sagen:
Uxor Pilati: Habe du nichts zu schaffen mit diesem
Gerechten; ich habe heute viel erlitten im Traum von
seinetwegen!
Evangelista: Aber die Hohenpriester und die Ältesten
überredeten das Volk, daß sie um Barrabam bitten
sollten, und Jesum umbrächten. Da antwortete nun
der Landpfleger, und sprach zu ihnen:
Pilatus: Welchen wollt ihr unter diesen zweien, den ich
euch soll losgeben?
Evangelista: Sie sprachen:
Chor: Barrabam!
Recitative
Evangelist: Now at the feast the governor was wont to
release unto the people a prisoner, whom they would.
And they had then a notable prisoner called Barabbas.
Therefore when they were gathered together, Pilate said
unto them:
Recitative
Evangelista: Sie hielten aber einen Rath und kauften
einen Töpfersacker darum, zum Begräbnis der Pilger.
Daher ist derselbige Acker genennet der Blutacker bis
auf den heutigen Tag. Da ist erfüllet, das gesagt ist durch
den Propheten Jeremias, da er spricht: ‘Sie haben
genommen dreißig Silberlinge, damit bezahlet ward der
Verkaufte, welchen sie kauften von den Kindern Israel,
und haben sie gegeben um einen Töpfersacker, als mir
der Herr befohlen hat.’ Jesus aber stund vor dem
Landpfleger; und der Landpfleger fragte ihn, und sprach:
Pilatus: Bist du der Jüden König?
Evangelista: Jesus aber sprach zu ihm:
Christus: Du sagest’s.
Evangelista: Und da er verklagt ward von den
Hohenpriestern und Ältesten, antwortete er nichts. Da
sprach Pilantus zu ihm:
Pilatus: Hörest du nicht, wie hart sie dich verklagen?
27
Pilate: Whom will ye that I release unto you? Barabbas,
or Jesus, which is called Christ?
Evangelist: For he knew that for envy they had delivered
Him. When he was set down on the judgment seat, his
wife sent unto him, saying:
Pilate’s Wife: Have thou nothing to do with that just
man! For I have suffered many things this day in a dream
because of Him.
Evangelist: But the Chief Priests and elders persuaded
the multitude that they should ask Barabbas and destroy
Jesus. The governor answered and said unto them:
Pilate: Which of the twain will ye that I release unto you?
Evangelist: They said:
Multitude: Barabbas!
Evangelista: Pilatus sprach zu ihnen:
Pilatus: Was soll ich denn machen mit Jesu, von dem
gesagt wird, er sei Christus?
Evangelista: Sie sprachen alle:
Chor: Laß ihn kreuzigen!
Evangelist: Pilate said unto them:
Pilate: What shall I do then with Jesus, which is called
Christ?
Evangelist: They all say unto him,
Multitude: Let him be crucified.
Chorale
Wie wunderbarlich ist doch diese Strafe!
Der gute Hirte leidet für die Schafe,
Die Schuld bezahlt der Herre, der Gerechte,
Für seine Knechte!
Chorale
How strange, how wondrous strange, this crucifixtion;
The Shepherd for His sheep must bear affliction,
The good King pays his subjects obligation,
despite His station!
Recitative
Evangelista: Der Landpfleger sagte:
Pilatus: Was hat er denn Übels gethan?
Recitative
Evangelist: And the governor said,
Pilate: Why, what evil has He done?
Er hat uns Allen wohlgethan,
Den Blinden gab er das Gesicht,
Die Lahmen macht’ er gehend;
Er sagt’ uns seines Vaters Wort,
Er trieb die Teufel fort,
Betrübte hat er aufgericht’t,
Er nahm die Sünder auf und an;
Sonst hat mein Jesus nichts gethan.
Aus Liebe will main Heiland sterben,
Von einer Sünde weiß er nichts.
Daß das ewige Verderben
Und die Srafe des Gerichts
Nicht auf meiner Seele bliebe.
To us He hath done all things well;
The blind man sight from Him received,
The lame man leaped and walked;
He told us of His Father’s word;
He sent the devils forth,
The mourners He hath comforted
And the sinners, too, He hath received,
Besides this, Jesus nought hath done.
For love my Saviour now is dying,
Of sin and guilt He knoweth nought,
So eternal desolation
And the sinner’s righteous doom
Shall not rest upon spirit
Recitative
Evangelista: Sie schrieen aber noch mehr, und sprachen:
Chor: Laß ihn kreuzigen!
Evangelista: Da aber Pilatus sahe, daß er nichts
schaffete, sondern daß ein viel größer Getümmel ward,
nahm er Wasser, und wusch die Hände vor dem Volk
und sprach:
Pilatus: Ich bin unschuldig an dem Blut dieses
Gerechten, sehet ihr zu.
Evangelista: Da antwortete das ganze Volk und sprach:
Chor: Sein Blut komme über uns und unsre Kinder.
Evangelista: Da gab er ihnen Barrabam los; aber Jesum
ließ er geißeln und überantwortete ihn, daß er
gekreuziget würde.
Recitative
Evangelist: But they cried out the more, saying:
Multitude: Let Him be crucified!
Evangelist: When Pilate saw that he could prevail
nothing, but that rather a tumult was made, he took
water, and washed his hands before the multitude,
saying:
Pilate: I am innocent of the blood of this just person: see
ye to it.
Evangelist: Then answered all the people, and said:
Multitude: His blood be on us and on our children
Evangelist: Then released he Barabbas unto them, and
when he had scourged Jesus, he delivered Him to be
crucified.
Recitative and Aria (Mezzo-soprano)
Erbarm’ es Gott!
Hier steht der Heiland angebunden.
O Geißelung, o Schläg’, o Wunden!
Ihr Henker, haltet ein!
Erweichet euch der Seelen Schmerz,
Der Anblick solchen Jammers nicht?
Ach ja, ihr habt ein Herz,
Das muß der Martersäule gleich
O gracious God!
Behold, the Saviour standeth bound.
Now scourge they Him, and smite and wound Him!
Tormenters, stay your hands!
Are not your hearts with pity moved
To see such anguish meekly borne?
Ah no! Your hearts are hard.
And must be like the rock itself,
28
Und noch viel härter sein.
Erbarmt euch, haltet ein!
Nay, more unyielding still.
Have pity! Stay your hands.
Können Thränen meiner Wangen
Nichts erlangen,
O, so nehmt mein Herz hinein!
Aber laßt es bei den Fluten,
Wenn die Wunden milde bluten,
Auch die Opferschale sein!
By my weeping and my wailing,
Unavailing,
Still receive my willing heart.
When Thy suff ’rings are completed,
When at God’s right hand
Thou art seated, Let me have in Thee a part.
Recitative
Evangelista: Da nahmen die Kriegsknechte des
Landpflegers Jesum zu sich in das Richthaus, und
sammleten über ihn die ganze Schar; und zogen ihn aus
und legeten ihm einen Purpurmantel an; und flochten
eine Dornenkrone und setzten sie auf sein Haupt, und
ein Rohr in seine rechte Hand, und beugeten die Knie
vor ihm, und spotteten ihn, und sprachen:
Chor: Gegrüßet seist du, Jüdenkönig!
Evangelista: Und speieten ihn an, und nahmen das
Rohr, und schlugen damit sein Haupt.
Recitative
Evangelist: Then the soldiers of the governor took Jesus
unto the common hall, and gathered unto Him the
whole band of soldiers, and stripped Him, and put on
Him a scarlet robe, and when they had plaited a crown of
thorns, they put it upon His head, and a reed in His right
hand, and they bowed the knee before Him, and mocked
Him, and said:
Soldiers: Hail, Hail, King of the Jews!
Evangelist: and they spat upon Him, and took reed, and
smote Him on the head.
Chorale
O Haupt voll Blut und Wunden,
Voll Schmerz und voller Hohn!
O haupt, zu Spott gebunden
Mit einer Dornenkron’!
O Haupt, sonst schön gezieret
Mit höchster Ehr’ und Zier,
Jetzt aber hoch schimpfieret:
Gegrüßet seist du mir!
Du edles Angesichte,
Vor dem sonst schrickt und scheut
Das große Weltgerichte,
Wie bist du so bespeit!
Wie bist du so erbleichet!
Wer hat dein Augenlicht,
Dem sonst kein Licht nicht gleichet,
So schändlich zugericht’t?
Chorale
Oh head, all scarr’d and bleeding,
and heap’d with cruel scorn!
Oh Head so fill’d with sorrow,
and bound with crown of thorn!
Oh head, that was so honor’d,
so lovely fair to see,
and now so low degraded;
my heart goes out to Thee!
O Lord, we will not jeer Thee,
as they who mocked Thee there,
but comfort, love and cheer
Thee, in anguish and despair.
Recitative
Evangelista: Und da sie ihn verspottet hatten, zogen sie
ihm den Mantel aus und zogen ihm seine Kleider an, und
führeten ihn hin, daß sie ihn kreuzigten. Und indem sie
hinausgingen, fanden sie einen Menschen von Kyrene,
mit Namen Simon; den zwangen sie, daß er ihm sein
Kreuz trug.
Recitative
Evangelist: And after that they had mocked Him they
took the robe off Him, and put His own raiment on
Him, and led Him away, to crucify Him. And as
they came out, they found a man of Cyrene, Simon by
name, him compelled they to bear His cross.
Ja! freilich will in uns das Fleisch und Blut zum Kreuz
gezwungen sein; je mehr es unsrer Seele gut, Je herber
geht es ein.
The flesh must be crucified, If we would follow Christ:
Each sinful lust must be subdued, Though sore the
conflict must be.
29
Komm, süßes Kreuz, so will ich sagen,
Mein Jesu, gieb es immer her!
Wird mir mein Leiden einst zu schwer,
So hilf du mir es selber tragen.
Come blessed cross, thus will I sing,
My Saviour ever give it me,
Should burdens ever too heavy be,
I¹ll cast them on my Saviour King.
Recitative
Evangelista: Und da sie an die Stätte kamen, mit
Namen Golgatha, das ist verdeutschet, Schädelstätt’,
gaben sie ihm Essig zu trinken mit Gallen vermischet;
und da er’s schmeckete, wollte er¹s nicht trinken. Da sie
ihn aber gekreuziget hatten, theilten sie seine Kleider
und warfen das Los darum, auf daß erfüllet würde, das
gesagt ist durch den Propheten: ‘Sie haben meine
Kleider unter sich getheilet, und über mein Gewand
haben sie das Los geworfen.’ Und sie saßen allda, und
hüteten sein. Und oben zu seinem Häupte hefteten sie
die Ursach seines Todes beschrieben, nämlich: ‘Dies ist
Jesus, der Jüden König.’ Und da wurden zween Mörder
mit ihm gekreuziget, einer zur Rechten und einer zur
Linken. Die aber vorübergingen, lästerten ihn und
schüttelten ihre Köpfe, und sprachen:
Chor: Der du den Tempel Gottes zerbrichst und bauest
ihn in dreien Tagen, hilf dir selber. Bist di Gottes Sohn,
so steig herab vom Kreuz.
Evangelista: Desgleichen auch die Hohenpriester
spotteten sein, sammt den Schriftgelehrten und Ältesten
und sprachen:
Chor: Andern hat er geholfen und kann sich selber nicht
helfen. Ist er der König Israel, so steige er nun vom
Kreuz, so wollen wir ihm glauben. Er hat Gott vertrauet,
der erlöse ihn nun, lüstet’s ihn; denn er hat gesagt: Ich
bin Gottes Sohn.
Recitative
Evangelist: When they were come unto a place
Golgotha (that is, a place of a skull) they gave Him
vinegar to drink mingled with gall. And when He had
tasted it, He would not drink. And they crucified Him,
and parted His garments, casting lots: that it might be
fulfilled, which was spoken by the prophet, ‘They parted
My garments among them, and upon My vesture did
they cast lots.’ And sitting down, they watched Him
there and they set up over His head His accusation
written, saying, ‘This is Jesus, the King of the
Jews!’. There were two thieves crucified with Him, one
on the right hand, and another on the left. And they that
passed by reviled Him, wagging their heads, and saying:
Recitative
Evangelista: Dessgleichen schmäheten ihn auch die
Mörder, die mit ihm gekreuziget wurden.
Recitative
Evangelist: The thieves also which were crucified with
Him cast the same in His teeth.
Mezzo-soprano: Ach Golgatha, unsel’ges Golgatha!
Der Herr derr Herrlichkeit muß schimpflich hier
verderben, Der Segen und das Heil der Welt
Wird als ein Fluch an’s Kreuz gestellt.
Der Schöpfer Himmels und der Erden
Soll Erd’ und Luft entzogen werden;
Die Unschuld muß hier schuldig sterben:
Das gehet meiner Seele nah;
Ach Golgatha, unsel’ges Golgatha!
Sehet, Jesus hat die Hand,
Uns zu fassen ausgespannt. Kommt!
Chor: Wohin?
Mezzo-soprano: In Jesu Armen.
Sucht Erlösung, nehmt Erbarmen, suchet!
Chor: Wo?
Mezzo-soprano: Ah, Golgotha! Unhappy Golgotha!
‘Twas there the Lord of Glory vilely was rejected.
The blessed Saviour of the world,
Here hangs upon th’accursed tree.
The God who heav’n and earth created,
On thee must perish from the earth,
The innocent must die, as do the guilty.
Ah! how this grief afflicts my soul;
Ah, Golgotha! Unhappy Golgotha!
See ye, see the Saviour’s outstretched hands!
He would draw us to Himself: come!
Choir: Where?
Mezzo-soprano: In Jesu’s arms.
Seek redemption, seek ye mercy, seek them!
Choir: Where?
30
Passers-by: Thou that destroyed the temple of God, and
buildest it in three days, save Thyself. If Thou be the Son
of God, come down from the cross.
Evangelist: Likewise also the chief priests mocking
Him, with scribes and elders said:
Chief Priests, Scribes, Elders: He saved others,
Himself He cannot save. If He be the King of Israel, let
Him now come down from the cross, and we will believe
Him; He trusted in God, Let Him deliver Him now, if
He will have Him for He hath said, ‘I am the Son of God’.
Continued on page 35
Lebet, sterbet, ruhet hier
Ihr verlass’nen Küchlein ihr, bleibet.
Chor: Wo?
Live ye, die ye, rest ye here,
Ye whom sin and guilt oppress: rest.
Choir: Where?
Recitative
Evangelista: Und von der sechsten Stunde an ward eine
Finsterniss über das ganze Land, bis zu der neunten
Stunde. Und um die neunte Stunde schriee Jesus laut
und sprach:
Christus: Eli, Eli, lama asabthani?
Evangelista: Das ist ‘mein Gott, mein Gott, warum hast
du mich verlassen?’ Etliche aber, die da standen, da sie
das höreten, sprachen sie:
Chor: Der rufet den Elias!
Evangelista: Und bald lief einer unter ihnen, nahm einen
Schwamm und füllete ihn mit Essig, und steckete ihn auf
ein Rohr, und tränkete ihn. Die Andern aber sprachen:
Chor: Halt! laß sehen, ob Elias komme, und ihm helfe.
Recitative
Evangelist: Now from the sixth hour there was darkness
over all the land until the ninth hour. And about the
ninth hour, Jesus cried with a loud voice, saying:
Evangelista: Aber Jesus schriee abermal laut und
verschied.
Christ: Eli, Eli lama sabachthani?
Evangelist: That is to say, ‘My God, My God, why hast
Thou forsaken Me?’ Some of them that stood there,
when they heard that, said:
Bystanders: He calleth for Elias.
Evangelist: And straightaway one of them ran, and took
a sponge, and filled it with vinegar, and put it on a reed,
and gave Him to drink. The rest said:
Bystanders: Let be, let us see whether Elias will come to
save Him.
Evangelist: Jesus, when He had cried again with a loud
voice, yielded up the ghost.
Chorale
Wenn ich einmal soll scheiden,
So sheide nicht von mir!
Wenn ich den Tod soll leiden,
So tritt du dann herfür !
Wenn mir am allerbängsten
Wird um das Herze sein,
So reiß mich aus den Ängsten
Kraft deiner Angst und Pein!
Chorale
When comes my hour of parting,
so not Thou part from me.
As death’s dread hour approaches
beside me Thou wilt be.
And when, in awful anguish,
my time of death is nigh,
Thy cross will then uphold me
that steadfast I may die.
Recitative
Evangelista: 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 theten sich auf, und standen auf viel Leiber der
Heiligen, die da schliefen, und gingen aus den Gräbern
nach seiner Auferstehung, und kamen in die heilige
Stadt, und erschienen vielen. Aber der Hauptmann,
und die bei ihm waren, und bewahreten Jesum, da sie
sahen das Erdbeden und was da geschah, ershraken sie
sehr und sprachen:
Chor: Wahrlich, dieser ist Gottes Sohn gewesen.
Recitative
Evangelist: And, behold, the veil of the temple was rent
in twain, from top unto the bottom, and the earth did
quake, and the rocks rent. And the graves were opened,
and there arose many bodies of the saints which had
slept, and came out of the graves after His resurrection
and went into the holy city, and appeared unto many.
Now when the centurion, and they that were with Him,
watching Jesus, saw the earthquake, and those things
that were done, they feared greatly, saying:
Evangelista: Und es waren viel Weiber da, die von ferne
zusahen, die da waren nachgefolget aus Galiläa, und
hatten ihm gedienet, unter welchen war Maria
Magdalena, und Maria, die Mutter Jakobi und Joses,
und die Mutter der Kinder Zebedäi. Am Abend aber
kam ein reicher Mann von Arimathia, der hieß Joseph,
welcher auch ein Jünger Jesu war. Der ging zu
35
Centurion, Soldiers, Bystanders: Truly, this was the
Son of God.
Evangelist: And many women were there (beholding
afar off ) which followed Jesus from Galilee, ministering
unto Him. Among which was Mary Magdalene,
and Mary the mother of James and Joseph, and the
mother of Zebedee’s children. When the even was come,
there came a rich man of Arimathea, named Joseph, who
also himself was Jesus’ disciple: he went to Pilate and
Pilato, und bat ihn um den Leichnam Jesu. Da befahl
Pilatus, man sollte ihm ihn geben.
begged the body of Jesus. Then Pilate commanded the
body to be delivered.
Am abend, da es kühle war, ward Adams Fallen offenbar;
Am Abend drücket ihn der Heiland nieder; Am Abend
kam die Taube wieder und trug ein Ölbatt in dem
Munde. O schöne Zeit! O Abendstunde! Der
Friedensschluß ist nun mit Gott gemacht, denn Jesus hat
sein Kreuz vollbracht. Sein Leichnam kommt zur Ruh,
Ach, liebe Seele, bitte du, Geh, lasse dir den todten
Jesum schenken, o heilsames, o köstlich’s Angedenken!
At evening, hour of calm and peace, was Adam¹s fall
made manifest. At evening, too, the Lord’s redeeming
love; At evening homeward turned the dove and bore the
olive-leaf as token. O beauteous time! O evening hour!
Our lasting peace is now with God made sure, for Jesus
hath His cross endured. His body sinks to rest. Go, loving
servant, ask thou if Go, be it thine, the lifeless Saviour’s
Body. O, wond’rous Gift! A precious, holy burden!
Mache dich, mein Herze, rein, ich will Jesum selbst
begraben. Denn er soll nun mehr in mir für und für seine
süße Ruhe haben. Welt, geh aus, laß Jesum ein!
Make Thee clean, my heart, from sin. Unto Jesus give
thou welcome. So within my cleaned breast shall He rest,
dwelling evermore in me. World, depart; let Jesus in!
Recitative
Evangelista: Und Joseph nahm den Leib, und wickelte
ihn in ein’ rein Leinwand. Und legte ihn in sein eigen
neu Grab, welches er hatte lassen in einen Fels hauen;
und wälzete einen großen Stein vor die Thür des Grabes,
und ging davon. Es war aber allda Maria Magdalena,
und die andere Maria, die setzetn sich gegen das Grab.
Des andern Tages, der da folget nach dem Rüsttage,
kamen die Hohenpriester und Pharisäer sämmtlich zu
Pilato, und sprachen:
Chor: Herr, wit haben gedacht, daß dieser Verführer
sprach, da er noch lebete: ‘Ich will nach dreien Tagen
wieder auferstehen.’ Darum befiehl, daß man das Grab
verwahre bis an den dritten Tag, auf daß nicht seine
Jünger kommen und stehlen ihn, und sagen zu dem
Volk: Er ist auferstanden von der Todten, und werde der
letze Betrug ärger denn der erste!
Evangelista: Pilatus sprach zu ihnen:
Pilatus: Da habt ihr die Hüter; gehet hin und
verwahret’s wie ihr wisset!
Evangelista: Sie gingen hin, und verwahreten das Grab
mit Hütern, und versiegelten den Stein.
Recitative
Evangelist: And when Joseph had taken the body, he
wrapped it in a clean linen cloth, and laid it in his own
new tomb, which he had hewn out in the
rock; and he rolled a great stone to the door of the
sepulchre, and he departed. And there was Mary
Magdalene, and the other Mary sitting over against the
sepulchre. Now the next day that followed the day of the
preparation, the chief priests and Pharisees came
together unto Pilate, saying:
Chief Priests, Pharisees: Sir, we remember that the
deceiver said, while He was yet alive, ‘After three days I
will rise again.’ Therefore command the grave to be
made sure, until the third day, lest His disciples come by
night and steal Him away, and say unto the people, ‘He is
risen from the dead’, so the last error shall be worse that
the first.
Evangelist: Pilate said unto them:
Pilate: Ye have a watch, go your way, make it as sure as
you can.
Evangelist: So they went, and made the sepulchre sure,
sealing the stone, and setting a watch.
Recitative and Chorus
Bass: Nun ist der Herr zur Ruh gebracht.
Chor: Mein Jesu, gute Nacht!
Tenor: Die Müh ist aus, die unsre Sünden ihm gemacht.
Mezzo-soprano: O selige Gebeine,
Seht, wie ich euch mit Buß und Reu beweine,
Daß euch mein Fall in solche Noth gebracht!
Sopran: Habt lebenslang
Vor euer Leiden tausend Dank,
Daß ihr mein Seelenheil so wert geacht’t.
Recitative and Chorus
Bass: And now the Lord to rest is laid.
Choir: Lord Jesus, fare Thee well!
Tenor: His task is o’er; for all our sins He hath atoned.
Mezzo-soprano: O weary, broken Body!
See with repentant tears we would bedew it,
Which our offence to such a death had brought.
Soprano: While life shall last,
O let Thy suffering claim our love,
Since Thou for man salvation sure hast wrought.
36
Chorus
Wir setzen uns mit Thränen nieder
Und rufen dir im Grabe zu:
Ruhe sanfte, sanfte ruh’!
Ruh’t, ihr ausgesognen Glieder!
Euer Grab und Leichenstein
Soll dem ängstlichen Gewissen
Ein bequemes Ruhekissen
Und der Seelen Ruhstatt sein
Höchst vergnügt schlummern da die Augen ein.
Chorus
In tears of grief, dear Lord, we leave Thee,
Hearts cry to Thee, O Saviour dear:
Lie Thou softly, softly here.
Rest Thy worn and bruised body.
At Thy grave, O Jesu blest
May the sinner, worn with weeping,
comfort find in Thy dear keeping,
And the weary soul find rest.
Sleep in peace, sleep Thou in the Father’s breast.
Welcome to Southbank Centre, we hope you enjoy your visit.
We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance.
Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO!
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We look forward to seeing you again soon.
Programme Editor
Charles Lewis
37
Design
Harrison
Season Photography
Eric Richmond
Artwork
Heather Kenmure Graphic Design
Printed by Cantate
Biography
Sophie Bevan
soprano
Sophie Bevan studied at the Benjamin Britten
International Opera School where she was awarded the
Queen Mother Rose Bowl Award.
Her operatic roles for English National Opera
include Xenia Boris Godunov, Despina Così fan tutte,
soprano solos Messiah, Polissena Radamisto, Yum Yum
Mikado, Telair in Rameau’s Castor & Pollux and her
first Sophie Der Rosenkavalier. For Welsh National
Opera she has sung the title role in The Cunning Little
Vixen, for Garsington Opera she performed her first
Susanna and for the Opéra de Lyon she has performed
the soprano solos Messiah. Sophie made her debut at
the Royal Opera House as the Woodbird in Wagner’s
Siegfried and returned as Pamina.
Conductors she has worked with include Vasily
Petrenko, Edward Gardner, Sir Antonio Pappano,
Laurence Cummings, Ryan Wigglesworth, Harry
Christophers, Harry Bicket, Phillipe Herreweghe,
Sir Neville Marriner, Ivor Bolton, Daniel Harding,
Sir Roger Norrington, Sir Mark Elder and Sir Charles
Mackerras with orchestras that include the Royal
Philharmonic Orchestra, the Royal Liverpool
Philharmonic Orchestra, the Hallé, the Gabrieli
Consort & Players, the Academy of Ancient Music,
The Sixteen, the Scottish Chamber Orchestra, the
Royal Swedish Symphony Orchestra and the Britten
Sinfonia. Her concert repertoire includes Haydn’s
Nelson Mass and Creation, Handel’s Samson and
Messiah, Mozart’s and Brahms’ Requiem, C Minor Mass
and Exsultate Jubilate, Bach’s St Matthew and St John
Passion, Purcell’s King Arthur and The Fairy Queen and
Britten’s Les illuminations and Spring Symphony. She
made her US debut in Messiah with the Handel &
Haydn Society, Boston.
She is a noted recitalist and has performed at the
Concertgebouw Kleine Zaal with Malcolm Martineau
and made her Wigmore Hall recital debut with
Sebastian Wybrew to critical acclaim. Sophie has also
appeared at the BBC Proms and the Edinburgh and
Aldeburgh Festivals.
Her future concert engagements include
performances with the City of Birmingham Symphony
Orchestra with Gardner and Nelsons, and the Boston
Symphony Orchestra at Tanglewood with Nelsons.
Her future operatic engagements include Ninetta in
Rossini’s La gazza ladra for Oper Frankfurt; Ilia
Idomeneo in a new production for the Royal Opera, and
her debut at Glyndebourne Festival Opera.
Sophie was the recipient of the 2010 Critics’ Circle
award for Exceptional Young Talent. She was
nominated for the 2012 Royal Philharmonic Society
Awards and was the recipient of The Times
Breakthrough Award at the 2012 South Bank Sky
Arts Awards and the Young Singer award at the 2013
inaugural International Opera Awards.
38
photo: Sussie Ahlburg
Biography
Paula Murrihy
mezzo-soprano
Mezzo-soprano Paula Murrihy is a native of County
Kerry, Ireland. She received her Bachelor in Music
from DIT Conservatory of Music and Drama in
Dublin before going on to study for a Masters in
Vocal Performance at New England Conservatory,
where she was the recipient of the prestigious John
Moriarty Presidential Scholarship and the Presser
Award. Paula has participated in many young artist
programmes including the Britten-Pears Young
Artist Program and those at the Tanglewood Music
Center, William Walton Foundation, Opera Theatre
of Saint Louis and more recently Santa Fe Opera. As
a participant on the 2003 Vocal Fellowship Program
at Tanglewood, she performed in the world premiere
of the opera Ainadamar by Osvaldo Golijov, a work
which she went on to perform with the Los Angeles
Philharmonic Orchestra in Disney Hall.
Operatic roles include Ino in Semele for Boston
Lyric Opera, performances as Dido in Purcell’s Dido
& Aeneas at the Teatro Comunale, Bologna, and
Messagiera Orfeo with the Handel and Haydn
Society. Paula made her Italian debut as Dido for the
Lugo Opera Festival in 2007. In 2007 Paula was also
part of San Francisco Opera’s Merola Program. She
made her Royal Opera House debut as Tebaldo in a
new production of Don Carlo and recently made her
debut at Opéra de Nice when she stepped in to sing
Medoro in Orlando Furioso. She sang Dido Dido and
Aeneas at the 2013 Edinburgh Festival and Ascanio
in Terry Gilliam’s acclaimed production of Benvenuto
Cellini at English National Opera.
Paula’s extensive concert repertoire includes
Vivaldi’s Gloria, Rossini’s Petite Messe Solennelle,
Schubert’s Mass in C, Bach’s St. John Passion and
Messiah and Mozart’s Requiem for the H&H
Society. An accomplished recitalist, Paula has also
performed at the Aldeburgh Festival, UK, and was
invited to participate in the Marilyn Horne
Foundation Masterclass Series at Carnegie Hall,
New York as well as a recital with the Irish Chamber
Orchestra in the Shannon International Music
Festival and the Chancellor’s Concert at the
University of Limerick.
Paula joined Oper Frankfurt as a member of their
ensemble in 2009 where her roles have included 2nd
Lady Die Zauberflöte, Alisa Lucia di Lammermoor,
Maddalena Il Viaggio a Reims, Annio La Clemenza di
Tito, Flora La traviata, a new production of Handel’s
Giulio Cesare, Fulvia in Gluck’s Ezio and Dorabella
Così fan tutte.
In the 14/15 season – Dido Dido and Aeneas with
Los Angeles Opera, Cesti’s L’Orontea and Octavian
Der Rosenkavalier with Oper Frankfurt. Future
engagements include Octavian Der Rosenkavalier in
a new production for De Nationale Opera,
Amsterdam, Hansel Hänsel und Gretel and
Xenobia Radamisto in Frankfurt, Octavian at the
Staatsoper Stuttgart and Ruggiero Alcina for Santa
Fe Opera.
39
photo: Barbara Aumueller
Biography
Mark Padmore
tenor
Mark Padmore was born in London and grew up in
Canterbury. After beginning his musical studies on
the clarinet he gained a choral scholarship to King’s
College, Cambridge and graduated with an honours
degree in music.
He has established a flourishing career in opera,
concert and recital. His performances in Bach
Passions have gained particular notice throughout the
world.
In the opera house he has worked with directors
Peter Brook, Katie Mitchell, Mark Morris and
Deborah Warner. Recent work includes the leading
role in Harrison Birtwistle’s new opera The Corridor
with performances at the 2009 Aldeburgh and
Bregenz Festivals, as well as the Southbank Centre in
London; Tom Rakewell in Stravinsky The Rake’s
Progress at La Monnaie, Brussels; Handel Jephtha at
WNO and ENO and the Evangelist in a staging of St
Matthew Passion at Glyndebourne. He also played
Peter Quint in an acclaimed BBC TV production of
Britten Turn of the Screw and recorded the title role in
La Clemenza di Tito with René Jacobs for Harmonia
Mundi. Future plans include Captain Vere in Britten
Billy Budd for Glyndebourne Festival Opera.
In concert he has performed with many of the
world’s leading orchestras including the Munich
Radio, Berlin, Vienna, New York and London
Philharmonic Orchestras, the Royal Concertgebouw
Orchestra, Boston and London Symphony
Orchestras and the Philharmonia. He makes regular
appearances with the OAE with whom he has
conceived projects exploring both Bach St John and St
Matthew Passions.
Mark has given recitals in Amsterdam, Barcelona,
Brussels, Madrid, Milan, Moscow, New York, Paris
and Vienna. He appears frequently at Wigmore Hall
in London where he first sang all three Schubert song
cycles in May 2008, was their Artist in Residence in
the 2009/10 Season and in 2011/12 he repeated the
cycles there with Paul Lewis. He also recently sang
the cycles at the Theatre an der Wien and at Salle
Gaveau in Paris with Till Fellner. Composers who
have written for him have included Mark-Anthony
Turnage, Alec Roth, Sally Beamish, Thomas Larcher
and Huw Watkins. As well as his regular collaborators
Paul Lewis, Till Fellner, Kristian Bezuidenhout,
Julius Drake, Roger Vignoles, Simon Lepper and
Andrew West, he works with many internationally
renowned chamber musicians including Imogen
Cooper and Steven Isserlis.
Since 2007 Mark has been recording for
Harmonia Mundi with releases including a disc of
Handel arias As Steals the Morn with the English
Concert which won the BBC Music magazine Vocal
Award; Schubert Schwanengesang, Die Schöne
Müllerin and Winterreise with Paul Lewis, which in
2010 won the Gramophone magazine Vocal Solo
Award; Schumann Dichterliebe with Kristian
Bezuidenhout which won the Vocal Solo category of
the 2011 Edison Klassiek Award and Britten
Serenade, Nocturne and Finzi Dies Natalis with the
Britten Sinfonia which won the ECHO/Klassik 2013
Vocal Solo Recording award.
Previous recordings include the Bach Passions with
Herreweghe and McCreesh, Bach Cantatas with
Eliot Gardiner, Don Giovanni with Daniel Harding,
operas by Rameau and Charpentier with William
Christie and Haydn Creation for Deutsche
Grammophon. Mark is Artistic Director of the St.
Endellion Summer Music Festival in Cornwall.
40
photo: Marco Borggreve
Biography
Stephan Loges
bass-baritone
Born in Dresden, Stephan was an early winner of the
Wigmore Hall International Song Competition. He
has given recitals throughout the world, including
Wigmore Hall, London, Carnegie Hall, New York,
Concertgebouw Amsterdam, Klavierfestival Ruhr,
La Monnaie Brussels, Schleswig-Holstein Festival,
Santiago de Compostela and the Vocal Arts Series in
Washington with pianists Roger Vignoles, Simon
Lepper, Alexander Schmalcz and Eugene Asti.
Plans this season and beyond include Britten War
Requiem with the Sapporo Symphony Orchestra;
Mozart Requiem with the Auckland Philharmonic
Orchestra and Bernard Labadie; Bach St Matthew
Passion with the Munich Bach Choir and also the
Gabrieli Consort; Mozart Mass in C Minor and Bach
Mass in B Minor with the Scottish Chamber
Orchestra and Olari Elts and Haydn Die Schöpfung
with the Potsdammer Kammerakademie and
Antonello Manacorda. Recitals planned include Bach
Ich habe genug and Schumann Liederkreis, Op. 39 with
Simone Dinnerstein at the Vienna Konzerthaus; a
BBC Radio 3 recital with Iain Burnside; three
concerts in Glasgow with Llyr Williams and the Elias
String Quartet including the songs of Haydn,
Beethoven and Schubert and a return to Wigmore
Hall with Simon Lepper.
Concerts have included Britten War Requiem with
Melbourne Symphony Orchestra; Mauregato in
Schubert Alfonso und Estrella with the Mozarteum
Orchester and Ivor Bolton; Berlioz L’Enfance du
Christ with Swedish Radio Symphony Orchestra and
Robin Ticciati; Mendelssohn Walpurgisnacht in
Florence; Creation with the Iceland Symphony and
Salzburg Mozarteum Orchestras; Die Jahreszeiten
with the Semperoper Dresden; The Seven Last Words
with the Bergen Philharmonic Orchestra; Bruckner
Requiem with The Northern Sinfonia; Saariaho
The Tempest Songbook with Scharoun Ensemble at
Philharmonie Köln; Mozart Coronation Mass and
Haydn Stabat Mater with the Ensemble Orchestral de
Paris and Fabio Biondi; and regular appearances with
the SCO.
Stephan has sung Bach Cantatas with Sir John
Eliot Gardiner and the Passions with the Gabrieli
Consort and Paul McCreesh (also recorded for DG).
He made his Proms debut in 2002 in St Matthew
Passion with Trevor Pinnock and has since sung it with
many period and modern orchestras including the
Academy of Ancient Music, Munich Bach Choir,
Handel and Haydn Society of Boston, Swedish Radio
Symphony Orchestra and the Melbourne Symphony
Orchestra. He recently sang St John Passion with the
Leipzig Gewandhaus Orchestra, Christmas Oratorio
with the Russian National Orchestra and Vladimir
Jurowski and Bach Mass in B Minor in Leipzig with
The English Concert.
Opera appearances include Wolfram Tannhäuser
and Papageno Die Zauberflöte at La Monnaie,
Brussels; Maximillian Candide at the Berlin
Staatsoper; Macmillan Parthenogenesis for Royal
Opera, Covent Garden; Count Le Nozze di Figaro,
Schaunard La Bohème, Mercutio Roméo et Juliette and
Demitrius A Midsummer Night’s Dream for Opera
North; Moritz in Mernier Frühlings Erwachen at the
Opera National du Rhin and, in concert, the Count
Capriccio and Bill The Rise and Fall of the City of
Mahagonny at the Edinburgh Festival; Ottokar Der
Freischütz with the LSO and Sir Colin Davis and
Argenio in Handel Idomeneo with the AAM.
Stephan was a member of the Dresden Kreuzchor
before studying at the Hochschule der Kunste, Berlin
and the Guildhall School of Music and Drama in
London.
41
photo: Ana Alvarez Prada
Biography
Fflur Wyn
soprano
Welsh soprano, Fflur Wyn, graduated with a
B.Mus(Hons). and Dip.RAM from the Royal
Academy of Music London, where she studied with
Beatrice Unsworth and Clara Taylor. She is the
recipient of many awards and scholarships which
include First Prize and Audience Prize at the National
Handel Competition, the Kathleen Ferrier Bursary,
the London Welsh Young Singer of the Year, the Bryn
Terfel Scholarship and the MOCSA Young Welsh
Singer Prize.
Her operatic performances include Pamina
(The Magic Flute – Holland Park Opera); Barbarina
(Le Nozze di Figaro – La Monnaie); Iphis (Jephtha –
Welsh National Opera); Sophie (Werther), Clerida
(Croesus by Keiser), Gretel (Hansel and Gretel)
Papagena (The Magic Flute), and cover Giulietta
(I Capuleti e i Montecchi) all for Opera North; Karolka
(Jenufa – St Endellion Festival with the late Richard
Hickox); Susanna (The Marriage of Figaro – Court
Opera); and she created the role of Adele (Jane Eyre by
Berkeley - Music Theatre Wales, The Linbury
Theatre Covent Garden). Whilst at the Academy, her
roles included Almirena Rinaldo, Serpetta La Finta
Giardiniera, First Boy The Magic Flute, conducted by
Sir Colin Davis and Young Vixen The Cunning Little
Vixen, conducted by Sir Charles Mackerras.
Oratorio and concert appearances include Bach
Christmas Oratorio with the Combattimento
Consort and Jan Willem de Vriend; Handel Jephtha
with Cappella Amsterdam and Daniel Reuss; Haydn
Harmoniemesse with the Northern Sinfonia and
Thomas Zehetmair; Haydn Creation with The
Gabrieli Consort and Paul McCreesh; Handel
Messiah with The English Concert and Harry Bicket;
Mozart Exsultate Jubilate with the Royal
Philharmonic Orchestra and with The European
Union Chamber Orchestra; Mozart Mass in C minor
with the Bournemouth Symphony Orchestra; Bach
St John Passion conducted by David Hill with the
Opera North Orchestra; Handel Judas Maccabeus and
Bach St John Passion at the London Handel Festival
with Laurence Cummings; and Orff Carmina Burana
with the Chamber Orchestra of Wales and Andrew
Greenwood. Fflur made her Proms debut in Mozart
Thamos with John Lubbock and the Orchestra of St
John’s. Her most recent recitals include performances
at The King’s Place, St John’s Smith Square and The
Howard Assembly Room.
42
photo: Sian Trenberth
Biography
Robin Blaze
countertenor
Robin Blaze is firmly established in the front rank of
interpreters of Purcell, Bach and Handel, and he
works with most of the distinguished conductors in
the early music field including Christophers,
Gardiner, Haïm, Herreweghe, Hogwood, Koopman,
Goodwin, Leonhardt, King, Kraemer, Mackerras,
Pinnock and Suzuki.
He regularly appears with The Academy of
Ancient Music, Bach Collegium Japan, Collegium
Vocale, The English Concert, The Gabrieli Consort,
The King’s Consort, Florilegium, Orchestra of the
Age of Enlightenment and The Sixteen. Other
engagements have included the Berlin Philharmonic,
the National Symphony Orchestra, Washington,
Royal Flanders Philharmonic, BBC Philharmonic,
Royal Philharmonic Orchestra, Northern Sinfonia
and the Philharmonia Orchestra.
He has visited festivals in Ambronay, Beaune,
Boston, Edinburgh, Halle, Iceland, Jerusalem,
Innsbruck, Karlsruhe, Leipzig, Lucerne, Saintes and
Utrecht, and has given recitals in Tenerife, Paris,
Karlsruhe, Innsbruck, Göttingen, at the York Early
Music and Three Choirs Festivals for BBC Radio 3
and at the Wigmore Hall.
Opera engagements have included Athamas Semele
(Covent Garden, ENO); Didymus Theodora
(Glyndebourne Festival Opera); Arsamenes Xerxes,
Oberon A Midsummer Night’s Dream and Hamor
Jephtha (ENO & WNO); and Bertarido Rodelinda
(Glyndebourne, Göttingen Handel Festival).
Robin’s many recordings include the ongoing
Cantata Cycle with Bach Collegium Japan, Handel
Oratorio Duets (OAE/Kraemer), several recital discs
of lute songs with Elizabeth Kenny, Didymus
Theodora (Gabrieli Consort/McCreesh), Vivaldi,
Kuhnau and Knüpfer (The King’s Consort), Purcell
Odes (Collegium Vocale Gent/Herreweghe), and
Thomas Adès’ song cycle The Lover in Winter.
Recent and future highlights include Handel’s
Israel in Egypt with the Choir of King’s College
Cambridge and the Academy of Ancient Music,
Buxtehude’s Membra Jesu with the Ricercar Consort,
Bach’s St Matthew Passion with the Bach Choir,
Messiah in Annapolis and with the Melbourne
Symphony Orchestra, Hamor Jephtha with The
Sixteen, Barak Deborah with Laurence Cummings as
part of the London Handel Festival, Bach’s Christmas
Oratorio with Kammerorchester Basel, performances
with Florilegium and the King’s Consort at Wigmore
Hall, and Robin also continues his collaboration with
Bach Collegium Japan and Masaaki Suzuki.
43
photo: Will Unwin
Biography
Andrew Tortise
tenor
Andrew Tortise was a choral scholar at Wells
Cathedral and graduated from Trinity College,
Cambridge in 2002. He studied singing first with
Ashley Stafford and now with Iris dell’Acqua.
Concert plans this season and beyond include
Arnalta in Monteverdi L’incoronazione di Poppea with
Academy of Ancient Music; Monteverdi Orfeo on a
USA tour with the Monteverdi Choir and Orchestra
and Sir John Eliot Gardiner; Elijah with the Bach
Choir; Ode to St Cecilia and Brockes Passion for the
Bilbao Handel Festival; Bach St Matthew Passion on a
European tour with Orchestra of the Age of
Enlightenment including Amsterdam and Paris and
in Leipzig with the Gabrieli Consort; Beethoven
Missa Solemnis with Ex Cathedra and the City of
Birmingham Symphony Orchestra and his Choral
Fantasy at the 2015 Edinburgh International Festival
and Haydn Nelson Mass in Amsterdam with the
Britten Sinfonia.
Opera plans include returning to the Royal Opera
to sing Marzio in Mozart Mitridate and Vogelgesang
Die Meistersinger von Nürnberg, his debut at Theater
an der Wien in a staged Bach Christmas Oratorio and
returning to Dutch National Opera to sing Odoardo
in Handel Ariodante.
Recent highlights include The Spirit of the
Masque in the new Richard Jones production of
Britten Gloriana for the Royal Opera; Peter Quint The
Turn of the Screw for Lyon Opera; Novice Billy Budd
and Janek The Makropulos Case for Netherlands
Opera; David Die Meistersinger von Nürnberg and
Ferrando Così fan tutte for Welsh National Opera and
Lucano Poppea and the tenor arias in Bach St Matthew
Passion for Glyndebourne Festival Opera.
Early opera appearances included Marzio
Mitridate at the Salzburg Festival; Ferrando and roles
in L’incoronazione di Poppea for Lyon Opera; Mernier
Frühlings Erwachen at La Monnaie, Brussels and
Robert in David Sawyer Skin Deep for Opera North
and at the Bregenz Festival.
On the concert platform he has sung Bach Mass in
B Minor with the Scottish Chamber Orchestra and
Richard Egarr and at the 2014 Three Choirs Festival;
Evangelist and arias in Bach St John Passion and
Monteverdi Vespers with the Monteverdi Choir and
Sir John Eliot Gardner; Mozart Requiem with the
Philharmonia Orchestra, the LSO and Sir Colin
Davis and with the orchestra and chorus of WNO;
Britten Les Illuminations and Aufidio in J C Bach
Lucio Silla with the Salzburg Mozarteum Orchestra
and Ivor Bolton; Haydn Paukenmesse with the BBC
SSO and Bernard Labardie; Britten Serenade for Tenor,
Horn and Strings with Academy of Ancient Music and
with the Aarhus Symphony Orchestra; Evangelist St
Matthew Passion in Lisbon; St Matthew Passion (arias)
with the Residentie Orchestra and with the Gabrieli
Consort and Players and Bach Christmas Oratorio with
the Rotterdam Philharmonic Orchestra.
Andrew has appeared on tours with Sir John Eliot
Gardiner singing Purcell, Bach and Monteverdi, with
Richard Egarr and the Orchestra of the Age of the
Enlightenment, Concert Spirituel and Hervé Niquet
singing Messiah and with Marc Minkowski singing
Damon Acis and Galatea. He has also appeared with
the Combattimento Consort, Amsterdam and
Netherlands Bach Society and has given recitals at the
Aldeburgh Festival with Malcolm Martineau and in
Bruges with Richard Egarr.
44
photo: Hayden Phoenix
Biography
Matthew Brook
bass
Matthew Brook has appeared as a soloist throughout
Europe, Australia, North and South America and the
Far East. He has worked with many of the world’s
greatest conductors including Sir John Eliot Gardiner,
Richard Hickox, Sir Charles Mackerras, Harry
Christophers, Christophe Rousset and Sir Mark
Elder, and orchestras and ensembles including the
Philharmonia, the London Symphony Orchestra, the
Royal Philharmonic Orchestra, St Petersburg
Philharmonic, the Freiburger Barockorchester, the
BBC National Orchestra of Wales, the Chamber
Orchestra of Europe, the Scottish Chamber
Orchestra, the English Baroque Soloists, the City of
London Sinfonia, Collegium Vocale Gent, the
Gabrieli Consort, Les Talens Lyriques, the Sixteen,
and Orchestra Nationale de Lille. He has performed
at festivals such as Edinburgh, Cheltenham, Utrecht,
the BBC Proms, Ambronay, La Chaise Dieu,
Innsbruck, Bermuda, and the Three Choirs Festival.
Matthew’s operatic roles include Polyphemus Acis
and Galatea, Aeneas Dido and Aeneas, Papageno The
Magic Flute, Figaro The Marriage of Figaro, Leporello
Don Giovanni, John Bunyan and Lord Hategood in
Vaughan Williams’s The Pilgrim’s Progress, Melchior in
Menotti’s Amahl and the Night Visitors, Young Sam in
the British premiere of Bernstein’s A Quiet Place,
Jupiter in Rameau’s Castor et Pollux in Paris and
Seneca in L’incoronazione di Poppea at the Maggio
Musicale Fiorentino. He took part in a European tour
with the English Baroque Soloists and Gardiner
singing the roles of Don Alfonso and Bartolo in
venues including the Royal Opera House, Salle Pleyel,
Paris, Teatro Real, Madrid and Giuseppe Verdi Opera
House, Pisa.
Matthew’s recordings include Counsel Trial By
Jury and Friar Tuck in Sullivan’s Ivanhoe with the BBC
National Orchestra of Wales for Chandos records; a
Gramophone Award-winning recording of Handel’s
Dublin score of Messiah, Acis and Galatea and Bach’s St
Matthew Passion and B Minor Mass, and most
recently, Handel’s Esther, all with the Dunedin
Consort for Linn Records.
On the concert platform notable performances
include Brahms’ Requiem with the St Petersburg
Philharmonic; Bach’s B Minor Mass and Haydn’s
Harmoniemesse with the Dresden Staatskapelle;
Elgar’s The Dream of Gerontius with Richard Hickox;
Nielsen’s Symphony no. 3 with the Hallé Orchestra
and Sir Mark Elder; Bach’s Magnificat and Haydn’s
Creation with L’Ensemble Orchestral de Paris; Kouno
in Der Freischütz at the Opéra Comique and at the
BBC Proms and Walton’s Belshazzar’s Feast with the
Orchestre Philharmoniquede Strasbourg.
Recent and future highlights include recordings of
Bach’s Christmas Oratorio and Rameau’s Anacreon
with the Orchestra of the Age of Enlightenment,
Zebul Jephtha with the Sixteen, and Mozart’s
Requiem with the Dunedin Consort; Vaughan
Williams’s Sea Symphony with the Hallé; Brahms’
German Requiem with the Royal Northern infonia;
Stravinsky’s Pulcinella with the BBC National
Orchestra of Wales and the world premiere of Barry
Guy’s Time passing with Camerata Zurich.
45
photo: Richard Shymansky
46
Chi-chi Nwanoku MBE, Principal Double Bass: Credit Eric Richmond/Harrison.
OAEspring2015AW2:OAE 2006 Prog6 h copy 26/02/2015 16:19 Page 49
The Rough with the Smooth Tuesday 12 May 2015
The Rough with the Smooth
Tuesday 12 May 2015
7pm
Queen Elizabeth Hall
Telemann Overture, Burlesque
Telemann Concerto for violin in Bb major,
TWV 51:B1
Stevie Wishart Concerto a Double Entendre
(world premiere)
This commission has been sponsored in memory of
Martin Middlehurst
Interval
Violins
Kati Debretzeni
Emelia Benjamin
Alison Bury
Huw Daniel
Debbie Diamond
Claire Holden
Roy Mowatt
Andrew Roberts
Claire Sansom
Magdalena Loth-Hill*
Mark Seow*
Recorders
Rachel Beckett
Catherine Latham
Handel Sonata a Cinque in Bb,
HWV 288
Harp
Frances Kelly
Handel Concerto for harp and lute,
Op.4 No.6
Violas
Oliver Wilson
Martin Kelly
Nicholas Logie
Kate Heller
Daniel McCarthy*
*OAE Experience participant
Cellos
tbc
Helen Verney
Ester Domingo Sancho*
Basses
Chi-chi Nwanoku MBE
Cecelia Bruggemeyer
Lute
Elizabeth Kenny
Harpsichord/organ
Steven Devine
Handel Concerto Grosso
Op.6 No.1 in G
Kati Debretzeni director/violin
Chi-chi Nwanoku MBE double bass
like to thank the following for their support, without
which this concert would not have been possible:
Nigel Jones and Françoise Valat-Jones
Peter and Veronica Lofthouse
This concert will finish at approximately 8.30pm with
an interval of 20 mins.
47
Queen Elizabeth Hall
Chi-chi Nwanoku MBE and Stevie Wishart introduce
tonight’s world premiere.
Concert in context
Programme Notes
Georg Philipp
Telemann
(1681–1767)
Ouverture burlesque:
orchestral suite in
B flat (publ.1729)
(i) Ouverture
(ii) Scaramouches
(iii) Harlequinade
(iv) Colombine
(v) Pierrot
(vi) Menuets I & II
(vii) Mezzetin en tune
48
Throughout the Baroque period
(c.1600–1750), composers
delighted in the emotional effect
created by heightened musical
contrasts, whether between wideranging dance styles, fast and slow
tempos, or vocal and instrumental
groups of varying sizes, timbres and
pitches, often arranged spatially.
Telemann and Handel relished the
dramatic impact created by these
sometimes quick-fire interchanges
in their suites and concertos, most
especially between a soloist or solo
group (the ‘concertino’) and the
orchestral ‘ripieno’. At the core of
tonight’s programme is a brand
new piece by Stevie Wishart, whose
varied output embraces both early
music and cutting-edge electronics.
Her latest work, inspired by the
Baroque concerto grosso, unusually
places the double bass centre-stage.
The OAE’s renowned principal
bassist, Chi-chi Nwanoku, will be
situated between two ‘concertante’
groups – the soave (‘smooth’) and
the ruvido (‘rough’) – with the
remainder of the orchestra arrayed
behind. .
‘Singing is the foundation of music
in everything,’ Telemann once
insisted. ‘A man who composes
must everywhere sing.’ The natural
result was a move away from the
contrapuntal* intricacies of Johann
Sebastian Bach towards a more
Italianate, melody-driven style that
would come to dominate the music
of the Classical and Romantic eras.
This, combined with Telemann’s
natural flair for instrumental
colour and orchestral sonorities,
made him the toast of German
Baroque composers
One can readily sense the new
Gallant style coursing through
Telemann’s musical veins in his
Ouverture burlesque, one of around
200 orchestral suites he composed
in the prevailing French fashion,
some 134 of which have survived.
What makes this particular suite
stand out is its movement titles
drawn from the Commedia dell’
arte, a form of improvised comic
drama featuring a troupe of regular
characters. Scaramouche is the
buffoon of the company, who wears
a black mask, while Harlequin is
the acrobatic comic servant with an
eye for the ladies, including the
flirtatious Colombine, who is
actually married to Pierrot. The
latter is a sad clown who spends
much of his time pining for
Colombine, while poor Mezzetin
appears doomed to suffer eternally
the pangs of unrequited love.
Programme Notes
Georg Philipp
Telemann
Violin Concerto in
B flat, TWV 51:B1
(1719)
(i)
(ii)
(iii)
(iv)
Largo
Vivace
[Andante]
Allegro
Stevie Wishart
Concerto à Double
Entendre (2015)
Telemann was a child prodigy on
several instruments (including the
violin), yet it was only after turning
his back on a planned career in law
that he established himself as an
outstanding composer, seemingly
capable of turning his hand to
anything. Following three-years in
Leipzig and two in Poland, where
the country’s folk music had a
lasting impact on his burgeoning
style, Telemann returned to
Germany around 1708, spending
four years in Eisenach before
moving to Frankfurt am Main as
Kapellmeister*. His legendary
creative facility enabled him to
compose several sacred cantata
cycles while working there (one for
each of the next five years)
alongside a string of instrumental
works, including the B flat Violin
Concerto we hear tonight.
See insert for notes on this new
commission.
world premiere
INTERVAL
49
Cast in the traditional four
movements (slow–fast–slow–fast)
of the trio sonata and inspired
principally by the Italianate
sunshine and brilliance of Corelli,
Vivaldi and Albinoni, there are also
passages (most notably the opening
bars of the Largo first movement)
which recall the majestic poise of
Handel. The concerto is dedicated
to Johann Georg Pisendel, one of
the leading violinists of the age,
who had been a keen member of
the Collegium musicum ensemble
founded by Telemann during his
early Leipzig period. By 1719,
when Telemann composed his B
flat concerto, Pisendel was happily
installed as the leader of Europe’s
most renowned instrumental
group: the Dresden Court
Orchestra.
Programme Notes
George Frideric
Handel (1685–1759)
Sonata a Cinque in
B flat, HWV 288
(c.1707)
(i) Andante
(ii) Adagio
(iii) Allegro
George Frideric
Handel
Concerto for harp
and lute in B flat,
HWV 294
[Op.4 No.6] (1736)
(i) Andante – Allegro
(ii) [Larghetto]
(iii) Allegro moderato
50
Although Handel scored some
notable successes during his first
appointment in Hamburg, it was the
four years he spent in Italy between
1706 and 1710 that proved crucial to
his rampant genius. Having rapidly
absorbed the latest creative
techniques from the likes of Scarlatti,
Caldara and Corelli, Handel
proceeded to demonstrate just how
good Italian music could sound –
when composed by him! Having
taken Rome (where he composed
over 100 cantatas at the astonishing
rate of one a week), Naples and
Venice by storm, Handel crowned his
Italian sojourn with the opera
Agrippina, which was greeted by
impassioned cries of Viva il caro
Sassone! (‘Long live our dear Saxon’).
Handel composed comparatively
little instrumental music during this
period, but his earliest concerto (the
only one for the violin) has survived,
disguised by the unassuming title
‘Sonata a cinque’, which refers to the
score’s five lines of music – one for
the soloist and four for the
accompaniment. Normally this
would imply chamber music forces,
but as the score clearly indicates
oboes in unison with the first violins
and includes a solo cadenza in the
finale, it would seem to have been
intended as an orchestral work, one
for which Handel retained a great
deal affection as he later recycled the
opening movement for both an oboe
concerto and the oratorio Belshazzar.
It seems the ‘concerto’ may have been
composed especially for Corelli as a
‘thank you’ for leading performances
of Handel’s oratorios La Resurrezione
and Il trionfo del tempo.
More familiar in its slightly later
guise as an organ concerto – the
last in a set of six published as
‘Op.4’ by John Walsh in 1738 –
HWV 294 received its first
performance as a ‘Concerto per il
Liuto e l’Arpa’ on 19 February
1736 at the Covent Garden
Theatre, played as a musical
interlude during the first act of
Handel’s latest ode, Alexander’s
Feast. All subsequent printed
editions of the original omit the
lute part, which had never come to
light, presumed destroyed.
It was the distinguished
musicologist, conductor and
keyboard player Thurston Dart
who first attempted a plausible
reconstruction of Handel’s
original, explaining that ‘The harp
part works in canon (or quasicanon) with itself remarkably often
– too often, in fact, for this to be
mere coincidence. It is a safe
assumption that the lutenist must
have conversed for much of the
time in close-knit dialogue with
the harpist, just as do the two
soloists in Bach’s concertos for two
harpsichords or two violins, or in
Handel’s own incomplete concerto
for two organs and double
orchestra. The exquisite scoring of
the accompaniment, for muted and
pizzicato strings with treble
recorders and organ continuo
adding additional touches of
colour, is the perfect foil to the
delicacy of the two solo
instruments.’
Programme Notes
George Frideric
Handel
Concerto Grosso
in G Op.6 No.1,
HWV319 (1739)
(i)
(ii)
(iii)
(iv)
(v)
A tempo giusto
Allegro
Adagio
Allegro
Allegro
Handel’s twelve Concerti Grossi
Op.6 had a rather unfortunate start
in life due largely to the appalling
winter of 1739–40, the year they
were first published by John
Walsh. Frustrated by the weather
conditions and pronounced lack of
lively new operas and plays, music
lovers were left decidedly
underwhelmed by the offer of an
‘occasional’ concerto. ‘Plays we
have none,’ one correspondent
complained. ‘Handel has had a
concerto this winter. No opera, no
nothing.’ Nevertheless, society
soon took this ingeniously varied
music to its collective bosom,
deluging Handel with advance
orders of over 100 subscribers for
the second edition of 1741, which
proudly designated the set ‘Op.6’.
The concerti grossi were
originally performed as musical
interludes during performances of
Handel’s oratorios and odes,
although they were also conceived
as a complete set, written over a
five-week period during the
autumn of 1739. Handel was
clearly in creative free-flow at the
time as virtually the entire opus
consists of original music. That
said, the first movement of No.1 is
based on an initial draft for the
overture to Imeneo (completed
1740), Handel’s penultimate
Italian opera, while part of the
finale bears an uncanny
resemblance to one of Domenico
Scarlatti’s keyboard sonatas. When
asked why he sometimes
‘borrowed’ other composers’ music,
Handel snapped ‘It’s much too
good for them; they don’t know
what to do with it!’ The English
composer William Boyce put it
more poetically: ‘Handel takes
other men’s pebbles and polishes
them into diamonds.’
Programme notes by
Julian Haylock
Boffin’s Corner Telemann: A Man for all Seasons
Although Johann Sebastian Bach is considered by many to be music’s supreme genius, during his lifetime it
was Telemann who was the more celebrated composer. By the end of his life the highly prolific Telemann
could boast an almost unbelievable tally of 700 church cantatas, 40 operas, 44 passion settings and 200
French overtures, in addition to vast reams of orchestral, chamber and solo instrumental music amounting
to a total of over 3,000 compositions, many of which are now sadly lost.
Such was Telemann’s reputation that he had been first choice of the Leipzig municipal authorities for
the post that eventually went to Bach – Telemann had turned it down as he was already music director at the
five most important churches in Hamburg! Bach admired him enough to make him the godfather of his
son, Carl Philip Emmanuel. Yet if Bach staunchly upheld the absolute musical traditions of the past, never
seeking or attaining anything remotely approaching musical stardom, Telemann was a man for all seasons,
far more in touch with the mood of the times and perfectly happy to compose music designed primarily to
entertain. One can readily sense the bracing change of creative impulse in his Ouverture burlesque, which
opens tonight’s concert, and in the B flat Violin Concerto that follows – indeed at times the Mannheim
symphonists and early Haydn feel just a musical stone’s-throw away.
It was Telemann’s polished eclecticism that proved his downfall in terms of his posthumous reputation.
He happily adapted his writing to suit any occasion, making it sometimes impossible to discern the
composer. This proved an invaluable asset during his lifetime, but later generations seeking the strong
identity and crucial artistic development of a Beethoven or Brahms, have tended to undervalue his supreme
achievement. In his autobiography of 1740, Telemann admitted that when composing he often didn’t feel
particularly engaged and that his many concertos ‘smelt mostly of France.’ Yet his finest work – much of it
contained in his Tafelmusik (literally ‘Table-Music’) – is amongst the most engaging German music of the
mid-18th century.
51
Biography
Kati Debretzeni
director/violin
Born in Transylvania, Kati studied the violin with Ora
Shiran in Israel, and the Baroque violin with
Catherine Mackintosh and Walter Reiter at the Royal
College of Music in London.
Since the year 2000 she leads the English Baroque
Soloists under Sir John Eliot Gardiner, and since 2008
she is one of the leaders of the Orchestra of the Age of
Enlightenment, which she has directed and lead in the
UK, Europe and the US. She recorded numerous
chamber music CDs with Florilegium (Chanel
Classics), Ricordo (Linn Records) and most recently
Trio Goya (Chandos). Kati features as soloist on two
versions of Bach’s Brandenburg concertos, with the
European Brandenburg Ensemble under Trevor
Pinnock (Gramaphone Award 2007), and again with
the English Baroque Soloists. She has directed various
ensembles in Israel, Poland, Norway, Iceland and the
UK, and teaches the Baroque violin at the Royal
Conservatory of Music in The Hague.
52
photo: Joe Plommer
Biography
Chi-Chi Nwanoku MBE
double bass
An ex-sprinter and half the size of her double bass,
Chi-chi has gained a reputation as one of the finest
exponents of her instrument today.
The eldest of 5 children from Nigerian and Irish
parents, she was 7 years old when she discovered the
piano at a neighbour’s, who taught her to play a 12-bar
blues. She returned to their house daily until the
neighbour got so fed up they wheeled the piano up the
road and gave it to her as a gift!
Meanwhile, she was spotted (aged 8) by an
athletics coach and trained as a 100-metre sprinter,
eventually competing at National level. This career
ended abruptly due to a knee injury aged 18, which is
when (and why) she took up the double bass and
actively pursued a career in music.
She studied at the Royal Academy of Music and
with Franco Petracchi in Rome, and soon found
herself in demand internationally.
Chi-chi is Principal Double Bassist and cofounder of the Orchestra of the Age of
Enlightenment. She is Professor of Double Bass
Historical Studies at the Royal Academy of Music,
and was made a Fellow there 1998.
Her range of musical interests has resulted in a
broad career performing and recording in a diversity of
styles from authentic baroque through to 21st century
and new commissions, with many of Europe’s leading
chamber orchestras and ensembles. Some of her
notable chamber recordings include Schubert’s ‘Trout’
Quintet (recorded three times), and Octet, Beethoven
Septet, Hummel Piano quintet and Boccherini
Sonatas. Her solo recording of Dittersdorf and Vanhal
Concertos with the Swedish Chamber Orchestra;
Hyperion CD 67179 received critical acclaim.
In 2012 Barrie Gavin directed a documentary film
about Chi-chi’s career, called ‘Tales from the Bass Line’.
As a broadcaster, Chi-chi presented BBC Radio 3
Requests for four years, she guests for the TV Proms
and was Jury member of BBC 2 TV Classical Star. She
will be presenting a new two part series for BBC
Radio 4 in 2015 which brings to life the stories and
music of black composers and musicians from the
eighteenth century, whose vivd presence on the
classical music scene have slipped through the net!
She sits on the Board of the National Youth
Orchestra of Great Britain, and Royal Philharmonic
Society, is a Patron of the Mayor of London’s Fund for
Young Musicians, Music Preserved, and the
Cherubim Trust. Chi-chi is a past board member of
the Association of British Orchestras.
The Salomon Prize was launched in 2011 by the
ABO/RPS and celebrates the ‘unsung heroes’ of
orchestral life; the orchestral players that make our
orchestras great. It is Chi-chi’s brainchild.
Chi-chi was awarded an MBE for services to
Music in the 2001 Queen’s Birthday honours. She was
voted one of the ‘100 - Happy List’ in the Independent
on Sunday 2011. And she still loves the blues!
53
photo: Eric Richmond
Glossary
Arias
From the Italian word meaning ‘air’ – Any
melody or song performed usually, but not
always, by a singer,now used almost
exclusively to describe a self-contained
piece for one voice, at times duets, usually
with orchestral accompaniment. The most
common context for arias is opera, however
there are also many arias that form crucial
movements of oratorios and cantatas. In the
Baroque period the term aria did not
necessarily refer to a singing solo role, an
Aria could also mean a melodic scheme
(motif ) or pattern for singing a poetic
outline, such as a sonnet; it was also used
when referring to pure instrumental pieces,
such as an instrumental or dance aria.
Chorale
A harmonised hymn, specifically, any of the
traditional hymns of the German
Protestant or Lutheran Churches. The form
was developed after the Reformation to
replace the plainsong of the earlier service
and as a means of congregational
participation in the liturgy. Early chorales
were mainly translations of Latin hymns set
to folksong melodies, written in an
uncomplicated idiom combined to a simple
melody.
Concerto grosso
A form of baroque music in which the
musical material is passed between a small
group of soloists (the concertino) and full
orchestra (the ripieno).
The form developed in the late
seventeenth century, although the name
was not used at first. Two distinct forms of
the concerto grosso exist: the concerto da chiesa
(church concert) and the concerto da camera
(chamber concert). The concerto da chiesa
alternated slow and fast movements; the
concerto da camera had the character of a
suite, being introduced by a prelude and
incorporating popular dance forms. These
distinctions blurred over time.
Contrapunctual
Having different musical lines that are
interdependent harmonically yet
independent in rhythm and contour.
54
Kapellmeister
German word used most often to describe
the director of music for a monarch or
nobleman.
Largo
An Italian tempo marking which means to
play very slowly, roughly 40–60 beats per
minute.
Libretto
A libretto (from Italian word meaning ‘little
book’) denotes the body of words/text used
in an extended musical works such as an
oratorio, opera, operetta or, more recently, a
musical. The role of the libretto in the
creation of a musical work varies, some
composers wrote their own original libretti
(a composer/ librettist) most others adapted
the libretto from existing sources or plays,
or had this done for them by librettists from
a variety of sources; sacred, mythic, literary
or secular.
Overture
An instrumental composition planned
especially as an introduction to an extended
work, such as an opera or oratorio. The
earliest Italian opera overtures were simply
pieces of orchestral music and were called
‘sinfonie’ , later the overture begun to
foreshadow the themes and melodic strands
of the subsequent larger work and in the
19th and 20th Centuries the overture
became a potpourri of the work’s
proceeding tunes, played as a teaser.
Recitative
A musical declamation for solo voice in
which singers converse, describe, or
declaim, moving the action forward
between the high musical moments. A
form/style of writing for vocals (used in
operas, oratorios or cantatas) that is close to
the manner of natural speech, with slight
melodic variations and minimal orchestral
accompaniment, focused on conveying the
words and meaning.
Glossary
Scale
Scales in traditional Western music
standardly consist of seven notes, made up
of a root note and six other scale degrees
whose pitches lie between the root and the
root’s first octave. Notes in the commonly
used scales are separated by intervals of
tones and semitones.
Symphony
An extended musical composition in
Western classical music, scored almost
always for orchestra. ‘Symphony’ does not
necessarily imply a specific form, though
most are composed according to the sonata
principle. Many symphonies are tonal
works in four movements with the first in
sonata form, which is often described by
music theorists as the structure of a classical
symphony, although many symphonies by
the acknowledged classical masters of the
form, Joseph Haydn, Wolfgang Amadeus
Mozart, and Ludwig van Beethoven do not
conform to this model.
Threnody
A song of mourning composed or
performed as a memorial to a dead person,
much like a dirge or elegy.
55
Orchestra of the Age of Enlightenment
Principal Artists
Sir Mark Elder
Iván Fischer
Vladimir Jurowski
Sir Simon Rattle
Emeritus Conductor
Sir Roger Norrington
‘For this
remarkable
ensemble,
it’s all about
the music’
Independent on Sunday
Nearly three decades ago, a group of inquisitive London musicians took a long hard look
at that curious institution we call the Orchestra, and decided to start again from scratch.
They began by throwing out the rulebook. Put a single conductor in charge? No way.
Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move
on? Too lazy. The Orchestra of the Age of Enlightenment was born.
And as this distinctive ensemble playing on period-specific instruments began to get
a foothold, it made a promise to itself. It vowed to keep questioning, adapting and
inventing as long as it lived. Those original instruments became just one element of its
quest for authenticity. Baroque and Classical music became just one strand of its
repertoire. Every time the musical establishment thought it had a handle on what the
OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique
here, some conductor-less Bach there. All the while, the Orchestra’s players called the
shots.
At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t.
Somehow, the OAE survived to a year. Then to two. Then to five. It began to make
benchmark recordings and attract the finest conductors. It became the toast of the
European touring circuit. It bagged distinguished residencies at the Southbank Centre
and Glyndebourne Festival Opera. It began, before long, to thrive.
And then came the real challenge. Eccentric idealists the ensemble’s musicians were
branded. And that they were determined to remain. In the face of the music industry’s
big guns, the OAE kept its head. It got organised but remained experimentalist. It
sustained its founding drive but welcomed new talent. It kept on exploring performance
formats, rehearsal approaches and musical techniques. It searched for the right repertoire,
instruments and approaches with even greater resolve. It kept true to its founding vow.
In some small way, the OAE changed the classical music world too. It challenged
those distinguished partner organisations and brought the very best from them, too.
Symphony and opera orchestras began to ask it for advice. Existing period instrument
groups started to vary their conductors and repertoire. New ones popped up all over
Europe and America.
And so the story continues, with ever more momentum and vision. The OAE’s series
of nocturnal Night Shift performances have redefined concert parameters. Its home at
London’s Kings Place has fostered further diversity of planning and music-making.
Great performances now become recordings on the Orchestra’s in-house CD label, OAE
Released. The ensemble has formed the bedrock for some of Glyndebourne’s most
groundbreaking recent productions. It travels as much abroad as to the UK regions: New
York and Amsterdam court it, Birmingham and Bristol cherish it.
Remarkable people are behind it. Simon Rattle, the young conductor in whom the
OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, the
visionary who punted some of his most individual musical ideas on the young orchestra,
continues to challenge it. Mark Elder still mines for luminosity, shade and line. Vladimir
Jurowski, the podium technician with an insatiable appetite for creative renewal, has
drawn from it some of the most revelatory noises of recent years. All four share the title
Principal Artist.
Of the instrumentalists, many remain from those brave first days; many have come
since. All seem as eager and hungry as ever. They’re offered ever greater respect, but
continue only to question themselves. Because still, they pride themselves on sitting ever
so slightly outside the box. They wouldn’t want it any other way.
© Andrew Mellor, 2014
56
Watercycle
“It was brilliant!” Kate Newton, 7 years old from York
finale we were joined by over 100 performers on stage at
the University of York singing our Watercycle song.
Our Watercycle project is gaining momentum and so
far we have completed two residencies in Brighton
and York. In our last programme, you heard about our
work in Brighton and one of the delights of this
project is that it looks completely different in each
place we work in.
Our York residency, in collaboration with the
National Centre for Early Music (NCEM), included
two schools concerts, a chamber evening, two OAE
TOTS concerts and a community concert. We
performed six concerts of fabulous music making in two
days including Handel’s Water Music, Bach’s Concerto
in A minor and newly commissioned works. In a grand
From Delma Tomlin, Director NCEM
“OAE’s ability to weave all the potentially disparate
groups together, to make music of real quality and create
magic for all concerned - whilst… retaining the highest
professional musical standards - is truly remarkable.”
As part of our Watercycle journey, we are also raising
money for WaterAid. Our current total is over £2,000.
Children and adults from local groups are collecting
pennies in 500ml water bottles. They make their own
bottle label and use them in our concerts as percussion –
it is a fantastic sound! Do check out our website for more
information on WaterAid and our ‘bottle-it’ campaign.
Community concert in Brighton
Primary teacher training in Brighton
Recording in the sewers of Brighton (photo: Connors)
Young bassoon players in Brighton
57
‘Open All Ears: The Three Towns Tour’, generously
supported by Arts Council England Strategic Touring
Programme, will bring our Watercycle concerts to
Chesterfield and King’s Lynn in April and May 2015
and to Lowestoft in October. We will work with The
Rose Choir, the Co-Operative Choir, and the Rose
Youth Choir in Chesterfield, the Thetford Singers in
King’s Lynn, as well as local schools in every place we
visit. The OAE will bring concerts to new settings and
to new audiences including a pop-up pub crawl along
the Brampton Mile in Chesterfield and a chamber
evening in a hotel on the Sandringham estate (King’s
Lynn) catering for disabled guests.
Watercycle will also be visiting London this spring
with over 2,000 primary pupils and secondary students
taking part in concerts with the OAE. Residencies in
Wiltshire and Plymouth will form the next leg our
journey around the country until our next tranche of
work starts in autumn 2015.
Camden & Brent Early Years
If you are following us on Twitter, you may have seen
pictures of red duck castanets with googly eyes and
wondered what they are used for. It is the latest
acquisition by OAE Education for our Camden &
Brent Early Years project: a three year programme of
activity generously supported by the John Lyon’s
Charity to enhance music provision for the youngest of
children across the boroughs. The first year of work
involves Brent Music Service and Camden Integrated
Early Years’ Service in the OAE TOTS programme.
OAE musicians will be visiting eight locations across
the two boroughs, introducing instruments and
delivering activities all linked to our Watercycle
project. Children and their parents will also be able to
join OAE musicians for ‘Sailing Away’, one of our
well-loved OAE TOTS concerts. Our beloved Purcell
Room TOTS continues on 12 April with Splashing
About.
58
OAE Making Our Band performances
As part of our Making Our Band project, supported by
Youth Music, we've been working with severely
challenged young people in London and Plymouth,
forming bands with OAE players.
Making our Band participants will be performing live
at the Royal Festival Hall on 16 March, the Royal
Albert Hall on 21 April and Devonport Guildhall on
15 May.
Cherry Forbes
Education Director
OAE News
30th Birthday Season
Concerts in our 30th Birthday season, 2015-2016, are
now on sale. Check our website for full details of pick
up a concert diary here at the Southbank Centre.
Highlights include concerts with Principal Artists Sir
Simon Rattle, Sir Mark Elder and Vladimir Jurowski
and Emeritus Conductor Sir Roger Norrington. You
can book for all of next season’s concerts at
southbankcentre.co.uk or by calling the box office on
0844 847 9922. Alternatively, browse all events and
watch the season trailer at oae.co.uk.
The Night Shift in the
Big Apple and across England
On 1 March we took our rule-breaking relaxed
classical series, The Night Shift, to Brooklyn, New
York. We’ve done a few shows in pubs outside London
before, but this is the first time we’ve taken it outside
the UK. We’re also going to be announcing, on 6
March, a National pub and club tour of The Night
Shift, with appearances in London, Brighton, Bristol,
Manchester and Newcastle.
Check oae.co.uk/thenightshift for full details.
Principal viola
OAE Academy
It gives us great pleasure to announce that we’ve
recently appointed a new Principal Viola. Max Mandel
comes from Canada and has a background mainly in
chamber music. He says, ‘When a position in a groundbreaking group like the OAE comes up, the timing
might not be right but you just have to go for it.’ Max
will be playing with the Orchestra across all repertoire.
In January we welcomed a new batch of participants
into the Ann and Peter Law OAE Experience scheme at
the annual OAE Academy. The scheme enables
exceptionally gifted period instrument players to work
alongside the Orchestra and receive ongoing mentoring
from our players. After 3 days of intensive workshops,
the participants performed at Daylight Music, a series
of free lunchtime concerts at Islington’s Union Chapel.
St John's Smith Square
If you’re reading this at our concert in the Queen
Elizabeth Hall then you’re witnessing something very
special – the last OAE concert there for two years.
Have we been thrown out? Of course not, but the
Queen Elizabeth Hall (and Purcell Room and
Hayward Gallery) are being closed for a big refit. So
for the next two years some of our Southbank Centre
concerts will be held over at St John’s Smith Square.
But don’t worry, you can still buy tickets through the
Southbank Centre in the usual way.
Glyndebourne Festival Opera
2015
Max Mandel
60
As Associate Orchestra at Glyndebourne, we’ll be
back in Sussex again this summer. So grab your black
tie and picnic basket because public booking opens on
9 March 2015. This year we’ll be playing in Mozart’s
Die Entführung aus dem Serail, conducted by Robin
Ticciati, and Handel’s Saul with Ivor Bolton. More
details over at glyndebourne.com.
2015-16
Southbank Centre
Concerts
Booking Information
Southbank Centre
Ticket Office 0844 847 9922
southbankcentre.co.uk/oae
Tickets: £10–£60 unless
otherwise indicated.
Premium seats available for
selected concerts.
All concerts start at 7pm unless
otherwise indicated and are
preceded by a free pre-concert
OAE Extras event at 5.45pm.
Free programmes are available at
every concert.
You can find more information
about the OAE at:
Website: oae.co.uk
orchestraofthe
ageofenlightenment
theoae
61
Wednesday 14 October 2015
St John’s, Smith Square
Tuesday 24 November 2015
St John’s, Smith Square
Bostridge sings Handel
Bach’s Double, Bach’s Single
Telemann Suite in F for two horns
and strings
Telemann Ich weiss, dass mein
Erlöser lebt
Telemann So stehet ein Berg Gottes
from Der Tod Jesu
Handel Concerto Grosso in
D minor Op. 3 No. 5
Handel Scherza infida from
Ariodante
Handel Love sounds th’alarm from
Acis and Galatea
Handel Silete Venti
Handel Selection from Water
Music
Bach Concerto for violin in E
Vivaldi Concerto for two violins
in G minor Op. 3 No. 2
Pisendel Violin Concerto in
G minor
Bach Chaconne from Partita
No. 2 in D minor
Vivaldi Violin Concerto No. 2 in
E minor from La Stravaganza,
Op.4
Telemann Concerto for four
violins in G major
Bach Concerto for two violins in
D minor
Steven Devine director
Ian Bostridge tenor
Rachel Podger director/violin
Kati Debretzeni, Margaret
Faultless, Matthew Truscott
violins
Tuesday 10 November 2015
Royal Festival Hall
Schiff 's Schumann
Mendelssohn Overture,
The Hebrides
Mendelssohn Symphony No. 3 in
A minor, Scottish
Schumann Piano Concerto in A
minor
Sir András Schiff conductor/piano
Saturday 6 February 2016
Royal Festival Hall
Marin, Madness and Music
Part of the Altered Minds weekend.
Brahms Variations on a theme by
Haydn
Schumann Violin Concerto in
D minor
Schumann Symphony No. 3 in
E flat, Rhenish
Marin Alsop conductor
Patricia Kopatchinskaja violin
Our Supporters
The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful
to our sponsors and patrons and hope you will consider joining them. We offer a close involvement in
the life of the orchestra with many opportunities to meet players, attend rehearsals and even
accompany us on tour.
MAJOR SPONSOR
CORPORATE BENEFACTORS
Apax Partners
Commerzbank AG
E.S.J.G. Limited
Lubbock Fine Chartered Accountants
Parabola Land
CORPORATE PATRONS
Lindt
Macfarlanes
Swan Turton
Waterloo Wine
IMPRESARIO CIRCLE
Robert & Laura Cory
Bruce Harris
Sir Thomas Hughes-Hallett KBE
Nigel Jones & Françoise Valat Jones
Selina & David Marks
Sir Martin & Lady Smith
Mark & Rosamund Williams
BENEFACTORS
Julian & Annette Armstrong
Julian & Camilla Mash
Philip & Rosalyn Wilkinson
ARIA PATRONS
Gary & Nina Moss
OAE Futures is the long term artistic development
programme of the OAE and was established in 2006 with a
substantial lead donation from The Smith Challenge Fund.
The OAE is grateful to Martin and Elise Smith for this
generous and imaginative support. OAE Futures comprises
projects grouped under three headings: Future Orchestra,
Future Performers and Future Audiences, and offers a
special opportunity for donors to be involved in the
development of the Orchestra’s artistic strategy at the
highest level. The Orchestra thanks for the following for
their support of OAE Futures:
OAE Futures Funders
Robert & Laura Cory
The Smith Challenge Fund
Ann & Peter Law OAE Experience Scheme
Ann & Peter Law
CHAIR PATRONS
Mrs Nicola Armitage Education Director
Hugh & Michelle Arthur Violin
Edward Bonham Carter Principal Trumpet
Anthony & Celia Edwards Principal Oboe
Sir Vernon & Lady Ellis Co-Principal Viola
Peter & Leanda Englander Principal Clarinet
Franz & Regina Etz Principal Double Bass
James Flynn QC Co-Principal Lute/Theorbo
Paul Forman Co-Principal Cello
Sir Timothy & Lady Lloyd Co-Principal Keyboard
The Mark Williams Foundation Co-Principal Bassoon
Haakon & Imogen Overli Co-Principal Cello
Professor Richard Portes CBE FBA Co-Principal Bassoon
John & Rosemary Shannon Principal Horn
Roger & Pam Stubbs Sub-Principal Clarinet
EDUCATION PATRONS
John & Sue Edwards (Principal Education Patrons)
Mrs Nicola Armitage
Patricia & Stephen Crew
Venetia Hoare
Professor Richard Portes CBE FBA
The OAE is a registered charity number 295329 accepting
tax efficient gifts from UK taxpayers and businesses
62
Our Supporters
FRIENDS OF THE OAE
Support the OAE from just
£50 a year.
IDOMENEO GROUP
Michael Allen
Michael & Jacqueline Gee
Professor David Graham QC
JMS Advisory Limited
Irina Knaster
Stanley Lowy
David Mildon in memory of
Lesley Mildon
Tim & Jenny Morrison
Andrew Nurnberg
Andrew & Cindy Peck
Emily Stubbs & Stephen
McCrum
Shelley von Strunckel
Eric Tomsett
GOLD FRIENDS
Noël & Caroline Annesley
Mrs A Boettcher
Marius & Anna Carboni
Mr & Mrs C Cochin de Billy
Geoffrey Collens
Michael & Harriet Maunsell
Kitty Sage
Ann & Barry Scrutton
Mr J Westwood
SILVER FRIENDS
Felix Appelbe &
Lisa Bolgar Smith
Keith Barton
Haylee & Michael Bowsher
Michael Brecknell
Christopher Campbell
Michael A. Conlon
Mr & Mrs Michael Cooper
David Emmerson
Michael & Barbara Gwinnell
Ray & Liz Harsant
Patricia Herrmann
Peter & Sally Hilliar
Rupert & Alice King
Marsh Christian Trust
Roger Mears & Joanie Speers
Stephen & Roberta Rosefield
Anna Rowe & Jonathan White
Michael & Giustina Ryan
Her Honour Suzanne Stewart
63
BRONZE FRIENDS
Dennis Baldry
The Revd Brian Blackshaw
Dan Burt
Tony Burt
Cynthia Butterworth
Anthony & Jo Diamond
Roger Downer
Mrs S M Edge
Marianne Edwards
Mrs Mary Fysh
Auriel Hill
Professor John Irving
John & Shirley Lloyd
Professor Ingrid Lunt
Nigel Mackintosh
Marylin Smith
Alan Sainer
Ruth & David Samuels
Susannah Simons
Michael Sternberg QC FRSA
Derek Sugden
Gillian Threlfall
Mr & Mrs Tony Timms
Dr Trilby Johnson
Mrs Joy Whitby
Mr Paul Willans
Dr & Mrs Christopher
Williams
David & Vivienne Woolf
Tony & Jackie Yates-Watson
TRUSTS, FOUNDATIONS AND
OTHER SUPPORTERS
Apax Foundation
Arts Council England Catalyst Fund
Arts Council England Small Capital Grants
Arts Council England Strategic Touring Programme
Austin and Hope Pilkington Trust
Brian Mitchell Charitable Settlement
The Charles Peel Charitable Trust
Comninos Charitable Trust
The D’Oyly Carte Charitable Trust
Dunard Fund
Esmée Fairbairn Foundation
Fenton Arts Trust
Foyle Foundation
Garfield Weston Foundation
The Golden Bottle Trust
The Helen Hamlyn Trust
Idlewild Trust
John Lyon’s Charity
Ling Trust
The Liz and Terry Bramall Foundation
Lord and Lady Lurgan Trust
The Mark Williams Foundation
Marsh Christian Trust
The Nugee Foundation
Orchestras Live
The Rayne Foundation
The RK Charitable Trust
Youth Music
THE AMERICAN
FRIENDS OF THE OAE
A US-based 501(c)(3) charitable
organisation. Contributions
received qualify for an Internal
Revenue Service tax deduction.
Wendy Brooks (chair)
& Tim Medland
John & Elena Brim
Ciara A Burnham
Matthew & Kimberly Cantor
Mark D & Catherine J Cone
John & Michelle Freise
Mr Donald Johnston
Sarah Ketterer
Richard & Lynn Landy
David Moldenhauer &
Julia Lichtblau
Linda Mirels
The Pzena Family Foundation
William & Kathleen Reiland
Ms Denise Simon
Mr & Mrs Nicholas von Speyr
Jack and Kristalina Taylor
We are also very grateful to our anonymous
supporters and the OAE Friends for their
ongoing generosity and enthusiasm.
For more information on supporting the
OAE please contact
Emily Stubbs, Development Director
[email protected]
020 7239 9381.
64
Lisa Besnoziuk, Principal Flute: Credit Eric Richmond/Harrison.
Lubbock Fine is proud of its
ongoing association with
the Orchestra of the Age of
Enlightenment and wishes
it every success.
We have a dedicated creative
and music team which provides
specialist accounting and
tax advice.
Paternoster House
65 St Paul’s Churchyard
London EC4M 8AB
T. 020 7490 7766
www.lubbockfine.co.uk
Member of Russell Bedford
International
A Legendary Collaboration
In 2015 the Academy of Ancient Music reunites
with ground-breaking pianist Robert Levin for two
programmes of the music of Mozart.
In the 1990s, Levin’s recordings of Mozart’s Piano
concertos with the AAM were game-changing —
not since Mozart’s lifetime had any pianist dared
to perform these works with such innovative
improvisational flair and brio.
Levin continues this legacy in a programme of
mature Piano concertos in February before exploring
lesser-known, early works for the organ and
harpsichord in July.
Piano concertos Nos.24 & 25 4 February 2015
7.30pm, Barbican Hall, London
Early keyboard works 7 July 2015
7.30pm, Milton Court Concert Hall, London
“Levin lives Mozart throughout his entire body, and for
every second of the score ... he plays the music as if he’s
writing it himself — for the first time.”
THE TIMES
Tickets £10-35 (£3 for AAMplify members)
Book at barbican.org.uk or call 020 7638 8891
For more information visit aam.co.uk/concerts
15-01 Orchestral Consortium (Levin) B5.indd 1
1/8/2015 3:27:21 PM
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04/02/2014 16:21:37

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