Bach: St John Passion - Winchester Music Club

Bach: St John Passion - Winchester Music Club

Come and Sing
C
Mozart
Coronation
Mass K 317
Saturday May 17th 10.00am-3.00pm
Winchester College Music School
Elgar
The Dream of
Gerontius
Francis Pott
Sentinel (first performance)
Thursday November 20th 7.30pm
Winchester
Cathedral
Bach
St John Passion
Saturday April 5th
St Swithun’s School P.A.C.
Statue of Bach outside Thomaskirche Leipzig
Janette Lloyd
Winchester Music Club
Bach
St John Passion
Saturday April 5th
St Swithun’s School P.A.C.
Jeremy Budd Evangelist
Jonathan Brown Christus
Marie Macklin soprano
Sarah Denbee mezzo soprano
Jonathan McGovern bass
Winchester Music Club Choir and Orchestra
Brian Howells Leader
Nicholas Wilks Conductor
Please ensure that your mobile phone is switched off for the duration of the concert. The use of any
kind of recording, photographic or video equipment is strictly prohibited.
Winchester Music Club is registered charity no.1095619
Bach commemorative window
Thomaskirche Leipzig
Janette Lloyd
Welcome
Winchester Music Club welcomes you to tonight’s concert: Bach’s sacred oratorio, St John
Passion. This magnificent work has been performed 8 times by the Club since it was founded
by Sir George Dyson in 1925, but it is over 20 years since our last performance in 1990 and
so we are delighted to have the opportunity to perform it this evening, particularly in the
excellent acoustic of The Harvey Hall at St Swithun’s School. We would like to thank the
Headmistress, Mrs Jane Gandee, for giving Winchester Music Club permission to use the
school’s Performing Arts Centre.
Tonight’s conductor, our Musical Director, Nicholas Wilks, continues to be a huge inspiration
to the choir. We are grateful to him for his dedication and cheerful enthusiasm helping us to
strive for better and better performances. I would also like to record our thanks to Jamal
Sutton and Oliver Tarney, who assist him at our rehearsals as répétiteurs.
Later in the programme you will find details of our future concerts, may I draw your attention
to the annual Come and Sing on May 17th. This year we will be rehearsing and then, after lunch,
performing Mozart: Coronation Mass under the direction of Nicholas Wilks. It promises to be
an enjoyable day and we would be delighted if you could join us either as a singer or audience.
Angela Ryde-Weller, Chairman
On the face of it, this evening’s performance of Bach’s St John Passion is completely
inauthentic. We are singing it at higher than Baroque pitch, we are using modern instruments
(with the exception of the viola da gamba and the oboe d’amore), we are not presenting
the work liturgically, and we have a much larger choir than Bach envisaged with sopranos
instead of trebles.
But we do Bach a disservice to imagine that his music can only be performed by specialist
groups. While it is true that historically-informed performances by such luminaries as John
Butt, Andrew Parrott and John Eliot Gardiner have transformed our understanding of this
marvellous work it is equally true that Bach’s music is at heart community music – it comes
alive when it is performed by a group of committed musicians to their audience, and the fact
that so many of our players and singers will have family and friends listening to them gives
performances such as this a special dimension.
We should not feel constrained by over-stepping the mark – something Bach himself seems to
have been happy to do when he ignored the instruction by the church authorities in Leipzig
to write a passion which was neither long nor operatic! Bach’s religious conviction is selfevident, but conducting the St John Passion for the first time I have been struck by its sheer
humanity – Peter’s anguish at his betrayal of Christ, the portrayal of Pilate as a scrupulously
fair man finding himself out of his depth in the vicious religious politics of the high priests,
and the exquisite tenderness of the final chorus, Ruht wohl, perhaps the greatest lullaby
ever written.
Nicholas Wilks, Conductor
dS
The origin of the Passion
In mediaeval times the practice of singing the gospel in church services was well established.
It was found to be more effective acoustically than using mere speech. By the 14th century
there were different voices playing different parts: a tenor voice played the Evangelist with
a bass voice playing Jesus. An alto voice played the crowd. Later this latter part was taken
by a group of singers; a chorus.
Some two centuries later, Luther’s translation of the Bible from Latin meant that the
Reformation congregation could now understand what was being sung. The development of
instruments such as the violin and the oboe and the influence of Italian opera in the 17th
century led to even more elaborate compositions. The recitative, where narrative was sung
with natural speech inflections, made for a much richer commentary.
However, the congregation in 1720s Leipzig was very traditional. Bach was Cantor of the
school at Thomaskirche and also Director of Music there and at Nikolaikirche ( see images
opposite). He was specifically enjoined not to make ‘theatrical compositions’. In nearby
Halle, which was severely orthodox at this time, simple hymns were preferred.
Despite these strictures, the reason for performing a Passion on Good Friday was not merely
to tell the story of Jesus’s betrayal and death but also to teach its meaning. The arias
and chorales, with their more complicated musical settings, offered deeper reflections and
interpretations of this story. Bach was in effect preaching sermons in music.
Bach’s Passions
Bach may have written a passion in 1714 (before he came to Leipzig) but it is now lost. He
wrote the St John Passion in 1724. The St Matthew followed in 1729. There is evidence that
he wrote wrote a St Luke Passion in 1730, with a St Mark Passion following in 1731. There is
no music left of the St Luke Passion. The St Mark score has not been seen since 1764.
The St John Passion in Performance?
This is a description of Bach leading an ensemble around 1730, written by Johann Matthias
Gesner, Rector of the school at Thomaskirche in Leipzig. We could well assume that he is
directing a rehearsal of the St John Passion:
“... If you could see Bach running over the keys of the organ with both hands and,
at the utmost speed, with his feet producing by himself the most various and at the
same time agreeable combinations of sound in orderly procession .... If you could
see him not only singing with one voice and playing his own part, but watching
over everything and bringing back to the rhythm and the beat, out of 30 or even 40
musicians, the one with a nod, another by tapping with his foot, the third with a
warning finger, giving the right notes to one from the top of his voice, to another
from the greatest din made by all the participants, and although he is executing the
most difficult parts himself, noticing at once whenever and wherever a mistake occurs,
holding everyone together, taking precautions everywhere, and a repairing any
unsteadiness, full of rhythm in every part of his body- this one man taking in all
these harmonies with his keen ear and emitting with his voice alone the tone of all
the voices.... The accomplishments of our Bach appear to me to effect what not many
Orpheuses could achieve.”
It is clear that Gesner knew that he was in the presence of a genius!
© Janette Lloyd 2014
dSccc
J.S. Bach
St John Passion
PART ONE
1 Chorus
Herr, unser Herrscher, dessen Ruhm in allen Landen
herrlich ist! Zeig uns durch deine Passion, dass du, der
wahre Gottessohn, zu aller Zeit, auch in der grössten
Niedrigkeit, verherrlicht worden bist.
PART ONE
1 Chorus
Lord, our master, whose glory fills the whole earth,
show us by your Passion that you, the true Son of
God, triumph even in the deepest humiliation.
2 Recitative
2 Recitative
Evangelist
Jesus went out with his disciples, and crossed the
Cedron ravine. There was a garden there, and he and
his disciples went into it. The place was known to
Judas, his betrayer, because Jesus had often met
there with his disciples. So Judas took a detachment
of soldiers, and police provided by the chief priests
and the Pharisees, equipped with lanterns and
weapons, and made his way to the garden. Jesus,
knowing all that was coming upon him, went out to
them and asked,
Jesus
Whom is it you want?
Evangelist
They answered,
Chorus
Jesus of Nazareth!
Evangelist
Jesus said
Jesus
I am he!
Evangelist
And there stood Judas the traitor with them. When
Jesus said ‘I am he’, they drew back and fell to the
ground. Again Jesus asked,
Jesus
Whom is it you want?
Evangelist
They answered,
Chorus
Jesus of Nazareth!
Evangelist
Jesus said,
Jesus
I have told you that I am he. If I am the man you
want, let these others go.
3 Chorale
3 Chorale
Evangelist
Jesus ging mit seinen Jüngern über den Bach Kidron,
da war ein Garten, darein ging Jesus und seine Jünger.
Judas aber, der ihn verriet, wusste den Ort auch, denn
Jesus versammlete sich oft daselbst mit seinen Jüngern.
Da nun Judas zu sich hatte genommen die Schar und der
Hohenpriester und Pharisäer Diener, kommt er dahin
mit Fackeln, Lampen, und mit Waffen. Als nun Jesus
wusste alles, was ihm begegnen sollte, ging er hinaus
und sprach zu ihnen:
Jesus
Wen suchet ihr?
Evangelist
Sie antworteten ihm:
Chorus
Jesum von Nazareth!
Evangelist
Jesus spricht zu ihnen:
Jesus
Ich bin’s!
Evangelist
Judas aber, der ihn verriet, stund auch bei ihnen. Als
nun Jesus zu ihnen sprach: Ich bin’s! Wichen sie zurücke
und fielen zu Boden. Da fragete er sie abermal:
Jesus
Wen suchet ihr?
Evangelist
Sie aber sprachen:
Chorus
Jesum von Nazareth!
Evangelist
Jesus antwortete:
Jesus
Ich hab’s euch gesagt, dass ich’s sei, suchet ihr denn
mich, so lasset diese gehen!
O grosse Lieb’, o Lieb’ ohn’ alle Masse, Die dich gebracht auf diese Marterstrasse! Ich lebte mit der Welt in
Lust und Freuden, Und du musst leiden!
4 Recitative
Evangelist
Auf dass das Wort erfüllet würde, welches er sagte: Ich
habe der keine verloren, die du mir gegeben hast. Da
hatte Simon Petrus ein Schwert, und zog es aus, und
schlug nach des Hohenpriesters Knecht, und hieb ihm
sein recht Ohr ab, und der Knecht hiess Malchus. Da
sprach Jesus zu Petro:
Jesus
Stekke dein Schwert in die Scheide! Soll ich den Kelch
nicht trinken, den mir mein Vater gegeben hat?
O measureless Love, to have brought you to this way
of the cross, to suffer while I lived heedless in the
world of pleasure.
4 Recitative
Evangelist
This was to make good his words, ‘I have not lost one
of those whom thou gavest me.’ Thereupon Simon
Peter drew the sword he was wearing and struck at
the High Priest’s servant, cutting off his right ear.
The servant’s name was Malchus.
Jesus said to Peter,
Jesus
Sheathe your sword. This is the cup my Father has
given me; shall I not drink it?
5 Chorale
5 Chorale
6 Recitative
6 Recitative
8 Recitative
8 Recitative
Dein Will gescheh, Herr Gott, zugleich auf Erden wie im May your will be done on earth as in Heaven, Lord
Himmelreich. Gib uns Geduld in Leidenszeit, Gehorsam- God; make us patient in suffering, obedient in every
sein in Lieb und Leid; wehr und steur allem Fleisch und thing, guide and protect all rebellious flesh and blood.
Blut, Das wider deinen Willen tut.
Evangelist
Die Schar aber und der Oberhauptmann, und die Diener
der Jüden nahmen Jesum und bunden ihn, und führeten
ihn aufs erste zu Hannas, der war Kaiphas Schwäher,
welcher des Jahres Hoherpriester war. Es war aber
Kaiphas, der den Jüden riet, es wäre gut, dass ein
Mensch würde umbracht für das Volk.
7 Aria (obbligato: two oboes)
Alto
Von den Stricken meiner Sünden Mich zu entbinden,
Wird mein Heil gebunden; Mich von allen Lasterbeulen
Völlig zu heilen, Lässt er sich verwunden.
Evangelist
Simon Petrus aber folgete Jesu nach, und ein ander
Jünger.
9 Aria (obbligato: two flutes)
Soprano
Ich folge dir gleichfalls Mit freudigen Schritten,
Und lasse dich nicht, Mein Leben, mein Licht.
Befördre den Lauf Und höre nicht auf
Selbst an mir zu ziehen, zu schieben, zu bitten.
10 Recitative
Evangelist
Derselbige Jünger war dem Hohenpriester bekannt, und
ging mit Jesu hinein in des Hohenpriesters Palast. Petrus
aber stund draussen vor der Tür. Da ging der andere
Jünger, der dem Hohenpriester bekannt war, hinaus, und
redete mit der Türhüterin und führete Petrum hinein.
Da sprach die Magd, die Türhüterin, zu Petro:
Maid
Bist du nicht dieses Menschen Jünger einer?
Evangelist
Er sprach:
Peter
Ich bin’s nicht!
Evangelist
Es stunden aber die Knechte und Diener, und hatten ein
Kohlfeu’r gemacht (denn es war kalt) und wärmeten
sich; Petrus aber stund bei ihnen, und wärmete sich.
Aber der Hohepriester fragte Jesum um seine Jünger
und um seine Lehre.
Jesus antwortete ihm:
Jesus
Ich habe frei, öffentlich geredet für der Welt. Ich habe
allezeit gelehret in der Schule und in dem Tempel, da
alle Juden zusammen kommen, und habe nichts im
Verborgnen geredt. Was fragest du mich darum? Frage
die darum, die gehöret haben, was ich zu ihnen geredet
habe; Siehe, dieselbigen wissen, was ich gesaget habe.
Evangelist
Als er aber solches redete, gab der Diener einer, die
dabei stunden, Jesu einen Backenstreich, und sprach
Servant
Solltest du dem Hohenpriester also antworten?
Jesus aber antwortete:
Evangelist
The troops with their commander, and the Jewish
police, now arrested Jesus and secured him. They took
him first to Annas. Annas was father-in-law of Caiaphas, the High Priest for that year – the same Caiaphas
who had advised the Jews that it would be in their
interest if one man died for the whole people.
7 Aria (obbligato: two oboes)
Alto
To free me from the bond of my sin my Saviour is
bound. He gives his body to be wounded to heal the
infection of my wickedness.
Evangelist
Jesus was followed by Simon Peter and another
disciple.
9.Aria
Soprano
I follow you with eager steps and will not forsake you,
my light and my life. Show me the way, urge me on,
ask me to go with you always.
10 Recitative
Evangelist
The disciple acquainted with the High Priest, went
with Jesus into the High Priest’s courtyard, but Peter
halted at the door outside. So the other disciple, the
High Priest’s acquaintance, went out again and spoke
to the woman at the door, and brought Peter in. The
maid on duty at the door said to Peter:
Maid
Are you another of this man’s disciples?
Evangelist
He said,
Peter
I am not.
Evangelist
The servants and the police had made a charcoal fire,
because it was cold, and were standing round it warming themselves. And Peter was standing with them,
sharing the warmth. The High Priest questioned Jesus
about his disciples and about what he taught. Jesus
replied,
Jesus
I have spoken openly to all the world; I have always
taught in the synagogue and in the temple, where all
Jews congregate; I have said nothing in secret. Why
question me? Ask my listeners what I told them; they
know what I said.
Evangelist
When he said this, one of the police struck him on the
face, exclaiming,
Servant
Is that the way to answer the High Priest?
Jesus replied,
Jesus
Hab ich übel geredt, so beweise es, dass es böse sei; hab
ich aber recht geredt, was schlägest du mich?
Jesus
If I spoke amiss, state it in evidence; if I spoke well,
why strike me?
Wer hat dich so geschlagen,
Mein Heil, und dich mit Plagen
So übel zugericht?
Du bist ja nicht ein Sünder,
Wie wir und unsre Kinder,
Von Missetaten weisst du nicht.
Ich, ich und meine Sünden,
Die sich wie Körnlein finden
Des Sandes an dem Meer,
Die haben dir erreget
Das Elend, das dich schläget,
Und das betrübte Marterheer.
Who has hit you like that, my Saviour, and ill-treated
you? After all, you are not a sinner like us and our
children; you have never done anything wrong. It
is I, with my sins countless as grains of sand, who
have brought down on you this host of sorrows and
torments.
12 Recitative
12 Recitative
Evangelist
Und Hannas sandte ihn gebunden zu dem Hohenpriester
Kaiphas. Simon Petrus stund und wärmete sich; da sprachen
sie zu ihm:
Chorus
Bist du nicht seiner Jünger einer?
Evangelist
Er leugnete aber und sprach:
Peter
Ich bins nicht!
Evangelist
Spricht des Hohenpriesters Knecht’einer, ein Gefreundter
des, dem Petrus das Ohr abgehauen hatte:
Servant
Sahe ich dich nicht im Garten bei ihm?
Evangelist
Da verleugnete Petrus abermal und alsobald krähete der
Hahn. Da gedachte Petrus an die Worte Jesu, und ging
hinaus und weinete bitterlich.
Evangelist
So Annas sent him bound to Caiaphas the High Priest.
Meanwhile Peter stood warming himself. The others
asked,
Chorus
Are you another of his disciples?
Evangelist
But he denied it and said,
Peter
I am not.
Evangelist
One of the High Priest’s servants, a relation of the
man whose ear Peter had cut off, insisted,
Servant
Did I not see you with him in the garden?
Evangelist
Peter denied again; and just then a cock crew. Peter
remembered what Jesus had said and he went away
and wept bitterly.
13 Aria
13 Aria
Tenor
Ach, mein Sinn, Wo willt du endlich hin, Wo soll ich mich
erquiken? Wo willt du endlich hin, wohin?
Bleib ich hier, Oder wünsch ich mir Berg und Hügel auf den
Rücken? Bei der Welt ist gar kein Rat, und im Herzen
stehn die Schmerzen meiner Missetat, weil der Knecht den
Herrn verleugnet hat.
Tenor
O my troubled mind, where are you leading me,
where shall I find relief? Shall I stay here, or hide
beyond the hills and mountains? Nothing in the world
can help me, and my heart aches with the pain of my
shameful deed: I have broken faith with my Lord.
14 Chorale
14 Chorale
11 Chorale
Petrus, der nicht denkt zurück,
Seinen Gott verneinet,
Der doch auf ein’ ernsten Blick
Bitterlichen weinet.
Jesu, blicke mich auch an,
Wenn ich nicht will büssen;
Wenn ich Böses hab getan,
Rühre mein Gewissen!
INTERVAL
11 Chorale
Without thinking, Peter denies his God, but weeps
bitterly at a reproachful look. If I am unrepentant,
look at me, Jesus, touch my conscience whenever I
do wrong.
OF
TWENTY
Licensed Bar
MINUTES
PART TWO
15 Chorale
Christus, der uns selig macht, Kein Bös’s hat
begangen, Der ward für uns in der Nacht
Als ein Dieb gefangen, Geführt vor gottlose Leut,
Und fälschlich verklaget, Verlacht, verhöhnt und
verspeit, Wie denn die Schrift saget.
16 Recitative
Evangelist
Da führeten sie Jesum von Kaiphas vor das
Richthaus, und es war frühe. Und sie gingen
nicht in das Richthaus, auf dass sie nicht unrein
würden, sondern Ostern essen möchten. Da ging
Pilatus zu ihnen hinaus und sprach
Pilate
Was bringet ihr für Klage wider diesen Menschen?
Evangelist
Sie antworteten und sprachen zu ihm:
Chorus
Wäre dieser nicht ein Übeltäter, wir hätten dir
ihn nicht überantwortet.
Evangelist
Da sprach Pilatus zu ihnen:
Pilate
So nehmet ihr ihn hin und richtet ihn nach eurem
Gesetze!
Evangelist
Da sprachen die Jüden zu ihm:
Chorus
Wir dürfen niemand töten.
Evangelist
Auf dass erfüllet würde das Wort Jesu, welches
er sagte, da er deutete, welches Todes er sterben
würde. Da ging Pilatus wieder hinein in das
Richthaus, und rief Jesu, und sprach zu ihm:
Pilate
Bist du der Jüden König?
Evangelist
Jesus antwortete:
Jesus
Redest du das von dir selbst, oder haben’s dir
andere von mir gesagt?
Evangelist
Pilatus antwortete
Pilate
Bin ich ein Jüde? Dein Volk und die Hohenpriester
haben dich mir überantwortet; was hast du
getan?
Evangelist
Jesus antwortete:
Jesus
Mein Reich ist nicht von dieser Welt; wäre mein
Reich von dieser Welt, meine Diener würden
darob kämpfen, dass ich den Jüden nicht
überantwortet würde! Aber, nun ist mein Reich
nicht von dannen.
17 Chorale
Ach, grosser König, gross zu allen Zeiten,
Wie kann ich g’nugsam diese Treu’ ausbreiten?
Keins Menschen Herze mag indess ausdenken,
Was dir zu schenken. Ich kann’s mit meinen
Sinnen nicht erreichen, Womit doch dein
Erbarmen zu vergleichen.Wie kann ich dir denn
deine Liebestaten im Werk erstatten?
PART TWO
15 Chorale
Christ, who brings us joy and has done no wrong, was for
oursake seized like a thief in the night, taken before unbelievers and falsely accused. He was derided, spat upon,
vilely mocked, as the scripture tells.
16 Recitative
Evangelist
From Caiaphas Jesus was led into the Governor’s
headquarters. It was now early morning, and the Jews
themselves stayed outside the headquarters to avoid
defilement, so that they could eat the Passover meal.
Pilate
What charge do you bring against this man?
Evangelist
They replied
Chorus,
If he were not a criminal we should not have brought him
before you.
Evangelist
Pilate said,
Pliate
Then take him away and try him by your own law!
Evangelist
The Jews answered,
Chorus
We are not allowed to put any man to death.
Evangelist
Thus they ensured the fulfilment of the words by which
Jesus had indicated the manner of his death. Pilate then
went back into his headquarters and summoned Jesus, and
asked,
Pilate
Are you the King of the Jews?
Evangelist
Jesus said,
Jesus
Is that your own idea, or have others suggested it to you?
Evangelist
Pilate said,
Pilate
What! Am I a Jew? Your own nation and their chief priests
have brought you before me. What have you done?
Evangelist
Jesus replied,
Jesus
My kingdom does not belong to this world. If it did, my
followers would be fighting to save me from arrest by the
Jews. My kingly authority comes from elsewhere.
17 Chorale
O mighty king, great for ever, how can I ever express my
allegiance? No human heart can think of a gift fit to offer
you, nor can I find anything to compare with your merciful
goodness. What then can I do to be worthy of your loving
deeds?
18 Recitative
Evangelist
Da sprach Pilatus zu ihm:
Pilate
So bist du dennoch ein König?
Evangelist
Jesus antwortete:
Jesus
Du sagst’s, ich bin ein König. Ich bin dazu geboren und in
die Welt kommen, dass ich die Wahrheit zeugen soll. Wer
aus der Wahrheit ist, der höret meine Stimme.
18 Recitative
Evangelist
Da schrieen sie wieder allesamt und sprachen:
Chorus
Nicht diesen, diesen nicht, sondern Barrabam!
Evangelist
Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und
geisselte ihn.
Evangelist
Pilate said,
Pilate
You are a king, then?
Evangelist
Jesus answered,
Jesus
‘King’ is your word. My task is to bear witness to
the truth. For this was I born; for this I came into
the world, and all who are not deaf to truth listen
to my voice
Evangelist
Pilate said,
Pilate
What is truth?
Evangelist
And with those words went out again to the Jews,
and said,
Pilate
For my part, I find no case against him. But you
have a custom that I release one prisoner for you at
Passover. Would you like me to release the King of
the Jews?
Evangelist
Again the clamour rose:
Chorus
Not him; we want Barabbas!
Evangelist
Barabbas was a bandit. Pilate now took Jesus and
had him flogged.
19 Arioso (obbligato: two violas d’amore)
19 Arioso (obbligato: two violas d’amore)
20 Aria (obbligato: two violas d’amore)
20 Aria (obbligato: two violas d’amore)
21 Recitative
21 Recitative
Chorus
Sei gegrüsset, lieber Jüdenkönig!
Chorus
Hail, King of the Jews!
Evangelist
Spricht Pilatus zu ihm:
Pilate
Was ist Wahrheit?
Evangelist
Und da er das gesaget, ging er wieder hinaus zu den Jüden
und spricht zu ihnen:
Pilate
Ich finde keine Schuld an ihm. Ihr habt aber eine
Gewohnheit,dass ich euch einen losgebe: wollt ihr nun,
dass ich euch der Jüden König losgebe?
Bass
Betrachte, meine Seel’, mit ängstlichem Vergnügen,
Mit bittern Lasten hart beklemmt von Herzen,
Dein höchstes Gut in Jesu Schmerzen,
Wie dir auf Dornen, so ihn stechen,
Die Himmelsschlüsselblume blüht!
Du kannst viel süsse Frucht
Von seiner Wermut brechen,
Drum sieh’ ohn’ Unterlass auf ihn!
Tenor
Erwäge, wie sein blutgefärbter Rücken
In allen Stücken Dem Himmel gleiche geht.
Daran, nachdem die Wasserwogen
Von unsrer Sündflut sich verzogen, Der allerschönste
Regenbogen Als Gottes Gnadenzeichen steht.
Evangelist
Und die Kriegsknechte flochten eine Krone von Dornen, und
setzten sie auf sein Haupt, und legten ihm ein Purpurkleid
an, und sprachen:
Bass
My soul, think how a heavenward-guiding flower
springs from the thorns that pierce the Saviour’s
head. Consider in anxious relief, in bitter joy, with
a heart torn between grief and consolation, how his
suffering is your most precious treasure.
What is wormwood to him is for you the sweetest
fruit, so fix your gaze always on him.
Tenor
Look how his back, stained with blood, is just like
the sky; after the clouds of our sins have poured
down, a lovely rainbow appears as sign of Heaven’s
blessing.
Evangelist
And the soldiers plaited a crown of thorns and
placed it on his head, and robed him in a purple
cloak. Then time after time they came up to him,
crying,
Evangelist
Und gaben ihm Backenstreiche. Da ging Pilatus
wieder heraus und sprach zu ihnen:
Pilate
Sehet, ich führe ihn heraus zu euch, dass ihr
erkennet, dass ich keine Schuld an ihm finde.
Evangelist
Also ging Jesus heraus, und trug eine Dornenkrone
und Purpurkleid.
Und er sprach zu ihnen:
Pilate
Sehet, welch ein Mensch!
Evangelist
Da ihn die Hohenpriester und die Diener sahen,
schrieen sie und sprachen:
Evangelist
And they struck him on the face. Once more Pilate came
out and said to the Jews,
Pilate
Here he is; I am bringing him out to let you know that I
find no case against him.
Evangelist
And Jesus came out, wearing the crown of thorns and the
purple cloak.
And Pilate said,
Pilate
Behold the Man!
Evangelist
The chief priests and their henchman saw him and
shouted
Chorus
Kreuzige!
Evangelist
Pilatus sprach zu ihnen:
Pilate
Nehmet ihr ihn hin und kreuziget ihn; denn ich
finde keine Schuld an ihm!
Evangelist
Die Jüden antworteten ihm:
Chorus
Wir haben ein Gesetz, und nach dem Gesetz soll
er sterben, Denn er hat sich selbst zu Gottes Sohn
gemacht,
Evangelist
Da Pilatus das Wort hörete, fürchtet’ er sich noch
mehr und ging wieder hinein in das Richthaus, und
spricht zu Jesu:
Pilate
Von wannen bist du?
Evangelist
Aber Jesus gab ihm keine Antwort. Da sprach
Pilatus zu ihm:
Pilate
Redest du nicht mit mir? Weissest du nicht, da ich
Macht habe, dich zu kreuzigen, und Macht habe,
dich loszugeben?
Evangelist
Jesus antwortete:
Jesus
Du hättest keine Macht über mich, wenn sie dir
nicht wäre von oben herab gegeben; darum,
dermich dir überantwortet hat der hat’s gröss’re
Sünde.
Evangelist
Von dem an trachtete Pilatus, wie er ihn losliesse.
Chorus
Crucify!
Evangelist
Pilate said,
Pilate
Take him and crucify him yourselves; for my part I find no
case against him.
Evangelist
The Jews answered,
Chorus
We have a law; and by that law he ought to die, because
he has claimed to be the Son of God.
Evangelist
When Pilate heard that, he was more afraid than ever,
and going back into his headquarters he asked Jesus,
Pilate
Where have you come from?
Evangelist
But Jesus gave him no answer.
Pilate said,
Pilate
Do you refuse to speak to me? Surely you know that I have
authority to release you, and I have authority to crucify
you?
Evangelist
Jesus replied,
Jesus
You would have no authority at all over me if it had not
been granted you from above; and therefore the deeper
guilt lies with the man who handed me over to to you.
Evangelist
From that moment Pilate tried hard to release him.
22 Chorale
22 Chorale
23 Recitative
23 Recitative
Durch dein Gefängnis, Gottes Sohn,
Ist uns die Freiheit kommen;
Dein Kerker ist der Gnadenthron,
Die Freistatt aller Frommen;
Denn gingst du nicht die Knechtschaft ein,
Müsst unsre Knechtschaft ewig sein.
Evangelist
Die Jüden aber schrieen und sprachen:
Chorus
Lässest du diesen los, so bist du des Kaisers Freund
nicht; Denn wer sich zum Könige machet, der ist
wider den Kaiser.
Evangelist
Da Pilatus das Wort hörete, führete er Jesum heraus,
und setzte sich auf den Richtstuhl, an der Stätte, die
da heisset: Hochpflaster, auf Ebräisch aber: Gabbatha.
Es war aber der Rüsttag in Ostern, um die sechste
Stunde, und er spricht zu den Jüden:
Pilate
Sehet, das ist euer König!
Evangelist
Sie schrieen aber:
Chorus
Weg, weg mit dem, kreuzige ihn!
Evangelist
Spricht Pilatus zu ihnen:
Pilate
Soll ich euren König kreuzigen?
Evangelist
Die Hohenpriester antworteten:
Chorus
Wir haben keinen König denn den Kaiser.
Evangelist
Da überantwortete er ihn, dass er gekreuziget würde.
Sie nahmen aber Jesum und führeten ihn hin. Und
er trug sein Kreuz und ging hinaus zur Stätte, die da
heisset Schädelstätt, welche heisset auf Ebräisch:
Golgatha.
24 Aria
Bass
Eilt, ihr angefocht’nen Seelen,geht aus euren
Marterhöhlen.Eilt …
(Wohin?)
… nach Golgatha!
( Wohin?)
Nehmet an des Glaubens Flügel,Flieht …
… zum Kreuzes Hügel, Eure Wohlfahrt blüht allda.
Your imprisonment, Son of God, brings us liberty,
for if you had not accepted serfdom we would never
become free.
Evangelist
But the Jews kept shouting,
Chorus
If you let this man go, you are no friend to Caesar;
any man who claims to be a king is defying Caesar.
Evangelist
When Pilate heard what they were saying, he brought
Jesus out and took his seat on the tribunal at the
place known as ‘The Pavement’ (‘Gabbatha’ in the
language of the Jews). It was the eve of Passover,
about noon. Pilate said to the Jews,
Pilate
Here is your king.
Evangelist
They shouted,
Chorus
Away with him! Crucify him!
Evangelist
Pilate said to them,
Pilate
Crucify your king?
Evangelist
The chief priests answered,
Chorus
We have no king but Caesar.
Evangelist
Then at last, to satisfy them, he handed Jesus over
to be crucified. Jesus was now taken in charge
and, carrying his own cross, went out to the
Place of the Skull, as it is called (or, in the Jews’
language,‘Golgotha’).
24 Aria
Bass
Hurry, you tormented souls, leave your dens of
misery.
(Where to?)
Hurry to Golgotha!
(Where to?)
Take the wings of faith and fly to the hill of the
Cross; that is where your powers will be revived.
25 Recitative
Evangelist
Allda kreuzigten sie ihn, und mit ihm zween andere zu
beiden Seiten, Jesum aber mitten inne. Pilatus aber
schrieb eine Überschrift, und setzte sie auf das Kreuz,
und war geschrieben:
‘Jesus von Nazareth, der Jüden König!’ Diese Überschrift
lasen viel Jüden, denn die Stätte war nahe bei der
Stadt, da Jesus gekreuziget ist. Und es war geschrieben
auf ebräische, griechische und lateinische Sprache. Da
sprachen die Hohenpriester der Jüden zu Pilato:
25 Recitative
Chorus
Schreibe nicht: ‘der Jüden König’, sondern dass ‘Er
gesaget habe: “Ich bin der Jüden König”’!
Evangelist
Pilatus antwortet:
Pilate
Was ich geschrieben habe, das habe ich geschrieben.
Evangelist
There they crucified him, and with him two
others, one on the right, one on the left, and
Jesus between them. And Pilate wrote
an inscription to be fastened to the cross; it read,
‘Jesus of Nazareth, King of the Jews’. This
inscription was read by many Jews, because the
place where Jesus was crucified was not far
from the city, and the inscription was in Hebrew,
Latin, and Greek. Then the Jewish chief priests
said to Pilate,
Chorus
You should not write ‘King of the Jews’; write,
‘He claimed to be King of the Jews’.
Evangelist
Pilate replied,
Pilate
What I have written, I have written.
26 Chorale
26 Chorale
27 Recitative
27 Recitative
In meines Herzens Grunde,
Dein Nam und Kreuz allein
Funkelt allzeit und Stunde,
Drauf kann ich fröhlich sein.
Erschein’ mir in dem Bilde
Zu Trost in meiner Not,
Wie du, Herr Christ, so milde,
Dich hast geblut’ zu Tod.
Evangelist
Die Kriegsknechte aber, da sie Jesum gekreuziget
hatten, nahmen seine Kleider und machten vier
Teile, einem jeglichen Kriegesknechte sein Teil, dazu
auch den Rock. Der Rock aber war ungenähet, von
oben an gewürket durch und durch. Da sprachen sie
untereinander:
Chorus
Lasset uns den nicht zerteilen, Sondern darum losen,
Wes er sein soll.
Evangelist
Auf dass erfüllet würde die Schrift, die da saget: ‘Sie
haben meine Kleider unter sich geteilet, und haben
über meinen Rock das Los geworfen.’ Solches taten
die Kriegesknechte. Es stund aber bei dem Kreuze
Jesu seine Mutter und seiner Mutter Schwester, Maria,
Cleophas Weib, und Maria Magdalena. Da nun
Jesus seine Mutter sahe, und den Jünger dabei stehen,
den er lieb hatte, spricht er zu seiner Mutter:
Jesus
Weib! Siehe, das ist dein Sohn.
Evangelist
Darnach spricht er zu dem Jünger:
Jesus
Siehe, das ist deine Mutter!
May your name and cross alone be written on my
heart, shining there always to make me rejoice.
When I am in need, console me with the picture
of you so patiently enduring death.
Evangelist
The soldiers, having crucified Jesus, took
possession of his clothes, and divided them into
four parts, one for each soldier, leaving out the
tunic. The tunic was seamless, woven in one
piece throughout; so they said to one another,
Chorus
We must not tear this; let us toss for it,
Evangelist
And thus the text of Scripture came true: ‘They
shared my garments among them, and cast lots
for my clothing.’ That is what the soldiers did.
But meanwhile near the cross where Jesus hung
stood his mother, with her sister, Mary wife of
Cleophas, and Mary Magdalene. Jesus saw his
mother, with the disciple whom he loved standing
beside her. He said to her,
Jesus
Mother, there is your son;
Evangelist
And to the disciple,
Jesus
There is your mother.
28 Chorale
28 Chorale
29 Recitative
Evangelist
Und von Stund’ an nahm sie der Jünger zu sich.
Darnach, als Jesus wusste, dass schon alles vollbracht
war, dass die Schrift
erfüllet würde, spricht er:
Jesus
Mich dürstet!
Evangelist
Da stund ein Gefässe voll Essigs. Sie fülleten aber
einen Schwamm mit Essig und legten ihn um einen
Isoppen und hielten es ihm dar zum Munde. Da nun
Jesus den Essig genommen hatte, sprach er:
Jesus
Es ist vollbracht!
29 Recitative
Evangelist
And from that moment the disciple took her into his
home.After that, Jesus, aware that all had now come
to its appointedend, said in fulfilment of Scripture,
30 Aria (obbligato: viola da gamba)
30 Aria (obbligato: viola da gamba)
31 Recitative
31 Recitative
32 Aria
32 Aria
Er nahm alles wohl in acht In der letzten Stunde,
Seine Mutter noch bedacht, Setzt ihr ein’ Vormunde.
O Mensch, mache Richtigkeit,
Gott und Menschen liebe, Stirb darauf ohn’ alles
Leid, Und dich nicht betrübe.
Alto
Es ist vollbracht! O Trost für die gekränkten Seelen!
Die Trauernacht lässt mich die letzte Stunde
szählen.Der Held aus Juda siegt mit Macht und
schliesst den Kampf. Es ist vollbracht!
Evangelist
Und neigte das Haupt und verschied.
Bass
Mein teurer Heiland, lass dich fragen, Da du nunmehr
an’s Kreuz geschlagen Und selbst gesagt: es ist
vollbracht, Bin ich vom Sterben freigemacht?
Kann ich durch deine Pein und Sterben Das
Himmelreich ererben? Ist aller Welt Erlösung da?
Du kannst vor Schmerzen zwar nichts sagen;
Doch neigest du das Haupt und sprichst
stillschweigend: Ja!
Chorus
Jesu, der du warest tot, Lebest nun ohn’ Ende, In der
letzten Todesnot Nirgend mich hinwende
Als zu dir, der mich versühnt! O du lieber Herre!
Gib mir nur, was duverdient, Mehr ich nicht begehre!
33 Recitative
Evangelist
Und siehe da, der Vorhang im Tempel zerriss in zwei
Stück, von oben an bis unten aus. Und die Erde
erbebete, und die Felsen zerrissen, und die Gräber
täten sich auf, und stunden auf viele
Leiber der Heiligen.
He thought of everything in his last hour, and gave his
mother someone to protect her.
You too should act rightly, loving God and man, so
that you may die untroubled, without anxiety.
Jesus
I thirst.
Evangelist
A jar stood there full of sour wine, so they soaked a
sponge with the wine, fixed it on a javelin, and held
it up to his lips.
Having received the wine, he said,
Jesus
It is accomplished!
Alto
It is accomplished; what comfort for suffering
human souls! I can see the end of the night of sorrow
The hero from Judah ends his victorious fight. It is
accomplished!
Evangelist
He bowed his head and gave up his spirit.
Bass
My dearest Saviour, let me ask you, as you are nailed
to the cross and have yourself said it is accomplished,
am I released from death? Can I gain the heavenly
kingdom through your suffering and death? Is it that
the whole world is redeemed.
You cannot speak for agony, but incline your head to
give a speechless ‘Yes!’
Chorus
Jesus, you who were dead and now live for ever,
bring me, in death’s extremity, nowhere but to you
who have paid the debt I owe to God, my true and
faithful master. Give me only what you have won, for
how could there be anything more to wish for?
33 Recitative
Evangelist
At that moment, the curtain of the temple was torn
in two from top to bottom. There was an earthquake,
the rocks split, and the graves opened and many of
God’s people arose from sleep.
34 Arioso
34 Arioso
35 Aria (obbligato: flute and oboe da caccia)
35 Aria (obbligato: flute and oboe da caccia)
36 Recitative
36 Recitative
37 Chorale
37 Chorale
38 Recitative
38 Recitative
Tenor
Mein Herz! In dem die ganze Welt Bei Jesu Leiden
gleichfalls leidet, Die Sonne sich in Trauer kleidet,
Der Vorhang reisst, der Fels zerfällt, Die Erde bebt, die
Gräber spalten,Weil sie den Schöpfer sehn erkalten:
Was willst du deines Ortes tun?
Soprano
Zerfliesse, mein Herze, in Fluten der Zähren
Dem Höchsten zu Ehren.Erzähle der Welt und dem
Himmel die Not: Dein Jesus ist tot!
Evangelist
Die Jüden aber, dieweil es der Rüsttag war, dass
nicht die Leichname am Kreuze blieben den Sabbath
über (denn desselbigen Sabathtags war sehr gross),
baten sie Pilatum, dass ihre Beine gebrochen, und sie
abgenommen würden. Da kamen die Kriegsknechte und
brachen dem ersten die Beine, und dem andern, der
mit ihm gekreuziget war. Als sie aber zu Jesu kamen,
da sie sahen, dass er schon gestorben war, brachen sie
ihm die Beine nicht; sondern der Kriegsknechte einer
eröffnete seine Seite mit einem Speer, und alsobald
ging Blut und Wasser heraus. Und der das gesehen
hat, der hat es bezeuget, und sein Zeugnis ist wahr,
und derselbige weiss, dass er die Wahrheitsaget, auf
dass ihr glaubet. Denn solches ist geschehen, auf dass
die Schrift erfüllet würde: ‘Ihr sollet ihm kein Bein
zerbrechen’. Und abermal spricht eine andere Schrift:
Sie werden sehen, in welchen sie gestochen haben.’
O hilf, Christe, Gottes Sohn, Durch dein bittres
Leiden,Dass wir, dir stets untertan, All Untugend
meiden,Deinen Tod und sein Ursach’Furchtbarlich
bedenken,Dafür, wiewohl arm und schwach,
Dir Dankopfer schenken
Evangelist
Darnach bat Pilatum Joseph von Arimathia, der ein
Jünger Jesu war (doch heimlich, aus Furcht vor den
Jüden), dass er möchte abnehmen den Leichnam
Jesu. Und Pilatus erlaubete es. Derowegen kam er und
nahm den Leichnam Jesu herab. Es kam aber auch
Nicodemus, der vormals in der Nacht zu Jesu kommen
war, und brachte Myrrhen und Aloen unter einander,
bei hundert Pfunden. Da nahmen sie den Leichnam
Jesu, und bunden ihn in leinen Tücher mit Spezereien,
wie die Jüden pflegen zu begraben. Es war aber an der
Stätte, da er gekreuziget ward, ein Garten, und im
Garten ein neu Grab, in welches niemand je gelegen
war. Daselbst hinlegten sie Jesum, um des Rüsttag
willen der Jüden, dieweil das Grab nahe war.
Tenor
My heart, while the whole world shares Jesus’s
suffering, the sun in mourning, the veil rent, the rocks
split, the earth quaking, the graves opening, because
they see the creator himself grow cold in death, what
will you do for your part?
Soprano
Dissolve then, heart, in floods of tears as your tribute
to our God. Tell earth and Heaven the grievous news,
your Jesus is dead!
Evangelist
Because it was the eve of Passover, the Jews were
anxious that the bodies should not remain on the
cross for the coming Sabbath, since that Sabbath was
a day of great solemnity; so they requested Pilate to
have the legs broken and the bodies taken down. The
soldiers accordingly came to the first of his fellow
victims and to the second, and broke their legs; but
when they came to Jesus, they found that he was
already dead, so they did not break his legs. But one
of the soldiers stabbed his side with a lance, and
at once there was a flow of blood and water. This is
vouched for by an eye-witness, whose evidence is
to be trusted. He knows that he speaks the truth,
so that you too may believe; for this happened in
fulfilment of the text of Scripture: ‘No bone of his
shall be broken.’ And another text says, ‘They shall
look on whom they pierced.’
’Help us, Christ, the son of God, as your loyal
followers, to avoid wrong-doing and, with the thought
of your death and its cause, to bring you thank
offerings for all that you have done, poor and weak
though we may be.
Evangelist
After that, Pilate was approached by Joseph of
Arimathea, a disciple of Jesus (but a secret disciple
for fear of the Jews) who asked to be allowed to
remove the body of Jesus. Pilate gave the permission;
so Joseph came and took the body away. He was
joined by Nicodemus (the man who had first visited
Jesus by night), who brought with him a mixture of
myrrh and aloes, more than half a hundredweight.
They took the body of Jesus and wrapped it, with the
spices, in strips of linen cloth according to Jewish
burial customs. Now at the place where he had been
crucified there was a garden, and in the garden a
new tomb, not yet used for burial. There, because
the tomb was near at hand and it was the eve of the
Jewish Sabbath, they laid Jesus.
39 Chorus
39 Chorus
40 Chorale
40 Chorale
Ruht wohl, ihr heiligen Gebeine,
Die ich nun weiter nicht beweine,
Ruht wohl, und bringt auch mich zur Ruh!
Das Grab, so euch bestimmet ist,
Und ferner keine Not umschliesst,
Macht mir den Himmel auf und schliesst
Die Hölle zu.
Ach Herr, lass dein lieb Engelein Am letzten End die
Seele mein In Abrahams Schoss tragen!
Den Leib in sein’m Schlafkämmerlein Gar sanft, ohn
einge Qual und Pein,
Ruhn bis am jüngsten Tage!
Alsdann vom Tod erwecke mich,
Dass meine Augen sehen dich
In aller Freud, o Gottes Sohn,
Mein Heiland und Genadenthron!
Herr Jesu Christ, erhöre mich,
Ich will dich preisen ewiglich!
Rest in peace, sacred body, for which I weep no longer,
and bring me also to my rest. The grave that is yours
and holds no further suffering, for me opens Heaven and
closes Hell.
O Lord, send your cherubs in my last hour to bear my soul
away to Abraham’s bosom; let it rest there untouched by
any pain until the last day. Wake me then from death’s
sleep, so that my joyful eyes may see you, the Son of
God, my Saviour; grant me this and I will glorify you
throughout eternity.
Marie Macklin
soprano
Marie was a choral scholar at King’s College, London where she
studied French. She is currently studying with Julie Kennard, a
Professor at the Royal Academy of Music. Marie’s love of music
was largely inspired by the years she spent as a girl chorister in
Wells Cathedral Choir. During this time she won the title of BBC
Radio 2 Choirgirl of the Year, an award that gave Marie numerous
solo television and radio performances. One of the highlights was
performing the Lord’s Prayer from David Fanshawe’s African Sanctus
before the Queen and millions of TV viewers live on BBC1 for the
Royal Festival of Remembrance at the Royal Albert Hall. Marie is
now much in demand as a consort singer and performs regularly
with Tenebrae, with whom she has toured the USA extensively
and features on a growing number of the choir’s recording. As a
soloist she appears regularly with choral societies in the UK. Her
recordings include the solos in Britten’s A Boy Was Born and the
high Cs in Allegri’s Miserere.
Sarah Denbee mezzo soprano
Sarah grew up in Somerset and first realised her passion for singing
when she joined the National Youth Choir of Great Britain. She
subsequently studied Music and Italian at Bristol,gaining a first class
honours degree and spending a year at the University of Bologna.
After passing the Fellowship of the Royal Schools of Music diploma
she gained a Masters in vocal performance, with distinction,
from Trinity Laban. Sarah enjoys balancing a mixture of popular
oratorio recital and consort singing and appears regularly with John
Eliot Gardiner and the Monteverdi choir. Other highlights include
performing as soloist at Cadogan Hall, the Millennium Centre in
Cardiff, St John’s Smith Square and St Martin-in-the-Fields and her
participation in a mentor scheme with the Royal Opera House.
Jeremy Budd
Evangelist
Jeremy Budd graduated from the Royal Academy of Music and
since then has become much in demand on the concert platform,
working with many well known conductors and ensembles. Oratorio
performances include Haydn Seasons with Harry Christophers in
Madrid, Purcell Ode on St Cecilia’s Day, Handel Messiah, Haydn
Creation, Mendelssohn Elijah all for Paul McCreesh, Mozart Requiem
and Mass in C Minor in San Francisco and New York with Sir John
Eliot Gardiner, and the Roasting Swan in Carmina Burana for the
Birmingham Royal Ballet.
Jeremy has made a speciality of the Bach Passions and he made his
solo BBC Proms debut live on BBC4 with the arias in the St. John
Passion, a role also performed with the Gurzenich Orchestra in
Cologne. He was the Evangelist recently in the St Matthew Passion
Evangelist
for Jeffrey
Skidmore and Ex Cathedra in Birmingham Symphony
Hall while future Bach outings include the St John Passion arias for
Jeremy graduatedthe
from
the Royal
Academy
Music and
sincearias for the Dunedin
Britten
Sinfonia,
the St of
Matthew
Passion
then has become much
in demand
on the concert
Consort
and the Evangelist
in the platform,
Christmas Oratorio with the
working with manyAustralian
well known
conductors
and ensembles.
Chamber
Orchestra
in Sydney, Melbourne and Canberra.
Oratorio performances
include
Haydn
Seasons with
Harrya fully-staged St. John
Jeremy’s
operatic
engagements
include
Christophers in Madrid,
Purcell
Ode
St Cecilia’s
Passion
in Paris
andonOrfeo
in Lille Day,
with Handel
Emmanuelle Haim, Pilade
Messiah, Haydn Creation,
Mendelssohn
Elijah
all forStudio
Paul Theatre, Damon in Handel
in Handel’s
Oreste at the
Linbury
McCreesh, Mozart Acis
Requiem
and MassChabrier
in C Minor
in SanatFrancisco
and Galatea,
L’Etoile
the Opera Comique in Paris
and New York withwith
Sir John
Eliot
Gardiner,
and
the
Roasting
Swan
Sir John
Eliot
Gardiner
and
Der
Fliegender
Hollander, Acis and
in Carmina Burana Galatea,
for the Birmingham
Ballet.
Jeremy
has Royal Opera House
Aida, ManonRoyal
and La
Traviata
with the
made a speciality of
the Bach Passions and he made his solo BBC
Chorus.
Proms debut live on BBC4 with the arias in the St. John Passion,
a role also performed
withrecordings
the Gurzenich
Orchestra
inChichester
Cologne. Psalms with
His solo
include
Bernstein
He has recently evangelised
theSymphony
St Matthew
Passion for
Jeffrey
Bournemouth
Orchestra,
Handel
Saul with The Sixteen,
Skidmore and Ex Cathedra
in Birmingham
Hall while
Bach St Matthew
PassionSymphony
with Ex Cathedra,
Bach St John Passion
future Bach outings
include
St John
arias
for the
with
Arionthe
Baroque
andPassion
numerous
others
with groups such as
Britten Sinfonia, the
St Matthew
Passion
arias forChoir,
the Dunedin
Cardinall’s
Musick,
Monteverdi
Gabrieli Consort, Tenebrae and
Consort and the Evangelist
in the Christmas Oratorio with the
The Sixteen.
Australian Chamber Orchestra in Sydney, Melbourne and Canberra.
Jeremy’s operatic engagements include a fully-staged St. John
Passion in Paris and Orfeo in Lille with Emmanuelle Haim, Pilade in
Handel s Oreste at the Linbury Studio Theatre, Damon in Handel
Acis and Galatea, Chabrier L’Etoile at the Opera Comique in Paris
with Sir John Eliot Gardiner and Der Fliegender Hollander, Acis and
Galatea, Aida, Manon and La Traviata with the Royal Opera House
Chorus. His solo recordings include Bernstein Chichester Psalms
with Bournemouth Symphony Orchestra, Handel Saul with The
Sixteen, Bach St Matthew Passion with Ex Cathedra, Bach St John
Passion with Arion Baroque and numerous others with groups such
as Cardinall’s Musick, Monteverdi Choir, Gabrieli Consort, Tenebrae
and The Sixteen.
Jeremy Budd
Jonathan Brown Christus
Jonathan Brown was born and raised in Toronto. Coming over
to England to study at Clare College, Cambridge, he now
lives in London where he studies with Nicolas Powell. His
opera credits are wide and include Marcello in La Boheme
at the Royal Albert Hall, Trojan in Idomeneo with Sir Simon
Rattle and the Berlin Philharmonic Orchestra at the Salzburg
Easter Festival and Pastore in Orfeo on a European tour with
Emmanuelle Haim and Le Concert d’Astree.
On the concert platform he appears regularly with many
of the UK’s foremost choral societies in repertoire ranging
from Handel to Elgar. He made his debut with Sir John Eliot
Gardiner singing Bach Cantatas as part of their Pilgrimage
of 2000 and became a regular soloist with them throughout
the year appearing on numerous recordings. Recent work
has included a tour of St Matthew Passion and Magnificat
conducted by Sir Roger Norrington and the role of Christus
in St John Passion with Philippe Herreweghe. His recordings
include the baritone solo in Faure Requiem for BMG and
Purcell Dido and Aeneas and Blow Venus and Adonis for Rene
Jacobs.
Jonathan McGovern
bass
A graduate of King’s College London and the Royal Academy
of Music (DipRAM), Jonathan is the recipient of the Second
Prize at the 2011 Kathleen Ferrier Awards, the Gold Medal
and First Prize at the Royal Over-Seas League Annual Music
Competition in 2010, the Karaviotis Prize at the 2011 Les
Azuriales Competition and the Jean Meikle Duo Prize at
the 2011 Wigmore Hall/Kohn Foundation International Song
Competition, where he was also a finalist. Jonathan is a
former Britten-Pears Young Artist and an Associate Artist with
Classical Opera.
A regular guest at ENO, his roles to date have included
Jake in the world premiere of Two Boys by Nico Muhly, and
Restaurant Waiter in Deborah Warner’s acclaimed production
of Death in Venice. Elsewhere, he sang Sid for the Britten
Festival in Aldeburgh in a new production of Albert Herring
and Pokayne in the premiere of Sir Peter Maxwell Davies’
opera Kommilitonen!, An outstandingly gifted recitalist,
Jonathan has performed with pianists Malcolm Martineau,
Julius Drake, Simon Lepper, James Baillieu, Timothy End
and James Cheung. He is a member of the Royal Academy
of Music Song Circle, with whom he has appeared at the
Wigmore Hall and at the King’s Place Festival. Concert work
includes The Yeoman of the Guard with Jane Glover and the
BBC Philharmonic at the 2011 BBC Proms, and Mahler’s Songs
of a Wayfarer with the Orchestra of the City at St James’s
Piccadilly.
Nicholas Wilks conductor
Nicholas Wilks has been Musical Director of Winchester Music
Club since 2003, making his debut with a performance of Elgar’s
The Kingdom. Now Master of Music at Winchester College,
from 1996-2004 Nicholas was Musical Director of the Hampshire
County Youth Orchestra.
His musical education began as a Quirister at the Pilgrims’
School, Winchester and continued as a music scholar at Cranleigh
School. While reading English at Christ Church, Oxford, Nicholas
founded and conducted the Oxford Philharmonia (now the Oxford
University Philharmonia). He subsequently spent three years
studying conducting and clarinet at the Royal Academy of Music,
London, where he was supported by generous funding from the
Drapers’ Company. Nicholas was elected an Associate of the
Royal Academy of Music for professional distinction in 2001.
After leaving the Academy, he specialised in working with young
musicians as Musical Director of the Finchley Children’s Music
Group, conducting youth orchestras in London and the Channel
Islands, and as Musical Director of New Youth Opera. He has
conducted in Europe, South Africa (leading the first tour by a
British youth orchestra since the fall of apartheid), Colombia
and Chile, and has broadcast on BBC2, 3 and 4, Classic FM and
the BBC World Service. His opera credits include Eugene Onegin,
Noye’s Fludde, Der Freischütz, La Belle Hélène and The Bartered
Bride.
His concerto work has included such distinguished soloists as
Joanna MacGregor (the premiere of Alec Roth’s “Earth and Sky”
with Ensemble Bash and the Finchley Children’s Music Group at
the BBC Proms in 2000), Alison Balsom, David Campbell, Ivana
Gavrić, Alexander Sitkovetsky, Julian Poore, Roger Owens, Lionel
Handy and Adrian Adlam. As chorus master he has collaborated
with Sir Colin Davis (the premiere of Piers Hellawell’s “Do
not disturb”), Sir Andrew Davis and Neeme Jarvi (Nielsen’s
Springtime on Funen at the 1999 BBC Proms).
His recordings for Somm of Britten’s Noye’s Fludde and A
Ceremony of Carols was a Sunday Telegraph Critic’s Choice, and
his Naxos recording of music by Charles Davidson is currently
on release as part of the Milken Archive series of American
Jewish music. Nicholas is also Musical Director of the Winchester
Symphony Orchestra.
Future plans include the premiere of Francis Pott’s Sentinel and
Elgar’s Dream of Gerontius at Winchester Cathedral, and Mahler’s
Fifth Symphony with the Winchester Symphony Orchestra.
Winchester Music Club
Sopranos
Emma Bracey-Davis
Jacky Chalcraft
Joanna Crosse
Ursula Goez
Elizabeth Hake
Sarah Hard,
Mary Jackson
Jennifer Jenkins
Rosaleen Little
Janette Lloyd
Elizabeth Lynn
Katie Mydlarz
Miranda Passey
Deidre Russell
Helen Webb
Maggie Clark
Anna Dale-Harris
Gillian Harris
Francesca Harvey
Ann Johns
Gabi McKeown
Elizabeth Newport
Lydia Parry
Jan Royston-Smith
Natalie Shaw
Jane Webber
The role of
The Servant will be
sung by
Oliver Tarney
Singers
Altos
Patricia Carruthers
Madeleine de Lorme
Sarah Ede
Isobel Elton
Jan Gwynne-Howell
Lea Holmes
Grace Honeysett
Maureen Jackson
Pamela Jones
Nicola Keene
Carol Leighton-Davis
Elizabeth Lowe
Rosemary Merchant
Sian Morphet
Angela Ryde-Weller
Barbara Shaw
Liz Slinn
Lucia Taylor
Henrietta Wentworth-Stanley
Anna Bennetts
Sue Clark
Jill Curtis
Alison Deveson
Naoe Foley
Claire Foster
Angela Garrett
Welly Green
Janet Rowland-White
Christine Targett
Francine Weller
Tenor
Michael Collett
George Czaykowski
Michael Elton
John Parry-Jones
Brian Purkiss
David Rees
Jim Sampson
William Gubbins
Julian Harvey
David Innes
Andrew Thomson
Jack Walters
Bass
David Anderson
Geoff Bennetts
David Clarke
Stuart Cowan
Steve Hynard
Bob Jones
Robert Little
James Martin-Jones
David Morgan
Arnold Renwick
Bruce Ryde-Weller
Roy Weller
Peter Albertini
John Carpenter
Andrew Carruthers
Jeremy Daniel
David Firth
Ian Lowe
Alan Matheson
Paul Newman
Hugh Peers
John Satchell
John Stanning
Guy Stephenson
Ian Taylor
Winchester Music Club Orchestra
First Violins
Brian Howells
Julia Flint
David Amos
Chris Lightfoot
Paul Jeffery
Peter Marsh
Claire Mitchell
Melinda Samms
Second violins
Emily Corbett
Patricia Elkington
Andy Henderson
Ursula Payne
John Sargent
Philly Sargent
Joanna Selborne
Vince Wyre
Violas
Tim Griffiths
Gill Collymore
Richard Daniel
Margy Jeffery
Libby Merriman
Amanda Wilson
Louise Woods
Celli
Spike Wilson
Jane Austin
Steve Clarke
Angie Janssen
Catherine Mitchell
Beccy Read
Double Bass
Phillip Batten
Flute
Jo Kidman
Karen Wills
Oboe/Cor Anglais
Rebecca Kozam
Oboe/d’Amore
Andrew Knights
Bassoon
Anna Meadows
Cello Continuo
Nikki Heinrich
Viola da Gamba
Asako Morikawa
Harpsichord
Jamal Sutton
Joining Winchester Music Club...
We are a choir of some 100 members and an associated orchestra. The Club was founded in 1925 by
Sir George Dyson, then Master of Music at Winchester College.
For more information about us please see our website: www.winchestermusicclub.org.uk
...as a Singer
We are always pleased to audition competent singers although vacancies are limited. We’re also keen to attract
younger singers; there is an under 25 subscription rate of only £25 a year.
...as a Friend
Winchester Music Club has a strong base of singers and orchestral players. WMC also benefits from the support of
non-performing, music loving members-our Friends. In addition to the knowledge that they are helping to support
the artistic activity of the Club, which provides a major contribution to the programme of music available in the
Winchester area, Friends receive the additional benefits of:
•
•
•
•
Preferential booking for the WMC concerts
Complimentary programme for each concert
Regular newsletter covering WMC activities
Invitation to all WMC social events
The Friends annual subscription is currently £25. For two Friends living at the same address, it is £45.
For further information please contact the Secretary:
Mrs Janette Lloyd,
6 Oliver’s Battery Gardens,
Winchester, SO22 4HF
01962 851915
secretary@winchestermusicclub.org.uk
...as an Orchestral Player
Winchester Music Club Orchestra is composed of a regular set of amateur string players with professionals brought
in for the other sections as each work demands.The regular string players, although amateur, play at a very high
standard. If you would like to considered for the string orchestra, or are a professonal non-string player and would like
to be put on the players’ list, please apply for an audition by emailing our conductor:
Nicholas Wilks npw@wincoll.ac uk
Winchester Music Club
Vice Presidents
Chairman
The Dean of Winchester:
The Very Reverend
James Atwell
Angela Ryde-Weller
The Headmaster of
Winchester College:
Dr Ralph Townsend
Janette Lloyd
The Right Worshipful,
the Mayor of Winchester:
Cllr Ernie Jeffs
Secretary
Treasurer
Andrew Carruthers
Committee
Gillian Harris
Gabi McKeown
Bruce Ryde-Weller
Barbara Shaw
Natalie Shaw
Arden Tulip
Bach manuscript paper bust
Bach Museum Leipzig
Janette Lloyd