EX CATHEDRA excathedra.co.uk Bach St John Passion

CHOIR | CONSORT | ORCHESTRA | EDUCATION ARTISTIC DIRECTOR & CONDUCTOR JEFFREY SKIDMORE St John Passion

Ex Cathedra Consort & Baroque Orchestra Jeffrey Skidmore conductor Lucy Russell leader

Symphony Hall, Birmingham

Chorale Prelude on O Haupt voll Blut Improvised by Jonathan Hope O sacred head surrounded Hans Leo Hassler (1564-1612) Johann Hermann Schein (1586-1630) Verlass uns nicht Alec Roth (b.1948) St John Passion BMV 245 Johann Sebastian Bach (1685-1750) PART I Chorale postlude on O Lamm Gottes Improvised by Jonathan Hope unschuldig

A sequence of readings from Letters and Papers from Prison - Dietrich Bonhoeffer.

Tegel prison, Berlin 14 April 1943 (To his parents)

Easter Day, 25 April 1943 (To his parents)

27 March 1944 (To Eberhard Bethge)

Poem - Who am I?

14 August 1944 (To Eberhard Bethge)

Prinz Albrecht Strasse (Gestapo prison) 28 December 1944 (To his mother)

Poem - Powers of Good (Von guten Mächten)

Chorale Prelude on Christus der uns selig macht Improvised by Jonathan Hope St John Passion BMV 245 Johann Sebastian Bach PART II Ecce quomodo moritur justus Jacob Handl (1550-1591) Chorale Prelude on Nun danket alle Gott BWV 657 Johann Sebastian Bach Now thank we all our God Johann Crüger (1598-1662)

Ex Cathedra would like to thank the Continuo Foundation and the UK government Culture Recovery Fund for their support. Performers

Ex Cathedra Consort & Baroque Orchestra Jeffrey Skidmore conductor

Bradley Smith Evangelist Themba Mvula Jesus Lawrence White Pilate Margaret Lingas soprano Imogen Russell soprano Martha McLorinan alto Paul Bentley-Angell tenor James Robinson tenor Thomas Lowen Petrus Amy Wood Ancilla Tim Burton Servus

Soprano Margaret Lingas, Imogen Russell*, Katie Trethewey, Suzzie Vango, Amy Wood

Alto Sacha Fullerton, Gabriella Liandu*, Martha McLorinan

Tenor Paul Bentley-Angell, Tim Burton*, James Robinson, Bradley Smith

Bass Thomas Lowen, Themba Mvula, Jonty Ward*, Lawrence White

*Indicates Graduate Scholars 2021-22

Violin I Lucy Russell (leader), Dominika Feher, David López Ibáñez, Malu Lin Swayne Violin II Catherine Martin, Ellen Bundy, Flora Curzon, Persephone Gibbs Viola Alan George, Kate Fawcett Cello Andrew Skidmore, Imogen Seth-Smith Viola da gamba Imogen Seth-Smith Double bass Carina Cosgrave Lute Lynda Sayce Flute Rachel Brown, Christine Garratt Oboe d’amore/oboe da caccia Gail Hennessy, Mark Radcliffe Bassoon Andrew Watts Chamber organ James Johnstone Symphony Hall organ Jonathan Hope St John Passion 2021

Jeffrey Skidmore introduces Ex Cathedra’s performance

Ist aller Welt Erlösung da? Is it that the whole world is redeemed?

For our first ‘live’ performance with our activity where the ‘audience’ were actively Baroque Orchestra for 16 months it is involved in the ‘performance’ and were not appropriate that we should be going back to passive listeners. This was important for Bach and one of his great Passion settings. It Bach and he recognised the physical and has been in our planning for some time. spiritual benefits of singing. A wide range of vocal skills was on display, matched and We were scheduled to perform the St John enhanced by the instrumentalists. Everyone Passion in Symphony Hall on Good Friday, was taught the basic repertoire of Lutheran April 10th 2020 as part of our 50th anniversary hymn tunes which had developed from a celebrations. It was to be a modern-day wide range of sources - folk songs, love liturgical reconstruction. On April 2nd 2021 we songs, ancient plainchant, with many newly were to have given a performance of Bach’s St composed. These tunes had great emotional Matthew Passion. Although tantalisingly close and spiritual significance and permeated Bach’s to coming out of lockdown, this concert also choral works. Organ pieces (Chorale Preludes) had to be cancelled. However, on April 23rd were based on these tunes and were used as and 24th 2021 Ex Cathedra was thrilled and introductions to congregational hymns. Bach delighted to be able to film ‘live’ in Symphony was also able to train some singers to sing the Hall a performance of the St John Passion with more complicated unaccompanied motets and socially distanced musicians (16 singers and 20 further develop the technique of others to players, all at least two metres apart) to be sing virtuosic concerted music. These are the released on Idagio on May 9th. Sadly we were guiding principles of our performance. not able to use all our singers, our Academy, our Community Choirs and there was no audience. I am hoping you will all participate fully in your homes using this programme booklet. The St John Passion is a work for all time, certainly for now and for the future, a work that calls for a better future.

In Ex Cathedra’s performance of Bach’s St John Passion we not only continue a long Good Friday tradition but also look to new ways of understanding Bach’s music and its powerful Herzlich thut mich verlangen arr. J.H. Schein from relevance to the modern world. We pay tribute Gottfried Volpelius Neu Leipziger Gesangbuch, 1682 to Dietrich Bonhoeffer, the extraordinary Lutheran pastor and modern-day martyr, who The liturgy for Good Friday Vespers was a 76 years ago on April 9th 1945 was executed meditation, in several forms, on the Passion in Flossenbürg concentration camp for his story, the last few days of Christ’s life, opposition to the Nazi regime. Bonhoeffer and followed a set pattern starting with a lived his life by example and fiercely believed congregational hymn. In the 18th century in truth - “No man in the whole world can this was Da Jesus an dem Kreuze stund, change the truth. One can only look for the which states the seven last words of Christ truth, find it and serve it. The truth is in all and introduces the Passion story for the first places.” Was ist Wahrheit (28) ? The many time. I have chosen a melody better-known resonances with the Passion story are profound. to a 21st century audience, the so called Passion chorale, which Bach uses five times In Bach’s day the liturgy provided a community in the St Matthew Passion and twice in the Christmas Oratorio. Ex Cathedra has ended and the cantata A time to be born and a time every Christmas Music by Candlelight concert to die. All are undoubted masterpieces of the with this tune set to the words How shall I fitly 21st century. meet thee? In this performance we follow the order of verses which Bach used in the St Matthew Passion to tell the crucifixion story. We make use of the translation by Nick Fisher and John Russell commissioned for Symphony Hall, which Ex Cathedra recorded in 2009. The melody is taken from Gottfried Volpelius’ widely used Neu Leipziger Gesangbuch which was published in 1682. The tune was originally a secular love song, Mein G’müt ist mir verwirret (I’m all mixed up: this a tender maid Alec Roth, Ex Cathedra Composer in Residence has done to me) written by Hans Leo Hassler Photo by Sally Corrick in 1600. It is a perfect example of Luther’s famous question of justification: ‘Why should the devil have all the best tunes?’ The St John Passion, like many of Bach’s cantatas, is in two parts, which were This opening hymn will be accompanied by performed either side of the sermon, the high Jonathan Hope on Symphony Hall’s wonderful point of the service, and a further meditation Klais organ, at modern pitch, and will be on the Passion story. For the sermon I have introduced by an improvised Chorale Prelude, chosen a sequence of readings from Dietrich as in Bach’s day. The tradition still continues Bonhoeffer’s classic Letters and Papers from in Leipzig today. The bell at the beginning is Prison, and includes two poems, two letters a signal for all to stand, again following the to his friend, colleague, biographer and ‘heir’, Leipzig tradition. Our liturgy includes a second Eberhard Bethge, one to his parents and his hymn at the very end preceded by Bach’s final letter to his mother, written from the Chorale Prelude. Please sing this rousing song Gestapo prison in Prinz Albrecht Strasse, Berlin. of thanks at home with all your heart! The This afternoon’s readers are performers who liturgy also includes two motets. Traditionally represent the whole Ex Cathedra family. Bach’s Passion was followed by the funeral motet Ecce quomodo moritur justus (The righteous man dies and no-one takes notice) by the 16th century Slovenian composer Jacob Handl, and ended with the congregational hymn of praise Now thank we all our God.

The opening motet - Verlass uns nicht (Forsake us not) by Alec Roth - is a short prelude to Bach’s Passion and was commissioned by Ex Cathedra in 2017. It dramatically offers an emotional, musical, linguistic, thematic and stylistic transition from the 21st century into the sound world of Bach. The Gregorian text is from the 9th century and we perform it in a Dietrich Bonhoeffer, 1939. From 19th century German translation and an English brittanica.com, courtesy of Eberhard version by Alec who over the last few years Bethge has been researching liturgy and Bach’s choral works in Leipzig. Alec has been Ex Cathedra’s composer-in-residence for almost 15 years and It is impossible in a few sentences to do he has written some wonderful new works for justice to this remarkable man, a towering us - Earthrise, A Time to Dance, Hymn to Gaia intellectual theologian who had a profound belief in the example of Christ and the notion must live through this difficult period in our that actions speak louder than words. He national history with the people of Germany. believed in the ‘Gospel of Justice’ and that I will have no right to participate in the the world had to be changed from the bottom reconstruction of Christian life in Germany up. He was well educated but rejected a after the war if I do not share the trials of this comfortable academic life. He became a time with my people ... Christians in Germany passionate advocate of ecumenism informed will have to face the terrible alternative of by his early world-wide travel: time spent as either willing the defeat of their nation in a student in New York working with the Black order that Christian civilization may survive or Church: in 1930 he drove from New York to willing the victory of their nation and thereby Mexico in a friend’s Oldsmobile: from 1933 to destroying civilization. I know which of these 1935 he was pastor in two London churches and alternatives I must choose but I cannot make befriended the sympathetic Bishop George Bell that choice from security. of Chichester: and he had an invitation to visit Gandhi’s ashram in India to learn about non- It is amazing that he remained at liberty for so violent resistance. He was a talented pianist long and heartbreakingly sad that he was killed with eclectic musical taste including Schütz, only a month before VE Day! Beethoven and African- American Spirituals. Bonhoeffer’s work and sacrificial opposition to The Lutheran liturgy offers a complex, multi- Nazism was an inspiration to many throughout dimensional art-form and I have taken some the world at this low point in human history, artistic and creative liberties to develop the and to later generations including Martin Luther idea. Bach’s St John Passion stands perfectly King Jr. and Nelson Mandela. well on its own and you may well ask: what is the point in adding to it? What do we gain? From the very beginning Bonhoeffer was a What do we hope to learn? We shall see. staunch opponent to Hitler and was active This year we can only imagine Symphony Hall in many ways as a member of the resistance resounding to the sound of two thousand voices and the July 20 Plot to assassinate Hitler. He singing the architectural hymns which frame had the opportunity to escape to the USA but Bach’s masterpiece. Participation is important believed he had to be with his countrymen at and takes many forms: at Prince Philip’s funeral this time. only a few people performed in St George’s He wrote: I have come to the conclusion that chapel but millions took part around the world. I made a mistake in coming to America. I Ex Cathedra: Baroque Passion Jeffrey Skidmore explains Baroque Music and Birmingham Baroque

It is now widely agreed that the term Baroque One of our earliest concerts in 1969 was very broadly describes music written between based around Purcell’s Verse Anthems with 1600 and 1750 and established many new ideas a small string ensemble with John Clemson such as tonality, key, figured bass, continuo, playing continuo cello. John became Head of the concerto, sonata, cantata, oratorio and the Birmingham Music Service and is now on opera, which are the foundation of most the Ex Cathedra Board of Trustees. Our first Western classical Music. Big names like Bach, recording (Baroque Choral Music - LP on Vinyl) Handel and Vivaldi are only a part of the rich in 1982 included more Purcell and music by cultural heritage of this important and popular Gibbons, Monteverdi, Lotti, Schütz, Kuhnau and era. National styles emerged but also a fusion Bach. In 1991 our first CD was Vivaldi Vespers, of these distinct styles created a rich musical followed by Baroque Music for the Nativity language. Purcell’s music brings together (Bach, Handel, Charpentier, Scheidt, Corelli), French, Italian and English Renaissance the award winning French recordings (Lalande, elements while Bach fused French, Italian and Marie Fel, Charpentier and Rameau) and music his native German traditions. from Latin America (Mexico, Bolivia and Brazil). We have regularly presented Handel’s Messiah, Birmingham has many interesting links with the period. It has the only Baroque Cathedral (1715) in the UK and it has more miles of canal than Venice! It is the home of many distinguished world-class specialists such as musicologists John Whenham, Colin Timms and Graham Sadler and the birthplace of performers John Butt, Lawrence Cummings and Margaret Faultless. And of course it has Ex Cathedra.

Messiah in Lichfield Cathedral - Kwella, Bowman, Hill and Thomas

Bach’s Christmas Oratorio and Monteverdi’s 1610 Vespers in various guises and have performed Bach’s Passions every year for more than 40 years and most recently on Good Fridays in Symphony Hall, with a recording of a new English translation of the St Matthew Passion in 2009. Bach Double Violin Concerto in Birmingham’s Baroque Cathedral - Simon Standage and Catherine Mackintosh It may surprise some of our audience to know that Baroque opera has also featured in our repertoire with memorable performances of Ex Cathedra’s passion for Baroque music Purcell’s Dido and Aeneas (and Blow’s Venus has been central to its vastly wide-ranging and Adonis) in Shugborough Hall and San repertoire over its 50-plus years of existence. Maurizio (1989) in Milan, and a performance Cavalli’s La Calisto, Royer’s Zaïde, reine de Grenade and several masques by Purcell further enhanced our reputation in this field. We have worked with our own Ex Cathedra Baroque orchestra (established in 1983 and the UK’s first period instrument orchestra formed outside London) and with world-renowned specialist ensembles such as the Academy of Ancient Music, Amsterdam Baroque, Trio Sonnerie, London Baroque, the Orchestra of the Age of Enlightenment, His Majestys Sagbutts Dido and Aeneas in San Maurizio and Cornetts, Concerto Palatino and Sinfonia New York. Baroque music is a passion for us all with Birmingham’s famous African Dance to enjoy! Company Kokuma in Town Hall, who also joined us for the first modern day performance of Lully’s wonderful five act masterpiece Isis in 1995.

Mica Comberti - Leader of the Ex Cathedra Baroque Kokuma rehearsing Lully’s opera Isis Orchestra 1983 - 2003

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The St John Passion was written in 1724, for Peter’s betrayal and subsequent remorse; to Bach’s first Easter in Leipzig, and performed understand Pilate’s reasonableness, weakness at Vespers on Good Friday in the St Nicholas and fear of the majority; the uncontrollable Church. Bach probably performed the work momentum of the angry, irrational crowd; the four times in his life-time and each one was inanity of the soldier’s gambling for the coat different. His definitive version was never of a man about to be crucified; the brutality completed. From the surviving performing of Christ’s death and its transformation into material it seems to have been performed by something good – the “rainbow”, the “sweetest two groups of singers: concertists, who sang fruit”. It is the power of Bach’s creation arias, choruses and chorales and the parts which goes beyond the Baroque conventions of Jesus and the Evangelist, and ripienists, of da capo, fugue, recitative etc., and which who sang choruses and chorales and the part insists we witness this remarkable story and of Peter. Separate part-books were given to learn about ourselves and our spiritual needs. characters Pilate and the Servant. It seems The work’s many components demand our full almost certain that single voices sang this attention and more. music, and what is particularly interesting is D-B Mus.ms.the Bach similarity St 111, Faszikel of2 lay-out with the St Matthew The Chorus has three functions. The opening

SopranoPassion concertante -. Soprano For concertante this performance (Schreiber: J. S. Bach) the singers will and closing choruses (1 & 39) are monumental be divided into two ‘choirs’. structures that invite the whole of mankind to witness the event. The crowd choruses graphically portray the angry mob, sometimes being threatening or mocking, sometimes being pompous or wild and out of control. The chorales are irresistibly expressive, both harmonically and texturally, with their strong melody and bass-line. They speak for us all. The final movement (40) is the most uplifting and visionary hymn to human aspiration.

Extract from the Soprano Concertante partbook, Bach St John Passion, in Bach’s hand. From D-B Mus. ms.Bach St 111, Faszikel 2. Courtesy bach-digital.de

Ex Cathedra first performed the St John Passion in 1977. We have performed it very many times since, including two performances on Good Friday in Chichester Cathedral. Why do we, and our audiences, want to come back to it? Why does it command such commitment? We will all have different answers. Lutenist Lynda Sayce with cellist Andrew Skidmore

It is a great work of art; it can “inspire our The arias are an individual’s response to the living” and create a “path to heaven”. It is action. The instrumental accompaniments Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz BachDigitalSource_source_00002448personal and much of the text is written in reinforce the mood: biting, canonic oboes (7), the first person. We are asked to understand innocent,page 2 optimistic flutes (9), soothing lute (19), the two tender and loving muted violins dominant 7th arpeggio; the cross-like structure (20), the sadness, beauty and regal majesty of of movements 17-26 with Chorale 22 as the the viola da gamba (30), the languid flute and centre; the semiquaver pattern in the cello oboe da caccia (35). part representing the shaking of the dice in 27b and the key of E-flat representing moments of hope in movements 19, 26 and 40, and in the middle section of the opening chorus. The list could be long and is impressive, the more so because the work goes beyond mere intellect.

Bach’s St John Passion is a complex work (there is a single aria - 20 - which lasts for almost eight minutes - it is perhaps the most intimate movement and demands our imaginations are totally absorbed in the colourful, almost hallucinatory imagery of Christ’s suffering). But Bach’s music is simply the greatest! People who know his work agree: it seems to cross The oboe da caccia played by Mark international boundaries, from Japan to Brazil; Radcliffe composers revere his work, from Mozart to MacMillan. No-one writes happy music like The biblical narrative is written as recitative - Bach, or sad music, or love-songs. In fact the ‘language of passion’. This simple syllabic all the emotions can be found in his work. style follows the natural stresses of the text His music is uplifting, it makes you want to with seemingly infinite variety of nuance, dance, to move, to be joyful, to be alive. It sometimes lyrical, sometimes dramatic, but should be available on the NHS! His technique always expressive. It drives the work and is impeccable and he was a true genius dictates the pace. Jesus, Pilate, and Peter composing for his time and for all time. And it achieve convincing characterisation using the has a universal appeal and significance which D-B Mus.ms.same Bach P technique.28 Jesus is human but always increase with familiarity.

12a. Evangelista;calm 12b. and Chorus; dignified, 12c. Evangelista Pilate - Blatt 12r: is Satz given 12, T. 25-38 a warmth of melodic invention that demands empathy, and Peter is, symbolically, given only three notes!

© Jeffrey Skidmore May 2021

Excerpt from Recitative 12c from Bach St John Passion. Source: D-B Mus.ms.Bach P 28 from bach- digital.de

Bach’s masterpiece contains a mass of symbolic detail: the crowing cock (12c) sounded by the

Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz BachDigitalSource_source_00000846 page 3 Texts and translations

Bell

Organ Chorale Prelude on O Haupt voll Blut – improvised by Jonathan Hope

Choir process to stage

All sing O sacred head surrounded

O sacred head surrounded [O Haupt voll Blut und Wunden] Melody by Leo Hassler Paul Gerhardt 1656 Harmonisation by J.H. Schein trans. Nicholas Fisher and John Russell 2009 adapted from Gottfried Vopelius Neu Leipziger Gesangbuch 1682 ° & œ œ œ œ œ œ œ ˙™ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ ˙ 1.Re - ceive me, my re - dee - mer; my shep - herd make me yours. œ œ œ ˙™ ? œ œ œ œ ˙ œ œ œ œ #œ ™ ¢ œ œ œ œ œ ˙ œ œ œ œ ˙ ° & œ œ œ œ œ œ œ ˙™ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ ˙ The foun - tain of all good - ness, your bles - sing o - ver - flows. œ œ œ ˙™ ? œ œ œ œ ˙ œ œ œ œ #œ ™ ¢ œ œ œ ˙ œ œ ˙ ° & œ œ œ œ œ ˙ œ œ œ œ œ ™ œ œ œ ˙ œ œ œ œ œ œ #˙™ nou rish ment di vine; On earth your words have fed me with - - - œ œ œ œ œ ™ ? œ œ œ œ ˙ œ œ œ œ ˙ ¢ œ ˙ œ œ œ œ ˙™

° & nœ œ œ œ œ ˙ œ ™ œ œ œ ˙ œ œ œ œ œœ œ ˙™ Your gra - cious love al - lows me to taste ce - les - tial wine. ™ ? œ œ œ œ œ œ #œ œ œ œ œ œ œ ˙™ ¢ œ œ œ œ ˙ œ œ œ œ œ œ ˙

2. I want to stand beside you; 4. In this your bitter passion, do not forsake me, Lord. Good shepherd, think of me I will not wander from you, with your most sweet compassion, I heed your holy word. unworthy though I be. When bitter pain shall hold you Beneath your cross abiding, in agony oppressed, for ever would I rest. Then, then I will enfold you In your dear love confiding, within my loving breast. and with your presence blest.

3. O sacred head surrounded 5. Be near me, Lord, when dying, by crown of piercing thorn! do not depart from me! O bleeding head, so wounded, And to my rescue flying, Reviled and put to scorn! come, Lord, and set me free! Death’s pallid hue comes o’er you, And when my heart must languish the glow of life decays; in death’s last awful throe, yet angel hosts adore you, release me from my anguish, and tremble as they gaze. by your own pain and woe. O sacred head surrounded [O Haupt voll Blut und Wunden] Melody by Leo Hassler Paul Gerhardt 1656 Harmonisation by J.H. Schein trans. Nicholas Fisher and John Russell 2009 adapted from Gottfried Vopelius Neu Leipziger Gesangbuch 1682 ° & œ œ œ œ œ œ œ ˙™ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ ˙ 1.Re - ceive me, my re - dee - mer; my shep - herd make me yours. œ œ œ ˙™ ? œ œ œ œ ˙ œ œ œ œ #œ ™ ¢ œ œ œ ˙ œ œ ˙ ° & œ œ œ œ œ œ œ ˙™ œ œ œ œ œ ˙œ œ œ œ œ œ œ œ ˙ The foun - tain of all good - ness, your bles - sing o - ver - flows. œ œ œ ˙™ ? œ œ œ œ ˙ œ œ œ œ #œ ™ ¢ œ œ œ œ œ ˙ œ œ œ œ ˙ ° œ œ œ œ ˙ œ œ œ ™ & œ œ œ œ œ ˙ œ œ œ œ œ œ #˙™ nou rish ment di vine; On earth your words have fed me with - - - œ œ œ œ œ ™ ? œ œ œ œ ˙ œ œ œ œ ˙ ¢ œ ˙ œ œ œ œ ˙™

° œ & nœ œ œ œ œ ˙ œ ™ œ œ œ ˙ œ œ œ œ œœ œ ˙™ Your gra - cious love al - lows me to taste ce - les - tial wine. ™ ? œ œ œ œ œ ˙œ #œ œ œ œ œ œ œ ˙™ ¢ œ œ œ œ œ œ œ œ œ œ ˙

2. I want to stand beside you; 4. In this your bitter passion, do not forsake me, Lord. Good shepherd, think of me I will not wander from you, with your most sweet compassion, I heed your holy word. unworthy though I be. When bitter pain shall hold you Beneath your cross abiding, in agony oppressed, for ever would I rest. Then, then I will enfold you In your dear love confiding, within my loving breast. and with your presence blest.

3. O sacred head surrounded 5. Be near me, Lord, when dying, by crown of piercing thorn! do not depart from me! O bleeding head, so wounded, And to my rescue flying, Reviled and put to scorn! come, Lord, and set me free! Death’s pallid hue comes o’er you, And when my heart must languish the glow of life decays; in death’s last awful throe, yet angel hosts adore you, release me from my anguish, and tremble as they gaze. by your own pain and woe.

Motet - Verlass uns nicht Alec Roth (b.1948)

Christe, du Schöpfer aller Welt, O Lord, creator of the world, du König, der die Gläub’gen hält, of all who trust in you, the king, weil unser Bitten dir gefällt, be pleased to hear our humble prayer; nimm unser Loblied an, o Held. accept the hymn of praise we sing.

Kein Maß hat deine Gnad gekannt, Your boundless grace so freely given, hat in Geduld mit starker Hand with strength and patience fortified, durch Leid am Kreuz gelöst das Band, through sorrow on the cross has loosed das Adams Sünde um uns wand. the bonds of sin around us tied.

Vor dem die Sterne neigen sich, A king to whom the stars bow du kamst ins Fleisch demütiglich, you came our human form to share, darin zu leiden williglich; therein to suffer willingly in Todesschmerz dein Leib erblich. the pains of death you now must bear.

Die Hand gebunden ausgestreckt, Yet through the pain your hands reach out zu lösen, was in Banden steckt, to loosen what in bondage lay; hast du mit Gnad den Zorn bedeckt, with grace all anger you assuage, den Menschenschuld in Gott erweckt. and human guilt is washed away.

Du hangst am Kreuze sterbend hier You hang upon the cross to die und doch erbebt die Erd vor dir, while all the earth lies trembling here der Geist der Kraft geht aus von dir, and as the breath of life is spent, die stolze Welt erblasst vor dir. the proud world shudders, pale.

Jetzt um dein Siegerangesicht A crown to seal your victory des ewgen Vaters Glanz sich flicht, the Father’s grace does now allot; jetzt mit des Geistes Kraft und Licht, empowered by the Spirit’s light, o König du, verlass uns nicht. O mighty king, forsake us not. St John Passion BWV 245 (Part I) Johann Sebastian Bach (1685-1750)

Verrat und Gefangenahme Betrayal and Capture

1. Chor 1. Chorus Herr, unser Herrscher, dessen Ruhm Lord, our ruler, whose glory in allen Landen herrlich ist! is magnificent everywhere! Zeig uns durch deine Passion, Show us through your Passion, daß du, der wahre Gottessohn, that you, the true son of God, zu aller Zeit, at all times, auch in der größten Niedrigkeit, even in the most lowly state, verherrlicht worden bist! are glorified!

2a. Rezitativ 2a. Recitative

Evangelista Evangelist Soloist: Bradley Smith Jesus ging mit seinen Jüngern über den Bach Jesus went with his disciples over the brook Kidron, da war ein Garten, darein ging Jesus Kidron where there was a garden which Jesus und seine Jünger. Judas aber, der ihn verriet, and his disciples entered. But Judas, who wußte den Ort auch, denn Jesus versammlete betrayed him, also knew the place, for Jesus sich oft daselbst mit seinen Jüngern. Da nun often met there with his disciples. Now Judas Judas zu sich hatte genommen die Schar had got a band of soldiers and officers from und der Hohenpriester und Pharisäer Diener, the chief priests and the Pharisees and he kommt er dahin mit Fakkeln, Lampen und mit came to the place with lanterns, torches and Waffen. Als nun Jesus wußte alles, was ihm weapons. As Jesus knew everything that was begegnen sollte, ging er hinaus und sprach zu going to happen to him he came forward and ihnen: said to them:

Jesus Jesus Soloist: Themba Mvula Wen suchet ihr? Who are you looking for?

Evangelista Evangelist Sie antworteten ihm: They answered him:

2b. Chor 2b. Chorus Jesum von Nazareth. Jesus of Nazareth.

2c. Rezitativ 2c. Recitative Evangelista Evangelist Jesus spricht zu ihnen: Jesus said to them:

Jesus Jesus Ich bin’s. I am he. Evangelista Evangelista Judas aber, der ihn verriet, stund auch bei But Judas, who betrayed him, was standing ihnen. Als nun Jesus zu ihnen sprach: Ich bin’s! with them. When Jesus said to them, “I am wichen sie zurücke und fielen zu Boden. Da he”, they moved back and fell to the ground. fragete er sie abermal: He asked them a second time:

Jesus Jesus Wen suchet ihr? Who are you looking for?

Evangelista Evangelist Sie aber sprachen: And they said:

2d. Chor 2d. Chorus Jesum von Nazareth. Jesus of Nazareth.

2e. Rezitativ 2e. Recitative Evangelista Evangelist Jesus antwortete: Jesus replied:

Jesus Jesus Ich habs euch gesagt, daß ich’s sei; suchet ihr I have told you that I am he. If you are looking denn mich, so lasset diese gehen! for me, then let these go!

3. Choral 3. Chorale O große Lieb, o Lieb ohn‘ alle Maße, O great love, o love without any limits, that die dich gebracht auf diese Marterstraße! has brought you along this way of martyrdom! Ich lebte mit der Welt in Lust and Freuden, I live with the world in pleasure and delight, und du mußt leiden! and you must suffer!

4. Rezitativ 4. Recitative Evangelista Evangelist Auf daß das Wort erfüllet würde, welches In this way the word was fulfilled which said: er sagte: Ich habe der keine verloren, die I have lost none of those which you gave du mir gegeben hast. Da hatte Simon Petrus to me. Then Simon Peter had a sword and ein Schwert und zog es aus und schlug nach he drew it out and struck the chief priest’s des Hohenpriesters Knecht und hieb ihm sein servant and cut off his right ear; and the recht‘ Ohr ab; und der Knecht hieß Malchus. servant was called Malchus. Then Jesus said to Da sprach Jesus zu Petro: Peter:

Jesus Jesus Stecke dein Schwert in die Scheide! Soll ich Put up your sword in its scabbard! Shall I not den Kelch nicht trinken, den mir mein Vater drink the cup which my father has given me? gegeben hat? 5. Chorale 5. Chorale Dein Will gescheh, Herr Gott, zugleich May your will be done, Lord God, both auf Erden wie im Himmelreich. on earth as in heaven. Grant us patience in Gib uns Geduld in Leidenszeit, time of sorrow, obedience in love and sorrow; gehorsamsein in Lieb und Leid; Restrain and guide our flesh and blood that Wehr und steur allem Fleisch und Blut, acts against your will! das wider deinen Willen tut!

6. Rezitativ 6. Recitative Evangelista Evangelist Die Schar aber und der Oberhauptmann und But the soldiers and their commander and die Diener der Juden nahmen Jesum und the servants of the Jews arrested Jesus and bunden ihn und führeten ihn aufs erste zu bound him and led him first to Annas who was Hannas, der war Kaiphas‘ Schwäher, welcher the father-in-law of Caiphas – this man was des Jahres Hoher-priester war. Es war aber the chief priest that year. It was Caiphas who Kaiphas, der den Juden riet, es wäre gut, daß advised the Jews that it was expedient that ein Mensch würde umbracht für das Volk. one man should die for the people.

7. Arie (Alto) 7. Aria (Alto) Soloist: Martha McLorinan

Von den Stricken meiner Sünden From the bonds of my sins mich zu entbinden, to set me free wird mein Heil gebunden. my saviour is bound. Mich von allen Lasterbeulen From all infections of vice völlig zu heilen, to heal me completely, läßt er sich verwunden. he gives himself to be wounded.

Verleugnung Denial

8. Rezitativ 8. Recitative Evangelista Evangelist Simon Petrus aber folgete Jesu nach und ein But Simon Peter and another disciple followed ander Jünger. Jesus.

9. Arie (Sopran) 9. Aria (Soprano) Soloist: Imogen Russell Ich folge dir gleichfalls mit freudigen Schritten I follow you likewise with joyful steps and lasse dich nicht, and do not leave you, mein Leben, mein Licht. my life, my light.

Befördre den Lauf Bring me on my way und höre nicht auf, and do not cease, selbst an mir zu ziehen, zu schieben, zu to pull, push and urge me on. bitten. 10. Rezitativ 10. Recitative Evangelista Evangelist Derselbige Jünger war dem Hohenpriester This disciple was known to the chief priest be-kannt und ging mit Jesu hinein in des and he went along with Jesus into the palace Hohenpriesters Palast. Petrus aber stund of the chief priest. But Peter stood without draußen für der Tür. Da ging der andere by the door. Then the other disciple who was Jünger, der dem Hohenpriester bekannt war, known to the high priest, went out and spoke hinaus und redete mit der Türhüterin und to the woman in charge of the door and led führete Petrum hinein. Da sprach die Magd, Peter within. Then the woman in charge of the die Türhüterin, zu Petro: door, the maid, said to Peter:

Ancilla (Magd) Maid Soloist: Amy Wood Bist du nicht dieses Menschen Jünger einer? Are not you one of this man’s disciples?

Evangelista Evangelist Er sprach: He said:

Petrus Peter Soloist: Thomas Lowen Ich bin’s nicht. I am not.

Evangelista Evangelist Es stunden aber die Knechte und Diener The servants and officers were standing there und hatten ein Kohlfeu’r gemacht (denn es and had made a charcoal fire (for it was cold) war kalt) und wärmeten sich. Petrus aber and were warming themselves. Peter stood by stund bei ihnen und wärmete sich. Aber der them and warmed himself. The chief priest Hohepriester fragte Jesum um seine Jünger questioned Jesus about his disciples and his und um seine Lehre. Jesus antwortete ihm: teaching. Jesus answered him:

Jesus Jesus Ich habe frei, öffentlich geredet für der I have spoken openly before all the world. I Welt. Ich habe allezeit gelehret in der have always taught in the synagogue and in Schule und in dem Tempel, da alle Juden the temple where all the Jews gather together zusammenkommen, und habe nichts im and have spoken nothing in secret. Why Verborgnen geredt. Was fragest du mich therefore do you question me? Question those darum? Frage die darum, die gehöret haben, who have heard about what I have spoken to was ich zu ihnen geredet habe! Siehe, them! See, they themselves know what I have dieselbigen wissen, was ich gesaget habe. said.

Evangelista Evangelist Als er aber solches redete, gab der Diener As he spoke in this way, one of servants who einer, die dabei stunden, Jesu einen was standing by struck Jesus with his hand and Bakkenstreich und sprach: said: Servus (Diener) Servant Soloist: Tim Burton Solltest du den Hohenpriester also antworten? Should you reply to the chief priests in this way?

Evangelista: Evangelist:

Jesus aber antwortete: Jesus answered:

Jesus Jesus Hab ich übel geredt, so beweise es, daß es If I have spoken badly, then show what was böse sei, hab ich aber recht geredt, was wrong. But if I have spoken rightly, why do you schlägest du mich? strike me?

11. Choral 11. Chorale Wer hat dich so geschlagen, Who has struck you in this way, mein Heil, und dich mit Plagen my saviour, and with torments so übel zugericht’? treated you so badly? Du bist ja nicht ein Sünder You are indeed not a sinner wie wir und unsre Kinder, as we and our children are, von Missetaten weißt du nicht. of wrongdoing you know nothing.

Ich, ich und meine Sünden, I, I, and my sins, die sich wie Körnlein finden that are as many as grains des Sandes an dem Meer, of sand by the sea die haben dir erreget have provoked for you das Elend, das dich schläget, the misery that has struck you, und das betrübte Marterheer. and the host of troubles and torment.

12a. Rezitativ 12a. Recitative Evangelista Evangelist

Und Hannas sandte ihn gebunden zu dem And Annas sent him bound to the chief priest Hohenpriester Kaiphas. Simon Petrus stund Caiphas. As Simon Peter stood and warmed und wärmete sich; da sprachen sie zu ihm: himself, they said to him:

12b. Chor 12b. Chorus Bist du nicht seiner Jünger einer? Aren’t you one of his disciples?

12c. Rezitativ 12c. Recitative Evangelista Evangelist Er leugnete aber und sprach: But he denied it and said:

Petrus Peter Ich bin’s nicht. I am not. Evangelista Evangelist Spricht des Hohenpriesters Knecht’ einer, One of the chief priest’s servants, a relative of ein Gefreunderter des, dem Petrus das Ohr the man, whose ear Peter had cut off, said: abgehauen hatte:

Diener Servant Sahe ich dich nicht im Garten bei ihm? Did I not see you in the garden with him?

Evangelista Evangelist Da verleugnete Petrus abermal, und alsobald Then Peter denied it again, and once the cock krähete der Hahn. Da gedachte Petrus an crew. Then Peter thought of Jesus’ word and die Worte Jesu und ging hinaus und weinete went out and wept bitterly. bitterlich.

13. Arie (Tenor) 13. Aria (Tenor) Soloist: James Robinson Ach, mein Sinn, Ah, my soul, wo willt du endlich hin, where will you go, wo soll ich mich erquikken? where shall I find relief? Bleib ich hier, Should I stay here, oder wünsch ich mir or should I wish Berg und Hügel auf den Rükken? that hills and mountains were behind me? Bei der Welt ist gar kein Rat, In the world there is no help, und im Herzen and in my heart stehn die Schmerzen are the pains meiner Missetat, of my wrongdoing, weil der Knecht den Herrn verleugnet hat. since the servant has denied the Lord.

14. Choral 14. Chorale Petrus, der nicht denkt zurück, Peter, who does not think back at all, seinen Gott verneinet, denies his God, der doch auf ein’ ernsten Blick but then at a look of reproach bitterlichen weinet. weeps bitterly. Jesu, blikke mich auch an, Jesus, look at me also wenn ich nicht will büßen; when I am reluctant to repent; Wenn ich Böses hab getan, When I have done evil, rühre mein Gewissen! stir up my conscience!

Organ Chorale Postlude on O Lamm Gottes unschuldig – improvised by Jonathan Hope

Sermon: “No man in the whole world can change the truth. One can only look for the truth, find it and serve it. The truth is in all places.”

A sequence of readings from Letters and Papers from Prison - Dietrich Bonhoeffer

Tegel prison, Berlin 14 April 1943 (To his parents) Reader: Bradley Smith

Easter Day, 25 April 1943 (To his parents) Reader: Gabriella Liandu

27 March 1944 (To Eberhard Bethge) Reader: James Robinson

Poem - Who am I? Reader: Themba Mvula

14 August 1944 (To Eberhard Bethge) Reader: Katie Trethewey

Prinz Albrecht Strasse (Gestapo prison) 28 December 1944 (To his mother) Reader: Thomas Lowen

Poem - Powers of Good (Von guten Mächten) Reader: Lawrence White

Organ Chorale Prelude on Christus der uns selig macht - improvised by Jonathan Hope

St John Passion BWV 245 (Part Two) Johann Sebastian Bach Verhör und Geißelung Interrogation and Flagellation 15. Choral 15. Chorale Christus, der uns selig macht, Christ, who makes us blessed, kein Bös’ hat begangen, and has done no wrong, der ward für uns in der Nacht was for us in the night als ein Dieb gefangen, seized like a thief, geführt für gottlose Leut led before godless people und fälschlich verklaget, and falsely accused, verlacht, verhöhnt und verspeit, derided, mocked and spat upon, wie denn die Schrift saget. as the scripture says. 16a. Rezitativ 16a. Recitative Evangelista Evangelist Da führeten sie Jesum von Kaiphas vor das Then they led Jesus from Caiphas to the hall Richthaus, und er war frühe. Und sie gingen of judgement, and it was early. And they did nicht in das Richthaus, auf daß sie nicht unrein not go into the hall of judgement so that they würden, sondern Ostern essen möchten. Da would not become defiled but would be able ging Pilatus zu ihnen heraus und sprach: to eat the Passover meal. Then Pilate came out to them and said: Pilatus Pilate Soloist: Lawrence White Was bringet ihr für Klage wider diesen What accusation do you bring against this Menschen? man? Evangelista Evangelist Sie antworteten und sprachen zu ihm: They replied and said to him: 16b. Chor 16b. Chorus Wäre dieser nicht ein Übeltäter, wir hätten dir If this man were not a criminal, we would not ihn nicht überantwortet. have brought him before you. 16c. Rezitativ 16c. Recitative Evangelista Evangelist Da sprach Pilatus zu ihnen: Then Pilate said to them: Pilatus Pilate So nehmet ihr ihn hin und richtet ihn nach Then take him away and judge him according eurem Gesetze! to your law! Evangelista Evangelist Da sprachen die Juden zu ihm: Then the Jews said to him: 16d. Chor 16d. Chorus Wir dürfen niemand töten. We are not allowed to put anyone to death. 16e. Rezitativ 16e. Recitative Evangelista Evangelist Auf daß erfüllet würde das Wort Jesu, welches In this way was fulfilled the words of Jesus, er sagte, da er deutete, welches Todes er which he said to indicate by what sort of sterben würde. Da ging Pilatus wieder hinein death he would die. Then Pilate went back in das Richthaus und rief Jesu und sprach zu into the hall of judgement and called Jesus ihm: and said to him: Pilatus Pilate Bist du der Juden König? Are you the king of the Jews? Evangelista Evangelist Jesus antwortete: Jesus replied: Jesus Jesus Redest du das von dir selbst, oder haben’s dir Do you say this of yourself, or did others say it andere von mir gesagt? to you about me? Evangelista Evangelist Pilatus antwortete: Pilate answered: Pilatus Pilate Bin ich ein Jude? Dein Volk und die Am I a Jew? Your people and the chief priests Hohenpriester haben dich mir überantwortet; have handed you over to me. What have you was hast du getan? done? Evangelista Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Mein Reich ist nicht von dieser Welt; wäre My kingdom is not of this world; if my kingdom mein Reich von dieser Welt, meine Diener were of this world then my servants would würden darob kämpfen, daβ ich den Juden fight so that I should not be handed over to nicht überantwortet würde; aber nun ist mein the Jews; but now my kingdom is not from Reich nicht von dannen. here. 17. Choral 17. Chorale Ach großer König, groß zu allen Zeiten, Ah, great king, great in all ages, wie kann ich g’nugsam diese Treu ausbreiten? how can I make my faithfulness in any way adequate? Keins Menschen Herze mag indes ausdenken, No human heart can conceive what gift is fit was dir zu schenken. to offer you.

Ich kann’s mit meinen Sinnen nicht erreichen, My mind cannot imagine what can be womit doch dein Erbarmen zu vergleichen. compared to your mercy. Wie kann ich dir deine Liebstaten How then can I match your loving deeds by im Werk erstatten? anything I do? 18a. Rezitativ 18a. Recitative Evangelista Evangelist Da sprach Pilatus zu ihm: Then Pilate said to him: Pilatus Pilate So bist du dennoch ein König? So you are then a king? Evangelista Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Du sagst’s, ich bin ein König. Ich bin dazu You say it, I am a king. For this I was born and geboren und in die Welt kommen, daß ich die came into the world, so that I should testify Wahrheit zeugen soll. Wer aus der Wahrheit to the truth. Anyone who is of the truth, hears ist, der höret meine Stimme. my voice. Evangelista Evangelist Spricht Pilatus zu ihm: Pilate said to him: Pilatus Pilate Was ist Wahrheit? What is truth? Evangelista Evangelist Und da er das gesaget, ging er wieder hinaus And when he said this, he went back out to zu den Juden und spricht zu ihnen: the Jews and said to them: Pilatus Pilate Ich finde keine Schuld an ihm. Ihr habt aber I find no fault in him. But you have a custom, eine Gewohnheit, daß ich euch einen losgebe; that I release one prisoner to you; do you wish wollt ihr nun, daß ich euch der Juden König then that I should release to you the King of losgebe? the Jews? Evangelista Evangelist Da schrieen sie wieder allesamt und sprachen: They all cried out together and said: 18b. Chor 18b. Chorus Nicht diesen, sondern Barrabam! Not this man, but Barrabas! 18c. Rezitativ 18c. Recitative Evangelista Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Now Barrabas was a murderer. Then Pilate Jesum und geißelte ihn. took Jesus and scourged him. 19. Arioso (Bass) 19. Arioso (Bass) Soloist: Lawrence White Betrachte, meine Seel, mit ängstlichem Consider, my soul, with anxious delight, Vergnügen, mit bittrer Lust und halb beklemmtem with bitter pleasure and a heart partly Herzen, oppressed, dein höchstes Gut in Jesu Schmerzen, that your highest good depends on Jesus’ sorrow, wie dir aus Dornen, so ihn stechen, how for you from the thorns that pierce him die Himmelsschlüsselblumen blühen; heavenly flowers blossom! Du kannst viel süße Frucht von seiner Wermut You can gather so much sweet fruit from his brechen, wormwood, drum sieh ohn Unterlaß auf ihn. therefore look unceasingly towards him! 20. Arie (Tenor) 20. Aria (Tenor) Soloist: Paul Bentley-Angell Erwäge, wie sein blutgefärbter Rükken Ponder well how his back bloodstained in allen Stükken all over dem Himmel gleiche geht. is like the sky.

Daran, nachdem die Wasserwogen Where, after the deluge von unsrer Sündflut sich verzogen, from our flood of sins has abated, der allerschönste Regenbogen there appears the most beautiful rainbow als Gottes Gnadenzeichen steht! as a sign of God’s mercy! 21a. Rezitativ 21a. Recitative Evangelista Evangelist Und die Kriegsknechte flochten eine Krone And the soldiers wove a crown of thorns and von Dornen und satzten sie auf sein Haupt und placed it on his head and put a purple robe on legten ihm ein Purpurkleid an und sprachen: him and said: 21b. Chor 21b. Chorus Sei gegrüßet, lieber Judenkönig? Hail to you, King of the Jews! 21c. Rezitativ 21c. Recitative Evangelista Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus And they gave him blows with their hands. wieder heraus und sprach zu ihnen: Then Pilate came out again and said to them: Pilatus Pilate Sehet, ich führe ihn heraus zu euch, daß ihr Look, I bring him out to you so that you can erkennet, daß ich keine Schuld an ihm finde. know that I find no fault in him. Evangelista Evangelist Also ging Jesus heraus und trug eine And so Jesus came out and wore a crown of Dornenkrone und Purpurkleid. Und er sprach thorns and a purple robe. And he said to them: zu ihnen: Pilatus Pilate Sehet, welch ein Mensch! Look, this is the man! Evangelista Evangelist Da ihn die Hohenpriester und die Diener When the chief priests and the officers saw sahen, schrieen sie und sprachen: him, they cried out and said:

21d. Chor 21d. Chorus Kreuzige, kreuzige! Crucify him, crucify him! 21e. Rezitativ 21e. Recitative Evangelista Evangelist Pilatus sprach zu ihnen: Pilate said to them: Pilatus Pilate Nehmet ihr ihn hin und kreuziget ihn; denn ich Take him and crucify him; for I find no fault in finde keine Schuld an ihm! him! Evangelista Evangelist Die Juden antworteten ihm: The Jews answered him: 21f. Chor 21f. Chorus Wir haben ein Gesetz, und nach dem Gesetz We have a law and according to the law he soll er sterben; denn er hat sich selbst zu should die because he made himself the son of Gottes Sohn gemacht. God. 21g. Rezitativ 21g. Recitative Evangelista Evangelist Da Pilatus das Wort hörete, fürchtet’er sich When Pilate heard what they said, he was noch mehr und ging wieder hinein in das even more afraid and went back to the hall of Richthaus und spricht zu Jesu: judgment and said to Jesus: Pilatus Pilate Von wannen bist du? Where do you come from? Evangelista Evangelist Aber Jesus gab ihm keine Antwort. Da sprach But Jesus gave him no answer. Then Pilate said Pilatus zu ihm: to him: Pilatus Pilate Redest du nicht mit mir? Weißest du nicht, daß You won’t speak to me? Do you not know that I ich Macht habe, dich zu kreuzigen, und Macht have the power to crucify you, and I have the habe, dich loszugeben? power to set you free? Evangelista Evangelist Jesus antwortete: Jesus replied: Jesus Jesus Du hättest keine Macht über mich, wenn You would have no power over me if it were sie dir nicht wäre von oben herab gegeben; not given to you from above; therefore the darum, der mich dir überantwortet hat, der one who handed me over to you has the hat’s größre Sünde. greater guilt. Evangelista Evangelist Von dem an trachtete Pilatus, wie er ihn And from then on Pilate endeavoured to set losließe. him free. 22. Choral 22. Chorale Durch dein Gefängnis, Gottes Sohn, Through your imprisonment, Son of God, muß uns die Freiheit kommen; must our freedom come; Dein Kerker ist der Gnadenthron, Your prison is the throne of grace, die Freistatt aller Frommen; the refuge of all believers; Denn gingst du nicht die Knechtschaft ein, If you had not accepted slavery, müßt unsre Knechtschaft ewig sein. our slavery would have been eternal. 23a. Rezitativ 23a. Recitative Evangelista Evangelist Die Juden aber schrieen und sprachen: But the Jews cried out and said:

23b. Chor 23b. Chorus Lässest du diesen los, so bist du des Kaisers If you release this man, then you are not Freund nicht, denn wer sich zum Könige Caesar’s friend; for anyone who makes himself machet, der ist wider den Kaiser. King is against Caesar. 23c. Rezitativ 23c. Recitative Evangelista Evangelist Da Pilatus das Wort hörete, führete er Jesum When Pilate heard what they said, he led heraus, und satzte sich auf den Richtstuhl, an Jesus out and sat in the judgment seat at der Stätte, die da heißet; Hochpflaster, auf the place which is called the Pavement,or hebräisch aber: Gabbatha. Es war aber der in Hebrew: Gabbatha. It was the day of Rüsttag in Ostern um die sechste Stunde, und preparation for the passover, about the sixth er spricht zu den Juden: hour, and he said to the Jews: Pilatus Pilate Sehet, das ist euer König! Look, this is your King! Evangelista Evangelist Sie schrieen aber: But they cried out: 23d. Chor 23d. Chorus Weg, weg mit dem, kreuzige ihn! Away with him, away with him, crucify him!

23e. Rezitativ 23e. Recitative Evangelista Evangelist Spricht Pilatus zu ihnen: Pilate said to them: Pilatus Pilate Soll ich euren König kreuzigen? Shall I crucify your King? Evangelist Evangelist Die Hohenpriester antworteten: The chief priests answered: 23f. Chor 23f. Chorus Wir haben keinen König denn den Kaiser. We have no king but Caesar. 23g. Rezitativ 23g. Recitative Evangelista Evangelist Da überantwortete er ihn, daß er gekreuziget Then he handed him over to be crucified. They würde. Sie nahmen aber Jesum und führeten took Jesus and led him away. And he carried ihn hin. Und er trug sein Kreuz und ging hinaus his cross and went to the place which is called zur Stätte, die da heißet Schädelstätt, welche the place of the skull, that is in Hebrew: heißet auf hebräisch: Golgatha. Golgatha 24. Arie (Bass) mit Chor 24. Aria (Bass) with Chorus Soloist: Thomas Lowen Eilt, ihn angefochtnen Seelen, Hurry, you tormented souls, geht aus euren Marterhöhlen, leave your dens of torment, eilt – Wohin? – nach Golgatha! hurry – Where to? –to Golgotha!

Nehmet an des Glaubens Flügel, Take the wings of faith, flieht – Wohin? – zum Kreuzeshügel, fly – Where to? – to the hill of the cross, eure Wohlfahrt blüht allda! there your salvation flourishes! 25a. Rezitativ 25a. Recitative Evangelista Evangelist Allda kreuzigten sie ihn, und ihm zween There they crucified him and with him two andere zu beiden Seiten, Jesum aber mitten others,one on either side with Jesus the inne. middle. Pilatus aber schrieb eine Überschrift und And Pilate wrote a title and placed it on satzte sie auf das Kreuz, und war geschrieben: the cross, and there was written: “Jesus of «Jesus von Nazareth, der Juden König». Diese Nazareth, King of the Jews”. Many Jews read Überschrift lasen viel Juden, denn die Stätte this title for the place was near the city where war nahe bei der Stadt, da Jesus gekreuziget Jesus was crucified. And it was written in ist. Und es war geschrieben auf hebräische, Hebrew, Greek and Latin. griechische und lateinische Sprache. Da sprachen die Hohenpriester der Juden zu Then the chief priests said to Pilate: Pilato: 25b. Chor 25b. Chorus Schreibe nicht: der Juden König, sondern daß Do not write: the King of the Jews, but that he er gesaget habe: Ich bin der Juden König. said: I am the King of the Jews. 25c. Rezitativ 25c. Recitative Evangelista Evangelist Pilatus antwortet: Pilate replied: Pilatus Pilate Was ich geschrieben habe, das habe ich What I have written, I have written. geschrieben. 26. Choral 26. Chorale In meines Herzens Grunde, In the depths of my heart dein Nam und Kreuz allein your name and cross alone funkelt all Zeit und Stunde, shine at every moment drauf kann ich fröhlich sein. making me able to rejoice. Erschein mir in dem Bilde Let me see the image zu Trost in meiner Not, to console me in my distress wie du, Herr Christ, so milde, of how you, Lord Christ, so patiently dich hast geblut’ zu Tod! shed your blood in death!

Tod Jesu The Death of Jesus 27a. Rezitativ 27a. Recitative Evangelista Evangelist Die Kriegsknechte aber, da sie Jesum Then the soldiers, when they had crucified gekreuziget hatten, nahem seine Kleider Jesus, took his clothes and made four parts, und machten vier Teile, einem jeglichen a part to each soldier,there was also his coat. Kriegesknechte sein Teil, dazu auch den Rock. His coat was seamless, woven from the top Der Rock aber war ungenähet, von oben an throughout. They said to each other: gewürket durch und durch. Da sprachen sie untereinander: 27b. Chor 27b. Chorus Lasset uns nicht zerteilen, sondern darum Let us not tear it, but cast lots whose it should losen, wess‘ er sein soll. be. 27c. Rezitativ 27c. Recitative Evangelista Evangelist Auf daß erfüllet würde die Schrift, die da In this way the Scripture was fulfilled, where saget: Sie haben meine Kleider unter sich it is said: they have divided my clothing among geteilet und haben über meinen Rock das Los them and they have cast lots for my coat, geworfen. Solches taten die Kriegesknechte. this is what the soldiers did. There stood by Es stund aber bei dem Kreuze Jesu seine Jesus’s cross his mother and his mother’s Mutter und seiner Mutter Schwester, Maria, sister, Mary, wife of Cleophas, and Mary Kleophas Weib, und Maria Magdalena. Da nun Magdalene. When Jesus saw his mother Jesus seine Mutter sahe und den Jünger dabei and the disciple that he loved standing next to stehen, den er lieb hatte, spricht er zu seiner her, he said to his mother: Mutter: Jesus Jesus Weib, siehe, das ist dein Sohn! Woman, look, this is your son! Evangelista Evangelist Darnach spricht er zu dem Jünger: Then he said to the disciple: Jesus Jesus Siehe, das ist deine Mutter! Look, this is your mother! 28. Choral 28. Chorale Er nahm alles wohl in acht He thought carefully of everything in der letzten Stunde, in his last hour, seine Mutter noch bedacht, He was concerned for his mother, setzt ihr ein’ Vormunde. chose someone to look after her. O Mensch, mache Richtigkeit, O man, act justly, Gott und Menschen liebe, love God and mankind, stirb darauf ohn alles Leid, then you can die without sorrow und dich nicht betrübe! and need not grieve! 29. Rezitativ 29. Recitative Evangelista Evangelist Und von Stund an nahm sie der Jünger zu sich. And from that hour the disciple took her to Darnach, als Jesus wußte, daß schon alles himself. Then as Jesus knew that all had vollbracht war, daß die Schrift erfüllet würde, been accomplished so the scripture might be spricht er: fulfilled, he said: Jesus Jesus Mich dürstet! I thirst! Evangelist Evangelist Da stund ein Gefäße voll Essigs. Sie fülleten There was a jar of vinegar. They filled a aber einen Schwamm mit Essig und legten ihn sponge with vinegar and put it on an hyssop um einen Isopen und hielten es ihm dar zum and held it up to his mouth. When Jesus had Munde. Da nun Jesus den Essig genommen taken the vinegar, he said: hatte, sprach er: Jesus Jesus Es ist vollbracht! It is accomplished! 30. Arie (Alt) 30. Aria (Alto) Soloist: Martha McLorinan Es ist vollbracht! It is accomplished! O Trost vor die gekränkten Seelen! What comfort for all suffering souls! Die Trauernacht The night of sorrow läβt nun die letzte Stunde zählen. now reaches its final hours. Der Held aus Juda siegt mit Macht The hero from Judah triumphs in his might und schlieβt den Kampf. and brings the strife to an end. Es ist vollbracht! It is accomplished! 31. Rezitativ 31. Recitative Evangelista Evangelist Und neiget das Haupt und verschied. And he bowed his head and passed away. 32. Arie (Bass) mit Choral 32. Aria (Bass) and Chorale Soloist: Lawrence White Bass Bass Mein teurer Heiland, laß dich fragen My beloved Saviour, let me ask you, da du nunmehr ans Kreuz geschlagen since you have now been nailed to the cross und selbst gesaget: Es ist vollbracht, and you yourself have said: It is accomplished, bin ich vom Sterben frei gemacht? have I been set free from death? Kann ich durch deine Pein und Sterben Through your pain and death can I das Himmelreich ererben? inherit the kingdom of heaven? Ist aller Welt Erlösung da? Is this the redemption of the whole world? Du kannst vor Schmerzen zwar nichts sagen, You can indeed not speak for anguish; doch neigest du das Haupt But you bow your head und sprichst stillschweigend: ja. and silently say: yes. Chor Chorus Jesu, der du warest tot, Jesus, you were dead, lebest nun ohn Ende, and now live for ever, In der letzten Todesnot, in my final agony of death, nirgend mich hinwende may I turn nowhere else als zu dir, der mich versühnt, but to you, who have redeemed me, O du lieber Herre! O my dear Lord! Gib mir nur, was du verdient, Give me only what you have won, mehr ich nicht begehre! for more I could not wish! Grablegung Burial 33. Rezitativ 33. Recitative Evangelista Evangelist Und siehe da, der Vorhang im Temple zerriß in And see, the curtain in the Temple was torn in zwei Stück von oben an bis unten aus. Und die two from top to bottom, and the earth shook Erde erbebete, und die Felsen zerrissen, und and the rocks split and the graves opened, and die Gräber täten sich auf, und stunden auf viel many bodies of saints stood up. Leiber der Heiligen. 34. Arioso (Tenor) 34. Arioso (Tenor) Soloist: Paul Bentley-Angell Mein Herz, indem die ganze Welt My heart, while the whole world bei Jesu Leiden gleichfalls leidet, suffers as Jesus suffers, die Sonne sich in Trauer kleidet, the sun is clothed in mourning, der Vorhang reißt, der Fels zerfällt, the veil is torn, the rocks split, die Erde bebt, die Gräber spalten, the earth quakes, graves gape open, weil sie den Schöpfer sehn erkalten, because they behold the creator grow cold in death, was willt du deines Ortes tun? for your part, what will you do? 35. Arie (Sopran) 35. Aria (Soprano) Soloist: Margaret Lingas Zerfließe, mein Herze, in Fluten der Zähren Dissolve, my heart, in floods of tears dem Höchsten zu Ehren. you honour the Almighty! Erzähle der Welt und dem Himmel die Not: Tell the world and heaven your distress: Dein Jesus ist tot! Your Jesus is dead! 36. Rezitativ 36. Recitative Evangelista Evangelist Die Juden aber, dieweil es der Rüsttag war, But the Jews, because it was the day of daß nicht die Leichname am Kreuze blieben preparation, so that the corpses should not den Sabbath über (denn desselbigen Sabbaths remain on the cross over the sabbath, (for the Tag war sehr groß), baten sie Pilatum, daß sabbath day was very solemn) asked Pilate ihre Beine gebrochen und sie abgenommen that their legs should be broken and they würden. Da kamen die Kriegsknechte und should be taken away. Then the soldiers came brachen dem ersten die Beine und dem and broke the legs of the first man and the andern, der mit ihm gekreuziget war. Als other who were crucified with him. But when sie aber zu Jesu kamen, da sie sahen, daß they came to Jesus, they saw that he was er schon gestorben war, brachen sie ihm die already dead, and they did not break his legs; Beine nicht; sondern der Kriegsknechte einer but one of the soldiers opened his side with a eröffnete seine Seite mit einem Speer, und spear and at once blood and water came out, alsobald ging Blut und Wasser heraus. Und and the one who saw it has testified this, and der das gesehen hat, der hat es bezeuget, his testimony is true, and he knows that he und sein Zeugnis ist wahr, und derselbige speaks the truth so that you may believe. weiß, daß er die Wahrheit saget, auf daß ihr This happened so that the Scripture might be gläubet. Denn solches ist geschehen, auf daß fulfilled: “You shall break none of his bones”. die Schrift erfüllet würde: «Ihr sollet ihm kein And elsewhere another scripture says: “They Bein zerbrechen». Und abermal spricht eine will look on him whom they have pierced”. andere Schrift: «Sie werden sehen, in welchen sie gestochen haben». 37. Choral 37. Chorale O hilf, Christe, Gottes Sohn, Oh help us, Christ, God’s son, durch dein bitter Leiden, through your bitter suffering, daß wir dir stets untertan so that always obedient to you all Untugend meiden, we may shun all wrongdoing, deinen Tod und sein Ursach and thinking of your death and its cause fruchtbarlich bedenken, we may profit from our reflections, dafür, wiewohl arm und schwach, and in this way, however poor and inadequate it may be, dir Dankopfer schenken. give you an offering of thanks. 38. Rezitativ 38. Recitative Evangelista Evangelist Darnach bat Pilatum Joseph von Arimathia, Than Joseph of Arimathia,who was a disciple der ein Jünger Jesu war (doch heimlich, of Jesus,asked Pilate (but secretly from fear aus Furcht vor den Juden), daß er möchte of the Jews) to let him take away the body abnehmen den Leichnam Jesu. Und Pilatus of Jesus. And Pilate allowed him to do so. He erlaubete es. Derowegen kam er und nahm came for this purpose and took the body of den Leichnam Jesu herab. Es kam aber auch Jesus away. There came also Nicodemus, Nikodemus, der vormals bei der Nacht zu who had once come to Jesus by night and Jesu kommen war, und brachte Myrrhen und brought myrrh and aloes together, about a Aloen untereinander, bei hundert Pfunden. Da hundred pounds. Then they took the body nahmen sie den Leichnam Jesu, und bunden of Jesus and bound it in linen clothes with ihn in leinen Tücher mit Spezereien, wie die spices, as is the Jews’ custom for the burial. Juden pflegen zu begraben. Es war aber an der There was a garden by the place where he Stätte, da er gekreuziget ward, ein Garte, und was crucified, and in the garden a new tomb, im Garten ein neu Grab, in welches niemand in which no one had been laid. Here they laid je geleget war. Daselbst hin legten sie Jesum, Jesus because of the Jews’ preparation day, um des Rüsttags willen der Juden, dieweil das since the tomb was nearby. Grab nahe war. 39. Chor 39. Chorus Ruht wohl, ihr heiligen Gebeine, Rest in peace, you sacred limbs, die ich nun weiter nicht beweine, I shall weep for you no more, ruht wohl und bringt auch mich zur Ruh! rest in peace, and bring me also to rest.

Das Grab, so euch bestimmet ist The grave that is allotted to you und ferner keine Not umschließt macht mir and contains no further suffering, den Himmel auf und schlieβt die Hölle zu. opens heaven for me and shuts off hell. 40. Choral 40. Chorale Ach Herr, laß dein lieb Engelein Ah Lord, let your dear angels am lezten End die Seele mein at my final hour carry my soul in Abrahams Schoß tragen, to Abraham’s bosom, den Leib in sein’m Schlafkämmerlein while my body in its narrow chamber gar sanft, ohn ein’ge Qual und Pein, gently without pain or torment ruhn bis am Jüngsten Tage! rests until the last day. Alsdenn vom Tod erwekke mich, Wake me then from death, daß meine Augen sehen dich so that my eyes see you in aller Freud,o Gottes Sohn, in all joy, O God’s son, mein Heiland und Genadenthron! my Saviour and throne of mercy Herr Jesu Christ, erhöre mich, Lord Jesus Christ, hear me, ich will dich preisen ewiglich! I shall praise you eternally! Motet - Ecce quomodo moritur justus Jacob Handl (1550-1591)

Ecce quomodo moritur justus Behold how the righteous man dies, et nemo percipit corde. and no-one lays it to heart. Viri justi tolluntur, et nemo considerat, The righteous are taken away, and no-one a facie iniquitatis. ponders it, Sublatus est justus, et erit in pace memoria because of their wickedness. eius. The righteous man is raised up, and the remembrance of him shall be in peace. In pace factus est locus ejus, In peace is a place made for him, et in Sion habitatio ejus, and in Sion a habitation, et erit in pace memoria ejus. and the remembrance of him shall be in peace.

Organ Bach Chorale Prelude, Nun danket alle Gott BWV 657

All sing Now thank we all our God Now thank we all our God [Nun danket alle Gott]

Martin Rinkart ca. 1636 J. Crüger. trans. Catherine Winkworth 1858 from Gottfried Vopelius Neu Leipziger Gesangbuch 1682 ° # œ œ œ œ œ ˙ Œ œ œ œ & œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ

1.Now thank we all our God, with heart and hands and voi - ces, œ œ œ œ œ œ ?# œ œ œ ˙ œ œ ˙ œ ¢ œ œ Œ œ œ œ œ ˙ œ

° # œ œ œ œ œ ˙ Œ œ œ œ & œ œ œ œ œ ˙ œ œ œ œ œ ˙ œ

Who won - drous things has done, in whom this world re - joi - ces; œ œ œ ?# œ œ œ œ œ ˙ œ œ œ ˙ œ ¢ œ œ Œ œ œ œ œ ˙ œ ° # œ œ #œ ˙ & œ œ œ œ œ ˙ Œ œ œ œ œ œ ˙ Œ

Who from our mo - thers' arms has blessed us on our way œ œ œ œ œ ˙ œ œ œ œ œ œ œ œ ˙ ¢?# œ œ œ ˙ Œ œ œ ˙ Œ

° # œ œ œ œ œ ˙ Œ œ ™ & œ œ œ œ œ ˙ œ œ œ œ œ ˙™ With count - less gifts of love, and still is ours to - day. œ œ œ ˙ œ ™ ?# œ œ œ œ œ œ ˙ ¢ œ œ œ œ ˙ Œ œ œ œ œ œ ˙™

2. O may this bounteous God through all our life be near us, With ever joyful hearts and blessèd peace to cheer us; And keep us in his grace, and guide us when perplexed; And free us from all ills, in this world and the next!

3. All praise and thanks to God the father now be given; The son and him who reigns with them in highest heaven; The one eternal God, whom earth and heaven adore; For thus it was, is now, and shall be evermore. Ex Cathedra

Founded 50 years ago by Jeffrey Skidmore, Ex Cathedra has become a unique musical resource - a specialist chamber choir, vocal Consort, period- instrument orchestra and a thriving education programme - aiming to explore, research and commission the finest choral music and to set the highest standards for excellence in performance and training.

We are known for our passion for seeking out the best, the unfamiliar and the unexpected in the choral repertoire, and for giving high quality performances underpinned by detailed research.

We present a series of concerts in Birmingham, where we are an Associate Artist at Town Hall & Symphony Hall, across the Midlands, and in London. We also enjoy invitations to appear at festivals and concert series across the UK and as far afield as Tel Aviv and New York.

Ex Cathedra has made a significant number of award-winning recordings for Hyperion, NMC, Orchid Classics, SOMM, Signum, and on our own label. The most recent release is a CD of choral music by Penelope Thwaites titled From Five Continents, released in spring 2020.

Our extensive programme of award-winning schools and community projects is led by a team of expert Vocal Tutors, who are all members of Ex Cathedra. Singing Playgrounds has reached over 1,000 primary schools across the UK and also schools in Belgium, China, New Zealand, Singapore, Uganda and Thailand. Arts in Health projects include Singing Medicine which takes place every week on every ward at Birmingham Children’s Hospital and Singing Pathways which brings wellbeing and communication benefits to adults who have had a stroke or who have dementia.

Nurturing talent is at the heart of our work, and our Academy of Vocal Music From the throne provides a choral training pathway for children and young people aged 4-18. We are often asked about our name. Our choral Scholarships programme ‘Cathedra’ is the name for a bishop’s provides a year-long scheme for recent throne, and a cathedral is the building that graduates as they establish their houses that throne. When Jeffrey Skidmore professional singing career, and Student and one of the founding members of the Scholarships provide opportunities choir were choosing a name for the new for singers studying at the Royal group in 1969, they chose Ex Cathedra Birmingham Conservatoire. Throughout because it literally means ‘from the throne’ 2020, Hilary Campbell is working very or in English usage ‘with authority’. At closely with Ex Cathedra and Jeffrey as the time, Jeffrey and several members of our current Associate Conductor. the choir sang at Birmingham Cathedral. The pun was attractive, and researching www.excathedra.co.uk the repertoire so that it can be performed www.facebook.com/excathedra with authority, style and passion has www.twitter.com/excathedrachoir been a guiding principle since those first performances. Jeffrey Skidmore

Jeffrey Skidmore’s reputation as one of the UK’s leading choral directors and an ardent advocate of the importance of singing in people’s lives today is rooted in his work with Ex Cathedra, the ensemble he founded 50 years ago in his home city of Birmingham.

Jeffrey’s driving passion has been to refresh and reinvigorate the choral repertoire and to make it accessible to as many people as possible. He and Ex Cathedra have long been known for exciting and innovative but always attractive programming, underpinned by research. Under his direction, Ex Cathedra has also shown an enduring commitment to PHOTOGRAPH BY NEIL PUGH NEIL BY PHOTOGRAPH vocal education from its ground-breaking children’s singing programme, Singing Playgrounds, to the nurturing of professional singers at the start of their careers.

As director of Ex Cathedra and its associated Consort and Baroque Orchestra, Jeffrey has appeared in concert halls and festivals across the UK and overseas. He has made a number of highly-acclaimed recordings ranging from Renaissance polyphony to Latin American and French Baroque. He has also worked with other ensembles including the City of Birmingham Symphony Orchestra, the Orchestra of the Age of Enlightenment, Aalborg Sinfoniorkester, the Irish Baroque Orchestra and the BBC Singers.

In the field of opera he has worked with Birmingham Opera Company; elshW National Opera; Marc Minkowski and David McVicker at the Théâtre des Champs-Elysées; and has given the first performances in modern times of the French Baroque operas Zaïde by Royer and Isis by Lully. Jeffrey is a pioneer in the field of research and performance of choral works of the 16th, 17th and 18th centuries, both in the old and new worlds. He is also a champion of contemporary choral music and has commissioned more than a dozen new works in recent years.

Jeffrey is a Research Fellow at the University of Birmingham and Artistic Director of the Early Music programme at the Royal Birmingham Conservatoire. He is a regular contributor to the choral programme at Dartington International Summer School and to a wide range of choral workshops and summer schools at home and abroad.

Jeffrey has been recognised with an OBE for services to choral music, and an honorary doctorate from the University of Birmingham.

For more information click here. Be an Angel!

Your support is vital in helping us achieve our charitable mission to share great choral music with as many people as possible.

A special message from Jeffrey Skidmore:

We believe everyone should have the opportunity to access extraordinary choral music and feel the wonderful benefits of singing, which is why we share our love of singing with as many people as possible through concerts, new commissions, recordings, training choirs for young singers, Scholarships, and community projects that reach 90,000 children and adults every year.

You may not realise that ticket sales only contribute around 20% of our income each year, with a further 10% coming from public funding. This means we need to raise over 70% of our income every year to sustain our programme of work.

As we celebrate our 50th anniversary, we are as ambitious as ever to deliver outstanding performances and participatory opportunities, but we need your help. I should be delighted and enormously grateful if you would consider supporting Ex Cathedra by becoming a valued member of our supporter programme - be an Angel and give the gift of singing today. Thank you.

How to join our Host of Angels

Be an Angel from £75 per person per year. Be a Guardian Angel from £250 per person per year. Be an Archangel from £650 per person per year. Be a Throne from £1,500 per year. Be a Seraphim for donations of £3,000 or above.

We would like to thank you by offering the following benefits:

• your name in concert programmes and on our website (you can opt to be anonymous) • invitations to open rehearsals • invitations to other special events including our Annual Dinner

It’s very easy to become an Angel. Just click: DONATE where you can make a single or regular donation via the Charities Aid Foundation. Or you can contact Julie Watson, Grants and Giving Manager, at [email protected].

Ex Cathedra is a registered charity (no.1004086); if you are a UK taxpayer and Gift Aid your donation, every £1 you give will be worth £1.25 to us.

The rich diversity of Ex Cathedra’s work would simply not be possible without the generous support of individuals such as our Angels.

Thank you. Give the gift of singing

Becoming an Ex Cathedra Angel makes a lovely gift for someone special. We would be delighted to arrange for a personalised welcome pack to be sent to you, to offer as a present. Alternatively, we can send a pack directly on your behalf.

We would like to thank all of Jane Arthur Margaret Anderson our Angels: Robert Asher Revd Elizabeth Angell Kiaran Asthana Paul & Helen Arthur Seraphim Peter & Kathy Baldwin Marianne Ayling Roger & Alison Blears Bridget Blow Peter Bailey & Rodney Clark Graham & Vivien Mackenzie Jan Chambers Christopher and Julia Barron Dr WH & Mrs Jill Robinson Alan Cotgreave Jane Baxter John Sawkill David Foster Peter Baxter Janet & Jeffrey Skidmore Mr & Mrs Nick Friend Peter Bond Pip Gardener Mr James Bradley Thrones Bill Good Mr David Brindley GMC Trust Barry Gregson-Allcott Gemma Bristow Richard Armitage Roger Guest Mr Paul Cann GS & JL Brown Fund Julia Hardie Pamela Carter Florence Bullough, in memory John Hemming and Emily Cox Baz & Ula Chapman of Chris Bullough Mr Kenneth Hoffman Sara Clymo Bob & Sandy Marchant Helen Hoggarth Roger Cope Andy & Rachael Richardson Mr Brian King David & Marlene Coppage Mrs Helen King Amanda Cowan Archangels Phil & Rebecca Ledgard Celia Cox 4 Anonymous Archangels Pauline Lowe Ned Douglas Geoffrey & Margaret Batten Bob & Shirley Mackinnon Marion Dredge Michael & Helen Baws Silvia & Colm Maguire Julia Fagan-King Isabel Churcher and Peter Patrick & Tricia McDermott Mike Fox White Hugh McMichael Sylvia Fox Donald Hamilton John Osborn Mrs Fiona Fyshe Margaret Heathfield Professor John Pymm Dr Roger & Mrs Pam Gadsby Amy & Adam Maclean S/PG Randon Mr Ted Gadsby Alison Perrier-Burgess Susan Scott Mr William Gee Mrs Katy Rami Mr Arnold Steeds Alan George Mr Matthew Reeve Lyn Stephenson Judith Gibson Ian Richards Jane & Phil Taylor Mr Richard Green Mr P Scurlock John Tesh Mr Mark Griffiths Jeremy Stoke Ed Trethewey Paul & Anne Hale Phyllida Stoke Paula Whitehouse Andrew & Susan Roger & Jan Thornhill, in Miss Alethea Wilson Hamilton-Smith memory of their daughter Anna Ms Carol Hindley Stephen Tilsley & Vivien Angels Neil Hodgetts Thickett 16 Anonymous Angels Claire Hollocks Peter Trethewey Sarah Abbiss Juliet Irwin C M Abbott Tony Jackson Guardian Angels Mrs Maxine Adams Walter & Linda Jennings 3 Anonymous Guardian Angels Elizabeth Al-Khalifa Roxanne & Simon Johnson David & Ann Jones Ian Privett Ryszard and Krystyna Weber Howard & Jenny Jones Niky Rathbone Elisabeth Wellings Sophie Kernthaler Michael & Lesley Rayner Leonard K. Wellings Gemma King Mr Roger Rivett Lisa Mary White Roger Lawrence Anne Roussel Margaret Whitlock Rebecca Lloyd Peter Sargent Martin & Sandy Whittle Andrew Mclintock Shirley Scott Jeremy Wilding Valerie Malley Margaret Shuker Mrs M R Willetts Elizabeth Marcus Dean Silvers Gary Williams Peter Marsh Cynthia Slater Stephen Wise Sheila McGuirk Myriam Smith Helen & Peter Woodall Revd Carol Murray Andrew Stubbs Richard T Worth Isobel Nicholls Derek and Shân Taylor Drs Richard & Rosie Wynne Robert & Angela Orme Roger Terry John Yarnall Ros Oswald Dr Kate Thatcher Norman Yeowell Andrew Payne Liz Trethewey Percy Young, remembered Crystal Pearce Sushil Velu Patricia Poynton Julie Watson

For information on how we will use your data please see our Privacy Notice. If for any reason you are not happy with our fundraising practices, please see our Fundraising Complaints Policy. Thank you

Our programme of concerts and education projects is only possible because of funding received from a wide range of supporters. We would like to thank them all.

Public Funders Arts Society Birmingham Aspinwall Charitable Trust Austin & Hope Pilkington Trust Barnard Chapter Rose Croix, No. 190 Baron Davenport’s Charity Corporate Patrons BHSF Medical Charity & Welfare Trust Principal Education Sponsor Birmingham District Nursing Charitable Trust www.sandvik.com CB & HH Taylor 1984 Trust Continuo Foundation D’Oyly Carte Charitable Trust Handelsbanken Derek Hill Foundation DMF Ellis Charitable Trust Edward & Dorothy Cadbury Trust AFH Group NFU Mutual Edward Cadbury Trust Bromsgrove School Quintessa Edward Gostling Foundation Kings High Warwick Plough and Harrow Elmley Foundation Lloyds Bank Erdington Hotel Eranda Rothschild Foundation Branch Eveson Charitable Trust Fenton Arts Trust Fidelio Charitable Trust Trusts & Foundations Field Family Charitable Trust Froebel Trust ACT Foundation Garrick Charitable Trust Alfred Haines Charitable Trust George Fentham Birmingham Charity Alison Hillman Charitable Trust George Perkins Charitable Trust April Trust GJW Turner Trust Grimmitt Trust Royal Opera House Benevolent Fund Helen Rachael Mackaness Charitable Trust S & D Lloyd Charity The Joseph Hopkins & Henry James Sayer Saintbury Trust Charity Sir Jules Thorn Charitable Trust Idlewild Trust Souter Charitable Trust John Feeney Charitable Trust Sparkhill Trust Leche Trust Steel Charitable Trust Lillie C Johnson Charitable Trust The Late Mrs Margaret Guido’s Charitable Trust Masonic Charitable Foundation The National Lottery Community Fund Oak Foundation The Radcliffe Trust Old Royal Naval College Chapel Fund Thistle Trust Patrick Trust VCT Charitable Trust Philip Bates Trust WED Charitable Trust Provincial Grand Lodge of Warwickshire Westfield Health Charitable Trust Reynolds Foundation William A Cadbury Charitable Trust Richard Cadbury Charitable Trust Youth Music Roughley Trust

Artistic Director Jeffrey Skidmore OBE Associate Conductor 2020 Hilary Campbell Research Assistant Dr Edward Caine

General Manager Peter Trethewey Head of Finance Roxanne Johnson Finance and Administration Coordinator Paul Memmory Grants & Individual Giving Manager Julie Watson Concerts Producer Myriam Smith Director of Education Rebecca Ledgard Learning and Participation Coordinator Gemma King Schools Coordinator Hazel Tyrrell Singing Playgrounds Project Leader Urszula Weber

BOARD OF DIRECTORS

Peter Phillips (Chair) Phil Ledgard John Clemson MBE Professor John Pymm Sophie Kernthaler Jill Robinson Joy Krishnamoorthy Paula Whitehouse

Young Person Representative Rosy Heneghan Company Secretary Alison Perrier Burgess

Ex Cathedra, CBSO Centre, Berkley Street, Birmingham B1 2LF T: 0121 616 3410 www.excathedra.co.uk | www.facebook.com/excathedra | www.twitter.com/excathedrachoir

Ex Cathedra is a company limited by guarantee, registered in England no 2396173, and is a registered charity no 1004086.