‘PURE PLEASURE’ THE GUARDIAN THE INDEPENDENT THE TIMES BBC MUSIC MAGAZINE THE TELEGRAPH YEARS

ARMONICO CONSORT & BAROQUE PLAYERS DIRECTOR CHRISTOPHER MONKS EVANGELIST TOBY SPENCE CHRISTUS SIR WILLARD WHITE

01 JULY 2021, 7PM | MALVERN THEATRES 08 JULY 2021, 7.30PM | COVENTRY CATHEDRAL 11 JULY 2021, 3PM | LIGHTHOUSE, POOLE www.armonico.org.uk Registered charity no. 1103159 ARMONICO RECORDINGS

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If you need assistance please contact [email protected] / 01926 800109 ext 4. JUL Oz & Armonico Drink to 2022 St Matthew Passion Music: Gin & Phonic 01 Malvern Theatres 13 The Royal Pump Rooms, JAN 08 Coventry Cathedral Leamington Spa F. Scarlatti & J.S. Bach 11 Lighthouse Poole with Rachel Podger Choral Conducting 29 Collegiate Church Carmina Burana Legacy Project - Mexico of St Mary, Warwick 22 Royal Albert Hall Virtual Performance

Vivaldi The Four Seasons FEB HANDELIAN BEOWULF DIDO & AENEAS NOV NEW: CAROLS with Jennifer Pike F. Scarlatti & J.S. Bach Available Winter 2021 PYROTECHNICS The Armed Man 31 Petworth Festival with Rachel Podger 06 The Octagon Theatre, 05 Malvern Theatres Yeovil SEP 09 Malvern Theatres St Matthew Passion 10 Warwick Arts Centre MAR 04 Newbury Festival It Takes a City TBC The Anvil, Basingstoke DEC 29 Resorts World Arena, Birmingham Handel’s Messiah Striggio | Biber | Tallis 08 Warwick Arts Centre 20th Birthday Celebration 23 Malvern Theatres APR SUPERSIZE J. S. BACH, GREENSLEEVES ON CHRISTMAS 25 Collegiate Church TBC Stoke St John Passion tour POLYPHONY SOLO CANTATAS NIGHT of St Mary, Warwick 09 Collegiate Church Come and Sing at Christmas of St Mary, Warwick OCT with John Rutter 15 Malvern Theatres Striggio | Biber | Tallis 18 Coventry Cathedral 20th Birthday Celebration 01 Malvern Theatres Carols by Candlelight 09 Lighthouse Poole 20 Collegiate Church 16 Canterbury Cathedral of St Mary, Warwick TBC St John’s Smith Square, London LET THE BRIGHT REQUIEM NAKED BYRD NAKED BYRD 2 SERAPHIM

THE FAIRY QUEEN DIXIT DOMINUS page name Dates for your Diary | 3 CHOIR II Soprano Ella Aldridge, Lucy Cox, Hannah Fraser-Mackenzie, Laura Moretto, Clare Noakes, Wendy Whyte Alto Mercé Abellò, Hamish McLaren, Anna Nightingale Tenor Christopher Lombard, Ben Thapa Bass Andrew Davies, Rob Davies, Christopher Webb ST MATTHEW PASSION CHOIR & ORCHESTRA POOLE LIGHTHOUSE CHOIR I AC Academy Scholars are supported by the Finzi Trust, the Prince of This concert was made possible Wales’s Charitable Foundation, the Oldhurst Trust, Roger Medwell MBE Soprano Eloise Irving, Lara Hobden, Emily Wenman by the generous support of the DL, Baljit and Jinny Shergill, and Paul Thandi CBE DL and Mrs Nicki Weston Culture Fund. Alto Hannah Robinson, William Towers Thandi, among other generous sponsors. Tenor Timothy Coleman, Euan McGarr, Jamie Nash, Graham Neal Bass James Geidt, Josh Hill, David Stuart ARMONICO CONSORT & BAROQUE PLAYERS DIRECTOR CHRISTOPHER MONKS CHOIR II Soprano Elizabeth Adams, Ella Aldridge, Hannah Fraser-Mackenzie, Laura Moretto EVANGELIST TOBY SPENCE Alto Mercé Abellò, Hamish McLaren CHRISTUS SIR WILLARD WHITE Tenor Gareth Edmunds, Christopher Lombard Bass Andrew Davies, Christopher Webb MALVERN THEATRES

CHOIR I ORCHESTRA LIST Soprano Eloise Irving, Lara Hobden, Avalon Summerfield ORCHESTRA I Alto Hannah Robinson, William Towers Leader Lucy Russell Tenor Timothy Coleman, Euan McGarr, Jamie Nash, Ben Thapa Violin II Kelly McCusker Bass James Geidt, Josh Hill, David Stuart Viola Joanne Miller CHOIR II Cello Hetti Price Soprano Elizabeth Adams, Ella Aldridge, Hannah Fraser-Mackenzie, Laura Moretto Viola Da Gamba Richard Boothby Alto Mercé Abellò, Hamish McLaren Double Bass Andrew Durban Tenor Gareth Edmunds, Graham Neal Oboe Geoff Coates, Mark Baigent Bass Andrew Davies, Christopher Webb Flute Eva Caballero (8), Annabel Knight Organ Geoffrey Webber

COVENTRY CATHEDRAL ORCHESTRA II Leader Salomé Rateau CHOIR I Violin II Charlotte Fairbairn (1) / Mark Seow (8,11) Soprano Cordelia Gadsby, Caroline Gosling, Eloise Irving, Lara Hobden, Emily Wenman, Viola Nichola Blakey Wendy Whyte Cello Tom Wraith Alto Rosemary Clifford, Susan Lawrence, William Towers Double Bass Rosie Moon Tenor Timothy Coleman, Euan McGarr, Jamie Nash, Graham Neal Oboe Sami Taylor, Cait Walker / Chris Hartland (11) Bass James Barnard, James Geidt, Josh Hill, David Stuart Flute Rachel Helliwell / Daniel Swani

4 | Performers Performers | 5 A MESSAGE FROM ARMONICO CONSORT’S THE PASSION ACCORDING TO ST MATTHEW ARTISTIC DIRECTOR JOHANN SEBASTIAN BACH (1685-1750)

“MUSIC COMPOSED FOR THE CHURCH IS perhaps above all, overwhelming love. Also present are Bach’s St Matthew Passion was the first piece of through his trial and crucifixion. I can think of a NOT TO BE TOO LONG AND MUST NEVER disappointment; intimidation; humiliation; violence; music I ever truly dismantled as a conductor 20 few who would learn well from such strengths. HAVE THE CHARACTER OF AN OPERA.” bribery; mockery; betrayal; suicide; assault; murder; years ago in an attempt to get under the skin of Conducting the choral parts is really like conducting entombment; and utter despair. The St Matthew this incredible work of art. It is now four years since an opera chorus. Bach was told by the Lutheran This quote, from Bach’s contract with the municipal Passion is the opera Bach might have written had the Armonico Consort’s last tour of Bach’s masterpiece, authorities that he must not write an opera, at all. authorities in Leipzig, where he took up residence city fathers in Leipzig not denied him the opportunity. and whilst I have conducted the work countless But with the St Matthew Passion, that is pretty much in 1723 as Kantor of St Thomas’s church and Civic times, I never fail to feel slightly daunted by the what he did. In each of the choruses, the singers must Director of Music for the city, is on display in the This said, however, one cannot approach a work like task of bringing it to life for the modern listener. adopt a different mind-set: they must be the collective Bachhaus Museum in his birthplace of Eisenach. the St Matthew Passion without being aware that it disciples, the priests, the congregation of the church, Bach’s response to this, in writing the St Matthew is deeply rooted in the context of the Reformation, a For my preparation over the past months the soldiers, the crowd – all reacting to the narrative Passion, was to produce a piece which is, in all but fundamental constituent of Christianity that was already (circumstances have allowed me more time than as in an opera. Bach so incredibly brings these to life name, an opera which lasts for just over three hours. 200 years old when the work was written. Of the usual...) I have tried to re-engage with the simple by dotting round complex multiple entries, darting numerous reforms across Europe, Luther’s Protestant fascination that initially blew me away with the work. from voice to voice to depict the chaotic scenes As things stood on April 11th 1727 (Good Friday as Reformation was by far the most important. Prompted It is all too easy sometimes to overanalyse, but with that must have prevailed in the crowd’s reactions. it happens, and the date of the first performance in part by Rome’s literal “selling of souls” for hard cash such a work which is based on beauty in humanity, of the St Matthew Passion), Leipzig was the centre (known in the Catholic Church as “indulgences”) in simplicity is so often the more satisfying answer. A good friend of mine, Peter Parfitt completed a of the printing and book industry in Germany, order to finance work on the building of the giant No matter how much I develop as a conductor, I superb analysis of the St Matthew Passion a few years had a renowned university and, most importantly basilica of St Peter’s in Rome, the outraged Martin never cease to be humbled by this vast masterpiece. ago, and we have included it in the programme. in this context, was a formidable stronghold of Luther (1483 – 1546), a monk and professor of theology, Just when I think I have cracked exactly what Bach If you, like me, are not a German speaker, I urge uncompromising orthodox Lutheranism, rejecting began to re-evaluate church doctrine point by point. intends, or exactly how I want a section to go, I notice you to follow his translations, especially during anything which caused its inhabitants to stray from something else – sometimes hidden, sometimes the narrative of the Evangelist and the dramatic the straight and narrow. The pious city fathers had Luther didn’t intend to create a new church, merely not – which often changes the way I think. choruses, to fully appreciate Bach’s creation. closed the opera house in 1720, a mere twenty to reform the existing one. However, political events, years after its opening, because it was perceived including the desire of several influential German The most powerful message for Bach was that Christopher Monks to be a source of inappropriate entertainment. princes to break away from Roman doctrine, led of the dignity, silence and resilience of Christ June 2021 to a complete rupture with Rome and Luther’s The St Matthew Passion, (the story of Christ’s crucifixion excommunication from the Catholic Church. The set to music), has all of the constituents of an opera. views of Pope Leo X, who held himself in self- It has character roles for a number of significant appointed power over souls in purgatory, were people, ranging from the evangelical personification incompatible with Luther’s re-evaluation. Three of of St Matthew himself, down to lowly handmaidens. the main Lutheran doctrines state, firstly, that only There is a plot which is moved along by recitative. faith can save (and certainly not cash), secondly, There are arias which comment on the action and give that there is no intermediary between God and us both insight into the various characters’ reaction man, and, thirdly, that the sole point of reference to the events of the plot and also the opportunity for Christian belief is the biblical text – all of which to reflect. There is a chorus which gives the work ideas were at odds with contemporary thinking in the context, acting variously as disciples, protagonists, Roman See. In 1648, after the thirty years war (the the angry mob in the streets of Jerusalem, and the Catholic counter-revolution), the religious situation in faithful believers and supporters of Christ. There is Germany was, broadly speaking, Reformed Germany drama of the highest order, and there is music which in the north, and Catholic Germany in the south, meticulously and skilfully captures, enhances and although there were other currents and tensions in vivifies that drama. Every word is sung. On show is amongst this. Bach had to adapt his compositional the whole gamut of human emotion: jealousy; doubt; style each time he relocated; in Leipzig, for example, guilt; remorse; hatred; anger; courage; fear; suspicion; he was obliged to rebut the Calvinism practised contrition; longing; desolation; forgiveness; and, in Köthen, his previous place of residence.

6 | A Message from Armonico Consort’s Artistic Director Programme Notes | 7 When Bach arrived in Leipzig in 1723, the city had six instrumental and Latin lessons, were aged between 12 By the time Bach arrived in Leipzig it was customary performance would have had a total of about 30 main churches: the Neuekirche, St Paul’s, St Peter’s, and 23. Given that, at this time, boys’ voices were not for there to be a performance of the St Matthew singers, divided between the two choirs, making a total St John’s, St Nicholas’s (the Nicholaskirche), and St expected to break until they were 17 or 18, Bach could Passion on Palm Sunday and of the St John Passion of about 60 performers including the instrumentalists. Thomas’s (the Thomaskirche). Today, of these only count on solo trebles and altos with a good amount on Good Friday – both in St Nicholas’s, the Passion the last two remain, the others having been reduced of maturity and musical experience behind them. being a prominent feature of Protestant religious The text contains the verses of the Passion story, to rubble by allied bombing in the early 1940s. Bach’s observance. Bach began the tradition of an annual which constitute the whole of chapters 26 and position as Kantor of St Thomas’s, coupled with the In the early years he was obliged to produce a Passion on Good Friday alternating between St 27 of St Matthew’s Gospel, as translated by Martin post of Civic Director of Music for the city, was one significant amount of new music for the church, Thomas’s and St Nicholas’s. In Italy the famous opera Luther himself. These are delivered largely by the of the most notable musical positions in Germany. including one new sacred cantata a week for librettist and playwright Pietro Metastasio had started Evangelist – a musical personification of Matthew The financial security of a municipal employer, as performance at the Sunday morning service at St to compose texts for musical settings of the Passion. himself – and by Christ. Some lines are delivered by opposed to a private patron, coupled with access to Thomas’s. The St John Passion was written for Good the chorus representing variously the protagonists, the city’s sixty or so professional, salaried musicians, Friday in 1724, Bach’s first Easter in Leipzig. The Easter the people of Jerusalem and the disciples. Other lines and the boys of the Thomasschule (the boarding Oratorio was written in 1725, the St Matthew Passion are delivered by other characters in the story known THE HISTORY AND MUSIC OF school adjacent to St Thomas’s) for whose musical in 1727, the Magnificat in 1728, the St Mark Passion as the soliloquentes – Peter, Judas, Pilate, Pilate’s THE ST MATTHEW PASSION education and training he was responsible, would (which no longer survives) in 1731, the Mass in B wife, a couple of high priests and false witnesses, have been significant attractions. The pupils of Minor in 1733, the Christmas Oratorio in 1734, and If Bach’s son Carl Philipp Emanuel is to be believed, and a couple of girls. The chorus passages are in the Thomasschule, to whom Bach gave singing, the six motets variously between 1723 and 1737. Bach set the St Matthew Passion twice, once in motet form (accompanied double choir). This style, Weimar, where he was resident from 1708 – 1717 with its quick antiphonal exchanges between two under the patronage of the Duke of Weimar, and once choirs, is a technique known as chori spezzati THE HISTORY OF THE PASSION in Leipzig. C.P.E. Bach, in his father’s obituary of 1751, (spaced choirs) and typically found in the music The Passion of Jesus Christ lies at the very centre of the Christian faith and has inspired a great number of musical makes reference to five settings of the Passion, two of of Venetian composers such as Monteverdi and works dating from the earliest years of Christianity until the present day. In the bible, the various descriptions of Matthew, two of John and one of Mark. The score of a Gabrieli, to perform which the different choirs the final episode in Christ’s mortal life on Earth are found in the four gospels of Matthew, Mark, Luke and John, setting of the St Luke Passion in Bach’s hand does exist. would be spaced out in the various balconies which constitute the fundamental part of the New Testament. Unlike the Gospel of Mark, which was written for It is thought, however, that he did not compose this, and galleries of St Mark’s Cathedral. the benefit of non-Jews who had converted to Christianity, the Gospel of Matthew was written for the benefit but merely copied it for the purposes of performing of existing Jews who had converted to Christianity. There are 508 verses in Mark which are also found in the it. Only the Leipzig settings of the John (1724) and The words of the Evangelist and the lesser characters Gospel of Matthew, and it is thought that the Gospel of Mark served as a basis for that of Matthew. Similarly, 230 Matthew (1727) survive. The manuscript for the earlier are delivered in the style known as recitative secco. verses of Matthew’s Gospel are also common to Luke. There are, of course many differences. Matthew didn’t St Matthew Passion was discovered amongst the This is a Singspiel style, which allows for a great bother translating Hebrew expressions in his writing, or explaining Jewish feasts, as he knew his readers would be possessions of C.P.E. Bach after his death in 1790, but deal of rhythmic freedom and therefore a dramatic perfectly familiar with them. In his writing Matthew, himself a Jew converted to Christianity, assures his readers has subsequently been lost. The manuscript for the delivery, accompanied by very simple and occasional that Jesus of Nazareth is the long-awaited Messiah and describes, in detail, the environment in which Jesus lived. Leipzig St Matthew is currently in the Berlin library, chords from the continuo from orchestra 1. The words By the Middle Ages, the word Passion, derived from the Latin passio, had become synonymous with the sufferings where it has been since 1841. It is Bach’s longest work, sung by Christ are set to recitative stromentato, or of Christ. Passio itself derives from the Latin verb pati meaning “to suffer”. Like the other three gospels, Matthew and also the one which calls for the largest array of accompanied recitative. Bach ingeniously enfolds these recounts the whole process of the crucifixion from the conspiracy hatched against Jesus to the entombment. performing forces he ever used in a single composition. words in slow-moving, richly-scored string chords to set them apart from the other characters. This has From the Middle Ages it was common practice to intone the words of the Passion story on Passion Sunday Composed in 1727 for performance at the service of been likened to a type of musical halo, or a warm glow (the Sunday before Palm Sunday) and again on Good Friday in a plainsong chant known as a choraliter. Good Friday vespers in St Thomas’s, the St Matthew of sound around the words of Christ. Symbolically, in The Lutheran church quickly adopted this Catholic tradition and, as the art of composition developed, Passion was written to exploit fully the acoustic Bach’s original manuscript, the words from Matthew this soon developed into a polyphonic form which was to pass through a number of stages. possibilities of the building, which had two organs, in are written in red ink, and the rest in black ink, a two organ galleries, directly opposite each other on technique we have reproduced in this programme. either side of the nave at a distance of about 80 feet In Christian colour symbolism, red is the colour of 1300 1500 1550 1600 1650 1700 1750 and a height of about 60 feet. The two choirs and divine sovereignty and the blood of martyrdom. continuo players were placed one in each gallery. At ground level, one to the east and one to the west, In between this biblical narration is a selection of solo Responsorial Motet Dramatic Cantata Liturgical were the two orchestras. One can only imagine how ariosi recitativi (accompanied recitatives) and arias. The Passion Passion Passion Passion Passion thrilling a sound this must have been – the antiphonal former provide a fusion of action and contemplation effects of both choir and orchestra coming not only and are characterised by recurrent and insistent Responsorial Passion: Biblical text, but is a free invention Passion by Reinhard Keiser). from opposing sides of the building, but also from instrumental figuration of one kind or another. They text intoned to Gregorian inspired by it (e.g. the Passion Liturgical Passion: Performed ground level and high up. The congregation, seated are always followed by a solo aria which is intended chant as an act of worship. by Heinrich Schütz). as a liturgical celebration in in the pews in the middle of all of this, would have for in-depth reflection and contemplation of the Motet Passion: The entire Cantata Passion: The two parts, either side of a heard this work in true stereophony. The singers and events which have just occurred. They also comment evangelical text is set performance is separated from lengthy sermon, the biblical text instrumentalists were all male, women having no on the action as it unfolds, and allow the opportunity polyphonically (e.g. the Passion a liturgical act of worship and restored, but interspersed with access to active participation in religious or liturgical for personal reaction to the events of the narrative. by Roland de Lassus). performed in the context of an reflective arias and chorales for ceremonies. The soloists were drawn from the boys Dramatic Passion: The recitative oratorio. Words are not biblical the congregation to sing. This and men of St Thomas’s church choir. According The words for both the arioso recitatives and the arias does not follow the biblical but written as a libretto (e.g. the is the structure used by Bach. to the payroll records at St Thomas’s, the original were written by Christian Henrici (1700 – 1764), a

8 | Programme Notes Programme Notes | 9 local postal worker and tax officer and a close friend towards the end of his own lifetime, Bach’s style of Bach. Henrici, who wrote under the pseudonym was considered by some to be outdated and turgid. Picander, later published these words in the second Numerous criticisms appeared in print in the late volume of his Ernst Schertzhaffte und Satyrische 1730s and 1740s, written by various Leipzig journalists Gedichte (serious, humorous and satirical poems) in and musicians, accusing Bach of being “out of touch” 1729. Although not a poet of great depth, Picander was and “too serious”. It is revealing to note that C.P.E. an ideal partner for Bach, being widely read, technically Bach, during the last twenty years of his life spent as ST MATTHEW PASSION skilful and well versed in music. He could express his Kappelmeister in Hamburg’s five principal churches (a RUNNING ORDER AND PROGRAMME NOTES ideas with clear and simple imagery which was well position very similar to his father’s in Leipzig), chose suited to a composer’s needs, allowing as it does scope not to perform a single work written by his father. RED TEXT The Gospel according to St Matthew, chapters 26 and 27. for effective musical illustration of the text. Picander German translation by Martin Luther in 1522. also provided text for the St John Passion and many The St Matthew Passion lay dormant until 1829, English translation according to the King James Authorised Bible of 1611. of Bach’s cantatas. The arioso recitatives and arias in when the nineteen-year-old Mendelssohn gave a BLACK TEXT Poetic interpolations by Picander (Christian Henrici). the St Matthew Passion are nearly all written in the performance of it in Berlin, directing over 400 singers GREEN TEXT Chorale words by various authors from the fifteenth and sixteenth centuries. first person, as if to give a real and personal insight. and instrumentalists from the piano, in a fund raising PURPLE TEXT A musical commentary to assist listening by Peter Parfitt In addition, Bach inserts twelve chorales, or hymns, performance for, of all things, the Berlin Sewing School Translations of the Picander interpolations and the chorale words have kindly been prepared for this from the familiar Lutheran repertoire of hymnody for Indigent Girls. It is presumed that Mendelssohn, performance by Robert Minett and Anja Haerchen of the Modern Languages Department, St Margaret’s known as Kirchenlieder. These are sung together a native of Hamburg and student at the Berlin School for Girls. Additional help is gratefully acknowledged from John Witte and Robert Wilson by both choirs, who represent the chorus of faithful Singakademie, exhumed the work from Christian Zelter, believers. They would have been very familiar to Principal of the Singakademie, who had acquired some the congregation and are a poetic interpolation to of Bach’s scores from St Thomas’s. Mendelssohn’s PART ONE smooth the transition between the biblical narrative concert was a huge success. He directed several more The work opens with a monumental sound picture which employs three choirs and two orchestras. Picander’s and Picander’s more emotional reflections. Their performances of it in the following weeks, and within words invoke one of the principal themes of the Christian faith in general, and the Reformed faith in particular familiarity to the congregation also serves as a link a few months the first printed editions of the work – that of the innocent man who has taken upon himself the responsibility for the sins of the world and, in doing between congregation and composer during the were published, subsequently prompting an enduring so, pays the ultimate price to redeem mankind. The three stylistic elements on which the remainder of the performance. Whilst the melody and the words revival of interest in the works of Bach. It was not work lie are all present here, brilliantly superimposed on one another. The lyrical nature of the music for the are by other people, the harmony is Bach’s and, until 1841, again under the baton of Mendelssohn, first choir, representing the disciples addressing the Daughters of Zion, recalls the funeral rituals of the keening as we shall see, he uses adventurous harmonic and rescored by him in places to include clarinets women common in Middle Eastern countries. This contrasts with the dramatic, musical personification of the language very skilfully to illustrate the words. and some brass in order to meet the expectations Daughters of Zion sung by the second choir. Both first and second choir contrast with the simple chorale melody, of the German Romantic public, that the work was a metrical paraphrase of the Agnus Dei, the Lamb of God, intended for reflection and representative of the The Bach / Picander collaboration manifests itself performed again in Leipzig. It is significant that, as one Christian community in general, sung by the third choir. Christ is thus portrayed as an innocent lamb, an image therefore as a compelling biblical narration of the of the most significant works of musical Christian art which points towards the apocalypse, where Christ as a lamb rules the New Jerusalem. The antiphonal writing crucifixion story, with a penetrating reflection of the which exists, the St Matthew Passion was restored between the first and second choir knits the lyrical and dramatic together beautifully, whilst the chorale melody meaning of the events as described by Matthew. to public awareness by Mendelssohn, who himself sails effortlessly over the top. The powerful orchestral opening, with its seemingly endless chains of suspensions Listeners find themselves alternating between was born into a Jewish family, which converted to and dissonances, a constant tonal tension between major and minor, and its insistent ostinato bass line puts us in active participation in the events and meaningful Protestant Lutheranism during his early adulthood. mind of a funeral procession, or perhaps a march to the cross. Also present here is the ancient theatrical device of contemplation. Bach’s fidelity to Matthew is totally teichoscopy, where events are perceived to be happening “offstage”, or out of sight, by the characters on stage, uncompromising: of the 141 verses in the gospel story, William Sterndale Bennett formed the Bach Society who relay them to the audience though discussion and narration. In this opening movement we experience, not one is omitted, shortened or altered in any way. (later reformed as the London Bach Choir) in 1849 through Bach’s careful and measured exposition of both text and music, the entire meaning of the Passion. We are The three great concertante choruses, nos 1, with the sole intention of introducing this work to shown a musical and poetical snapshot of what to expect. From herein on, though, we are in the present tense, 27b, and 68, stand out like three great pillars the English public. Helen Johnston (a student at as performers and audience alike are immersed into the story and become both players and observers – passive supporting the architecture of the rest of the work, Queen’s College London) translated the libretto, and and active members of the cast of the Christian community ready to play out the events of that first Holy Week. whilst chorus numbers 1, 19 and 29 also have Bennett conducted the first British performance at the 1 CHOIRS 1 & 2 Kommt ihr Töchter, helft mir klagen, Come you daughters, help me to lament, chorale melodies interwoven in the texture. Hanover Square Rooms London on 6th April 1854. sehet, Wen? den Bräutigam, see, whom? The bridegroom, seht ihn, Wie? als wie ein Lamm, see him, how? As a lamb, After its first performance Bach gave further The first recording of the St Matthew Passion was sehet, Was? seht die Geduld, see, what? See patience, performances on the Good Fridays of 1729, 1736 made in Leipzig in 1941 and issued on 78 r.p.m. discs. seht, Wohin? auf unsre Schuld, see, where? Towards our guilt, and 1744. Inconceivable as it may seem, there was On this occasion the text had to be shortened and sehet ihn aus Lieb und Huld Holz zum Kreuze see him with love and graciousness carrying little interest in Bach’s music after his death in 1750 altered to satisfy the demands of the Nazi Party. selber tragen! wood to the cross. as the new, fashionable, classical style emerged and the musical focus switched to Vienna. Even Peter Parfitt RIPIENO O Lamm Göttes unschuldig O innocent lamb of God, CHOIR am Stamm des Kreuzes geschlachtet, slaughtered on the stem of the cross, allzeit erfunden geduldig, at all time he is found to be patient, just as you wiewohl du warest verachtet. were despised. All Sünd hast du getragen, You have borne our sin, sonst müßten wir verzagen. or else we must despair. Erbarm dich unser, O Jesu! Have mercy on us, O Jesu!

10 | Programme Notes Running Order & Programme Notes | 11 2 EVANGELIST Da Jesus diese Rede vollendet hatte, sprach er zu And it came to pass when Jesus had finished all JESUS sie dies Wasser hat auf meinen Leib gegossen, hat For in that she hath poured this ointment on my Secco reciative seinen Jüngern: these sayings, he said to his disciples: sie getan, daß man mich begraben wird. Wahrlich, body, she did it for my burial. Verily I say unto ich sage euch: Wo dies Evangelium geprediget you, wheresoever this gospel shall be preached JESUS “Ihr wisset daß nach zweien Tagen Ostern wird, “Ye know that after two days is the feast of the wird in der ganzen Welt, da wird man auch sagen in the whole world, there shall also this, that this Stromentato und des Menschen Sohn wird überantwortet Passover, and the Son of Man is betrayed to be zu ihrem Gedächtnis, was sie getan hat.” woman hath done, be told for a memorial of her.” recitative werden, daß er gekreuziget werde.” crucified.”

The gentle cyclical undulating motif in the flutes, present throughout number 5, is suggestive of the tender pouring The first chorale, the opening stanza of Herzliebster Jesu, formulates a series of questions on the concept of and flowing of the ointment. The countertenor speaks on behalf of the disciples and expresses remorse for their guilt, and reflects on Christ’s own prediction which has just occurred. The melody is by Johann Crüger and the dissent. The music for number 6 is based heavily on the undulating motif. In number 6, the falling of teardrops words, written in 1630, are by Johann Heerman, and are based on Isaiah 53:4. Note the unsettled and chromatic (Tropfen) is illustrated with falling staccato arpeggios from the flutes. The music has the character, if not the structure, cadence with which Bach illustrates the word Missetaten (misdeeds); the chorus of faithful believers is experiencing of a minuet, dance forms being prevalent in so much of Baroque music. As we will see through the work, the bewilderment and unease. countertenor’s words nearly always take the form of a plaint or a lament.

3 CHORUS Herzliebster Jesu, was hast du verbrochen, daß Dearest Jesus, what crime have you 5 ALTO Du Lieber Heiland du wenn deine Jünger töricht Beloved Saviour, if your disciples so foolishly Chorale man ein solch scharf Urteil hat gesprochen? committed that such a drastic judgement has Arioso streiten, daß dieses fromme Weib mit Salben dispute that this devout woman wishes to Was ist die Schuld, in was für Missetaten? been pronounced? recitative deinen Leib zum Grabe will bereiten, so lasse mir prepare your body for the grave with ointment, bist du geraten? What is your guilt, Mercé Abellò inzwischen zu, von meiner Augen Tränenflüssen so grant now that I may anoint your head with and what misdeeds have you committed? ein Wasser auf dein Haupt zu gießen! the waterfall of tears from my eyes. 4a EVANGELIST Da versammleten sich die Hohenpriester und Then assembled together the chief priests, and 6 ALTO Buß und Reu, knirscht das Sündenherz entzwei; Penance and remorse break the sinful heart Schriftgelehrten und die Ältesten im Volk in den the scribes, and the elders of the people unto Aria (da capo) daß die Tropfen meiner Zähren angenehme asunder, that my teardrops bring forth a sweet Palast des Hohenpriesters, der da hieß Kaiphas, the palace of the high priest, who was called Mercé Abellò Spezerei, treuer Jesu, dir gebären. balm to you, sweet Jesus. und hielten Rat, wie sie Jesum mit Listen griffen Caiaphas, and they consulted that they might und töteten. Sie sprachen aber: take Jesus by subtlety and kill him. But, they said: The word verraten (betray) is set to a chord of C# major – the key with the highest possible number of sharps. This chord, which stands out vividly from the surrounding tonal landscape, reappears as a leitmotiv at various later points. The chorus, now representing the assembled chief priests and scribes, becomes agitated in an antiphonal Bach uses it to accompany words associated with treason, betrayal, capture and martyrdom. exchange supported by animated orchestral writing. The Passover was a potentially explosive time in Jerusalem.

7 EVANGELIST Da ging hin der Zwölfen einer mit Namen Judas Then one of the twelve, called Judas Iscariot, 4b CHORUS 1 & 2 “Ja nicht auf das Fest, auf daß nicht ein Aufruhr “Not on the feast day lest there be an uproar Ischarioth zu den Hohenpriestern und sprach: went unto the chief priests and said unto them: Stromentato werde im Volk.” among the people.” recitative JUDAS “Was wollt ihr mir geben? Ich will ihn euch “What will ye give me and I will deliver him unto David Stuart verraten.” you?” 4c EVANGELIST Da nun Jesus war zu Bethanien, im Hause Now when Jesus was in Bethany, in the house Simonis des Aussätzigen, trat zu ihm ein Weib, die of Simon the leper, there came unto him a EVANGELIST Und sie boten ihm dreißig Silberlinge. Und And they covenanted with him for thirty pieces of hatte ein Glas mit köstlichem Wasser und goß es woman having an alabaster box of very precious von dem an suchte er Gelegenheit, daß er ihn silver. And from that time he sought opportunity auf sein Haupt, da er zu Tische saß. Da das seine ointment, and poured it on his head, as he sat verriete. to betray him. Jünger sahen, wurden sie unwillig und sprachen: at meat. But when his disciples saw it they had indignation, saying: A persistent falling motif, a typical expression of grief in Baroque music, is heard throughout in the flutes in this plaintive aria for the soprano. The tritone, the interval of the augmented fourth – the exact midpoint division of any The chorus, now representing the disciples, express indignation. The imitative entries show unanimity amongst them, octave – was regarded in music from the middle ages onwards as the diabolus in musica (the devil in music). It is used each part echoing the last in a fugal style. to illustrate sinister moments, or evil acts, or emotions such as fear, jealousy and hatred. The opening phrase of this aria has a rising motif built on a sequence of augmented fourths coupled with some prolonged syncopation. In the 4d CHORUS 1 & 2 “Wozu dienet dieser Unrat? Dieses Wasser hätte “To what purpose is this waste? For this final phrase before the da capo (the return to the beginning), the word Schlange (snake or serpent), to which Judas is mögen teuer verkauft und den Armen gegeben ointment might have been sold for much and compared, is set to a long melismatic phrase with twisting, winding contours which presents us with a perfect visual werden.” given to the poor.” and aural image of the snake. This phrase also contains the augmented fourth between the A and the D#.

The short chromatic motif below, which is used on the word begraben (burial) symbolises the cross. Appearing here for the first time, it is used by Bach like an operatic leitmotiv, and it will reappear at numerous times through the work.

8 Soprano Blute nur, du liebes Herz! Ach! Ein Kind, das du Bleed, dear heart. Ah! A child you have raised, Aria (da capo) erzogen, das an deiner Brust gesogen, droht den which sucked at your breast, threatens to murder Hannah Fraser- Pfleger zu ermorden, denn es ist zur Schlange its nurse, for it has become a serpent. 4e EVANGELIST Da das Jesus merkete, sprach er zu ihnen: When Jesus understood it, he said unto them: Mackenzie worden;

JESUS “Was bekümmert ihr das Weib? Sie hat ein gut “Why trouble ye the woman? For she hath Werk an mir getan. Ihr habet allezeit Armen bei wrought a good work upon me. For ye have the euch, mich aber habt ihr nicht allezeit. Daß poor always with you, but me ye have not always.

12 | Running Order & Programme Notes Running Order & Programme Notes | 13 Here begins the narrative of the last supper. Note the setting of the word verraten (betray), with a short melisma and EVANGELIST Da antwortete Judas, der ihn verriet, und sprach: Then Judas, which betrayed him, answered and said: unsettled harmony. As the situation takes a turn for the worse between numbers 9c and 9d, Christ predicting his own JUDAS “Bin ichs, Rabbi?” “Master, is it I?” betrayal, the music sinisterly drops a tone in pitch and changes from major to minor. Techniques like this were used David Stuart by Monteverdi in the 17th century to enhance the drama in his operas. There are staggered, imitative entries from the disciples as they ask the fundamental question in 9e. Bach sets the words Herr bin ichs? (Lord, is it I?) eleven times in EVANGELIST Er sprach zu ihm: He said unto him: this short anguished chorus – one for each of eleven disciples. The twelfth, who is present, remains silent. JESUS “Du sagests.” “Thou hast said.”

9a EVANGELIST Aber am ersten Tage der süßen Brot taten die Now the first day of the feast of the unleavened EVANGELIST Da sie aber aßen, nahm Jesus das Brot, dankete And he took the cup, and gave thanks, and gave it Jünger Jesu und sprachen zu ihm: bread the disciples came to Jesus saying unto und brachs und gabs den Jüngern und sprach: to them saying; him: JESUS “Trinket alle daraus; das ist mein Blut des neuen “Drink ye all of it; for this is my blood of the 9b CHORUS “Wo, wo, wo willst du, daß wir dir bereiten, das “Where wilt thou, that we prepare for thee to eat Testaments, welches vergossen wird für viele zur new testament, which is shed for many for Osterlamm zu essen?” the Passover?” Vergebung der Sünden. Ich sage euch: Ich werde the remission of sins. But I say unto you, I von nun an nicht mehr von diesem Gewächs des will not drink henceforth of this fruit of the 9c EVANGELIST Er sprach: And he said: Weinstocks trinken bis an den Tag, da ichs neu vine, until that day when I drink it new with JESUS “Gehet hin in die Stadt zu einem und sprecht zu “Go into the city to such a man and say unto trinken werde mit euch in meines Vaters Reich.” you in my Father’s kingdom.” ihm: Der Meister läßt dir sagen: Meine Zeit ist him: the Master saith my time is at hand; I hier, ich will bei dir die Ostern halten mit meinen will keep the passover at thy house with my The motion of the two oboes throughout this movement suggests a 12 swimming motion implied by the word Jüngern.” disciples.” schwimmt. The augmented fourth interval is consistently present throughout the first four bars. Here Picander focus- es on the joyful aspects of Christs sacrifice and on his unending love. The cheerful nature of the following aria, which EVANGELIST Und die Jünger täten, wie ihnen Jesus befohlen And the disciples did as Jesus had appointed them; is almost a dance of thanksgiving, gives the listener a little respite from the predominantly sombre mood. The opening hatte, und bereiteten das Osterlamm. Und am and they made ready the Passover. Now when the motif on the oboes is simply a decorated version of the melody sung by the soprano. Abend satzte er sich zu Tische mit den Zwölfen. even was come he sat down with the twelve. Und da sie aßen, sprach er: And as they did eat he said: 12 SOPRANO Wie wohl mein Herz in Tränen schwimmt, daß Although my heart swims in tears that Jesus is Ariso Jesus von mir Abschied nimmt, so macht mich saying farewell to me, still his testament makes JESUS “Wahrlich, ich sage euch: Einer unter euch wird “Verily I say unto you, that one of you shall recitative doch sein Testament erfreut: Sein Fleisch und Blut, me glad: his flesh and blood, this treasure, he mich verraten.” betray me.” Elizabeth o Kostbarkeit, vermacht er mir in meine Hände. bequeaths into my hands. As he can intend no Adams Wie er es auf der Welt mit denen Seinen nicht böse evil in the world to his own, so he loves them 9d EVANGELIST Und sie wurden sehr betrübt und huben an, ein And they were exceeding sorrowful, and began können meinen, so liebt er sie bis an das Ende. until the end. jeglicher unter ihnen, und sagten zu ihm: every one of them to say unto him 13 SOPRANO Ich will dir mein Herze schenken, senke dich, mein I will give my heart to you. Sink into it, my 9e CHORUS “Herr, bin ichs?” “Lord, is it I?” Aria (da capo) Heil, hinein! Ich will mich in dir versenken; ist dir salvation. I will immerse myself in you. Even if Elizabeth gleich die Welt zu klein, ei, so sollst du mir allein this world is too small for you, then you shall The connection between the gospel text and the poetic chorale is perfectly made. The opening line (It is I who Adams mehr als Welt und Himmel sein. be more to me than all of heaven and Earth. should atone) gives an answer to the immediate events of number 9, whilst the continuation of the chorale provokes contemplation in retrospect. The words are the fifth stanza of a hymn by Paul Gerhardt, and were written in 1647. The The ascent of the Mount of Olives is illustrated by a 13-note rising scale, the first seven notes being in the continuo, melody is by Henry Isaac. Bach sets this chorale at a high pitch in order to exploit the most effective register of the and the Evangelist continuing the phrase with the second part of his first sentence. The agitated staccato string semi- lower voices. The discordant suspension at the end of the first line draws attention to the word büßen (atone). quavers towards the end of the recitative illustrate the scattering of the Christian flock.

10 CHORUS Ich bins, ich sollte büßen, It is I – I am the one who should atone, 14 EVANGELIST Und da sie den Lobgesang gesprochen hatten, And when they had sung an hymn they went out Chorale an Händen und an Füßen, bound hand and foot in hell. gingen sie hinaus an den Ölberg. Da sprach Jesus into the Mount of Olives. Then saith Jesus unto gebunden in der Höll. zu ihnen: them: Die Geißeln und die Banden The scourges and the bonds, and all that und was du ausgestanden, you endured, my soul has well deserved. JESUS “In dieser Nacht werdet ihr euch alle ärgern an mir. “All ye shall be offended because of me das hat verdienet meine Seel. Denn es stehet geschrieben: Ich werde den Hirten this night: for it is written, I will smite the schlagen, und die Schafe der Herde werden sich shepherd, and the sheep of the flock shall be The words of the last supper, more familiar to us as the central part of the Eucharist, are set in arioso form, the strings zerstreuen. Wenn ich aber auferstehe, will ich vor scattered abroad. But after I am risen again, I will enfolding Christ’s words in flowing lyrical phrases. The phrase which states “it had been good for that man if he had euch hingehen in Galiläam.” go before you into Galilee.” not been born” is set to a very high tessitura for Christ, suggesting suppressed anger and strong emotion. This is the first of five appearances of the famous Passion Chorale. With words written by Paul Gerhardt in 1656, this 11 EVANGELIST Er antwortete und sprach: And he answered and said: melody runs through the Passion like a leitmotiv. This is stanza 5, and Bach sets it here in the high key of E major, the 4 sharps giving it a bright and innocent feel. The harmony is simple, clear, without dissonance, and all of the cadences JESUS “Der mit der Hand mit mir in die Schüssel “He that dippeth his hand with me in the are securely resolved. The connection to the events is made in the word Hüter (shepherd). Christ is portrayed here as tauchet, der wird mich verraten. Des Menschen dish, the same shall betray me. The Son a shepherd. Sohn gehet zwar dahin, wie von ihm geschrieben of Man goeth as it is written of him, but stehet; doch wehe dem Menschen, durch woe unto that man by whom the Son of 15 CHORUS Erkenne mich, mein Hüter Recognise me my shepherd and accept me. welchen des Menschen Sohn verraten wird! Es Man is betrayed. It had been good for that Chorale mein Hirte, nimm mich an! wäre ihm besser, daß der selbige Mensch noch man if he had not been born.” nie geboren wäre.”

14 | Running Order & Programme Notes Running Order & Programme Notes | 15 Von dir, Quell aller Güter, Much good is done by you, Here we have the first example of several where the music is laid out on two levels. The upper level consists of the ist mir viel Guts getan. who are the source of all goodness. tenor solo, accompanied by the woodwind of orchestra 1, whilst the lower level consists of the chorus and strings Dein Mund hat mich gelabet, Your mouth has succoured me with milk and of orchestra 2. This arioso recitative with chorus reflects Christ’s sorrow. The palpitations of his anxious heart are mit Milch und süßer Kost, with sweetness, and your spirit has bestowed depicted in the fast, repeating, nervous semiquavers in the continuo part. In between the exclamations from the dein Geist hat mich begabet, upon me many a gift from heaven. tenor come the four, separated lines of a stanza from the chorale Herzliebster Jesu (see no 3). Here the disciples mit mancher Himmelslust. question what is about to happen, wanting to take Christ’s place. The anguish is displayed by the high tessitura of the tenor part, which is full of wide, jagged intervals. This contrasts with the music of the choir, which is subdued and at Here we have Peter’s two protests, angrily making the claim that he will never deny Christ. The second, as if to a low pitch. The final phrase of the chorale avoids cadential finality by merging into the throbbing bass line in a first emphasise his point, is set to a higher, quicker and more agitated phrase, accompanied by short, terse chords in inversion chord. the continuo. 19 TENOR O Schmerz! hier zittert das gequälte Herz; wie O pain, here trembles the tormented heart. Arioso recitative sinkt es hin, wie bleicht sein Angesicht! How it falls away, how his face becomes pale! 16 EVANGELIST Petrus aber antwortete und sprach zu ihm: Peter answered and said unto him: with chorale PETER “Wenn sie auch alle sich an dir ärgerten, so will “Though all men shall be offended Ben Thapa (1), David Stuart ich doch mich nimmermehr ärgern.” because of thee, yet will I never be offended.” Graham Neal (8,11)

EVANGELIST Jesus sprach zu ihm: Jesus said unto him: CHORUS “Was ist die Ursach aller solcher Plagen?” “What is the cause of all these torments?”

JESUS “Wahrlich, ich sage dir: In dieser Nacht, ehe der “Verily I say unto thee, that this night, TENOR Der Richter führt ihn vor Gericht. Da ist kein Trost, The judge leads him before the court. No Hahn krähet, wirst du mich dreimal verleugnen.” before the cock crow, thou shalt deny me thrice.” kein Helfer nicht. comfort is there, nor any helper. CHORUS “Ach! Meine Sünden haben dich geschlagen.” “Ah! My sins are the cause of your suffering.” EVANGELIST Petrus sprach zu ihm: Peter said unto him: TENOR Er leidet alle Höllenqualen, er soll vor fremden He suffers all the torments of hell; he is to pay PETER “Und wenn ich mit dir sterben müßte, so will ich “Though I should die with thee, yet will I not Raub bezahlen. for the sins of others. dich nicht verleugnen.” deny thee.” CHORUS “Ich, ach Herr Jesu, habe dies verschuldet, was “I, O Lord Jesus, am to blame for what you have EVANGELIST Desgleichen sagten auch alle Jünger. Likewise also said all the disciples. du erduldet.” to endure.”

In this, the second appearance of the Passion Chorale (see no 15), Bach chooses a lower key with flats. The harmony TENOR Ach! könnte meine Liebe dir, mein Heil, dein Oh, if only my love could lessen your trembling, is the same, but, because of the change of key, the chorale has a much more serious feel as the chorus of believers Zittern und dein Zagen vermindern oder helfen or help to bear your shaking, my Saviour, how make their personal avowal to stand by Christ. This is stanza 6 of Geerhardt’s original hymn. tragen, wie gerne blieb ich hier! gladly I remain here.

17 CHORUS Ich will hier bei dir stehen; Here I will stand by you so do not despise me. This movement resumes the appeal made to the disciples to stay and watch. The determination of the tenor, the Chorale verachte mich doch nicht! eager watchman, to watch with Christ is an open profession of faith. To watch with Christ, i.e. to profess one’s Von dir will ich nicht gehen, I will not go from you if your heart is breaking. Christian faith, is the only way to achieve the remission and forgiveness of sins. This was one of the strongest of wenn dir dein Herze bricht. all Lutheran doctrines. The structure is the same as the previous recitative, the music being on two levels. The Wenn dein Herz wird erblassen, If your heart becomes pale in the throes of death oboe announces the motif which becomes the watchman’s call, and, again, the emotionally charged music for im letzten Todesstoß, the tenor is a contrast to the subdued music given to the chorus, which has the characteristics of a lullaby. alsdenn will ich dich fassen then I will grasp you in my arms and draw you to 20 TENOR Ich will bei meinem Jesu wachen. I will keep watch by my Jesus. in meinen Arm und Schoß. my bosom. Ben Thapa (1), Graham Neal (8,11) This recitative, which begins the final scene of the first part, is set in the Garden of Gethsemane. The Evangelist, who so far has been limited to the role of narrator, now begins to become more emotionally involved. On the CHORUS So schlafen unsre Sünden ein. So our sins will go to sleep. word trauern (to be sad) for the first time the Evangelist is permitted a little melisma, and we hear again the falling TENOR Meinen Tod büßet seine Seelennot; The distress of his soul atones for my death; phrase, which characterises grief, coupled with a falling augmented fourth. The sense of anguish in Christ’s words sein Trauren machet mich voll Freuden. his torment fills me with gladness. is illuminated with heavy, low-pitched repeating chords. The lowest note of all is reserved for the word Tod (death), which is painted here in a particularly dark tonal colour. CHORUS Drum muß uns sein verdienstlich Leiden, Therefore his worthy suffering must be very recht bitter und doch süße sein. bitter and yet sweet. 18 EVANGELIST Da kam Jesus mit ihnen zu einem Hofe, der hieß Then cometh Jesus with them unto a place TENOR Ich will bei meinem Jesu wachen. I will keep watch by my Jesus. Gethsemane, und sprach zu seinen Jüngern: called Gethsemane, and saith unto the disciples: CHORUS So schlafen unsre Sünden ein. So our sins will go to sleep. JESUS “Setzet euch hie, bis daß ich dort hingehe und “Sit ye here while I go and pray yonder.” bete.” Three times Jesus turns to his Heavenly Father in prayers of increasing fervour. This, the first of them, is simply set. Note the wide falling interval on the words fiel nieder (fell down). EVANGELIST Und nahm zu sich Petrum und die zween Söhne And he took with him Peter and the two sons of Zebedäi, und fing an zu trauern und zu zagen. Da Zebedee, and began to be very sorrowful and 21 EVANGELIST Und ging hin ein wenig, fiel nieder auf sein And he went a little further, and fell on his face, sprach Jesus zu ihnen: very heavy. Then saith he unto them: Angesicht und betete und sprach: and prayed, saying: JESUS “Meine Seele ist betrübt bis an den Tod, bleibet “My soul is exceeding sorrowful, even unto JESUS “Mein Vater, ist’s möglich, so gehe dieser Kelch von “O my Father, if it be possible, let this cup pass hie und wachet mit mir.” death, tarry ye here and watch with me.” mir: doch nicht wie ich will, sondern wie du willt.” from me; nevertheless not as I will but as Thou wilt.”

16 | Running Order & Programme Notes Running Order & Programme Notes | 17 The falling arpeggio chords provide the image of Christ’s prostration. They persist throughout the movement In an agitated tone the Evangelist announces the arrival of Judas, accompanied by an army of high priests. Jesus, save for one occasion, on the words “up to God’s grace”, when they symbolically change direction. whose words have been growing increasingly tense, speaks here to Judas in a tone of simplicity and almost indifference – a tone which will characterise all of his words from now on. 22 BASS Der Heiland fällt vor seinem Vater nieder; The Saviour falls down before his Father; 26 EVANGELIST Und er kam und fand sie aber schlafend, und ihre And he came and found them asleep again; for Arioso dadurch erhebt er sich und alle von unserm Falle In this way he elevates himself, and all of us Augen waren voll Schlafs. Und er ließ sie und their eyes were heavy. And he left them and recitative hinauf zu Gottes Gnade wieder. Er ist bereit, den from our downfall, back up to God’s grace. ging abermal hin und betete zum drittenmal und went away again, and prayed the third time, James Geidt Kelch, des Todes Bitterkeit zu trinken, in welchen He is prepared to drink the goblet of death’s redete dieselbigen Worte. Da kam er zu seinen saying the same words. Then cometh he to his Sünden dieser Welt gegossen sind und häßlich bitterness in which the sins of this world have Jüngern und sprach zu ihnen: disciples and saith unto them: stinken, weil es dem lieben Gott gefällt. been poured and which stink foully, because it pleases our dear God. JESUS “Ach! Wollt ihr nun schlafen und ruhen? Siehe, “Sleep on now and take your rest: behold the die Stunde ist hie, daß des Menschen Sohn in der hour is at hand, and the Son of Man is There is a considerable contrast between the two parts of this bi-thematic aria. In the first section the expressive Sünder Hände überantwortet wird. Stehet auf, betrayed into the hands of sinners. Rise, melodic lines, with frequent and complex modulation, illustrate the metaphor of the cup and cross. The second part lasset uns gehen; siehe, er ist da, der mich verrät.” let us be going; behold, he is at hand who is like a gentle cantilena on the theme of milk and honey. doth betray me.”

EVANGELIST Und als er noch redete, siehe, da kam Judas, And while he yet spake, lo, Judas, one of the 23 BASS Gerne will ich mich bequemen, Kreuz und I will gladly agree to accept cross and goblet, der Zwölfen einer, und mit ihm eine große twelve, came, and with him a great multitude Aria (da capo) Becher anzunehmen, trink ich doch dem Heiland and follow my Saviour in drinking. For his Schar mit Schwertern und mit Stangen von den with swords and staves, from the chief priests James Geidt nach. Denn sein Mund, der mit Milch und Honig mouth, which flows with milk and honey, has Hohenpriestern und Ältesten des Volks. Und der and elders of the people. Now he that betrayed fließet, hat den Grund und des Leidens herbe sweetened the ground, and the bitter shame of Verräter hatte ihnen ein Zeichen gegeben und him gave them a sign, saying, “whomsoever I Schmach durch den ersten Trunk versüßet. suffering, with the first sip. gesagt: “Welchen ich küssen werde, der ists, den shall kiss, that same is he: hold him fast.” And greifet” Und alsbald trat er zu Jesu und sprach: forthwith he came to Jesus and said: Jesus’ second appeal to his Father is more intense and portrays a greater sense of urgency. The words are set to exactly the same music as his first appeal in no 21, but are, significantly, a semitone higher. Bach returns during JUDAS “Gegrüßet seist du, Rabbi!” “Hail master!” the recitative to keys with sharps in them. The presence of sharps in the music is symbolically associated with the David Stuart violence to which Jesus is about to be subjected. EVANGELIST Und küssete ihn. Jesus aber sprach zu ihm: and kissed him. And Jesus said unto him:

24 EVANGELIST Und er kam seinen Jüngern und fand sie And he cometh unto the disciples and findeth JESUS “Mein Freund, warum bist du kommen?” “Friend, wherefore art thou come?” schlafend und sprach zu ihnen: them asleep, and saith unto them: EVANGELIST Da traten sie hinzu und legten die Hände an Then came they and laid hands on Jesus and JESUS “Könnet ihr denn nicht eine Stunde mit mir “What, could ye not watch with me one Jesum und griffen ihn. took him. wachen? Wachet und betet, daß ihr nicht in hour? Watch and pray that ye enter not into Anfechtung fallet; der Geist ist willig, aber das temptation; the spirit indeed is willing but the This movement, in binary form, has two very distinct parts, played without a break, which do not comment on Fleisch ist schwach.” flesh is weak.” the action but participate directly in it. In 27a Bach dispenses with the continuo altogether, symbolising the very foundation falling out of the Christian world. The pleading syllabic interjections of the disciples contrast with the EVANGELIST Zum andernmal ging er hin, betete und sprach: He went away again the second time and plaintive duet of soprano and alto, accompanied only by upper strings and woodwind. In the east, women were prayed saying: traditionally hired to lament when an occasion called for it. This duet puts us in mind of this. The ties across the JESUS “Mein Vater, ists nicht möglich, daß dieser Kelch “O my Father, if this cup may not pass away barlines and between the strong beats, strong ink strokes in Bachs manuscript, represent the very bonds which are von mir gehe, ich trinke ihn denn, so geschehe from me, except I drink it, thy will be done.” now holding Christ captive. In 27b Bach releases the very fire of hell and the devastating and destructive forces of dein Wille.” nature which will swallow up Judas. This movement is quite remarkable: never before had such fury and anger been heard in western sacred music, and not until the later works of Beethoven would such dramatic violence be heard As with many of the chorales, this chorale, with words written in 1547 by Albrecht von Preufs, is linked to the again. This chorus shows influence from the chSurs infernaux of the French Tragédie Lyrique, contemporary to Bachs preceding biblical text by an association of ideas; in this case the idea being that “God’s will be done”. The music for time. The music is highly imitative, and is full of furious repeated notes and quick-moving scales and arpeggios. this chorale is particularly fascinating, as the words, which go on to talk of unshakeable faith, are set with particularly chromatic and angular harmony, yet each phrase ends with a strong tonic / dominant cadential point. It is as if the 27a SOPRANO & So ist mein Jesus nun gefangen. My Jesus now is captured. provoking Bach is deliberately testing the unshakeability of such faith, by setting it to unpredictable and twisting ALTO DUET: harmony, and then proving its reliability with strong perfect or plagal cadences. Eloise Irving & William Towers 25 CHORUS Was mein Gott will, das gscheh allzeit, What my God wishes, may that always happen, CHORUS Laßt ihn, haltet, bindet nicht! Leave him, stop, do not bind! Chorale sein Will der ist der beste, his will is the best, he is ready zu helfen den’ er ist bereit, to help those who believe firmly in him. SOPRANO Mond und Licht ist vor Schmerzen untergangen, Moon and light have sunk through pain die an ihn gläuben feste. & ALTO weil mein Jesus ist gefangen. because my Jesus is captured. Er hilft aus Not, der fromme Gott, He helps in our distress, the pious God, CHORUS Laßt ihn, haltet, bindet nicht! Leave him, stop, do not bind! und züchtiget mit Maßen. and punishes in moderation. Laßt ihn, haltet, bindet nicht! Leave him, stop, do not bind! Wer Gott vertraut, fest auf ihn baut, He who puts his trust in God and builds firmly den will er nicht verlassen. upon him will not find himself abandoned. SOPRANO Sie führen ihn, er ist gebunden. They lead him away, he is bound. & ALTO

18 | Running Order & Programme Notes Running Order & Programme Notes | 19 27b CHORUS Sind Blitze, sind Donner in Wolken Lightning and thunder have disappeared in verschwunden, Blitze, Donner. Eröffne den clouds. May he open the fiery abyss, O hell, PART TWO feurigen Abgrund, o Hölle, zertrümmre, destroy, ruin, and swallow up with sudden As with Part 1, Part 2 also begins with a dialogue, this time in arioso recitative between the countertenor and the choir. verschlinge, zerschelle, mit plötzlicher Wut den anger the false betrayer, the murderous blood! This is an allegorical dialogue between the chorus of faithful believers and the daughter of Zion, represented here by falschen Verräter, das mördrische Blut! the countertenor. The question asked by the choir remains unanswered and, without this answer, the music refuses to return to the tonic key, the movement ending with a suspended imperfect cadence. The Evangelist continues in the agitated way heard in no 26, his tone contrasting directly with the calmness of Christ’s. There is a musical description of the cutting off of the servant’s ear in the zig-zag saw-shaped phrase. The 30 ALTO Ach! Nun ist mein Jesus hin! Ah! Now my Jesus has gone! final arched-shaped phrase of the Evangelist, going up to a high A and back down, beautifully describes the fleeing Hannah Robinson, of the disciples, the musical shape of the phrase providing the symbolic arch through which they flee. Rosemary Clifford (8)

CHORUS Wo ist denn dein Freund hingegangen, O du Where has your friend gone, O you, most Schönste unter den Weibern? beautiful among women?

ALTO Ist es möglich, kann ich schauen? Is it possible, can I look?

CHORUS Wo hat sich dein Freund hingewandt? Where has your friend gone? 28 EVANGELIST Und siehe, einer aus denen, die mit Jesu And, behold, one of them which were with ALTO Ach! Mein Lamm in Tigerklauen. Ah! my lamb in tiger’s claws. waren, reckete die Hand aus, und schlug des Jesus stretched out his hand, and drew his Ach! Wo ist mein Jesus hin? Ah! where has my Jesus gone? Hohenpriesters Knecht und hieb ihm ein Ohr ab. sword, and struck a servant of the high priest’s, Da sprach Jesus zu ihm: and smote off his ear. Then said Jesus unto him: CHORUS So wollen wir mit dir ihn suchen. We will look for him with you.

JESUS “Stecke dein Schwert an seinen Ort; denn wer “Put up again thy sword into his place; for all they ALTO Ach! Was soll ich der Seele sagen, wenn sie mich Ah! what shall I say to my soul if it should das Schwert nimmt, der soll durchs Schwert that take the sword shall perish with the sword. wird ängstlich fragen? anxiously ask me? umkommen. Oder meinest du, daß ich nicht Thinkest thou that I cannot now pray to my Ach! Wo ist mein Jesus hin? Ah! where has my Jesus gone? könnte meinen Vater bitten, daß er mir zuschickte Father, and he shall presently give me more than mehr denn zwölf Legion Engel? Wie würde aber twelve legions of angels? But how then shall the This recitative immediately provides the missing answer to the question asked by the faithful believers in number 30, die Schrift erfüllet? Es muß also gehen.” scriptures be fulfilled, that thus it must be?” and the harmony is immediately resolved back to the tonic key.

EVANGELIST Zu der Stund sprach Jesus zu den Scharen: In that same hour said Jesus to the multitudes: 31 EVANGELIST Die aber Jesum gegriffen hatten, führeten And they that had laid hold on Jesus led JESUS “Ihr seid ausgegangen als zu einem Mörder, mit “Are ye come out as against a thief with swords ihn zu dem Hohenpriester Kaiphas, dahin die him away to Caiaphas the High Priest where the Schwerten und mit Stangen, mich zu fahen; bin and staves for to take me? I sat daily with you Schriftgelehrten und Ältesten sich versammlet scribes and the elders were assembled. ich doch täglich bei euch gesessen und habe teaching in the temple and you laid no hold on hatten. Petrus aber folgete ihm nach von ferne But Peter followed him afar off unto the gelehret im Tempel, und ihr habt mich nicht me. But all this was done that the scriptures of bis in den Palast des Hohenpriesters und ging High Priest’s palace, and went in, and sat gegriffen. Aber das ist alles geschehen, daß the prophets might be fulfilled.” hinein und satzte sich bei die Knechte, auf daß with the servants, to see the end. Now the erfüllet würden die Schriften der Propheten.” er sähe, wo es hinaus wollte. Die Hohenpriester chief priests, and elders, and all the council, aber und Ältesten und der ganze Rat suchten sought false witness against Jesus, to EVANGELIST Da verließen ihn alle Jünger und flohen. Then all the disciples forsook him and fled. falsche Zeugnis wider Jesum, auf daß sie ihn put him to death, but found none. töteten, und funden keines. This final great chorus of Part 1 is an elaborate chorale fantasia and a meditation on the opening stanza of Heyden’s chorale of 1525, O Mensch Bewein dein’ Sünde groß (O man bewail thy grievous sins). As in the opening chorus, Bach This chorale is the fifth stanza of the hymn In dich hab ich gehoffet, written in 1533 by Adam Revsner. The makes much use of pedal points. The chorale melody is sung in augmented note values by the sopranos at the top consecutive diminished chords on the word Lügen (lies) are notable. For the second part, which is in essence a of the texture – a technique Bach often used in his chorale preludes for organ. The fast semiquaver couplet motif gentle prayer, Bach retreats into much more settled and conventional harmony. heard throughout in the orchestra, and particularly in the closing few bars, represents the fearful disciples fleeing the scene and deserting Christ in order to save their own skins. The movement, and thus the first part, ends with a single 32 CHORUS Mir hat die Welt trüglich gerichtet The world has deceived me suspended bass note – a low E and the note with which the work began – symbolising Christ left all alone. Chorale mit Lügen und mit falschem Gdicht, with lies and false words, viel Netz und heimlich Stricke. many snares and false trickery. 29 CHORUS O Mensch, bewein dein’ Sünde groß, Oh mankind, weep for your great sin for which Herr, nimm mein wahr in dieser Gfahr, Lord, look after me in such danger, Extended darum Christus seins Vaters Schoß, Christ was borne of his Father’s bosom and Bhüt mich für falschen Tücken. protect me from evil tricks. chorale aüßert und kam auf Erden; came down upon earth; harmonisation von einer Jungfrau rein und zart für uns er hie geboren ward He was born here for us of a pure The two false witnesses’ reference to the destroying and building of the temple is one of the key arguments against er wollt der Mittler werden. and tender virgin. He wished to become Christ at this “trial” and is referred to later in the work. The music for each of them is identical until the final bar, the Den Toten er das Leben gab the mediator. second of the two singing his music a little later than the first, generating a musical canon. Bach illustrates the idea und legt darbei all Krankheit ab, He gave life to the dead and thus banished of the falling of the temple (abbrechen) with a descending scale, and its rebuilding (bauen) with a rising phrase which bis sich die Zeit herdrange, all sickness, until the time came for him to be goes two notes up and one back down six times, literally creating the picture of steps on the page. daß er für uns geopfert würd, sacrificed for us, and bear the heavy burden of trüg unsrer Sünden schwere Bürd, our sins suspended upon the cross. wohl an dem Kreuze lange.

20 | Running Order & Programme Notes Running Order & Programme Notes | 21 Jesus’ last appearance as the Sovereign Son of God elicits a heavily ornamented figuration from the first and second violins which brings to mind a halo, or the swirling of heavenly clouds around the Son of God sitting at the right hand of the Father. In 36b the eight very closely spaced entries of the choir give the impression of an impatient and vociferous crowd.

36a EVANGELIST Und Hohepriester antwortete und sprach zu ihm: And the High Priest answered and said unto him:

HIGH PRIEST “Ich beschwöre dich bei dem lebendigen Gott, “I adjure thee by the living God, that thou tell us Andrew daß du uns sagest, ob du seiest Christus, der whether thou be the Christ, the Son of God.” Davies Sohn Gottes?”

EVANGELIST Jesus sprach zu ihm: Jesus saith unto him:

JESUS “Du sagests. Doch sage ich euch: Von nun an “Thou hast said: nevertheless I say unto you, wirds geschehen, daß ihr sehen werdet des hereafter shall ye see the Son of Man sitting Menschen Sohn sitzen zur Rechten der Kraft und on the right hand of power, and coming in the kommen in den Wolken des Himmels.” clouds of heaven.”

EVANGELIST Da zerriß der Hohepriester seine Kleider und Then the High Priest rent his clothes saying: 33 EVANGELIST Und viewohl viel falsche Zeugen herzu traten, Yea, though many false witnesses came, sprach: funden sie doch keins. Zuletzt traten herzu yet found they none. At last came two false HIGH PRIEST “Er hat Gott gelästert; was dürfen wir “He hath spoken blasphemy: what further need zween falsche Zeugen und sprachen: witnesses, and said: weiter Zeugnis? Siehe, itzt habt ihr seine have we of witnesses? Behold, now you have TWO FALSE “Er hat gesagt: Ich kann den Tempel Gottes “This fellow said, “I am able to destroy the Gotteslästerung gehöret. Was dünket euch?” heard his blasphemy. What think ye?” WITNESSES DUET abbrechen und in dreien Tagen denselben temple of God and to build it in three days.” EVANGELIST Sie antworteten und sprachen: They answered and said: Hamish McLaren bauen.” & Gareth Edmunds 36b CHORUS “Er ist des Todes schuldig!” “He is guilty of death!” (1, 11), Ben Thapa (8) 36c EVANGELIST Da speieten sie aus in sein Angesicht und Then did they spit in his face, and buffeted him: EVANGELIST Und der Hohepriester stund auf und sprach zu And the High Preist arose, and said unto him: schlugen ihn mit Fäusten. Etliche aber schlugen and others smote him with the palms of their ihm: ihn ins Angesicht und sprachen: hands, saying: A HIGH PRIEST “Antwortest du nichts zu dem, das diese wider “Answerest thou nothing? What is it which 36d CHORUS “Weissage uns, Christe, wer ists der dich schlug?” “Prophesy unto us, thou Christ, who is he that Andrew Davies dich zeugen?” these witness against thee?” smote thee?”

EVANGELIST Aber Jesus schwieg stille. But Jesus held his peace. This chorale, drawn from the same source as number 10, is the direct outcome of the preceding chorus. Note the reference to the buffeting of Christ by the crowd. Unlike the other arioso recitatives, this one does not centre on a recurring musical motif. Instead the text is accompanied by heavy, separated chords which are immediately dampened. This is the musical expression of 37 CHORUS Wer hat dich so geschlagen, Who has struck you so, my Saviour, Christ’s silence, whilst his suffering is portrayed in the anguished, lyrical lines given to the tenor. Chorale mein Heil, und dich mit Plagen and so cruelly tormented you? so übel zugericht’? 34 TENOR Mein Jesus schweigt zu falschen Lügen stille, um My Jesus remains silent in the face of false Du bist ja nicht ein Sünder For you are not a sinner, like us and our children: Arioso recitative uns damit zu zeigen, daß sein Erbarmens voller Lies in order to show us that his wie wir und unsre Kinder: you know nothing of misdeeds. Ben Thapa (1), Wille vor uns zum Leiden sei geneigt, und daß wir compassion will bear suffering for us, von Missetaten weißt du nicht. Graham Neal in dergleichen Pein ihm sollen ähnlich sein und in and that, in similar distress, we should be (8,11) Verfolgung stille schweigen. like him and suffer persecution in silence. Again, with music set in a key with sharps, the Evangelist begins the story of Peter’s denial on a high A – thereby signalling that the coming events will be filled with tension.The same note is used for the following emotive words in This aria begins with a short instrumental ritornello in which two separate ideas are given to the cello of orchestra this story, leugnete (denied), schwören (swear) and krähete (crew). For the final phrase, Und ging heraus (and he went 2. The first, a gentle figure of slurred quaver couplets, contrasts with a much more agitated motif of restless dotted out), the melodic line goes up even higher, to a B – the extreme outermost edge of the tenor’s vocal range and the rhythms and wide intervals. These two motifs alternate throughout the aria, each constantly giving way to the other. note furthest from its centre. This is the only time that Bach uses this pitch for the Evangelist and it stands here as a The first represents calm and patience, the second unease and the stinging of false tongues. For this aria, in which metaphor for Peter’s isolation and loneliness. The final melisma, tortuous and twisting, and ending on the symbolic the tenor addresses Christ, Bach dispenses with the orchestra altogether, thereby conveying that Christ is now chord of C# major, is the longest melisma written for the Evangelist, by some way, and gives us an insight into Peter’s indeed truly alone. horror at what he has done and the utter desolation he feels.

35 TENOR Geduld! Geduld! Wenn mich falsche Zungen Patience! Patience! When false tongues Aria stechen. Leid ich wider meine Schuld. Schimpf wound me. I suffer my guilt. I suffer shame Ben Thapa (1), und Spott leid ich Schimpf und Spott. Ei! so mag and scorn, shame and scorn. Ah! May our Graham Neal der liebe Gott meines Herzens Unschuld rächen. dear Lord avenge the innocence of my heart. (8,11) Geduld! Geduld! wenn mich falsche Zungen Patience! Patience! When false tongues stechen. wound me.

22 | Running Order & Programme Notes Running Order & Programme Notes | 23 38a EVANGELIST Petrus aber saß draußen im Palast; und es trat zu Now Peter sat without in the palace: and a 41a EVANGELIST Des morgens aber hielten alle Hohepriester When the morning was come, all the chief priests ihm eine Magd und sprach: damsel came unto him, saying, und die Ältesten des Volks einen Rat über and elders of the people took counsel against Jesum, daß sie ihn töteten. Und bunden Jesus to put him to death. And when they had DAMSEL “Und du warest auch mit dem Jesus aus Galiläa.” “Thou also was with Jesus of Galilee.” ihn, führeten ihn hin und überantworteten bound him, they led him away and delivered Hannah Fraser- ihn dem Landpfleger Pontio Pilato. Da das him to Pontius Pilate the governor. Then Judas, Mackenzie sahe Judas, der ihn verraten hatte, daß er which had betrayed him, when he saw that he PETER Ich weiß nicht, was du sagest.” “I know not what thou sayest.” verdammt war zum Tode, gereuete es ihn, und was condemned, repented himself, and brought David Stuart brachte herwieder die dreißig Silberlinge den again the thirty pieces of silver to the chief priests Hohenpriestern und Ältesten und sprach: and elders saying: EVANGELIST Als er aber zur Tür hinausging, sahe ihn eine And when he was gone out into the porch, andere und sprach zu denen, die da waren: another maid saw him, and said unto them JUDAS “Ich habe übel getan, daß ich unschuldig Blut “I have sinned in that I have betrayed the that were there: David Stuart verraten habe.” innocent blood.”

MAID “Dieser war auch mit dem Jesu von Nazareth.” “This fellow was also with Jesus of Nazareth.” EVANGELIST Sie sprachen: And they said: Avalon Summerfield (1), 41b CHORUS “Was gehet uns das an? “What is that to us? Emily Wenman (8,11) Da siehe du zu!” See thou to that!” EVANGELIST Und er leugnete abermal und schwur dazu: And again he denied with an oath: 41c EVANGELIST Und er warf die Silberlinge in den Tempel, hub And he cast down the thirty pieces of silver in PETER “Ich kenne des Menschen nicht.” “I do not know the man.” FALSE sich davon, ging hin und erhängete sich selbst. the temple, and departed, and went and hanged WITNESS Aber die Hohenpriester nahmen die Silberlinge himself. And the chief priests took the silver EVANGELIST Und über eine kleine Weile traten hinzu, die da And after a while came unto him they that Timothy Coleman und sprachen: pieces and said: stunden, und sprachen zu Petro: stood by, and said to Peter: CHIEF PRIEST “Es taugt nicht, daß wir sie in den Gotteskasten “It is not lawful for us to put them in the treasury 38b CHORUS “Wahrlich, du bist auch einer von denen; denn “Surely thou art also one of them, for thy speech Andrew Davies legen, den es ist Blutgeld.” because it is the price of blood.” deine Sprache verrät dich.” betrayeth thee.” 38c EVANGELIST Da hub er an, sich zu verfluchen und zu schwören: Then began he to curse and to swear, saying: In this aria the bass is the personification of Judas, who by now is dead. There is a similarity of purpose here with no 39. Both arias deal with acts of betrayal towards Christ by two of his own disciples who are subsequently personified PETER “Ich kenne des Menschen nicht.” “I know not the man!” by singers. In order to reinforce this duality Bach chooses exactly the same orchestration for both arias: namely solo David Stuart violin; strings and continuo. The fast violin scales and running passages which characterise the accompaniment EVANGELIST Und alsbald krähete der Hahn. Da dachte Petrus an And immediately the cock crew. And Peter sections have been likened to the rolling away of coins. die Worte Jesu, da er zu ihm sagte: Ehe der Hahn remembered the word of Jesus, which said unto krähen wird, wirst du mich dreimal verleugnen. him, before the cock crow, thou shalt deny me 42 BASS Gebt mir meinen Jesum wieder! Seht, das Geld, Give my Jesus back to me! Look, the lost son Und ging heraus und weinete bitterlich. thrice. And he went out and wept bitterly. ARIA den Mörderlohn, wirft euch der verlorne Sohn throws the money, the payment for murder, Andrew Davies zu den Füßen nieder! down at your feet.

The lamentation Erbarme dich, for countertenor and obbligato violin is the most expressive of all the arias in the Jesus speaks here for the last time before the words spoken from the cross. The delicate interlacing strings which had passion. It is the only one which is not preceded by an arioso recitative, and the only one to be followed by a chorale previously accompanied his words are gone. Instead his words are framed by three short, rather terse, austere and rather than narrative. As such it stands alone as a highly emotionally charged expression of Peter’s grief, full of perfunctory string chords. We gain the impression that Christ is being stripped of all privilege. The starkness of the longing, regret and disappointment, the countertenor acting as the personification of Peter. Musical features include accompaniment also highlights Jesus’ silence throughout the immediate forthcoming events. the incessant pizzicato bass and the continuous ornamentation in the violin part. The chorale which follows, written in 1642 by Johann Rist, is the sixth stanza of the hymn Werde munter mein Gemüte. It is designed to bring a sense of 43 EVANGELIST Sie hielten aber einen Rat und kauften einen And they took counsel and bought with them finality and completion to this episode devoted to Peter. Töpfersacker darum zum Begräbnis der the potter’s field, to bury strangers in. Wherefore 39 COUNTERTENOR Erbarme dich, mein Gott, um meiner Zähren My God, have mercy for my tears. Look here! Pilger. Daher ist derselbige Acker genennet that field was called, the field of blood unto this ARIA willen! Schaue hier, Herz und Auge weint vor dir Heart and eye weep bitterly for you. der Blutacker bis auf den heutigen Tag. Da ist day. Then was fulfilled that which was spoken by William Towers bitterlich. erfüllet, das gesagt ist durch den Propheten Jeremiah the prophet, saying: “And they took the Jeremias, da er spricht: “Sie haben genommen thirty pieces of silver, the price of him that was 40 CHORUS Bin ich gleich von dir gewichen, If I have strayed from you then I return to dreißig Silberlinge, damit bezahlet ward der valued, whom they of the children of Israel did Chorale stell ich mich doch wieder ein; you. Verkaufte, welchen sie kauften von den Kindern value, and gave them for the potter’s field, as the hat uns doch dein Sohn verglichen For your son became like us, through his fear Israel, und haben sie gegeben um einen Lord appointed me.” And Jesus stood before the durch sein Angst und Todespein. and mortal torment. Töpfersacker, als mir der Herr befohlen hat.” governor; and the governor asked him, saying: Ich verleugne nicht die Schuld; I do not deny my guilt, but your grace and Jesus aber stund vor dem Landpfleger; und der aber deine Gnad und Huld humility is much greater than the sin which I Landpfleger fragte ihn und sprach: ist viel größer als die Sünde, constantly find in myself. die ich stets in mir befinde. PONTIUS PILATE “Bist du der Jüden König?” “Art thou the King of the Jews?” James Geidt The agitated tone of this narration, which sees the end of Judas, is characterised by short declamatory phrases and EVANGELIST Jesus aber sprach zu ihm: And Jesus said unto him: wide-ranging intervals. The word übel (evil) is accompanied by a diminished chord. The music for the chorus, a mere five bars, builds quickly and brilliantly in texture and harmonic intensity. JESUS “Du sagests.” “Thou sayest.”

24 | Running Order & Programme Notes Running Order & Programme Notes | 25 EVANGELIST Und da er verklagt war von den Hohenpriestern And when he was accused of the chief priests PONTIUS “Welchen wollt ihr unter diesen zweien, den ich “Whether of the twain will ye that I release unto und Ältesten, antwortete er nichts. Da sprach and the elders, he answered nothing. Then PILATE euch soll losgeben?” you?” Pilatus zu ihn: Pilate said unto him: EVANGELIST Sie sprachen: They said: “Hörest du nicht, wie hart sie dich verklagen?” “Hearest thou not how many things they witness THE CROWD “Barrabam!” “Barrabas!” against thee?” EVANGELIST Pilatus sprach zu ihnen: Pilate saith unto them: Und er antwortete ihm nicht auf ein Wort, also, And he answered him to never a word, daß sich auch der Landpfleger sehr verwunderte. insomuch that the Governor marvelled greatly. PONTIUS “Was soll ich denn machen mit Jesu, von dem “What shall I do then with Jesus which is called PILATE gesagt wird, er sei Christus?” Christ?” The third appearance of the Passion Chorale marks the beginning of the scene in which Christ’s fate is sealed. Bach EVANGELIST Sie sprachen alle: They all say unto him: uses the chorale as a sort of musical “frame” for this crucial scene, as it reappears at the end (no 54). 45b THE CROWD “Laß ihn kreuzigen!” “Let him be crucified!” 44 CHORUS Befiehl du deine Wege Entrust your ways, and whatever wounds your Chorale und was dein Herze kränkt heart, to him, the ever The following chorale melody is the same as for nos 3 and 19. Here, however, Bach harmonises it in a more der allertreusten Pflege faithful guardian who guides the heaven. chromatic way, the rising chromatic bass line in the opening line expressing the concept of increasing wonderment. des, der den Himmel lenkt. Der Wolken, Luft und Winden He who gives pathways to cloud, air 46 CHORUS Wie wunderbarlich ist doch diese Strafe! How wondrous this punishment is! gibt Wege, Lauf und Bahn, and winds, he will find a way where Chorale Der gute Hirte leidet für die Schafe, The good shepherd suffers for the der wird auch Wege finden, your foot can follow. die Schuld bezahlt der Herre, der Gerechte, sheep, the Lord, the Righteous One, da dein Fuß gehen kann. für seine Knechte. atones for the guilt of his servants.

47 EVANGELIST Der Landpfleger sagte: And the governor said: So far, the numerous interventions of the crowd have always been accompanied by both orchestras – usually with animated and busy writing. However, for the huge cry of “Barrabam” from the double chorus, united in their choice PONTIUS “Was hat er denn Übels getan?” “Why, what evil hath he done?” of who should be released, Bach uses only the continuo. The absence of the orchestra serves only to reinforce the PILATE effect of the voices on this occasion, providing dramatic power and conviction to the cry. The word itself is set to a James Geidt huge diminished chord which is, itself, made up of two interlocking and equally spaced augmented fourth intervals. The ensuing cries of “Laß ihn kreuzigen!” are set to a short imitative fugal section full of rising diminished intervals. Pilate’s question is answered by the soprano. She intervenes as if a character witness for Jesus. The aria which follows is pensive and wistful. With the aria scored for two oboes and flute, Bach again dispenses with the continuo – its absence suggesting desertion. The extreme economy of means in this aria, performed by just four people, is an absolute masterclass of poise, suspension and concentration. Bach writes a number of pauses into the music, which give both space and depth to the aria and also add a sense of timelessness, allowing for true contemplation.

48 SOPRANO Er hat uns allen wohlgetan, den Blinden gab er das He has done good for us all. He has given sight to Arioso Gesicht, die Lahmen machte er gehend, er sagte the blind, he helped the lame to walk, he told us the 45a EVANGELIST Auf das Fest aber hatte der Landpfleger Now at that feast the governor was wont recitative uns seines Vaters Wort, er trieb die Teufel fort, word of his Father, he drove out the devils, he gave Gewohnheit, dem Volk einen Gefangenen to release unto the people a prisoner, Eloise Irving Betrübte hat er aufgerichtet, er nahm die Sünder heart to those who were troubled, he accepted the loszugeben, welchen sie wollten. Er hatte aber zu whom they would. And they had then a notable auf und an. Sonst hat mein Jesus nichts getan. sinners. My Jesus has done nothing else. der Zeit einen Gefangenen, einen sonderlichen prisoner, called Barrabas. 49 SOPRANO Aus Liebe will mein Heiland sterben, von einer My Saviour, who knows nothing of any sin, is to vor andern, der hieß Barrabas. Und da sie Therefore when they were gathered Aria Sünde weiß er nichts, daß das ewige Verderben die for love, so that eternal damnation and the versammlet waren, sprach Pilatus zu ihnen: together, Pilate said unto them: Eloise Irving und die Strafe des Gerichts nicht auf meiner Seele judgement of the court do not remain in my soul. PONTIUS PILATE “Welchen wollet ihr, daß ich euch losgebe? “Whom will ye that I release unto you? Barrabas, bliebe. James Geidt Barrabam oder Jesum, von dem gesaget wird, or Jesus which is called Christ?” er sei Christus?” The Evangelist’s cry returns us brutally to the action after the moment of peaceful contemplation. Throughout this movement the angry exchanges between Pilate and the people gain in intensity. The chorus repeat their cry of “Laß EVANGELIST Denn er wußte wohl, daß sie ihn aus Neid For he knew that for envy they had delivered ihn kreuzigen!” The music is the same as before, but this time a tone higher, giving the chorus a more urgent edge, überantwortet hatten. Und da er auf dem him. When he was set down on the judgement and ending, symbolically, on the chord of C# major. The feelings of the crowd are given further vent in 50d, the final Richtstuhl saß, schickete sein Weib zu ihm und seat, his wife sent unto him, saying: few bars being an ascending sequential passage which takes the sopranos up to the top of their vocal range. ließ ihm sagen:

PILATE’S WIFE “Habe du nichts zu schaffen mit diesem “Have thou nothing to do with that just man, for 50a EVANGELIST Sie schrieen aber noch mehr und sprachen: But they cried out the more, saying: Hannah Fraser- Gerechten; ich habe heute viel erlitten im Traum I have suffered many things this day in a dream 50b THE CROWD “Laß ihn kreuzigen!” “Let him be crucified!” Mackenzie von seinetwegen!” because of him.” 50c EVANGELIST Da aber Pilatus sahe, daß er nichts schaffete, When Pilate saw that he could prevail nothing, EVANGELIST Aber die Hohenpriester und die Ältesten But the chief priests and elders persuaded the sondern daß ein viel größer Getümmel ward, but that rather a tumult was made, he took water überredeten das Volk, daß sie um Barrabas bitten multitude that they should ask Barrabas, and nahm er Wasser und wusch die Hände vor dem and washed his hands before the multitude, sollten und Jesum umbrächten. Da antwortete destroy Jesus. The governor answered and said Volk und sprach: saying: nun der Landpfleger und sprach zu ihnen: unto them:

26 | Running Order & Programme Notes Running Order & Programme Notes | 27 PONTIUS PILATE “Ich bin unschuldig an dem Blut dieses “I am innocent of the blood of this just person, Du edles Angesichte, Your noble face, before which the great James Geidt Gerechten, sehet ihr zu!” see ye to it!” dafür sonst schrickt und scheut, power of the world normally takes fright das große Weltgewichte, and shies away, how you are now spat upon. 50d EVANGELIST Da antwortete das ganze Volk und sprach: Then answered all the people and said: wie bist du so bespeit, How pale you have become! THE CROWD “Sein Blut komme über uns und unsre Kinder!” “His blood be on us and on our children!” wie bist du so erbleichet! Wer hat dein Augenlicht, Who has so shamefully dimmed the light 50e EVANGELIST Da gab er ihnen Barrabam los: aber Jesum Then released he Barrabas unto them: and when dem sonst kein Licht nicht gleichet, of your eye to which no light can normally ließ er geißeln und überantwortete ihn, daß er he had scourged Jesus, he delivered him to be so schändlich zugericht’? compare? gekreuziget würde. crucified.

Twice in this movement Bach uses the musical figure which represents the cross. It comes in the continuo part when The countertenor addresses the executioners. The orchestral writing for the strings has a constant snapping rhythm the Evangelist delivers the word kreuzigten (crucified) to a poignant falling melisma, and again in the continuo for the which puts us in mind of the lashes from a whip, whilst the tonal centre of the music is constantly shifting; in only closing four notes of the movement. twelve bars the music passes through ten different keys, in addition to which Bach uses a diminished chord on seven separate occasions. The aria which follows also has dotted rhythms as a main feature.

51 ALTO Erbarm es Gott! Hier steht der Heiland May God have mercy! The Saviour stands here Arioso Recitative angebunden. O Geißelung, O Schläg, O Wunden! chained. Oh, flagellation, Oh beatings, Oh William Towers Ihr Henker, haltet ein! Erweichet euch der wounds, Stop, you executioners! Do the pain of Seelen Schmerz, der Anblick solches Jammers souls and the sight of such suffering not soften nicht? Ach ja! Ihr habt ein Herz, das muß der your hearts? Oh, yes! You have a heart, which Martersäule gleich und noch viel härter sein. must be like the martyr’s pillar and even harder. Erbarmt euch, haltet ein! Have pity, stop!

52 ALTO Können Tränen meiner Wangen nichts erlangen, If the tears of my cheeks can achieve nothing, Aria (da capo) O, so nehmt mein Herz hinein! Aber laßt es bei Oh, then take my heart. But, among the floods 55 EVANGELIST Und da sie ihn verspottet hatten, zogen sie ihm And after that they had mocked him, they took William Towers den Fluten, wenn die Wunden milde bluten, auch of tears, let it be the sacrificial cup when your den Mantel aus und zogen ihm seine Kleider the robe off from him, and put his own raiment die Opferschale sein! wounds softly bleed! an und führeten ihn hin, daß sie ihn kreuzigten. on him, and led him away to crucify him. And 53a EVANGELIST Da nahmen die Kriegsknechte des Landpflegers Then the soldiers of the governor took Jesus in Und indem sie hinausgingen, funden sie einen as they came out, they found a man of Cyrene, Jesum zu sich in das Richthaus und sammleten the common hall, and gathered unto him the Menschen von Kyrene mit Namen Simon; den Simon by name; him they compelled to bear his über ihn die ganze Schar und zogen ihn aus whole band of soldiers. And they stripped him, zwungen sie, daß er ihm sein Kreuz trug. cross. und legeten ihm einen Purpurmantel an und and put on him a scarlet robe. And when they flochten eine dornene Krone und satzten sie auf had platted a crown of thorns, they put it upon In the upward motion of the two flutes, which turns to downward motion at the very end, we see Jesus stumbling sein Haupt und ein Rohr in seine rechte Hand his head, and a reed in his right hand, and they and eventually falling. und beugeten die Knie vor ihm und spotteten bowed the knee before him, and mocked him, ihn und sprachen: saying: 56 BASS Ja freilich will in uns das Fleisch und Blut zum Yes, the flesh and blood in us wishes to be Arioso Kreuz gezwungen sein; je mehr es unsrer Seele compelled to the cross; the more it is good for CHORUS “Gegrüßet, seist du, Jüdenkönig!” “Hail, King of the Jews!” Recitative gut, je herber geht es ein. our soul, the more bitter is the taste. EVANGELIST Und speieten ihn an und nahmen das Rohr und And they spit upon him, and took the reed, and Andrew Davies schlugen damit sein Haupt. smote him on the head. The oxymoron süßes Kreuz (sweet cross) is depicted here in the prominent cello part (written originally for the viola da gamba). The dotted rhythms present throughout remind us of movements 51 and 52, and the wide intervals and This, the fourth appearance of the Passion Chorale, reaches back to the last words spoken by the Evangelist – und austere harmony contrast with the elegiac vocal line given to the bass. schlugen damit sein Haupt (and smote him on his head) and is a meditation on the cruelty and flagellation to which Christ has been subjected. Bach places the melody in a very high register. The believers react to Christ’s humiliation 57 BASS Komm, süßes Kreuz, so will ich sagen, mein Come, sweet cross, so I say my Jesus, give it to by the musical elevation of this melody. The chorale melody both closes the previous scene and also prepares us for Aria Jesu gib es immer her! Wird mir mein Leiden me. If my suffering ever becomes too hard for the crucifixion. Andrew Davies einst zu schwer, so hilfst du mir es selber tragen. me, you will help me to bear it.

54 CHORUS O Haupt voll Blut und Wunden Oh head all bloodied and wounded, The Evangelist’s narration here is given its context by the chorus, which represents variously the baying, angry mob, Chorale voll Schmerz und voller Hohn, filled with pain and scorn. covering Jesus with mockery and sarcasm, and the chief priests and elders. Bach uses the same structure for both O Haupt, zu Spott gebunden Oh head, mockingly bound with a choruses – an antiphonal declamatory and homophonic opening, followed by an imitative polyphonic development. mit einer Dornenkron, crown of thorns. A high A is used for the mention of Golgotha, the place of the crucifixion, and the chord of C# major is used no fewer O Haupt, sonst schön gezieret Oh head, usually beautifully adorned than four times in the Evangelist’s recitative to illustrate key words (beschrieben, Jüden König, kreuziget, Rechten). mit höchster Ehr und Zier, with highest honour and grace, now The only moment of unison in the entire work is reserved for the final jeering words of the chorus: Ich bin Gottes jetzt aber hoch schimpfieret, greatly scorned, may you be greeted by me. Sohn. The chromatic ‘cross’ motif appears in the final five notes of 58e on the word gekreuziget (crucified). Further gegrüßet seist du mir! attention is drawn to this word as it is harmonised with a Neapolitan 6th chord (a chord of the flattened supertonic in first inversion) which causes it to stand out from the harmony around it.

28 | Running Order & Programme Notes Running Order & Programme Notes | 29 58a EVANGELIST Und da sie an die Stätte kamen mit Namen And when they were come unto a place We come now to the very heart of the work. The darkness present at the scene is written into the music with dark Golgatha, das ist verdeutschet Schädelstätt, called Golgotha, that is to say, a place tonalities and slow tempi. The Aramaic words spoken by Christ are, for the first time, not accompanied by the gaben sie ihm Essig zu trinken mit Gallen of a skull, they gave him vinegar to drink strings. Having temporarily lost his faith, Christ also loses his halo. Christ’s words are repeated and translated by the vermischet; und da ers schmeckete, wollte ers mingled with gall; and when he had tasted Evangelist with exactly the same notes, but written at a higher pitch. The translation is significant as the projection of nicht trinken. Da sie ihn aber gekreuziget hatten, thereof, he would not drink. And they the vernacular dialect into sacred worship, at the expense of the classical tongue, was one of the main staples, and teilten sie seine Kleider und wurfen das Los crucified him, and parted his garments, casting indeed causes, of protestant reformation. These words are the only words of Christ, spoken from the cross, which darum, auf daß erfüllet würde, das gesagt ist lots, that it might be fulfilled which appear in more than one of the gospels (Matthew and Mark). The accompaniments for the two choral outbursts are durch den Propheten: “Sie haben meine Kleider was spoken by the prophet: “They parted extremely similar – as they were in nos 58b and 58d. Finally in this movement, and with understated simplicity, the unter sich geteilet, und über mein Gewand my garments among them, and upon my Evangelist delivers the news of Christ’s death. haben sie das Los geworfen.” Und sie saßen allda vesture did they cast lots.” And sitting down they und hüteten sein; und oben zu seinen Haupten watched him there; and set up over his head his 61a EVANGELIST Und von der sechsten Stunde an war eine Now from the sixth hour there was darkness over hefteten sie die Ursach seines Todes beschrieben, accusation written; Finsternis über das ganze Land bis zu der all the land unto the ninth hour. And about the nämlich; “DIES IST JESUS, DER JÜDEN KÖNIG.” “THIS IS JESUS, THE KING OF THE JEWS.” neunten Stunde. Und um die neunte Stunde ninth hour Jesus cried with a loud voice, saying: schriee Jesus laut und sprach: 58a CHORUS Und da wurden zween Mörder mit ihm Then were there two thieves crucified with him, gekreuziget, einer zur Rechten und einer zur one on the right hand and another on the left. JESUS “Eli, Eli, lama, lama a sabthani?” “Eli, Eli, lama sabachthani?” Linken. Die aber vorübergingen, lästerten ihn und And they that passed by reviled him, wagging EVANGELIST Das ist: That is to say: schüttelten ihre Köpfe und sprachen: their heads and saying: JESUS “Mein Gott, mein Gott, warum hast du mich “My God, my God, why hast thou forsaken me?” “Der du den Tempel Gottes zerbrichst und bauest “Thou that destroyest the temple, and buildest it verlassen?” ihn in dreien Tagen, hilf dir selber! Bist du Gottes in three days, save thyself. If thou be the Son of Sohn, so steig herab vom Kreuz!” God, come down from the cross.” EVANGELIST Etliche aber, die da stunden, da sie das höreten, Some of them that stood there, when they heard sprachen sie: that, said: 58c EVANGELIST Desgleichen auch die Hohenpriester spotteten Likewise also the chief priests mocking him, with sein samt den Schriftgelehrten Ältesten und the scribes and elders, said: 61b CHORUS “Der rufet dem Elias!” “This man calleth for Elias.” sprachen: Und bald lief einer unter ihnen, nahm einen And straightway one of them ran, and took a 61c EVANGELIST 58d CHORUS “Andern hat er geholfen und kann ihm selber “He saved others, himself he cannot save. If he Schwamm und füllete ihn mit Essig und spunge, and filled it with vinegar, and put it on a nicht helfen. Ist er der König Israel, so steige er be the King of Israel, let him now come down steckete ihn auf ein Rohr und tränkete ihn. Die reed, and gave him to drink. The rest said: nun vom Kreuz, so wollen wir ihm glauben. Er from the cross, and we will believe him. He andern aber sprachen: hat Gott vertrauet, der erlöse ihn nun, lüstets ihn, trusted in God; let him deliver him now, if he will 61d CHORUS “Halt! Halt! Laß sehen, ob Elias komme und ihm “Let be, let us see whether Elias will come to save denn er hat gesagt; “Ich bin Gottes Sohn”.” have him, for he said, “I am the Son of God.”.” helfe?” him.” 58e EVANGELIST Desgleichen schmäheten ihn auch die Mörder, The thieves also, which were crucified with him, 61e EVANGELIST Aber Jesus schriee abermal laut, und verschied. Jesus, when he had cried again with a loud voice, die mit ihm gekreuziget waren. cast the same in his teeth. yielded up the ghost.

Once again we have a meditative plaint from the countertenor. The oboes and pizzicato bass give this movement a sombre feel. From now until the end of the work Bach uses only keys with flats in them. The aria which follows beseeches the faithful believers to come and be with Christ – the quick interjections of the chorus contrasting with SILENCE IS KEPT the lyrical line given to the countertenor. The original aria was scored for two oboes de caccia, a renaissance oboe For the final appearance of Gerhardt’s Passion Chorale, following as it does immediately after Christ’s death, Bach shaped like a crescent and with a particularly hollow sound. In using this instrument Bach, a composer who was very places the melody in its lowest register yet. He reharmonises the melody with a number of eyebrow-raising harmonic aware of timbre, was illustrating the image of the skull, after which Golgotha was named. progressions to enhance the meaning of the words, for example, through the phrase Wenn mir am allerbängsten (when I am most full of fear) the harmony becomes highly chromatic and unsettled. The final cadence is left open – 59 ALTO Ach Golgatha, unselges Golgatha! Der Herr der AAh, Golgotha, wretched Golgotha! an imperfect cadence which does not return us to the home key. In faith, the believer dies with Christ at this point. Arioso recitative Herrlichkeit muß schimpflich hier verderben, der The Lord of Glory must shamefully perish here; Mercé Abellò Segen und das Heil der Welt wird als ein Fluch the blessing and salvation of the 62 CHORUS Wenn ich einmal soll scheiden, When I depart, then do not depart ans Kreuz gestellt. Der Schöpfer Himmels und world is cursed and nailed to the cross. Chorale so scheide nicht von mir, from me, when I shall suffer death, der Erden soll Erd und Luft entzogen werden. The creator of heaven and earth is to be taken wenn ich den Tod soll leiden, then step beside me! When my heart Die Unschuld muß hier schuldig sterben, das from earth and air. Innocence must die here in so tritt du denn herfür! is at its most fearful, then tear me gehet meiner Seele nah; ach Golgatha, unselges sin, and that distresses my soul. Oh Golgotha, Wenn mir am allerbängsten from my anxieties through your fear Golgatha! wretched Golgotha! wird um das Herze sein, and suffering! so reiß mich aus den Ängsten 60 ALTO WITH Sehet, Jesus hat die Hand, uns zu fassen See, Jesus has stretched out his hand to hold us. kraft deiner Angst und Pein! CHORUS ausgespannt, kommt, “wohin?” kommt, “wohin?” Come! “Where to?” Come! “Where to?” Come! Aria with chorus kommt, “wohin?” In Jesu Armen suchet Erlösung, “Where to?” Seek salvation in the arms of Jesus, The Evangelist’s role has contained some very dramatic moments, but at all times the continuo has played a very low- Mercé Abellò nehmt Erbarmen, suchet! find redemption, seek! key supporting role. At this point, however, the continuo explodes into life, vivifying and dramatising the Evangelist’s words with terrifying colour. The ripping of the veil is illustrated with fast and furious scales, and the earthquake by “wo?” In Jesu Armen suchet! “wo?” In Jesu “Where?” Seek in the arms of Jesus. “Where?” a ferocious tremolando, starting on the cello’s lowest note and rising in semitones. The sobriety and majesty which Armen. Lebet, sterbet, ruhet hier, ihr verlaßnen In the arms of Jesus. Live, die, rest here, you Bach manages to cram into just two bars for the chorus are a thrilling contrast to the earlier music, and a moment of Küchlein ihr, bleibet, “wo?” In Jesu Armen, abandoned children. Stay! “Where?” In the arms true realisation. bleibet, “wo?” In Jesu Armen. of Jesus, stay! “Where?” In the arms of Jesus. 30 | Running Order & Programme Notes Running Order & Programme Notes | 31 63a EVANGELIST Und siehe da, da Vorhang im Tempel zerriß in And, behold, the veil of the temple was rent 66a EVANGELIST Und Joseph nahm den Leib und wickelte ihn And when Joseph had taken the body, he zwei Stück von obenan bis untenaus. Und die in twain from the top to the bottom; and the in ein rein Leinwand und legte ihn in sein eigen wrapped it in a clean linen cloth, and laid it Erde erbebete, und die Felsen zerrissen, und earth did quake, and the rocks rent; and the neu Grab, welches er hatte lassen in einen Fels in his own new tomb, which he had hewn die Gräber täten sich auf, und stunden auf viel graves were opened and many bodies of the hauen, und wälzete einen großen Stein vor die out in the rock, and he rolled a great stone Leiber der Heiligen, die da schliefen, und gingen saints which slept arose, and came out of the Tür des Grabes und ging davon. Es war aber to the door of the sepulchre, and departed. aus den Gräbern nach seiner Auferstehung und graves after his resurrection, and went into allda Maria Magdalena und die andere Maria, die And there was Mary Magdalene and the kamen in die heilige Stadt und erschienen vielen. the holy city, and appeared unto many. Now satzten sich gegen das Grab. Des andern Tages, other Mary, sitting over against the sepulchre. Aber der Hauptmann und die bei ihm waren und when the centurion, and they that were with der da folget nach dem Rüsttage, kamen die Now the next day, that followed the day of bewahreten Jesum, da sie sahen das Erdbeben him, watching Jesus, saw the earthquake, and Hohenpriester und Pharisäer sämtlich zu Pilato preparation, the chief priests and Pharisees came und was da geschah, erschraken sie sehr und those things that were done, they feared greatly, und sprachen: together unto Pilate, saying: sprachen: saying: “Herr, wir haben gedacht, daß dieser Verführer “Sir, we remember that that deceiver said, while 66b CHORUS 63b CHORUS “Wahrlich, dieser ist Gottes Sohn gewesen.” “Truly this was the Son of God.” sprach, da er noch lebete: “Ich will nach dreien he was yet alive, “After three days Tagen wieder auferstehen.” Darum befiehl, daß I will rise again.” Command therefore that 63c EVANGELIST Und es waren viel Weiber da, die von ferne And many women were there beholding afar off, man das Grab verwahre bis an den dritten Tag, the sepulchre be made sure until the third day, zusahen, die da waren nachgefolget aus Galiläa which followed Jesus from Galilee, ministering auf daß nicht seine Jünger kommen und stehlen lest his disciples come by night, and steal him und hatten ihm gedienet, unter welchen war unto him, among which was Mary Magdalene, ihn und sagen zu dem Volk: er ist auferstanden away, and say unto the people, Maria Magdalena, und Maria, die Mutter Jacobi and Mary the mother of James and Joses, von den Toten, und werde der letzte Betrug he is risen from the dead: so the last error shall und Joses, und die Mutter der Kinder Zebedäi. and the mother of Zebedee’s children. When ärger denn der erste!” be worse than the first.” Am Abend aber kam ein reicher Mann von the even was come, there came a rich man of Arimathia, der hieß Joseph, welcher auch ein Arimithæa, named Joseph, who also himself was 66c EVANGELIST Pilatus sprach zu ihnen: Pilate said unto them: Jünger Jesu war, der ging zu Pilato und bat ihn Jesus’ disciple, he went to Pilate and begged PONTIUS PILATE “Da habt ihr die Hüter; gehet hin und “Ye have a watch; go your way, make it as sure as um den Leichnam Jesu. Da befahl Pilatus, man the body of Jesus. Then Pilate commanded the James Geidt verwahrets, wie ihrs wisset!” ye can!” sollte ihm ihn geben. body to be delivered.

Like the other arioso recitatives, the music for this one is based on a recurring motif. In this case it is a rocking EVANGELIST Sie gingen hin und verwahreten das Grab mit So they went, and made the sepulchre sure, motif in the first violins, suggesting the gentle breeze of evening, or the beating of the dove’s wings perhaps, with Hütern und versiegelten den Stein sealing the stone, and setting a watch. a melody in the second violins and violas. The music is evocative of appeasement after the tumultuous events we The narrative has now ended. Matthew has no more to say. The entombment is complete, the stone is in place have both witnessed and in which we have participated. We now become spectators rather than protagonists, unable and a watch has been set. In the east it is customary for close friends and relatives each to say a word or two at the to influence events any further. The arioso and aria, set in the cool calm of the evening, lay bare the reason for the graveside of a deceased person. This arioso recitative features such closing statements from each of the soloists, crucifixion – namely redemption – expressed here as the annihilation of Adam’s original sin, and as the return of the from lowest to highest. These, the four passive members of the cast, who have followed the story with us, observing dove to Noah, both described in the early chapters of Genesis, and both events happening in the evening time. The and commenting, now bid their farewells. The bass recalls the sentiment of no 64, and the tenor reminds us of change of atmosphere is fully accomplished in the following aria. The time signature of 12/8, used so pertinently in the pain and suffering that have been endured. When the countertenor (the voice of lament) enters, the emotional the opening movement and the aria which follows Peter’s denial, coupled with a frequent use of hemiolas at cadential effect of this movement changes from one of consolation to one of affliction. The key changes from major to points, imbues the music with a sense of direction and purpose. minor to prepare us for the final movement. The soprano’s final line is, perhaps, the most beautiful of all. The gentle interjections of the choir are truly moving. The disciples, the chief priests, the protagonists and the angry crowds are 64 BASS Am Abend, da es kühle war, ward Adams Fallen In the evening, when it was cool, Adam’s fall was long gone. Only the faithful believers now remain. Arioso offenbar; am Abend drücket ihn der Heiland made known; in the evening the Saviour brings recitative nieder. Am Abend kam die Taube wieder und trug an end. In the evening the dove returned and Willard White ein Ölblatt in dem Munde. carried an olive leaf in its mouth. 67 BASS Nun ist der Herr zur Ruh gebracht. Now the Lord has been laid at rest. Willard White O schöne Zeit! O Abendstunde! Der Oh beautiful time! Oh evening hour! Peace Friedensschluß ist nun mit Gott gemacht, denn has now been made with God, for Jesus has CHORUS “Mein Jesu, mein Jesu, gute Nacht!” My Jesus, my Jesus, good night! Jesus hat sein Kreuz vollbracht. Sein Leichnam endured his crucifixion. His body finds peace, TENOR Die Müh ist aus, die unsre Sünden ihm gemacht. The trouble which our sins caused him is over. kömmt zu Ruh, ach! liebe Seele, bitte du, geh, Oh, dear soul, please go, take the gift of dead Ben Thapa (1), lasse dir den toten Jesum schenken, O heilsames, Jesus, Oh healing, O precious memory! Graham Neal (8,11) O köstlichs Angedenken! CHORUS “Mein Jesu, mein Jesu, gute Nacht!” My Jesus, my Jesus, good night! 65 BASS Mach dich, mein Herze, rein, ich will Jesum Make yourself pure, my heart, I will bury Jesus Aria selbst begraben. Denn er soll nunmehr in mir für myself. For he shall have his sweet peace for ALTO O selige Gebeine, seht, wie ich euch mit Buß Oh blessed bones, see how I mourn you with Willard White und für seine süße Ruhe haben. Welt, geh aus, laß ever in me. World, go away, let Jesus in! William Towers und Reu beweine, daß euch mein Fall in solche penitence and regret that my fall brought you to Jesum ein! Not gebracht! such distress.

CHORUS “Mein Jesu, mein Jesu, gute Nacht!” My Jesus, my Jesus, good night! The choral interjection at 66b follows the same pattern as previous ones – namely a homophonic opening followed by a contrapuntal development. SOPRANO Habt lebenslang vor euer Leiden tausend Dank, A thousand lifelong thanks for your suffering that Elizabeth Adams daß ihr mein Seelenheil so wert geacht’. you so highly value the salvation of my soul.

CHORUS “Mein Jesu, mein Jesu, gute Nacht!” My Jesus, my Jesus, good night!

32 | Running Order & Programme Notes Running Order & Programme Notes | 33 Once again the full orchestral and choral forces are brought into play for this chorus, the final pillar of this colossal work, as the Christian community calls for rest and peace in the tomb. Structurally the movement is in the form of a da capo aria (ABA) and is modelled on the dignified, minor-key, Baroque dance known as the Saraband. The choral parts do not behave antiphonally this time, but are united in their grief, stating the text homophonically, or together. The tone of affliction and grief is maintained to the very end, with even the final chord having an agonising suspension, causing a dissonance on a major 7th.

68 CHORUS Wir setzen uns mit Tränen nieder und rufen dir We sit down in tears and call to you in im Grabe zu: Ruhe sanfte, sanfte ruh, ruhe sanfte, the grave: rest in peace, peacefully rest, sanfte ruh! rest in peace, peacefully rest! Rest your exhausted limbs! Rest in peace!

Ruht, ihr ausgesognen Glieder! Ruhet sanfte, Your grave and tombstone will be a comfortable ruhet wohl! Euer Grab und Leichenstein soll dem pillow and a resting place ängstlichen Gewissen ein bequemes Ruhekissen for the soul and for the fearful mind. und der Seelen Ruhstatt sein. Höchst vergnügt, Filled with pleasure, the eyes can sleep schlummern da die Augen ein. there.

Wir setzen uns mit Tränen nieder und rufen dir We sit down in tears and call to you in the grave. im Grabe zu: Ruhe sanfte, sanfte ruh, ruhe sanfte, Rest in peace, peacefully rest, rest in peace, CHRISTOPHER MONKS sanfte ruh! peacefully rest!

The founder and Artistic Director of Armonico Consort Christopher is a guest lecturer, tutor and and its ground-breaking education programme, AC coach on the Cambridge MMus choral Academy, Christopher Monks has established himself conducting course, and is a guest speaker on Credit: Peter Parfitt as a versatile and prolific conductor and arts leader. the Harvard Global Leadership Programme.

Specialising in the performance of music from the A passionate advocate of reaching out to children Baroque and late Renaissance, Christopher is equally of all backgrounds through the creation of youth at home with major and modern choral repertoire, choirs, Christopher has founded and developed and during his career he has conducted at many AC Academy, a music education programme, as of the greatest concert halls in the UK, including well as the Voice Squad workplace choir scheme, the Royal Albert Hall, the Barbican, Wigmore Hall both of which offer life-changing experiences and Cadogan Hall in London, Symphony Hall and first-class performance opportunities. Birmingham, and the RSC in Stratford-upon-Avon. When not conducting, Christopher loves Christopher performs regularly at major national fine cooking. After a long day of music festivals and has worked extensively abroad, including in preparation, he often enjoys going for a cycle Israel, Italy, Ireland and France. Alongside his work with to process everything he has worked on, and Armonico Consort, he has conducted internationally on many occasions, this is where he feels renowned orchestras and ensembles such as the that the real music learning takes place. Royal Philharmonic Orchestra, the Philharmonia and the European Union Chamber Orchestra. To anybody who asked him whether he has ever thought to give up his musical career, Christopher Many of Christopher’s latest concerts and would bluntly reply: “No, it feels bizarre when I talk recordings, including Supersize Polyphony and to other people about their jobs for which they his rendition of Purcell’s Dido & Aeneas, have struggle to get out of bed, and I have never felt like earned him several five-star reviews in The a have a job. I just wake up and do a hobby.” Times, The Independent and The Guardian.

34 | Running Order & Programme Notes Biographies | 35 in an effort to improve the wellbeing of employees. programmes such as the 53-part Missa Salisburgensis This has had an incredibly positive impact on the by Heinrich Biber, a tour of Bach’s St Matthew Passion mental health of the workforce, especially now that the with Sir Willard White and Ian Bostridge, performances beneficial effects of singing on the human mind are of Bach Concertos with Rachel Podger, Carmina so well established. The ‘Voice Squad’ has since been Burana at the Royal Albert Hall, and a tour and brand extended to workplaces and communities around the new recording of newly edited 16-part works by country and as of 2020, following a new partnership Francesco Scarlatti, which saw them perform their with the Alzheimer’s Society, now includes care homes Wigmore Hall debut back in 2003. In addition to this, and their first ever choir for those living with dementia. they are beginning a major new partnership with Most exciting of all is the new research which Foundaçion Azteca in Mexico which will see them suggests that Baroque music in particular is extremely train new choir leaders across Mexico working with effective at unlocking memories for those affected the Orchestra of the Americas to create the first high by dementia which is something the Consort plans to level symphony orchestra and chorus in the country. fully explore as they continually strive to find new ways for their musicians to thrive in the modern world. Looking further ahead, their biggest project to date will see a new commission from composer in Having now reached their 20th birthday year, Armonico residence, Toby Young for 5000 voices and symphony Consort intend to celebrate as any reckless 20-year- orchestra as part of the cultural programmes for both old might. Plans to mark this milestone include Coventry City of Culture and the Birmingham 2022 the restaging of some of their favourite concert Commonwealth Games to an audience of over 10,000.

ARMONICO CONSORT

Armonico Consort began life in 2001, set up by particular programme which earned the group their Christopher Monks and a group of university first 5 star reviews, from The Times and the BBC Music colleagues with a shared passion for music from Magazine, and there were plenty more to follow. the Renaissance to Baroque, coupled with the imagination to find new and unusual ways to present An education programme was fundamental to concerts. Audiences seemed to love their engaging Armonico Consort from the outset and now and imaginative approach, and most concerts in the encompasses three AC Academy after-school choirs first years sold out. “That gave us the confidence, and an in-school choir creation programme which energy and self-belief to carry on and do more, trains teachers as choir leaders, leaving a strong also to take more risks with our programming, legacy across the UK, to date creating almost 300 and keep on experimenting” says Christopher. choirs and choir leaders reaching over 250,000 young people. Christopher Monks says “Having The ideas kept flowing, as did the titles “many of them reached 20 years, we are seeing so many of these were created down the pub…” including the concert young people who have been with the group since programmes Naked Byrd, Supersize Polyphony, the age of 7 now singing as AC Academy Scholars Monteverdi’s Flying Circus, Too Hot to Handel, Love alongside the professional singers. It is so rewarding Handels and Baroque around the Block. Their horizons to see how the opportunities we have created have broadened to include more contemporary repertoire changed them not just as musicians, but as humans, but at the heart remained music of the Baroque and this has driven much of what we are now going and Renaissance, including some rarely heard gems on to create”. Future developments for AC Academy performed by some of the world’s finest singers and include the overseas expansion of the Choir Creation period instrument players: “We take great care to programme in Kenya working in partnership with craft programmes which bring as much little-known several organisations to create choirs for street music to life as possible, and find new and imaginative children, aiming to bring them back into health care ways to bring this music to audiences. I’m particularly and education, and away from abuse or addiction. proud of Supersize Polyphony where we perform 40 and 60-part works by Tallis and Striggio in the In 2016, in partnership with their sponsors Phillips66, round, surrounding the audience, interpolated by the Armonico Consort created a major new initiative ‘The timeless chants of Hildegard of Bingen” It was this Voice Squad’ introducing a Phillips66 workplace choir

36 | Biographies Biographies | 37 Messiah, Beethoven’s Choral Fantasy and Haydn’s Nelson Mass with the Bournemouth Symphony Orchestra in Mumbai; War Requiem at the Slovak Philharmonic Concert Hall and with the Orchestre de la Suisse Romande; Missa Solemnis with the London Symphony Orchestra; Dvořák’s Stabat Mater with Houston Symphony Orchestra; Britten’s War Requiem with Toronto Symphony Orchestra; Orff’s Carmina Burana with the Shanghai Symphony cond. Long Yu for Deutsche Grammophon’s 120th anniversary; Jonathan Dove’s There Was A Child with the Berlin Philharmonic Orchestra and Beethoven 9 with the Los Angeles Philharmonic.

TOBY SPENCE Recent opera engagements have included Ghandi Satyagraha, Paris La Belle Hélène, Lensky Eugene An honours graduate and choral scholar from Onegin and the title role in Charles Gounoud’s New College, Oxford, Toby Spence studied at the Faust at the English National Opera; Captain Vere Opera School of the Guildhall School of Music Billy Budd for Teatro Real, Opera di Roma and Royal SIR WILLARD WHITE and Drama. He was the winner of the Royal Opera House Covent Garden; Anatol Vanessa for Philharmonic Society 2011 Singer of the Year award. Frankfurt Opera; Don Ottavio at the Liceu Barcelona; One of the best-loved and most versatile opera stars at the Royal Opera, Covent Garden, the Metropolitan In concert Toby has sung with some of the most Eisenstein Die Fledermaus and Antonio The Tempest of the last 40 years, Sir Willard White’s illustrious Opera, New York, English National Opera, San Francisco renowned orchestras such as the Berlin Philharmonic for the Metropolitan Opera; Don Ottavio and Tito for career has taken him to the most prestigious Opera, the opera houses of Munich, Amsterdam, Berlin, Orchestra, Vienna Philharmonic Orchestra, Bavarian the Vienna State Opera; Essex Gloriana and Tamino opera houses and concert halls throughout the Brussels, Geneva, Hamburg, Los Angeles, Madrid, Radio Symphony Orchestra, San Francisco Symphony, Die Zauberflöte for the Royal Opera House, where world, collaborating with conductors, directors Paris, and at the Glyndebourne, Aix-en-Provence London Symphony Orchestra, London Philharmonic his previous roles have also included Ferdinand The and orchestras of the highest calibre. Highlights and Salzburg festivals. In 1989, White performed Orchestra, Los Angeles Philharmonic, Cleveland Tempest, David Die Meistersinger von Nürnberg, Count of the 2020/21 season include Esteban Montejo the role of Othello in Trevor Nunn’s production for Orchestra, Rotterdam Philharmonic and the Accademia Almaviva Il Barbiere di Siviglia, Ramiro La Cenerentola El Cimarrón for Opera Philadelphia and Seneca the Royal Shakespeare Company, alongside Sir Ian Nazionale di Santa Cecilia. He has appeared as a and Tom Rakewell The Rake’s Progress; Madwoman L’Incoronazione di Poppea at the Wiener Staatsoper. McKellen as Iago and Imogen Stubbs as Desdemona. guest soloist at the Easter Festival in Salzburg and the Curlew River for the Edinburgh Festival; Tito, Tamino Edinburgh International Festival. He has worked with and Henry Morosus Die Schweigsame Frau for the Recent highlights include Jupiter Orpheus in the On the concert platform, White sings regularly with the an impressive array of conductors such as Christoph Bavarian State Opera; Tom Rakewell and David Die Underworld at English National Opera, Luther and world’s major conductors and orchestras, including von Dohnanyi, Sir Simon Rattle, Michael Tilson Thomas, Meistersinger at Opéra de Paris; Bénédict Beatrice Crespel Les contes d’Hoffmann at La Monnaie, Trinity the London Symphony, London Philharmonic, BBC Sir Antonio Pappano, Valery Gergiev, Colin Davis, et Bénédict with the BBC Philharmonic Orchestra; Moses Aufstieg und Fall der Stadt Mahagonny at the Symphony, The Hallé, Royal Philharmonic, Royal Yannick Nézet-Séguin, Gustavo Dudamel, Edward Tito in Clemenza di Tito in Berlin; Aschenbach Festival d’Aix-en-Provence, Gorjantchikov From the Concertgebouw, La Scala, Boston Symphony, New Gardner, Roger Norrington and Charles Mackerras. Death in Venice, Herod Salome and Peter Grimes. House of the Dead at Opera National de Paris, Royal York Philharmonic, Los Angeles Philharmonic and Opera House, Covent Garden, La Monnaie and Opéra Cleveland orchestras and the Berliner Philharmoniker, A prolific recitalist, Toby has given numerous solo The 20/21 season saw Toby give his role debut as National de Lyon, Thibaut d’Arc The Maid of Orleans and he has appeared as soloist many times at the recitals for BBC Radio 3 and at London’s Wigmore Aschenbach Death in Venice for Opéra national du at Theater an der Wien, Créon Médée at the Grand BBC Proms, including the First and Last Night of Hall and has appeared at LSO St Luke’s, Opera Rhin and Florestan Fidelio for Garsington Opera and Théâtre de Genève, Publio La clemenza di Tito for the Proms and at the Proms in the Park. Highlights de Lille, at Northern Ireland Opera’s Festival of Opera North. On the concert platform Toby sang Dutch National Opera, Cadmus The Bassarids at the include Tiresias and Messenger Oedipus Rex with Voice, Janacek’s Brno International Music Festival Das Lied von der Erde with the Budapest Festival Salzburg Festival, Commendatore Don Giovanni at Esa-Pekka Salonen and the Philharmonia Orchestra at and Aldeburgh Festival. He has made numerous Orchestra cond. Iván Fischer in Vicenza, Britten the Royal Opera House, Covent Garden, The Cunning the Royal Festival Hall, Méphistophélès La Damnation recordings for Deutsche Grammophon, Decca, BMG, Serenade & Watkin’s Songs of Isolation with the little Vixen with the Berlin Philharmonic Orchestra and de Faust with the Cleveland Orchestra and at the Philips, Collins, Linn Records, Hyperion and EMI. Academy of St Martin in the Fields, Pulcinella with Sir Simon Rattle, Schigolch Lulu at English National Verbier Festival with Charles Dutoit; Golaud Pélleas the London Chamber Orchestra and took part in a Recent appearances include Mahler’s Das Klagendes Opera and for Rome Opera, Doktor Wozzeck for et Mélisande with the Chicago Symphony Orchestra; Britten/Wolf recording project for BBC Radio 3. Lied and Mendelssohn’s Die Erste Walpurgisnacht Dutch National Opera, Publio La Clemenza di Tito Bluebeard’s Castle with the Royal Philharmonic with the Houston Symphony Orchestra; Mahler’s Plan for 21/22 include role debuts as Alwa Lulu at the Salzburg Festival, for Rome Opera and at the Orchestra at the Royal Festival Hall, Marke Tristan & Symphony No. 8 at Atlanta Symphony Hall;; Missa for La Monnaie and title role Parsifal for Opera Royal Opera House, Covent Garden, and Arkel Pelléas Isolde Act II under Gergiev; a concert performance Solemnis at the NFM Wroclaw Philharmonic; Britten’s North. On the concert platform Toby will sing Das et Mélisande with the Los Angeles Philharmonic of Pélleas et Mélisande and Gershwin’s Porgy and Serenade for Tenor, Horn and Strings at the Prague Lied von der Erde with Orquestra Sinfónica do Orchestra and at the Metropolitan Opera. Bess in concert with the Berliner Philharmoniker and Rudolfinum and the Auditorium de l’Orchestre National Porto Casa da Música cond. Stefan Blunier, Jack Sir Simon Rattle; and Bluebeard’s Castle with the de Lyon; The Seasons with the Philharmonie de Paris; in Tippett’s The Midsummer Marriage with the Sir Willard White was born in Jamaica, where he Los Angeles Philharmonic and Esa-Pekka Salonen. Bruckner’s F minor Mass with the Sinfonieorchester LPO con. Edward Gardner, Mozart’s Requiem with commenced his musical training at the Jamaican Basel; Das Lied von der Erde with the Orchestra of the Malta Philharmonic Orchestra cond. Lawrence School of Music and then went on to the Juilliard Sir Willard White was awarded the CBE in 1995 and was Age of Enlightenment; Liszt’s Faust Symphony with Renes and Elgar’s The Kingdom with the Krakow School in New York. Since his operatic debut with the knighted in the Queen’s Birthday Honours in 2004. the Mozarteum Orchestra Salzburg; The Creation Philharmonic cond. Paul Goodwin. Further ahead New York City Opera in 1974, he has sung regularly with the Houston Symphony Orchestra; Handel’s Toby makes his debut with Teatro alla Scala, Milan.

38 | Biographies Become a 20th Anniversary Patron | 39 We are especially grateful to the following Benefactors who have given most generously to support our work:

CORPORATE SPONSORS Miss Jennifer Lorch CONDUCTOR’S Phillips66 Limited Miss Ursula Lowe CIRCLE JET Mr Robert Macpherson Mr & Mrs H S Brar Phillips and Becker Accountancy Dr F C Millard Mrs Hilary Eldridge Services Mrs H Mills Paul and Brigitta Lock POWERbreathe International Ltd Dr A Nicholls Mr Roger Medwell MBE DL Rayburn Tours Mr & Mrs Ian Nuttall Mr John Osborn Braunston Marina Pam O’Brien Mr David Phillips MBE Flint & Thompson Mr D R Patterson & Mrs Robina Phillips Mr Russell Payne Mr Baljit Shergill PATRONS Ms Benedetta Polk & Mrs Jinny Shergill Mrs Juliet Amery Barbara & Christopher Purser Mrs C Beecham Dr & Mrs C P Rourke PRESIDENT’S Mrs Pauline M Brace Mr Jim Rowley CIRCLE Joseph Bradshaw Mr David Sarginson Mr John Boyden BECOME A 20TH ANNIVERSARY PATRON Helen Brittain Dr Derek Smith Mr Tim Coghlan Mr David Burbidge CBE Mrs Sidney Syson Mr J Cook Mr Michael Burrows Mr I M Taylor Sir Martin Dunne KCVO In the words of our Artistic Director Christopher Monks, we will be celebrating our birthday Group Captain Peter Butcher OBE Mr & Mrs C J Thorne Mrs Margaret Eardley “like any 20-year-old should”, and we would like to invite you to celebrate with us. Mrs S Carr-Wu Mr & Mrs J & M Thorne Sir John Egan & Lady Julia Egan Miss A M Cessford Mrs Patricia Tomlinson Mr Jamie Justham Our Patrons and Benefactors have been part of our story of excellent music making Nick & Katie Chester Mrs Tyrell & Mrs Alison Justham and life-changing educational projects for 20 years. You now have the chance to be Coralie Clark Mrs J Upward Gerry Slora & Jill Slora part of the next chapter of our story by becoming a 20th Anniversary Patron. Mrs A Cook Dr Louise Warburton Mrs J Cooke Mrs J Ward In this special year, we invite you to celebrate with Mr M J Cooke Peter & Pat Wartnaby th Mr & Mrs D J Couchman Edward & Samantha Wiggin us by becoming a 20 Anniversary Member. Your IN THANKS FOR YOUR support will help us to make this an exceptional Mrs Dawn Curtis Mr & Mrs J Wynn-Evans 20th birthday year for Armonico Consort. SUPPORT, YOU WILL RECEIVE: Mrs Gemma Davies Mr Anthony E Davies EDUCATION • A special, limited edition 20th anniversary Mr & Mrs Faulds PATRONS YOUR MEMBERSHIP WILL: Armonico Consort lapel pin. Mr Tony Fitzpatrick & Mrs Helen & BENEFACTORS Fitzpatrick Mrs Evelyn Berry • Invitation to Armonico Consort’s • Help us to create exciting and innovative Mrs D Fowler Mr Ben Burbidge 20th birthday party in September. new concert programmes and projects Mr Hugh Furber & Mrs Emma Burbidge featuring the music you love, from Bach • A free drink at Armonico Consort’s 20th Pam & Roger Gadsby Roger Cadbury CBE to Bernstein to Byrd and back again; Anniversary season concerts in Warwick. Mr Malcolm Garner His Honour Richard Cole DL • Support our exceptionally talented AC Caryll Green & Dr Elizabeth Saxon & Mrs Sheila Cole • A free copy of our Greensleeves Academy Scholars through masterclasses Mr Malcolm Harbour CBE David & Sally Howells CD and 10% off the price of other with renowned professional singers, one-to- & Mrs Penny Harbour Mr David Kershaw CBE JP Armonico Consort CDs. one coaching and online singing lessons; Dr Barbara A Harland Mr Peter Marsh • Build new choirs and a new love of singing in • Acknowledgement in Armonico Revd Wendy Heaney Mr Nigel May schools across the country, including special Consort’s 20th Anniversary season Monica Heath Capt. Dermot Rhodes needs schools, through our amazing AC brochures and concert programmes. Dr J Henderson Dr Paul Thandi CBE DL Academy “choir creation” programme; Mr J S W Jeffery & Mrs Nicki Thandi • Exclusive e-newsletter. • Bring the joy of singing to workplaces, hospitals Mr Andrew Lawton Roger Wiglesworth and care homes, particularly supporting Mrs S J Liggins those living with dementia and their carers Minimum monthly payment of £12.50 to unlock memories and alleviate side- Annual payment of £150* effects, often more effectively than drugs.

* To continue until at least December 2022

40 | Benefactors page name The Dream of Gerontius Bournemouth Symphony Chorus ARMONICO CONSORT & ORCHESTRA AC ACADEMY CHOIRS Bournemouth Chamber Orchestra DIRECTOR CHRISTOPHER MONKS

SAT 06 NOVEMBER 2021 Lighthouse Poole 7.30pm Sunday 26th September THE OCTAGON THEATRE, YEOVIL TUE 09 NOVEMBER 2021 MALVERN THEATRES WED 10 NOVEMBER 2021 Diana Montague mezzo Gavin Carr conductor WARWICK ARTS CENTRE

John Findon tenor Chris Dowie organ www.armonico.org.uk Stephen Gadd bass

Messiah ARMONICO CONSORT & BAROQUE PLAYERS DIRECTOR CHRISTOPHER MONKS £16 £22 £26 £28 £30 £36 with concessions SOLOISTS TO BE ANNOUNCED

www.lighthousepoole.co.uk WED 08 DECEMBER 2021 01202 280000 WARWICK ARTS CENTRE THU 23 DECEMBER 2021 MALVERN THEATRES - ON SALE MID-JULY In aid of the BSC Sandrey Date Choral Scholarship Fund www.armonico.org.uk 42 | page name page name | 43 ‘PURE PLEASURE’ THE GUARDIAN THE INDEPENDENT THE TIMES BBC MUSIC MAGAZINE THE TELEGRAPH

ARMONICO CONSORT’S

CELEBRATION TOUR

ARMONICO CONSORT HEINRICH BIBER & BAROQUE PLAYERS MISSA SALISBURGENSIS A 53 ALESSANDRO STRIGGIO DIRECTOR CHRISTOPHER MONKS MISSA SOPRA ECCO SI BEATO GIORNO (60 PART MASS) THE ENGLISH CORNETT & SACKBUT ENSEMBLE THOMAS TALLIS SPEM IN ALIUM

SAT 25 SEPTEMBER 2021 | 7.30PM COLLEGIATE CHURCH OF ST MARY, WARWICK FRI 01 OCTOBER 2021 | 7.30PM MALVERN THEATRES SAT 09 OCTOBER 2021 | 7PM LIGHTHOUSE, POOLE

www.armonico.org.uk This performance is generously supported by Hilary Eldridge, member of the conductor’s circle and our thanks to Professor Alan Richens Registeredpage charity name no. 1103159 for also generously supporting this concert.