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Home , Pamela Dellal, St John Passion

Music of the Baroque Chorus and Orchestra Jane Glover, Music Director

Soprano 1 Flute Laura Amend Gina DiBello, Mary Stolper, principal Alyssa Bennett concertmaster Alyce Johnson Bethany Clearfield Kevin Case, co-assistant Katelyn Lee concertmaster Hannah Dixon Kathleen Brauer, McConnell co-assistant Anne Bach, principal Susan Nelson concertmaster Peggy Michel Bahareh Poureslami Teresa Fream Emily Yiannias Michael Shelton Bassoon William Buchman Alto Violin 2 Margaret Fox Sharon Polifrone, Julia Hardin principal Organ Amanda Koopman Ann Palen Michael Beattie Maggie Mascal Paul Vanderwerf Ilana Goldstein Kiju Joh Anna VanDeKerchove Lori Ashikawa Theorbo Daniel Swenberg

Tenor Viola Sam Grosby Elizabeth Hagen, Supertitles Brendon Marsh principal Robert McConnell Josh R. Pritchett Terri Van Valkinburgh Ryan Townsend Strand Claudia Lasareff- Zachary Vanderburg Mironoff Christopher Windle Amy Hess

Bass Cello Corey Grigg Barbara Haffner, Jan Jarvis principal Keven Keys Judy Stone Kevin Krasinsky Craig Trompeter Kyle Sackett Max Seiffert Viola da gamba Craig Trompeter

Bass Collins Trier, principal Michael Hovnanian The St. John Passion Biographies Acclaimed British conductor Jane Glover has been Jane Glover, conductor Music of the Baroque’s music director since 2002. She William Jon Gray, chorus director made her professional debut at the Wexford Festival in 1975, conducting her own edition of Cavalli’s L’Eritrea. Sunday, March 25, 2018, 3:00 PM She joined Glyndebourne in 1979 and was music North Shore Center for the Performing Arts, Skokie director of Glyndebourne Touring Opera from 1981 until 1985. She was artistic director of the London Mozart Players from 1984 to 1991 and has also held Monday, March 26, 2018, 7:30 PM principal conductorships of both the Huddersfield and Harris Theater for Music and Dance, Chicago the London Choral Societies. From 2009 until 2016, she was director of opera at the Royal Academy of Music, where she is now the Felix Mendelssohn Visiting Professor. Thomas Cooley, and tenor Jane Glover has conducted all the major symphony and chamber orchestras in Michael Sumuel, and bass arias Britain, as well as orchestras in Europe, the United States, Asia, and Australia. Yulia Van Doren, soprano arias In recent seasons she has appeared with the Cleveland Orchestra, the San Meg Bragle, alto arias Francisco, Houston, St. Louis, Sydney, Cincinnati, and Toronto symphony orchestras, the Philadelphia Orchestra, the Orchestra of St. Luke’s, the Keven Keys, Pilate Belgrade Philharmonic, and Orchestre National Bordeaux Aquitaine. Kyle Sackett, Peter Bahareh Poureslami, Maid In demand on the international opera stage, Jane Glover has appeared with Ryan Townsend Strand, Servant numerous companies including the Metropolitan Opera, Royal Opera, Covent Garden, English National Opera, Royal Danish Opera, Glyndebourne, the Berlin Staatsoper, Glimmerglass Opera, New York City Opera, Opéra National de Bordeaux, Opera Australia, Chicago Opera Theater, Opéra National du Rhin, Opera Theatre of Saint Louis, Luminato, Teatro Real, and Teatro La Fenice. Passion According to St. John, Known as a Mozart specialist, she has conducted all the Mozart operas all over BWV 245 (1685-1750) the world regularly since she first performed them at Glyndebourne in the 1980s. Her core operatic repertoire also includes Monteverdi, Handel, and Britten. Highlights of recent seasons include The Magic Flute with the Metropolitan Opera, The Turn of the Screw and Lucio Silla in Bordeaux, The Rape of Lucretia, A Midsummer Night’s Dream, L’incoronazione di Poppea, La clemenza di Tito, and Così fan tutte at the Aspen Music Festival, L’elisir d’amore for Houston Grand Opera, Gluck’s Armide and Iphigenie en Aulide Part I with Met Young Artists and Juilliard, Don Giovanni and The Magic Flute at Opera Theatre of Saint Louis, and Eugene Onegin, The Rake’s Progress, The Marriage of Figaro, L’incoronazione di Poppea, and the world premiere of Sir Peter Maxwell Davies’ Kommilitonen! at the Royal Academy of Music. INTERMISSION Current and future engagements include Alcina for Washington Opera, Alma Deutscher’s Cinderella (U.S. premiere) for San Jose Opera, and (with Fiona Shaw) Medea in Omaha and concerts with the Cleveland Orchestra, the San Part II Francisco Symphony, the Houston Symphony, and the Minnesota Orchestra. Jane Glover’s discography includes a series of Mozart and Haydn symphonies with the London Mozart Players and recordings of Haydn, Mozart, Schubert, Mendelssohn, Britten, and Walton with the London Philharmonic, the Royal Philharmonic, and the BBC Singers. Recent releases include Handel’s (Signum) and Haydn Masses (Naxos). Her critically acclaimed book Mozart’s Women is published in the U.S. by HarperCollins, and Handel in London will appear in 2018. Soprano Yulia Van Doren’s recent performances include Masses with Orchestra of the Age of Enlightenment, and Bach’s St. Matthew Messiah with the Toronto Symphony Orchestra, Handel’s Passion and Christmas on tour with the . Joshua with Philharmonia Baroque Orchestra, Poulenc’s Gloria with the Milwaukee Symphony Orchestra, Meg Bragle has performed as a soloist in North America and Europe with many Mendelssohn’s Elijah with the Charlotte Symphony, a of the world’s premier early music ensembles, including Philharmonia Baroque Canadian tour of Bach’s with Arion Orchestra, English Baroque Soloists, Orchestre Révolutionnaire et Romantique, Baroque Orchestra, and Mark Morris Dance Group’s Dido Tafelmusik, Orchestra of the Age of Enlightenment, Les Violons du Roy, and Aeneas at the Brooklyn Academy of Music. She last Apollo’s Fire, and the . She recently sang the role of Idamante appeared with Music of the Baroque in April 2016. in Mozart’s Idomeneo at the Carmel Bach Festival. She has also portrayed Dido and the Sorceress in Purcell’s Dido and Aeneas, Dardano in Handel’s Career highlights include creating the lead female role in the world premiere of Amadigi, Amastre in Handel’s Serse, Speranza in Monteverdi’s L’Orfeo, Ippolita Shostakovich’s Orango with the Los Angeles Philharmonic, directed by Peter in Cavalli’s Elena, and Elpina in Vivaldi’s La fida ninfa. Sellars and released on Deutsche Grammophon; two Grammy-nominated opera recordings with the Boston Early Music Festival; the modern revival of A featured soloist with Sir John Eliot Gardiner and the English Baroque Monsigny’s opera Le Roi et le fermier at Opéra Royal de Versailles, Lincoln Soloists, she has made four recordings with the group, including Bach’s Easter Center, and the Kennedy Center (recorded for Naxos); a tour of Handel’s and Ascension —the vehicle for her BBC Proms debut—and Bach’s Orlando with Philharmonia Baroque Orchestra to the Mostly Mozart, Ravinia, Mass in B Minor. and Tanglewood festivals; Scarlatti’s Tigrane at Opéra de Nice; nationally- televised performances at the Cartagena International Music Festival with Tenor Thomas Cooley can be heard this season at soprano Dawn Upshaw; and creating a leading role in the world premiere Carnegie Hall with the Orchestra of St. Luke’s (Mozart’s staging of Lera Auerbach’s The Blind at the Lincoln Center Festival. Mass in C Minor); with Los Angeles Chamber Orchestra (Britten’s Serenade); the Utah (Mozart’s Mass in C Minor), Especially recognized for her work in Baroque repertoire, Yulia Van Doren has North Carolina (Mozart’s Requiem), and Indianapolis performed with most of the North American Baroque festivals and orchestras. (Penderecki’s Credo) Symphonies; Philharmonia Baroque Other recent debuts and engagements include performances with the San Orchestra (Beethoven’s Mass in C Major); and Boston Francisco Symphony, Toronto Symphony Orchestra, Houston Symphony, Baroque (Mozart’s Requiem and Telemann’s St. Luke Cincinnati Symphony Orchestra, Nashville Symphony, Baltimore Symphony Passion). Abroad, he embarks on a European tour with Orchestra, Indianapolis Symphony Orchestra, Milwaukee Symphony Orchestra, MusicAeterna Orchestra in Mozart’s Requiem, and performs in the Netherlands Cleveland Orchestra, the Los Angeles Master , the Folger Consort, and with Orchestra of the Eighteenth Century and in Hannover with NDR two trips to the Netherlands for performances with Radio Kamer Filharmonie. Radiophilharmonie. He last performed with Music of the Baroque in May 2017.

Recent engagements include Beethoven’s Ninth Symphony with the Mezzo-soprano Meg Bragle’s recent and upcoming Copenhagen Philharmonic, Bremen Philharmonic, and the Baltimore and performances include appearances with the Milwaukee Milwaukee symphony orchestras; Britten’s War Requiem with the Grand Symphony Orchestra in the Mozart Requiem, Cincinnati Philharmonic , Atlanta and Indianapolis symphony orchestras, and the Symphony Orchestra in Bach’s Mass in B Minor, St. Paul Oregon Symphony; Bob Boles in Britten’s Peter Grimes with the St. Louis Chamber Orchestra in Pergolesi’s Stabat Mater, American Symphony at Carnegie Hall; Peter Quint in Britten’s Turn of the Screw with the Bach Soloists in Handel’s La resurrezione, Early Music St. Paul Chamber Orchestra; a Handel and Monteverdi tour in Poland with Vancouver in Bach’s , and the Winter Park and Boston Baroque; the world premiere of Christopher Theofanidis’ Creation Carmel Bach festivals. She last appeared with Music of the Oratorio with the Atlanta Symphony Orchestra; Bach’s Mass in B Minor with Baroque in November 2015. Choral Arts Society of Washington; the title role in Handel’s Samson with American Classical Orchestra; an all-Bach program with Les Violons du Roy; Recent orchestral highlights in the U.S. and Canada include Beethoven’s Mass and Acis in a new production of Handel’s Acis and Galatea with Mark Morris in C with the Houston Symphony, Mozart’s Requiem with the Indianapolis Dance Group. Symphony Orchestra, Handel’s Judas Maccabaeus with the Pacific Symphony, Mendelssohn’s Elijah with the Colorado Symphony, Handel’s Messiah with the Thomas Cooley’s recordings include Mathan in Handel’s Athalia with the National Arts Center Orchestra, and a series of concerts with the Calgary Kölner Kammerchor (MDG) and the premiere recording of Vivaldi’s Dixit Philharmonic including Messiah and Beethoven’s Symphony No. 9. She Dominus (Deutsche Grammophon) as well as Mozart’s Requiem with the performed Bruno Moretti’s Vespro with New York City Ballet, Bach’s Lutheran Windsbacher Knabenchor (Sony) and Mozart’s Coronation Mass and Mass in C Minor with (Coro Allegro). American bass-baritone Michael Sumuel’s recent and Music of the Baroque’s chorus director since 2010, William upcoming performances include Belcore in L’elisir d’amore Jon Gray is the director of choral studies at the University at Houston Grand Opera under Jane Glover, Masetto in Don at Albany–SUNY. He previously served as the chair of the Giovanni at San Francisco Opera, and Alidoro in La choral department at the Indiana University Jacobs School Cenerentola at Norwegian National Opera. Concert of Music. He has been associate conductor of the Carmel engagements include debuts with the Cleveland Orchestra Bach Festival in California, leading major choral and as Pilate in Bach’s St. John Passion, Mozart’s Requiem with orchestral works and preparing performances with the Phoenix Symphony, and Beethoven’s Symphony No. 9 renowned conductor Bruno Weil. He has also been with the American Classical Orchestra at Lincoln Center. assistant conductor of Boston’s Handel and Haydn Society. These concerts mark his debut with Music of the Baroque. William Jon Gray has made guest appearances with orchestras and at festivals Recent opera highlights include a return to San Francisco Opera as Escamillo around the United States, including the Handel and Haydn Society, Princeton in Calixto Bieto’s staging of Carmen, Glyndebourne Festival Opera for Theseus Festival, National Chamber Orchestra, Billings Symphony, and the Lafayette in Britten’s A Midsummer Night’s Dream and Junius in Britten’s The Rape of Symphony. In August 2010, he prepared the Grant Park Festival Chorus for Lucretia, North Carolina Opera for Sharpless in Madama Butterfly, Opera performances of Dvořák’s Requiem in collaboration with Carlos Kalmar. He has Southwest as Selim in Il Turco in Italia, his debut at Lyric Opera of Chicago as prepared choruses for the Indianapolis Symphony Orchestra and the National Masetto in Don Giovanni, Papageno in The Magic Flute with Houston Grand Chamber Orchestra. As faculty director of opera choruses for the Indiana Opera, his San Francisco Opera debut as Tom in the world premiere of University Opera Theatre, he collaborated with such notable directors as Tito Christopher Theofanidis’ Heart of a Soldier, and Elviro in Handel’s Xerxes Capobianco (La traviata), Colin Graham (Peter Grimes), Vincent Liotta (A View alongside David Daniels and Susan Graham. from the Bridge), and Tomer Zvulun (Faust).

On the concert stage, he made his debut with the Netherlands Radio William Jon Gray served as artistic director of the Masterworks Chorus and Philharmonic Orchestra in Mozart’s Mass in C Minor; joined the University Orchestra of Washington, D.C. from 1986 to 1993, and was artistic director of Musical Society (Ann Arbor), Mercury Houston, and the United States Naval the Bach Chorale Singers from 1994 to 2010, conducting more than 100 Academy for Handel’s Messiah; and sang with the Santa Barbara Symphony in performances of major choral works. With the Bach Chorale Singers, he selected scenes from Gershwin’s Porgy and Bess. He has performed the roles received national critical acclaim for the commercially released recording of Frank in Strauss’ Die Fledermaus, Masetto, and Schaunard in John Caird’s In Praise of the Organ: Latin Choral and Organ Music of Zoltán Kodály. new production of La bohéme.

Other concert highlights include Messiah with the Baltimore Symphony Orchestra, Houston Symphony, Louisiana Philharmonic Orchestra, and San Francisco Symphony, where he later returned to perform Copland’s Old American Songs. He also appeared in a program called “Around the World” for a New Year’s Eve concert with the Dayton Philharmonic Orchestra. He has made multiple appearances with Mercury Houston including a project called “Napoleon and the Battle of Nations,” and performed excerpts from Rameau’s Les Amants trahis and Thétis. He also appeared with Da Camera of Houston in a multi-media program of Brahms and Schoenberg Lieder called “In the Garden of Dreams.” Program Notes

While the term “passion” in music refers most simply to the dramatization of Music of the Baroque the Crucifixion, its nuances are much more complex. As Wilfred Mellers writes in his 1981 book Bach and the Dance of God, “The meanings of the word gratefully acknowledges the passion are multiple, and are relevant to Bach's music. Its root is in passive suffering; but its association with pathos relates it also to pity and terror, and it also has overtones of enthusiasm, anger, and sexual desire.” Mellers goes on to analyze the Passion According to St. John in the context of what he calls the persistent human need to “humanize the mythological,” declaring Bach’s to be the culmination of this impulse. Although some have criticized Negaunee Foundation Mellers’ interpretation as overly Freudian, it highlights the most important part of the Passion tradition: the interlacing of ancient events with contemporary interpretations. By mixing Bible verses, modern commentary, and eighteenth- for its continued sponsorship century musical language, Bach and other composers made this timeless story an active part of their own culture and history. of the 2017-18 season, including Musical depictions of the Crucifixion, from plainsong Passions in the medieval era to motet Passions in the early modern period, had long been a part of these performances devotional life. And although had decreed that “The Passion of Christ should not be acted out in words and pretense, but in real life,” sung of the St. John Passion Passion performances were used in the Lutheran liturgy from the start. In the mid-sixteenth century, Luther’s friend and musical advisor Johann Walter created a German dramatic (or responsorial) Passion consisting of text sung monophonically by the Evangelist and other “characters” and simple choral statements by the people and disciples. Although his wasn’t the only Lutheran Passion, Walter’s work had an extremely strong influence in the ensuing centuries.

Over the course of the seventeenth century—particularly in Germany—the genre began assuming characteristics of opera. Soloists had “parts,” such as Jesus or , and communicated their stories through and arias. Further, the traditional Gospel narrative was intermingled with Lutheran chorale texts and contemporary poetry in order to make the story more meaningful for the predominantly Lutheran audience. Although still a religious work, the resulting “oratorio Passion” was virtually a form of entertainment in eighteenth-century Germany. In Hamburg, Passions were nearly as popular as opera.

Bach’s Passions were strictly intended for performance at church, however. As part of his responsibilities as Cantor for the town of , a role he assumed in May 1723, Bach had to produce music for every Sunday and feast day of the Lutheran liturgical calendar, as well as for other occasions upon request. Written as part of his contractual obligation, the Passion According to St. John was first performed in 1724 during the liturgy. Unlike Bach’s other major choral works, the St. John Passion underwent at least three extensive revisions during the composer’s lifetime. The most radical was for the second performance in 1725, for which Bach replaced the opening chorus “Herr, unser Herrscher” with the chorale fantasia “O Mensch bewein dein Sünde gross” that eventually became the conclusion of Part I of the St. Matthew Passion, and the concluding chorale with the chorus “Christe, du Lamm Gottes” now found at From our vantage point, it is easy to see that Bach's St. John Passion by the end of Cantata No. 23. no means comes to terms with all ecumenically or socially troubling aspects of the Gospel's first-century text. Yet there are significant steps in The text of the Passion According to St. John—which Bach himself may have the right direction. Crucial in this regard is the work’s nonexclusivist compiled—is comprised of lengthy quotations from scripture and modern commentary on John 19:30, the “Mein teurer Heiland.” With extensive “commentary” based on several 17th-century sources, including B. H. Brockes’ melismas on the word “redemption,” the bass soloist asks, concerning 1712 Passion poem Der für die Sünde der Welt gemarterte und sterbende Jesus’ death, “is redemption of all the world here?” and proclaims the Jesus (Jesus Who is Tormented and Dies for the Sins of the World). answer, “yes.” Interestingly, George Frideric Handel’s setting of this text was one of the musical sources for his nascent oratorio Esther, which Music of the Baroque In his 2010 book Bach’s Dialogue with Modernity: Perspectives on the performed for the first time in February 2018. Throughout the Passion, Bach Passions, conductor suggests that the most interesting question is uses music to call attention to key concepts and bring to life the emotions of not what Bach believed, but why the St. John Passion continues to enthrall the participants. The choruses are filled with pungent chromaticism and rich listeners nearly 300 years later. New York Times music critic James Oestreich harmonies that highlight particular words. In the chorus “Wer hat dich so notes in a recent review that last year in New York City there were no geschlagen,” for example, a heartrending suspension illustrates the word performances of the St. Matthew Passion and five of the St. John, concluding “geschlagen” (struck). The solo arias are equally filled with opportunities for that the latter’s extreme emotion is what makes it so appealing. As Butt muses, musical depiction. In the alto aria “Von den Stricken,” a tapestry of vocal and “It is as if [Bach] had entered into a ‘Faustian pact,’ by which he sought for his instrumental lines illustrates “the tangle of my transgression.” The flute music an extraordinarily strong power in articulating and enhancing faith within “follows” the soprano line in “Ich folge dir,” and the lengthy melismas in the Lutheran religion, but in doing so gave to music an autonomous logic and “Zerfliesse meine Herz” seem to mimic torrents of weeping. referential power that goes well beyond the original purpose.” Bach was very much a product of his time, a servant of the church producing music on Along with its rich musical language, the St. John Passion exhibits striking demand—yet his gifts completely eclipse his own mortality. This tension musical architecture. At the work’s heart, Bach sets choral movements similar between social circumstance and artistic brilliance is one of the most in subject matter to the same music, creating a symmetry that ultimately fascinating aspects of Bach’s art. highlights some of the main dramatic conceits: denial and ridicule, Christ’s crucifixion, and attempts to justify his treatment. Standing alone is the chorale ©Jennifer More, 2018 “Durch dein Gefängnis,” which presents the Passion’s primary message: Christ’s bondage ironically brings freedom for humankind. This symmetry is no accident—as musicologist Michael Marissen suggests, “[it gives] formal expression to a Lutheran notion of the inevitability of Jesus’ crucifixion, making it a reflection of God's predetermination—more fated, and less the result of a story that dynamically unfolds.”

As Marissen’s interpretation implies, the St. John Passion is undeniably the product of eighteenth-century Lutheran thought, a fact that has generated controversy even in the past year. In a 2017 article in the New Yorker, Alex Ross writes, “Of the Evangelists, John is the most vindictive toward the Jews, and many Baroque settings of his Passion narrative preserve that animus… Bach’s setting is somewhat less severe.” Like Marissen, some scholars have sought to determine the extent to which Bach’s own beliefs were aligned with eighteenth-century anti-Semitic sentiment, and see the contemporary commentary as the real key to understanding. While the gospel text highlights the actions of the Jewish participants, other sections of the Passion focus more broadly on the notion so central to eighteenth-century : as a result of original sin, all humans are guilty and in need of redemption. When the chorus asks, “Wer hat dich geschlagen?” (Who has struck you so?) toward the end of Part I, the answer is unequivocal: “Ich, ich und meine Sünden,/Die sich wie Körnlein finden/Des Sandes an dem Meer” (I, I and my sins, which are [as many] as the grains of sand on the seashore). Marissen concludes: Text Jesus Jesus PART I Wen suchet ihr? Whom do you seek? Coro Chorus Herr, unser Herrscher, dessen Ruhm Lord, our ruler, Whose fame Evangelist Evangelist In allen Landen herrlich ist! In every land is glorious! Sie aber sprachen: And they said, however: Zeig uns durch deine Passion, Show us, through Your passion, Daß du, der wahre Gottessohn, That You, the true Son of God, Coro Chorus Zu aller Zeit, Through all time, Jesum von Nazareth. Jesus of Nazareth. Auch in der größten Niedrigkeit, Even in the greatest humiliation, Verherrlicht worden bist! Have become transfigured! Evangelist Evangelist Jesus antwortete: Jesus answered: Evangelist Evangelist Jesus ging mit seinen Jüngern über Jesus went with His disciples over the Jesus Jesus den Bach Kidron, da war ein Garten, brook Cedron, where there was a garden, Ich hab’s euch gesagt, daß ich’s sei, I have told you that I am He; if you darein ging Jesus und into which Jesus entered with suchet ihr denn mich, so lasset diese seek Me, then let these seine Jünger. His disciples. gehen! people go! Judas aber, der ihn verriet, wußte Judas, however, who betrayed Him, den Ort auch, denn Jesus also knew the place, for Jesus Choral Chorale versammlete sich oft daselbst mit often met there with His disciples. O große Lieb, o Lieb ohn alle Maße, O great love, o love beyond measure, seinen Jüngern. Da nun Judas zu sich Now Judas, having gathered Die dich gebracht auf diese that brought You to this path of hatte genommen die Schar und der a band of servants of Marterstraße! martyrdom! Hohenpriester und Pharisäer Diener, the high and Pharisees, Ich lebte mit der Welt in Lust und I lived with the world in delight kommt er dahin mit Fackeln, Lampen came there with torches, lamps, Freuden, and joy, und mit Waffen. Als nun Jesus wußte and weapons. Now Jesus, knowing Und du mußt leiden. and You had to suffer. alles, was ihm begegnen sollte, ging all that would happen to Him, er hinaus und sprach zu ihnen: went out and said to them: Evangelist Evangelist Auf daß das Wort erfüllet würde, So that the word might be fulfilled, Jesus Jesus welches er sagte: Ich habe der keine which He spoke: “I have lost none Wen suchet ihr? Whom do you seek? verloren, die du mir gegeben hast. Da that You have given to me.” hatte Simon Petrus ein Schwert und Then Simon Peter, who had a sword, Evangelist Evangelist zog es aus und schlug nach des drew it out and struck at the Sie antworteten ihm: They answered him: Hohenpriesters Knecht und hieb ihm servant of the high and cut off sein recht Ohr ab; und der Knecht his right ear; and the servant’s name Coro Chorus hieß Malchus. Da sprach Jesus zu was Malchus. Then Jesus said to Jesum von Nazareth Jesus of Nazareth. Petro: Peter:

Evangelist Evangelist Jesus Jesus Jesus spricht zu ihnen: Jesus said to them: Stecke dein Schwert in die Scheide! Put your sword in its sheath! Soll ich den Kelch nicht trinken, den Shall I not drink the cup, which Jesus Jesus mir mein Vater gegeben hat? My Father has given to Me? Ich bin’s. I am He. Choral Chorale Evangelist Evangelist Dein Will gescheh, Herr Gott, zugleich Your will be done, Lord God, likewise Judas aber, der ihn verriet, stund auch Judas, however, who betrayed Him, Auf Erden wie im Himmelreich. on earth as in heaven. bei ihnen. Als nun Jesus zu ihnen stood also with them. Now when Jesus Gib uns Geduld in Leidenszeit, Grant us patience in time of sorrow, sprach: Ich bin’s, wichen sie zurücke said to them: I am He, they drew back Gehorsam sein in Lieb und Leid; to be obedient in love and suffering; und fielen zu Boden. Da fragete er sie and fell to the ground. Then He Wehr und steur allem Fleisch und Blut, check and guide all flesh and blood abermal: asked them again: Das wider deinen Willen tut! that acts contrary to Your will! Evangelist Evangelist Evangelist Evangelist Die Schar aber und der The crowd, however, and the Er sprach: He said: Oberhauptmann und die Diener der captain and the servants of the Jüden nahmen Jesum und bunden ihn Jews took Jesus and bound Him Petrus Peter und führeten ihn aufs erste zu and led Him first to Annas, who was Ich bin’s nicht. I am not. Hannas, der war Kaiphas Schwäher, the father-in-law of , welcher des Jahres Hoherpriester war. the high priest that year. Evangelist Evangelist Es war aber Kaiphas, der den Jüden It was Caiaphas, however, who Es stunden aber die Knechte und The soldiers and servants stood around riet, es wäre gut, daß ein Mensch counselled the Jews, that it would be Diener und hatten ein Kohlfeu’r and they had made a coal fire, for it würde umbracht für das Volk. good if one man died for the people. gemacht denn es war kalt und was cold, and warmed themselves. wärmeten sich. Petrus aber stund bei Peter, however, stood with them and Aria Aria ihnen und wärmete sich. Aber der warmed himself. But the high priest Von den Stricken meiner Sünden To untie me Hohepriester fragte Jesum um seine questioned Jesus about His disciples Mich zu entbinden, from the knots of my sins, Jünger und um seine Lehre. Jesus and about His teachings. Jesus Wird mein Heil gebunden. my Savior is bound. antwortete ihm: answered him: Mich von allen Lasterbeulen To completely heal me Völlig zu heilen, of all blasphemous sores, Jesus Jesus Läßt er sich verwunden. He allows Himself to be wounded. Ich habe frei, öffentlich geredet für der I have spoken freely and openly Welt. Ich habe allezeit gelehret in der before the world. I have taught all the Evangelist Evangelist Schule und in dem Tempel, da alle time in the synagogue and in the Simon Petrus aber folgete Jesu nach Simon Peter followed after Jesus and Jüden zusammenkommen, und habe temple, where all Jews gather, and I und ein ander Jünger. another disciple. nichts im Verborgnen geredt. Was have said nothing in secret. Why do you fragest du mich darum? Frage die ask me about this? Ask those about it, Aria Aria darum, die gehöret haben, was ich zu who have heard what I said to them! Ich folge dir gleichfalls mit freudigen I follow You likewise with happy steps ihnen geredet habe! Siehe, dieselbigen Behold, these same people Schritten and do not leave You, wissen, was ich gesaget habe. know what I have said. Und lasse dich nicht, my Life, my Light. Mein Leben, mein Licht. Pursue your journey, Evangelist Evangelist Befördre den Lauf and don’t stop, Als er aber solches redete, gab der As He was saying this, however, one of Und höre nicht auf, continue to draw me on, Diener einer, die dabeistunden, Jesu the servants who stood by gave Jesus a Selbst an mir zu ziehen, zu schieben, to push me, einen Backenstreich und sprach: blow on his cheek and said: zu bitten. to urge me. Diener Servant Evangelist Evangelist Solltest du dem Hohenpriester also Is this how You answer the high priest? Derselbige Jünger war dem This same disciple was known to the antworten? Hohenpriester bekannt und ging mit high priest and went inside with Jesus Jesu hinein in des Hohenpriesters in the high priest’s palace. Peter, Evangelist Evangelist Palast. Petrus aber stund draußen für however, stood outside at the door. Jesus aber antwortete: Jesus answered: der Tür. Da ging der andere Jünger, Then the other disciple, who was der dem Hohenpriester bekannt war, known to the high priest, went outside Jesus Jesus hinausund redete mit der Türhüterin and spoke with the girl guarding the Hab ich übel geredt, so beweise es, If I have spoken ill, then make it known und führete Petrum hinein. Da sprach door and brought Peter inside. Then daß es böse sei, hab ich aber recht that it is ill spoken; however if I spoke die Magd, die Türhüterin, zu the maid, the doorkeeper, said to geredt, was schlägest du mich? rightly, why do you strike Me? Petro: Peter: Choral Chorale Magd Maid Wer hat dich so geschlagen, Who has struck You thus, Bist du nicht dieses Menschen Jünger Aren’t you one of this man’s disciples? Mein Heil, und dich mit Plagen my Savior, and with torments einer? So übel zugericht’? so evilly used You? Du bist ja nicht ein Sünder You are not at all a sinner Wie wir und unsre Kinder, like us and our children, Weil der Knecht den Herrn verleugnet since the servant has denied the Lord. Von Missetaten weißt du nicht. You know nothing of transgressions. hat. Ich, ich und meine Sünden, I, I and my sins, Die sich wie Körnlein finden that can be found like the grains Choral Chorale Des Sandes an dem Meer, of sand by the sea, Petrus, der nicht denkt zurück, Peter, who did not recollect, Die haben dir erreget these have brought You Seinen Gott verneinet, denied his God, Das Elend, das dich schläget, this misery that assails You, Der doch auf ein’ ernsten Blick who yet after a serious glance Und das betrübte Marterheer. and this tormenting martyrdom. Bitterlichen weinet. wept bitterly. Jesu, blicke mich auch an, Jesus, look upon me also, Evangelist Evangelist Wenn ich nicht will büßen; when I will not repent; Und Hannas sandte ihn gebunden zu And Annas sent Him bound to the high Wenn ich Böses hab getan, when I have done evil, dem Hohenpriester Kaiphas. Simon priest Caiaphas. Simon Peter Rühre mein Gewissen! stir my conscience! Petrus stund und wärmete sich, da stood and warmed himself, when they sprachen sie zu ihm: said to him: PART II Choral Chorale Coro Chorus Christus, der uns selig macht, Christ, who makes us blessed, Bist du nicht seiner Jünger einer? Aren’t you one of His disciples? Kein Bös’ hat begangen, committed no evil deed, Der ward für uns in der Nacht for us He was taken in the night Evangelist Evangelist Als ein Dieb gefangen, like a thief, Er leugnete aber und sprach: He denied it and said: Geführt für gottlose Leut led before godless people Und fälschlich verklaget, and falsely accused, Petrus Peter Verlacht, verhöhnt und verspeit, scorned, shamed, and spat upon, Ich bin’s nicht. I am not. Wie denn die Schrift saget. as the Scripture says.

Evangelist Evangelist Evangelist Evangelist Spricht des Hohenpriesters Knecht’ One of the high priest’s servants, Da führeten sie Jesum von Kaiphas Then they led Jesus before Caiaphas in einer, ein Gefreundter des, dem a friend of the man whose ear Peter vor das Richthaus, und es war frühe. front of the judgment hall, and it was Petrus das Ohr abgehauen hatte: had cut off, said: Und sie gingen nicht in das Richthaus, early. And they did not go into the auf daß sie nicht unrein würden, judgment hall, so that they would not Diener Servant sondern Ostern essen möchten. Da become unclean; rather that they could Sahe ich dich nicht im Garten bei ihm? Didn’t I see you in the garden with Him? ging Pilatus zu ihnen heraus und partake of Passover. Then Pilate came sprach: outside to them and said: Evangelist Evangelist Da verleugnete Petrus abermal, und Then Peter denied it again, and just then Pilatus Pilate alsobald krähete der Hahn. Da the cock crew. Was bringet ihr für Klage wider diesen What charge do you bring against this gedachte Petrus an die Worte Jesu Then Peter recalled Jesus’ words and went Menschen? man? und ging hinaus und weinete bitterlich. out and wept bitterly. Evangelist Evangelist Aria Aria Sie antworteten und sprachen zu ihm: They answered and said to him: Ach, mein Sinn, Alas, my conscience, Wo willt du endlich hin, where will you flee at last, Coro Chorus Wo soll ich mich erquicken? where shall I find refreshment? Wäre dieser nicht ein Übeltäter, wir If this man were not an evil-doer, we Bleib ich hier, Should I stay here, hätten dir ihn nicht überantwortet. wouldn’t have turned Him over to you. Oder wünsch ich mir or do I desire Berg und Hügel auf den Rücken? mountain and hill at my back? Evangelist Evangelist Bei der Welt ist gar kein Rat, In all the world there is no counsel, Da sprach Pilatus zu ihnen: Then Pilate said to them: Und im Herzen and in my heart Stehn die Schmerzen remains the pain Pilatus Pilate Meiner Missetat, of my misdeed, So nehmet ihr ihn hin und richtet ihn Then take Him away and judge Him after nach eurem Gesetze! your law! Evangelist Evangelist Was dir zu schenken. of a fit offering to You. Da sprachen die Jüden zu ihm: Then the Jews said to him: Ich kann’s mit meinen Sinnen nicht I cannot with my mind, erreichen, grasp Coro Chorus Womit doch dein Erbarmen zu how to imitate Your Wir dürfen niemand töten. We may not put anyone to death. vergleichen. mercy. Wie kann ich dir denn deine How can I then repay Your Evangelist Evangelist Liebestaten deeds of love Auf daß erfüllet würde das Wort Jesu, So that the word of Jesus might be Im Werk erstatten? with my actions? welches er sagte, da er deutete, fulfilled, which He spoke, where He welches Todes er sterben würde. Da indicated what death He would die. Then Evangelist Evangelist ging Pilatus wieder hinein in das Pilate went back into the judgment hall Da sprach Pilatus zu ihm: Then Pilate said to Him: Richthaus und rief Jesu und sprach zu and called Jesus and said to Him: ihm: Pilatus Pilate So bist du dennoch ein König? Then You are a King? Pilatus Pilate Bist du der Jüden König? Are You the King of the Jews? Evangelist Evangelist Jesus antwortete: Jesus answered: Evangelist Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Du sagst’s, ich bin ein König. Ich bin You say I am a King. I was born for Jesus Jesus dazu geboren und in die Welt this, and came into the world, that I Redest du das von dir selbst, oder Do you say this of yourself, or have kommen, daß ich die Wahrheit might bear witness to the truth. haben’s dir andere von mir gesagte? others said this of Me? zeugen soll. Wer aus der Wahrheit ist, Whoever is of the truth hears der höret meine Stimme. My voice. Evangelist Evangelist Pilatus antwortete: Pilate answered: Evangelist Evangelist Spricht Pilatus zu ihm: Pilate said to Him: Pilatus Pilate Bin ich ein Jüde? Dein Volk und die Am I a Jew? Your people and the high Pilatus Pilate Hohenpriester haben dich mir priests have delivered You to me; what Was ist Wahrheit? What is truth? überantwortet; was hast du getan? have You done? Evangelist Evangelist Evangelist Evangelist Und da er das gesaget, ging er wieder And when he had said this, he Jesus antwortete: Jesus answered: hinaus zu den Jüden und spricht went out again to the Jews and zu ihnen: said to them: Jesus Jesus Mein Reich ist nicht von dieser Welt; My Kingdom is not of this world; Pilatus Pilate wäre mein Reich von dieser Welt, if my Kingdom were of this world, Ich finde keine Schuld an ihm. Ihr habt I find no fault in Him. However, you meine Diener würden darob kämpfen, my servants would fight over this, aber eine Gewohnheit, daß ich euch have a custom, that I release someone daß ich den Jüden nicht so that I would not be handed over einen losgebe; wollt ihr nun, daß ich to you; do you wish now, that I release überantwortet würde; aber nun ist to the Jews; now, however, my euch der Jüden König losgebe? the King of the Jews to you? mein Reich nicht von dannen. Kingdom is not from here. Evangelist Evangelist Choral Chorale Da schrieen sie wieder allesamt und They shouted again together then and Ach großer König, groß zu allen Zeiten, Ah great King, great for all times, sprachen: answered: Wie kann ich gnugsam diese Treu how can I sufficiently ausbreiten? proclaim this love? Coro Chorus Keins Menschen Herze mag indes No human’s heart, however, Nicht diesen, sondern Barrabam! Not this one, but Barabbas! ausdenken, can conceive Evangelist Evangelist Dornenkrone und Purpurkleid. Und er of thorns and a purple mantel. And Pilate Barrabas aber war ein Mörder. Da Barrabas however was a murderer. Then sprach zu ihnen: said to them: nahm Pilatus Jesum und geißelte ihn. Pilate took Jesus and scourged Him. Pilatus Pilate Arioso Arioso Sehet, welch ein Mensch! Behold, what a Man! Betrachte, meine Seel, mit Contemplate, my soul, with anxious ängstlichem Vergnügen, pleasure, Evangelist Evangelist Mit bittrer Lust und halb beklemmtem with bitter joy and half-constricted Da ihn die Hohenpriester und die When the high priests and servants Herzen heart, Diener sahen, schrieen sie und saw Him, they screamed and said: Dein höchstes Gut in Jesu your highest good in Jesus’ sprachen: Schmerzen, suffering, Wie dir auf Dornen, how for you, out of the thorns Coro Chorus so ihn stechen, that pierce Him, Kreuzige, kreuzige! Crucify, crucify! Die Himmelsschlüsselblumen blühn! the tiny ‘keys of Heaven’ bloom! Du kannst viel süße Frucht von seiner You can pluck much sweet fruit Evangelist Evangelist Wermut brechen from his wormwood; Pilatus sprach zu ihnen: Pilate said to them: Drum sieh ohn Unterlass auf ihn! therefore gaze without pause upon Him! Pilatus Pilate Aria Aria Nehmet ihr ihn hin und kreuziget ihn; You take Him away and crucify Him; for I Erwäge, wie sein blutgefärbter Consider, how His blood-stained denn ich finde keine Schuld an ihm! find no fault in Him! Rücken back In allen Stücken in every aspect Evangelist Evangelist Dem Himmel gleiche geht, is like Heaven, Die Jüden antworteten ihm: The Jews answered him: Daran, nachdem die Wasserwogen in which, after the watery deluge Von unsrer Sündflut sich verzogen, was released upon our flood of sins, Coro Chorus Der allerschönste Regenbogen the most beautiful rainbow Wir haben ein Gesetz, und nach dem We have a law, and according to that law Als Gottes Gnadenzeichen steht! as God’s sign of grace was placed! Gesetz soll er sterben; denn er hat He should die; for He has made Himself sich selbst zu Gottes Sohn gemacht. into God’s Son. Evangelist Evangelist Und die Kriegsknechte flochten eine And the soldiers wove a Evangelist Evangelist Krone von Dornen und satzten sie auf crown of thorns and set it upon Da Pilatus das Wort hörete, fürchtet’ er When Pilate heard this, he became more sein Haupt und legten ihm ein His head, and laid a purple mantel on sich noch mehr und ging wieder hinein afraid and went back inside to the Purpurkleid an und sprachen: Him, and said: in das Richthaus und spricht zu Jesu: judgment hall and said to Jesus:

Coro Chorus Pilatus Pilate Sei gegrüßet, lieber Jüdenkönig! Hail to You, dear King of the Jews! Von wannen bist du? Where do You come from?

Evangelist Evangelist Evangelist Evangelist Und gaben ihm Backenstreiche. Da And gave Him blows on the cheek. Then Aber Jesus gab ihm keine Antwort. But Jesus gave him no answer. ging Pilatus wieder heraus und sprach Pilate went back outside and spoke Dasprach Pilatus zu ihm: Then Pilate said to Him: zu ihnen: to them: Pilatus Pilate Pilatus Pilate Redest du nicht mit mir? Weißest du You don’t speak to me? Don’t You Sehet, ich führe ihn heraus zu euch, Behold, I bring Him out to you, nicht, daß ich Macht habe, dich zu know that I have the power to crucify daß ihr erkennet, daß ich keine so that you recognize, that I find no kreuzigen, und Macht habe, dich You, and the power to release You? Schuld an ihm finde. fault in Him. loszugehen?

Evangelist Evangelist Evangelist Evangelist Also ging Jesus heraus und trug eine Then Jesus went out and wore a crown Jesus antwortete: Jesus answered: Jesus Jesus Pilatus Pilate Du hättest keine Macht über mich, You would have no power over Me, Soll ich euren König kreuzigen? Shall I crucify your King? wenn sie dir nicht wäre von oben if it were not given to you from above; herab gegeben; darum, der mich dir therefore, he who has delivered Me to Evangelist Evangelist überantwortet hat, der hat’s größ’re you has the greater sin. Die Hohenpriester antworteten: The high priests answered: Sünde. Coro Chorus Evangelist Evangelist Wir haben keinen König denn den We have no King but Von dem an trachtete Pilatus, wie er From then on Pilate considered how he Kaiser. Caesar. ihn losließe. might release Him. Evangelist Evangelist Choral Chorale Da überantwortete er ihn, daß er Then he delivered Him to be Durch dein Gefängnis, Gottes Sohn, Through Your prison, Son of God, gekreuziget würde. Sie nahmen aber crucified. They took Jesus and Muß uns die Freiheit kommen; must freedom come to us; Jesum und führeten ihn hin. Und er led him away. And He carried His Cross, Dein Kerker ist der Gnadenthron, Your cell is the throne of grace, trug sein Kreuz und ging hinaus zur and went up to the place that is Die Freistatt aller Frommen; the sanctuary of all the righteous; Stätte, die da heißet Schädelstätt, called the Place of the Skull, which is Denn gingst du nicht die Knechtschaft for if you had not undergone welche heißet auf Ebräisch: Golgatha. called in Hebrew: Golgatha. ein, servitude, Müßt unsre Knechtschaft ewig sein. our slavery would have been eternal. Aria e Coro Aria with Chorus Eilt, ihr angefochtnen Seelen, Hurry, you tempted souls, Evangelist Evangelist Geht aus euren Marterhöhlen, come out of your caves of torment, Die Jüden aber schrieen und The Jews, however, screamed and Eilt—Wohin?—nach Golgatha! hurry—where?—to Golgatha! sprachen: said: Nehmet an des Glaubens Flügel, Take up the wings of faith, Flieht—Wohin?—zum Kreuzeshügel, fly—where?—to the Hill of the Cross, Coro Chorus Eure Wohlfahrt blüht allda! Your salvation blooms there! Lässest du diesen los, so bist du des If you let this man go, you are not a Kaisers Freund nicht; denn wer sich friend of Caesar; for whoever makes Evangelist Evangelist zum Könige machet, der ist wider den himself a king is against Caesar. Allda kreuzigten sie ihn, und mit ihm There they crucified Him, and Kaiser. zween andere zu beiden Seiten, two others with Him on either side, Jesum aber mitten inne. Pilatus aber Jesus in the middle. Pilate Evangelist Evangelist schrieb eine Überschrift und satzte sie wrote a signpost and set it Da Pilatus das Wort hörete, führete er When Pilate heard this, he brought auf das Kreuz, und war geschrieben: upon the Cross, and there was written Jesum heraus und satzte sich auf den Jesus outside and sat upon the “Jesus von Nazareth, der Jüden on it: “Jesus of Nazareth, the King of the Richtstuhl, an der Stätte, die da judgment seat, at the place that is König.” Diese Überschrift lasen viel Jews.” This signpost was read by many heißet: Hochpflaster, auf Ebräisch called High Pavement, in Hebrew, Jüden, denn die Stätte war nahe bei Jews, for the place where Jesus was aber: Gabbatha. Es war aber der however: Gabbatha. But it was the der Stadt, da Jesus gekreuziget ist. crucified was near the city. And it was Rüsttag in Ostern um die sechste Sabbath-day at Passover at the sixth Und es war geschrieben auf written in the Hebrew, Greek, Stunde, und er spricht zu den Jüden: hour, and he said to the Jews: ebräische, griechische und lateinische and Latin languages. Then the Sprache. Da sprachen die high priests of the Jews Pilatus Pilate Hohenpriester der Jüden zu Pilato: said to Pilate: Sehet, das ist euer König! Behold, this is your King! Coro Chorus Evangelist Evangelist Schreibe nicht: der Jüden König, Do not write: The King of the Jews, Sie schrieen aber: But they shrieked: sondern daß er gesaget habe: Ich bin rather that He said: I am the King of the der Jüden König. Jews. Coro Chorus Weg, weg mit dem, kreuzige ihn! Off, off with him, crucify Him! Evangelist Evangelist Pilatus antwortet: Pilate answered: Evangelist Evangelist Spricht Pilatus zu ihnen: Pilate said to them: Pilatus Pilate Choral Chorale Was ich geschrieben habe, das habe What I have written, I have written. Er nahm alles wohl in acht He took good care of everything ich geschrieben. In der letzten Stunde, in the last hour, Seine Mutter noch bedacht, still thinking of His mother, Choral Chorale Setzt ihr ein’ Vormunde. He provided a guardian for her. In meines Herzens Grunde In the bottom of my heart O Mensch, mache Richtigkeit, O mankind, do justice, Dein Nam und Kreuz allein Your name and Cross alone Gott und Menschen liebe, love God and humanity, Funkelt all Zeit und Stunde, sparkles at all times and hours, Stirb darauf ohn alles Leid, die without any sorrow, Drauf kann ich fröhlich sein. for which I can be joyful. Und dich nicht betrübe! and do not be troubled! Erschein mir in dem Bilde Shine forth for me in that image Zu Trost in meiner Not, as comfort in my need, Evangelist Evangelist Wie du, Herr Christ, so milde how You, Lord Christ, so gently Und von Stund an nahm sie der And from that hour the disciple took her Dich hast geblut’ zu Tod! bled to death! Jünger zu sich. Darnach, als Jesus to himself. Afterwards, when Jesus knew wusste, daß schon alles vollbracht that everything was already Evangelist Evangelist war, daß die Schrift erfüllet würde, accomplished, so that the Scripture Die Kriegsknechte aber, da sie The soldiers that had spricht er: might be fulfilled, He said: Jesum gekreuziget hatten, nahmen crucified Jesus took His seine Kleider und machten vier Teile, clothing and made four parts, Jesus Jesus einem jeglichen Kriegesknechte sein one part for each soldier, Mich dürstet! I thirst! Teil, dazu auch den Rock. Der Rock the same also with His robe. aber war ungenähet, von oben an The robe had no seam, Evangelist Evangelist gewürket durch und durch. being woven from top to bottom. Da stund ein Gefäße voll Essigs. Sie There was a vessel full of vinegar. Da sprachen sie untereinander: Then they said to each other: fülleten aber einen Schwamm mit They filled a sponge with vinegar and Essig und legten ihn um einen Isopen, placed it on a hyssop, and held it Coro Chorus und hielten es ihm dar zum Munde. directly to His mouth. Now when Lasset uns den nicht zerteilen, Let’s not divide this, rather let’s toss for Da nun Jesus den Essig genommen Jesus had taken the vinegar, sondern darum losen, wes er sein soll. it, to see whose it will be. hatte, sprach er: He said:

Evangelist Evangelist Jesus Jesus Auf daß erfüllet würde die Schrift, die So that the Scripture might be fulfilled, Es ist vollbracht! It is finished! da saget: Sie haben meine Kleider which says: "They have divided my unter sich geteilet und haben über clothing among themselves and have Aria Aria meinen Rock das Los geworfen, cast lots over my robe." These things Es ist vollbracht! It is finished! Solches taten die Kriegesknechte. Es the soldiers did. However, there stood O Trost vor die gekränkten Seelen! O comfort for the ailing soul! stund aber bei dem Kreuze Jesu seine by Jesus’ Cross His mother and His Die Trauernacht The night of sorrow Mutter und seiner Mutter Schwester, mother’s sister, Mary, the wife of Läßt nun die letzte Stunde zählen. now measures out its last hour. Maria, Kleophas Weib, und Maria Cleophas, and Mary Magdalene. Der Held aus Juda siegt mit The hero out of Judah conquers with Magdalena. Da nun Jesus seine Now when Jesus saw His mother Macht might Mutter sahe und den Jünger dabei and the disciple standing near, Und schließt den Kampf. and concludes the battle. stehen, den er lieb hatte, spricht er zu whom He loved, He said to Es ist vollbracht! It is finished! seiner Mutter: His mother: Evangelist Evangelist Jesus Jesus Und neiget das Haupt und verschied. And bowed His head and departed. Weib, siehe, das ist dein Sohn! Woman, behold, this is your son! Aria e Coro Aria with Chorus Evangelist Evangelist Mein teurer Heiland, laß dich fragen, My precious Savior, let me ask, Darnach spricht er zu dem Jünger: Afterwards He said to the disciple: Da du nunmehr ans Kreuz geschlagen Now that you have been nailed to the Cross Jesus Jesus Und selbst gesagt: Es ist vollbracht, and have said yourself: It is finished, Siehe, das ist deine Mutter! Behold, this is your mother! Bin ich vom Sterben frei gemacht? Am I made free from death? Kann ich durch deine Pein und Sterben Can I, through your pain and death, Beine gebrochen und sie their bones to be broken and that they Das Himmelreich ererben? inherit the kingdom of heaven? abgenommen würden. Da kamen die be taken away. So the soldiers came Ist aller Welt Erlösung da? Has the redemption of the world arrived? Kriegsknechte und brachen dem and broke the bones of the first Du kannst vor Schmerzen zwar nichts You cannot say a single thing out of ersten die Beine und dem andern, der and the other one, who had been sagen; pain; mit ihm gekreuziget war. Als sie aber crucified with Him. But when they Doch neigest du das Haupt yet you bow Your head zu Jesu kamen, da sie sahen, daß er came to Jesus, and they saw that Und sprichst stillschweigend: ja. and say silently: yes. schon gestorben war, brachen sie ihm He was already dead, they did not die Beine nicht; sondern der break His bones; instead one of the Jesu, der du warest tot, Jesus, You, who were dead, Kriegsknechte einer eröffnete seine soldiers opened His side with a Lebest nun ohn Ende, live now unendingly, Seite mit einem Speer, und alsobald spear, and immediately blood and In der letzten Todesnot in the last pangs of death ging Blut und Wasser heraus. Und der water came out. And he that saw Nirgend mich hinwende I will turn nowhere else das gesehen hat, der hat es bezeuget, this, bore witness to it, and his Als zu dir, der mich versühnt, but to You, who has absolved me, und sein Zeugnis ist wahr, und testimony is true, and this same O du lieber Herre! O beloved Lord! derselbige weiß, daß er die Wahrheit knows that he speaks the truth so Gib mir nur, was du verdient, Only give me what You earned, saget, auf daß ihr gläubet. Denn that you believe. For all this has Mehr ich nicht begehre! more I do not desire! solches ist geschehen, auf daß die happened in order that the Scripture Schrift erfüllet würde: “Ihr sollet ihm might be fulfilled: “You shall break Evangelist Evangelist kein Bein zerbrechen.” Und abermal none of His bones.” And in addition Und siehe da, der Vorhang im Tempel And behold, the curtain in the temple spricht eine andere Schrift: “Sie another Scripture says: zerriss in zwei Stück von oben an bis was torn in two pieces from top to werden sehen, in welchen sie “They will behold what they have unten aus. Und die Erde erbebete, bottom. And the earth shook, gestochen haben.” pierced.” und die Felsen zerrissen, und die and the cliffs were rent, and Gräber täten sich auf, und stunden auf the graves opened up, and many Choral Chorale viel Leiber der Heiligen. bodies of saints arose. O hilf, Christe, Gottes Sohn, O help, Christ, Son of God, Durch dein bitter Leiden, through Your bitter Passion, Arioso Arioso Daß wir dir stets untertan that we, being always obedient to You, Mein Herz, in dem die ganze Welt My heart—while the entire world All Untugend meiden, might shun all vice, Bei Jesu Leiden gleichfalls leidet, with Jesus’ suffering likewise suffers; Deinen Tod und sein Ursach Your death and its cause Die Sonne sich in Trauer kleidet, the sun drapes itself in mourning, Fruchtbarlich bedenken, consider fruitfully, Der Vorhang reißt, der Fels zerfällt, the curtain is rent, the crag crumbles, Dafür, wiewohl arm und schwach, so that, although poor and weak, Die Erde bebt, die Gräber spalten, the earth trembles, the graves split open, Dir Dankopfer schenken! we might offer you thanksgiving! Weil sie den Schöpfer sehn erkalten, since they behold the Creator growing cold; Evangelist Evangelist Was willst du deines Ortes tun? —how shall you react from your depths? Darnach bat Pilatum Joseph von Afterwards Joseph from Arimathia, Arimathia, der ein Jünger Jesu war who was one of Jesus’ disciples Aria Aria doch heimlich aus Furcht vor den (though secretly out of fear of the Zerfließe, mein Herze, in Fluten der Dissolve, my heart, in floods of Jüden, daß er möchte abnehmen den Jews), asked Pilate whether he might Zähren tears Leichnam Jesu. Und Pilatus erlaubete take away Jesus’ body. And Pilate Dem Höchsten zu Ehren! to honor the Highest! es. Derowegen kam er und nahm den permitted it. Therefore he came and Erzähle der Welt und dem Himmel die Tell the world and heaven the Leichnam Jesu herab. Es kam aber took the body of Jesus away. But Not: anguish: auch Nikodemus, der vormals bei der Nicodemus also came, who previously Dein Jesus ist tot! Your Jesus is dead! Nacht zu Jesu kommen war, und had come to Jesus in the night, and brachte Myrrhen und Aloen brought myrrh and aloe with Evangelist Evangelist untereinander, bei hundert Pfunden. him in hundred-weights. Then Die Jüden aber, dieweil es der Rüsttag The Jews, however, since it was the Da nahmen sie den Leichnam Jesu they took the body of Jesus and war, daß nicht die Leichname am Sabbath day, so that the corpses would und bunden ihn in Leinen Tücher mit wrapped it in linen cloths with spices, Kreuze blieben den Sabbat über denn not remain on their crosses over the Spezereien, wie die Jüden pflegen zu as is the Jewish custom of burial. desselbigen Sabbats Tag war sehr Sabbath (for this particular Sabbath day begraben. Es war aber an der Stätte, However, there was a garden near the groß, baten sie Pilatum, daß ihre was very great), asked Pilate for da er gekreuziget ward, ein Garten, place where He was crucified, and in und im Garten ein neu Grab, in this garden a new grave, in which no welches niemand je geleget war. one had ever been laid. In that same Daselbst hin legten sie Jesum, um des grave they laid Jesus, according to the Rüsttags willen der Jüden, dieweil das Sabbath wishes of the Jews, since the Grab nahe war. grave was nearby.

Coro Chorus Ruht wohl, ihr heiligen Gebeine, Rest well, you blessed limbs, Die ich nun weiter nicht beweine, now I will no longer mourn you, Ruht wohl und bringt auch mich zur rest well and bring me also to Ruh! peace! Das Grab, so euch bestimmet ist The grave that is allotted to you Und ferner keine Not umschließt, and encloses no further suffering, Macht mir den Himmel auf und opens heaven for me and schließt die Hölle zu. closes off Hell.

Choral Chorale Ach Herr, laß dein lieb Engelein Ah, Lord, let Your dear little angel, Am letzten End die Seele mein at my final end, take my soul In Abrahams Schoß tragen, to Abraham’s bosom. Den Leib in seim Let my body, in its little sleeping Schlafkämmerlein chamber, Gar sanft ohn eigne Qual und Pein absolutely softly, without any anguish or Ruhn bis am jüngsten Tage! pain, rest until the last day! Alsdenn vom Tod erwecke mich, At that day wake me from death, Daß meine Augen sehen dich so that my eyes may see You In aller Freud, o Gottes Sohn, in all joy, o Son of God, THE BACH Mein Heiland und Genadenthron! my Savior and Throne of grace! Herr Jesu Christ, erhöre mich, Lord Jesus Christ, hear me, Ich will dich preisen ewiglich! I will praise You eternally! FAMILY SOCIETY

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