in 2014

Saturday 10 May from 9.30am to 6.00pm Come & Sing Day BRAHMS GERMAN with Matthew Owens in Wells Methodist Church

Saturday 8 November at 7.00pm BRAHMS EIN DEUTSCHES REQUIEM (in the original German) BRAHMS ALTO RHAPSODY VAUGHAN WILLIAMS THE LARK ASCENDING

Katherine Broderick Soprano Rachael Lloyd Mezzo Soprano Darren Jeffery Baritone Thomas Kemp Violin Southern Sinfonia Matthew Owens Conductor

Saturday 6 December at 7.00pm HANDEL MESSIAH

Lesley-Jane Rogers Soprano Louise Mott Mezzo Soprano David Butt-Philip Tenor Andrew Kidd Bass• Andrew Kidd (Bass) Music for Awhile Orchestra (period instruments) Matthew Owens Conductor

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Johann Sebastian Bach (1685-1750)

St John Passion (Johannes-Passion) BWV 245 ______

Rogers Covey-Crump Evangelist Ali Darragh Maid & Soprano Simon Clulow Countertenor Mark Hounsell Tenor Dominic Bowe Pilate Christopher Sheldrake Jesus & Bass ______

Wells Cathedral Oratorio Society ______

Music for Awhile Orchestra (period instruments) Margaret Faultless Leader Christopher Bucknall Harpsichord Jeremy Woodside Chamber Organ ______

Matthew Owens Conductor ______

This concert takes place in the Cathedral by kind permission of the Chapter of Wells Cathedral. The use of mobile tele- phones, photography or recording of any kind is forbidden except by express permission of the Chapter.

The Society is grateful for the generous financial support received from Battens Solicitors for this evening’s concert.

Printed music supplied by Somerset Libraries, Arts & Information

Wells Cathedral Oratorio Society Is affiliated to Making Music.

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Programme Notes “Next to the Word of God, the noble art of work was again mostly secular with an music is the greatest treasure in the world.” emphasis on dance music. He eventually wrote Martin Luther. The only Protestant left after the Prince cut his music budget— leader who taught that worship should be partly because his new wife disliked Bach’s essentially musical, Luther was also a music. chorister in Eisenach in Saxony, and later In May 1723 Bach applied for the post of preached there. Director of Music for . The Council- Born into a great Lutheran musical family in lors had wanted Telemann from Hamburg 1685, also in Eisenach just 200 years after —and then had four other applicants Luther, followed him before Bach. One Councillor remarked with there as a chorister before he was awarded a sigh that since the best man could not be a two year choral scholarship at age 14 at gotten they must make do with a mediocri- the prestigious St. Michael’s School in Lüne- ty. Bach was there for the remaining 27 burg. There he came into contact with years of his life. many of the sons of North German noble- As well as music for municipal events Bach men, some of whom would later give him was responsible for overseeing the music employment. In 1703 he was appointed in the four main churches; his no. 1 , court musician to the court in Weimar consisting of sixteen singers and eighteen where, in just seven months, his keyboard instrumentalists, sang on alternate Sun- reputation grew to such an extent that he days at the two principal churches. During was invited to give an inaugural recital on the first six years in Leipzig Bach composed the fine new tempered organ in St Boni- five annual cycles, each of sixty church face’s, Arnstadt—and was then given the cantatas, plus at least three Passions. post of organist there with light duties and Throughout his life, of 1,000 compositions a generous salary. three-quarters were for use in worship; After dissatisfaction with the singers, and Bach wrote in his bible: “At a reverent his employer’s later dissatisfaction with him performance of music, God is always at after a long unauthorised absence to visit hand with his gracious presence.” Buxtehude in Lübeck, Bach moved to the The was prepared for Good organist’s post at St Blasius’s, Mühlhausen Friday, April 14th 1724. Part One tells the with better singers and a higher salary. story of the capture of Jesus in the Garden In 1708 he moved back to Weimar as of Gethsemane and his interrogation by organist and from 1714 was Konzertmeister Annas, brother-in-law of the High-Priest at the Duke’s court with a large group of Caiaphas. Part Two tells of Jesus being well-paid professional musicians. There he handed over to the Roman governor Pilate, wrote much orchestral and keyboard music, who was convinced that Jesus had commit- taking an interest in Italian composers and ted no crime; the insistence of the Jews transcribing some of Vivaldi’s concertos. that Jesus be condemned to death because In 1717 he again fell from grace and was he had called himself their “king”; of his unfavourably discharged after spending a crucifixion and death; his removal from the month under arrest. cross by Joseph of Arimathea and the hasty Bach was next hired to serve as Kappel- burial due to the approaching Sabbath. meister for the Prince of Anhalt-Köthen. The words of the historical persons— The Prince was a Calvinist and thus little Christ, Pilate, Peter, and John as Evange- music was used in his worship so Bach’s

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list—are set in recitatives, followed by solos of Erasmus’s New Testament into colloquial commenting on the emotional and spiritual contemporary German. Bach followed meaning of the events described. The cho- chapters 18 and 19 of the Gospel of John rus portrays the crowd—soldiers, priests, with the tenor Evangelist following exactly and populace—in addition to singing cho- the words of Luther’s bible. The compiler of rales based on familiar themes. By contrast, the additional poetry is unknown. In Part the arias are special events (there are just Two the dramatic argument between Pi- three in the whole of the first part) during late, Jesus, and the crowd is not interrupted which the course of the Passion drama is by reflective arias but by a central chorale paused and room is made for profound (40)—“Through your captivity, Son of God, reflection. The words used are from freedom must come to us.” Luther’s 1522 translation from the Greek Programme Notes by Neill Bonham Part One

BETRAYAL AND CAPTURE John 18:1–14

1 Chorus Herr, unser Herrscher, Lord, our ruler, dessen Ruhm whose praise in allen Landen herrlich ist! is glorious in all lands, zeig uns durch deine Passion, show us by your Passion daß du, der wahre Gottessohn, that You, the true Son of God, zu aller Zeit, at all times, auch in der größten Niedrigkeit, even in the greatest humiliation, verherrlicht worden bist! have been glorified.

2 Recitative Evangelist: Jesus ging mit seinen Jüngern über den Jesus went with his disciples across the Bach Kidron, da war ein Garten, darein brook Kidron, where there was a garden, ging Jesus und seine Jünger. Judas aber, which Jesus and his disciples entered. Judas, der ihn verriet, wußte den Ort auch, however, who betrayed him, also knew the denn Jesus versammlete sich oft spot, for Jesus often gathered in that very daselbst mit seinen Jüngern. Da nun place with his disciples. Now when Judas Judas zu sich hatte genommen die Schar had engaged a detachment of soldiers, und der Hohenpriester und Pharisäer along with attendants of the chief priests Diener, kommt er dahin mit Fackeln, and Pharisees, he came to that place with Lampen und mit Waffen. Als nun Jesus torches, lanterns, and with weapons. Now wußte alles, was ihm begegnen sollte, since Jesus knew everything that should ging er hinaus und sprach zu ihnen: happen to him, he went out and said to them: Jesus: Wen suchet ihr? Who is it you want?

Evangelist: Sie antworteten ihm: They answered him:

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3 Chorus Soldiers: Jesum von Nazareth! Jesus of Nazareth 4 Recitative Evangelist: Jesus spricht zu ihnen: Jesus said to them: Jesus: Ich bin’s. I am he. Evangelist: Judas aber, der ihn verriet, stund auch Judas, however, who betrayed him, also bei ihnen. Als nun Jesus zu ihnen sprach: stood with them. Now when Jesus said to “Ich bin’s,” wichen sie zurücke und fielen them, “I am he,” they drew back and fell to zu Boden. Da fragete er sie abermal: the ground. He then asked them once more:

Jesus: Wen suchet ihr? Who is it you want? Evangelist: Sie aber sprachen: They again said: 5 Chorus Soldiers: Jesum von Nazareth! Jesus of Nazareth. 6 Recitative Evangelist: Jesus antwortete: Jesus answered:

Jesus: Ich hab’s euch gesagt, daß ich’s sei, su- I have told you that I am he. If I am the man chet ihr denn mich, so lasset diese you want, then let these others go! gehen! 7 Chorale O große Lieb, o Lieb ohn alle Maße, O great love, O love beyond all measure Die dich gebracht that has brought you auf diese Marterstraße to this path of torment! Ich lebte mit der Welt I lived with the world in Lust und Freuden, in delight and joy, Und du mußt leiden. and you have to suffer. 8 Recitative Evangelist: Auf daß das Wort erfüllet würde, welch- This was to make good his words, “I have not es er sagte: Ich habe der keine verloren, lost one of those whom you have given me.” die du mir gegeben hast. Da hatte Simon Then Simon Peter drew the sword he had Petrus ein Schwert und zog es aus und and struck at the high priest’s servant and schlug nach des Hohenpriesters Knecht cut off his right ear. (The servant’s name was und hieb ihm sein recht Ohr ab; und der Malchus.) Then Jesus said to Peter Knecht hieß Malchus. Da sprach Jesus zu Petro:

Jesus: Stecke dein Schwert in die Scheide! Soll Put your sword back in its sheath. Shall I not ich den Kelch nicht trinken, den mir mein drink the cup that my Father has given me? Vater gegeben hat? 6

9 Chorale Dein Will gescheh, Your will be done, Herr Gott, zugleich Lord God, alike Auf Erden wie im Himmelreich. on earth as in the kingdom of heaven. Gib uns Geduld in Leidenszeit, Make us patient in time of suffering, Gehorsam sein in Lieb und Leid; obedient in both love and misfortune; Wehr und steur restrain and hold in check allem Fleisch und Blut, all flesh and blood Das wider deinen Willen tut! that goes against your will. 10 Recitative Evangelist: Die Schar aber und der Oberhauptmann The detachment with their commander, und die Diener der Jüden nahmen Jesum and the Jewish attendants, now arrested und bunden ihn und führeten ihn aufs Jesus and bound him and led him first to erste zu Hannas, der war Kaiphas Annas. Annas was father-in-law of Caia- Schwäher, welcher des Jahres Hoher- phas, the high priest for that year—the priester war. Es war aber Kaiphas, der den same Caiaphas who had advised the Jews Jüden riet, es wäre gut, daß ein Mensch that it would be good that one man be put würde umbracht für das Volk. to death for the people. 11 Aria (Alto) Von den Stricken meiner Sünden From the bonds of my sins Mich zu entbinden, To unbind me, Wird mein Heil gebunden. my Salvation is bound. Mich von allen Lasterbeulen To heal me fully Völlig zu heilen, from all boils of vice, Läßt er sich verwunden. he lets himself be wounded.

PETER'S DENIAL John 18:15–27, Matthew 26:75

12 Recitative Evangelist Simon Petrus aber folgete Jesu nach und Simon Peter then followed Jesus, with ein ander Jünger. another disciple. 13 Aria (Soprano) Ich folge dir gleichfalls I will follow you likewise mit freudigen Schritten with joyful steps Und lasse dich nicht, and will not let you go, Mein Leben, mein Licht. my Life, my Light. Befördre den Lauf Pave the way, Und höre nicht auf, and do not stop Selbst an mir zu ziehen, drawing me on, Zu schieben, zu bitten. shoving and imploring me yourself. 14 Recitative Evangelist: Derselbige Jünger war dem Hohenpriester This same disciple was known to the high bekannt und ging mit Jesu hinein in des priest and went with Jesus into the high Hohenpriesters Palast. Petrus aber stund priest’s palace. But Peter stopped at the 7

draußen für der Tür. Da ging der andere door outside. Then the other disciple, the Jünger, der dem Hohenpriester bekannt one known to the high priest, went out war, hinaus und redete mit der Türhüterin again and spoke to the woman on duty at und führete Petrum hinein. the door and brought Peter in. Da sprach die Magd, die Türhüterin, zu The girl, the one on duty at the door, said Petro: to Peter:

Maid: Bist du nicht dieses Menschen Jünger Aren’t you one of this man’s disciples? einer? Evangelist: Er sprach: He said:

Peter: Ich bin’s nicht. I am not! Evangelist: Es stunden aber die Knechte und Diener The servants and the attendants stood und hatten ein Kohlfeu’r gemacht (denn es around and, having made a charcoal fire war kalt) und wärmeten sich. Petrus aber (for it was cold), warmed themselves. And stund bei ihnen und wärmete sich. Aber Peter too was standing with them, sharing der Hohepriester fragte Jesum um seine the warmth. The high priest questioned Jünger und um seine Lehre. Jesus antwor- Jesus about his disciples and about what tete ihm: he was teaching. Jesus replied: Jesus: Ich habe frei öffentlich geredet für der I have spoken freely and openly before Welt. Ich habe allezeit gelehret in der the world. I have always taught in the Schule und in dem Tempel, da alle Jüden synagogue and in the Temple, where all zusammenkommen, und habe nichts im Jews congregate, and have spoken noth- Verborgnen geredt. Was fragest du mich ing in secret. Why question me about darum? Frage die darum, die gehöret ha- these things? Ask those who have heard ben, was ich zu ihnen geredet habe! Siehe, me what I told them. These know what I dieselbigen wissen, was ich gesaget habe. have said! Evangelist: Als er aber solches redete, gab der Diener When he spoke this way, one of the einer, die dabeistunden, Jesu einen Back- attendants slapped Jesus’s face and said: enstreich und sprach: Servant: Solltest du dem Hohenpriester also ant- Is that the way to answer the high priest? worten? Evangelist: Jesus aber antwortete: Jesus answered:

Jesus: Hab ich übel geredt, so beweise es, daß es If I spoke evil, then state it in evidence; if I böse sei, hab ich aber recht geredt, was spoke what is so, why strike me? schlägest du mich? 8

15 Chorus Wer hat dich so geschlagen, Who has struck you so, Mein Heil, und dich mit Plagen my Salvation, and with torments So übel zugericht’? so badly beaten you? Du bist ja nicht ein Sünder After all, you are no sinner Wie wir und unsre Kinder, like us and our offspring. Von Missetaten weißt du nicht. Of misdeeds you know nothing. Ich, ich und meine Sünden, I, I and my sins, Die sich wie Körnlein finden as countless as the grains Des Sandes an dem Meer, of sand on the seashore, Die haben dir erreget have brought down on you Das Elend, das dich schläget, the misery that strikes you, Und das betrübte Marterheer. and this grievous host of agonies. 16 Recitative Evangelist: Und Hannas sandte ihn gebunden zu dem So Annas sent him bound to the high priest Hohenpriester Kaiphas. Simon Petrus Caiaphas. Peter stood warming himself, stund und wärmete sich, da sprachen sie when they said to him: zu ihm: 17 Chorus Servants Bist du nicht seiner Jünger einer? Aren’t you one of his disciples? 18 Recitative Evangelist: Er leugnete aber und sprach: He denied it again and said: Peter: Ich bin’s nicht! I am not! Evangelist: Spricht des Hohenpriesters Knecht’ einer, One of the high priest’s servants, a partner ein Gefreundter des, dem Petrus das Ohr of the man whose ear Peter had cut off, abgehauen hatte: said: Servant: Sahe ich dich nicht im Garten bei ihm? Didn’t I see you in the garden with him? Evangelist: Da verleugnete Petrus abermal, und Then Peter denied it once more, and alsobald krähete der Hahn. Da gedachte immediately the cock crowed. Then Peter Petrus an die Worte Jesu und ging hinaus remembered the words of Jesus and went und weinete bitterlich. out and wept bitterly. 19 Aria (Tenor) Ach, mein Sinn, O my senses, Wo willt Du endlich hin, where have you finally gone! Wo soll ich mich erquicken? Where shall I restore myself? Bleib ich hier, Shall I stay here, Oder wünsch ich mir berg und Hügel or do I wish mountains and hills Auf den Rücken? [to fall] upon my back? Bei der Welt ist gar kein Rat, With the world there is no counsel at all, Und im Herzen stehn while in my heart persist 9

Die Schmerzen meiner Missetat, the agonies of my misdeed, Weil der Knecht den Herrn verleugnet hat. for the servant has denied his lord. 20 Chorale Petrus, der nicht denkt zurück, Peter, who does not think back Seinen Gott verneinet, [to Jesus’ prediction], denies his God, Der doch auf ein’ ernsten Blick but at [the Savior’s] penetrating glance Bitterlichen weinet. weeps bitterly. Jesu, blicke mich auch an, Jesus, cast your glance at me as well, Wenn ich nicht will büßen; if I am unrepentant. Wenn ich Böses hab getan, If I have done wrong, Rühre mein Gewissen! stir my conscience! Interval - 20 minutes Wine and soft drinks are available in the Transepts

Part Two INTERROGATION AND FLAGELLATION John 18:28–40, 19:1 21 Chorale Christus, der uns selig macht, Christ, who makes us blessed Kein Bös’ hat begangen, and has done no wrong, Der ward für uns in der Nacht was for our sake, in the night, Als ein Dieb gefangen, seized like a thief, Geführt für gottlose Leut taken before godless people, Und fälschlich verklaget, and falsely accused, Verlacht, verhöhnt und verspeit, jeered at, ridiculed, and spat upon, Wie denn die Schrift saget. as Scripture says he would be. 22 Recitative Evangelist: Da führeten sie Jesum von Kaiphas vor Then they led Jesus from Caiaphas to das Richthaus, und es war frühe. Und sie the hall of judgment. It was now early gingen nicht in das Richthaus, auf daß sie morning, and they stayed outside the hall nicht unrein würden, sondern Ostern essen to avoid defilement, so that they could möchten. Da ging Pilatus zu ihnen heraus eat the Passover meal. So Pilate went out und sprach: to them and asked:

Pilate: Was bringet ihr für Klage wider diesen What charge do you bring against this Menschen? man? Evangelist: Sie antworteten und sprachen zu ihm: They replied: 23 Chorus Mob: Wäre dieser nicht ein Übeltäter, wir hätten If he were not an evil doer, we would not dir ihn nicht überantwortet. have handed him over to you. 10

24 Recitative Evangelist: Da sprach Pilatus zu ihnen: Pilate said to them:

Pilate: So nehmet ihr ihn hin und richtet ihn nach So take him away and try him by your own eurem Gesetze! law! Evangelist: Da sprachen die Jüden zu ihm: The Jews said to him: 25 Chorus Mob: Wir dürfen niemand töten. We are not permitted to put anyone to death. 26 Recitative Evangelist: Auf daß erfüllet würde das Wort Jesu, Thus they ensured the fulfilment of the welches er sagte, da er deutete, welches words by which Jesus had indicated the Todes er sterben würde. Da ging Pilatus manner of his death. Pilate then went back wieder hinein in das Richthaus und rief into the hall of judgment and summoned Jesu und sprach zu ihm: Jesus, and asked:

Pilate: Bist du der Jüden König? Are you the King of the Jews?

Evangelist: Jesus antwortete: Jesus answered: Jesus: Redest du das von dir selbst, oder haben’s Is that your own idea, or have others dir andere von mir gesagt? suggested it to you? Evangelist:

Pilatus antwortete: Pilate answered: Pilate: Bin ich ein Jüde? Dein Volk und die Hohen- Am I a Jew? Your own people and their priester haben dich mir überantwortet; chief priests have handed you over to me. was hast du getan? What have you done?

Evangelist: Jesus antwortete: Jesus answered: Jesus: Mein Reich ist nicht von dieser Welt; wäre My kingdom is not of this world. Were my mein Reich von dieser Welt, meine Diener kingdom of this world, my attendants würden darob kämpfen, daß ich den Jüden would be fighting to keep me from being nicht überantwortet würde; aber nun ist handed over to the Jews. But again, my mein Reich nicht von dannen. kingdom is not from here.

27 Chorale Ach großer König, groß zu allen Zeiten, O great king, great through all ages, Wie kann ich gnugsam diese Treu how can I ever express my allegiance? ausbreiten? Keins Menschen Herze mag indes No human heart can think of a gift ausdenken, fit to offer you. 11

Was dir zu schenken. With my mind I can Ich kann’s mit meinen Sinnen nicht er- find nothing to compare reichen, to your merciful goodness. Womit doch dein Erbarmen zu vergleichen. What then can I do Wie kann ich dir denn deine liebestaten im to be worthy of your acts of love? Werk erstatten?

28 Recitative Evangelist: Da sprach Pilatus zu ihm: Pilate said to him: Pilate: So bist du dennoch ein König? So you are a king then?

Evangelist: Jesus antwortete: Jesus answered.

Jesus: Du sagst’s, ich bin ein König. Ich bin dazu “King” is your word. I am to bear witness to geboren und in die Welt kommen, daß ich the truth: that is what I was born for and die Wahrheit zeugen soll. Wer aus der have come into the world. Whoever is not Wahrheit ist, der höret meine Stimme. deaf to truth hears my voice. Evangelist: Spricht Pilatus zu ihm: Pilate said to him:

Pilate: Was ist Wahrheit? What is truth? Evangelist: Und da er das gesaget, ging er wieder And with these words he went back out to hinaus zu den Jüden und spricht zu ihnen: the Jews and said to them:

Pilate: Ich finde keine Schuld an ihm. Ihr habt I find no fault with him. But you have a aber eine Gewohnheit, daß ich euch einen custom that I release someone to you. losgebe; wollt ihr nun, daß ich euch der So would you like me to release the Jüden König losgebe? King of the Jews to you? Evangelist: Da schrieen sie wieder allesamt und Then they all together shouted out in sprachen: return and said: 29 Chorus Mob: Nicht diesen, sondern Barrabam! Not him; we want Barabbas! 30 Recitative Evangelist: Barrabas aber war ein Mörder. Da nahm Barrabas was a murderer. Pilate now took Pilatus Jesum und geißelte ihn. Jesus and had him flogged. 31 Arioso (Bass) Betrachte, meine Seel, Ponder, my soul, Mit ängstlichem Vergnügen, with anxious delight, Mit bittrer Lust with bitter joy, Und halb beklemmtem Herzen and torn, anguished heart, 12

Dein höchstes Gut in Jesus’ agonies in Jesu Schmerzen, your highest good, Wie dir aus Dornen, so ihn stechen, how from the thorns that pierce him Die Himmelsschlüsselblumen blühen! heavenly flowers bloom. Du kannst viel süße Frucht You can pick much sweet fruit Von seiner Wermut brechen from his bitter wormwood, Drum sieh ohn Unterlaß auf ihn! so look on him without ceasing! 32 Aria (Tenor) Erwäge, wie sein Consider how his blutgefärbter Rücken blood-tinged back In allen Stücken in all its parts Den Himmel gleiche geht, is just like the sky, Daran, nachdem die Wasserwogen where, after the flood-waves Von unsrer Sündflut sich verzogen of our sins’ deluge have passed by, Der allerschönste Regenbogen the most exceedingly beautiful rainbow Als Gottes Gnadenzeichen steht! stands as a sign of God’s grace.

CONDEMNATION AND CRUCIFIXION John 19:2–22

33 Recitative Evangelist Und die Kriegsknechte flochten eine Krone And the soldiers braided a crown of thorns von Dornen und satzten sie auf sein Haupt and placed it on his head, and robed him in und legten ihm ein Purpurkleid an und a purple cloak and said: sprachen:

34 Chorus Soldiers: Sei gegrüßet, lieber Jüdenkönig! Hail, dear King of the Jews! 35 Recitative Evangelist: Und gaben ihm Backenstreiche. Da ging And struck him on the face. Once more Pilatus wieder heraus und sprach zu ihnen: Pilate came out and said to the Jews: Pilate: Sehet, ich führe ihn heraus zu euch, daß ihr Here he is; I bring him to you to let you erkennet, daß ich keine Schuld an ihm know that I find no fault with him. finde.

Evangelist: Also ging Jesus heraus und trug eine So Jesus came out, wearing a crown of Dornenkrone und Purpurkleid. Und er thorns and purple robe. And Pilate said to sprach zu ihnen: them:

Pilate: Sehet, welch ein Mensch! Behold, what a man!

Evangelist: Da ihn die Hohenpriester und die Diener When the chief priests and their attendants sahen, schrieen sie und sprachen: saw him, they shouted: 13

36 Chorus Priests: Kreuzige, kreuzige! Crucify, crucify!

37 Recitative Evangelist: Pilatus sprach zu ihnen: Pilate said to them:

PIlate: Nehmet ihr ihn hin und kreuziget ihn; denn Take him away and crucify him yourselves, ich finde keine Schuld an ihm! since I find no fault with him.

Evangelist: Die Jüden antworteten ihm: The Jews answered him:

38 Chorus Priests: Wir haben ein Gesetz, und nach dem Ge- We have a law and by that law he ought to setz soll er sterben; denn er hat sich selbst die, because he has claimed to be the Son zu Gottes Sohn gemacht. of God. 39 Recitative Evangelist: Da Pilatus das Wort hörete, fürchtet’ er When Pilate heard that, he was more sich noch mehr und ging wieder hinein in afraid than ever, and going back into the das Richthaus und spricht zu Jesu: hall he said to Jesus: Pilate: Von wannen bist du? Where do you come from?

Evangelist: Aber Jesus gab ihm keine Antwort. Da But Jesus gave him no answer. Then Pilate sprach Pilatus zu ihm: said to him:

Pilate: Redest du nicht mit mir? Weißest du nicht, Do you refuse to speak to me? Surely you daß ich Macht habe, dich zu kreuzigen, und know that I have authority to crucify you, Macht habe, dich loszugehen? and I have authority to release you? Evangelist: Jesus antwortete: Jesus replied:

Jesus: Du hättest keine Macht über mich, wenn You would have no authority at all over me sie dir nicht wäre von oben herab gegeben; if it had not been handed down to you darum, der mich dir überantwortet hat, der from above. Therefore the deeper sin lies hat’s größ’re Sünde. with those who handed me over to you. Evangelist: Von dem an trachtete Pilatus, wie er ihn From then on, Pilate tried to find a way to losließe. release him. 40 Chorale Durch dein Gefängnis, Gottes Sohn, Through your captivity, Son of God, Muß uns die Freiheit kommen; freedom must come to us. Dein Kerker ist der Gnadenthron, Your prison cell is the throne of grace, Die Freistatt aller Frommen; the refuge of all the devout.

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Denn gingst du nicht die Knechtschaft ein, For if you had not entered into servitude, Müßt unsre Knechtschaft ewig sein. our servitude would have had no end.

41 Recitative Evangelist: Die Jüden aber schrieen und sprachen: But the Jews shouted out:

42 Chorus Priests: Lässest du diesen los, so bist du des Kaisers If you let this man go, you are no friend of Freund nicht; denn wer sich zum Könige the emperor’s; for whoever makes himself machet, der ist wider den Kaiser. king is against the emperor. 43 Recitative Evangelist: Da Pilatus das Wort hörete, führete er Je- When Pilate heard this, he brought Jesus sum heraus und satzte sich auf den out and installed himself on the judgment Richtstuhl, an der Stätte, die da heißet: seat, at the place known as “High Pave- Hochpflaster, auf Ebräisch aber: Gabbatha. ment” (“Gabbatha” in Hebrew). It was the Es war aber der Rüsttag in Ostern um die Day of Preparation, the day before Passo- sechste Stunde, und er spricht zu den ver, about noon. Pilate said to the Jews: Jüden:

Pilate: Sehet, das ist euer König! Behold, here is your king! Evangelist: Sie schrieen aber: But they shouted: 44 Chorus Priests: Weg, weg mit dem, kreuzige ihn! Away! Away with him! Crucify him! 45 Recitative Evangelist: Spricht Pilatus zu ihnen: Pilate said to them: Pilate: Soll ich euren König kreuzigen? Crucify your king? Evangelist: Die Hohenpriester antworteten: The chief priests answered: 46 Chorus Priests Wir haben keinen König denn den Kaiser. We have no king but the emperor. 47 Recitative Evangelist: Da überantwortete er ihn, daß er At that, he handed Jesus over to be cruci- gekreuziget würde. Sie nahmen aber Jesum fied. So they took Jesus and led him away. und führeten ihn hin. Und er trug sein And he carried his cross and and went out Kreuz und ging hinaus zur Stätte, die da to the “Place of the Skull” as it is called heißet Schädelstätt, welche heißet auf (or, in Hebrew, “Golgotha”).

Ebräisch: Golgatha. 48 Aria (Bass) with Chorus Eilt, ihr angefochtnen Seelen, Hasten, you tormented souls, Geht aus euren Marterhöhlen, leave your dens of misery, Eilt (Wohin?) nach Golgatha! hasten (Where to?) to Golgotha!

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Nehmet an des Glaubens Flügel, Take the wings of faith Flieht (Wohin?) zum Kreuzeshügel, and fly (Where to?) to the hill of the cross! Eure Wohlfahrt blüht allda! That is where your powers will be revived. 49 Recitative Evangelist: Allda kreuzigten sie ihn, und mit ihm zween There they crucified him, and with him two andere zu beiden Seiten, Jesum aber others, one on the right, one on the left, mitten inne. Pilatus aber schrieb eine and Jesus in the middle. And Pilate wrote a Überschrift und satzte sie auf das Kreuz, superscription to be fastened to the cross. und war geschrieben: “Jesus von Nazareth, It read, “Jesus of Nazareth, King of the der Jüden König.” Diese Überschrift lasen Jews.” This inscription was read by many viel Jüden, denn die Stätte war nahe bei Jews, because the place where Jesus was der Stadt, da Jesus gekreuziget ist. Und es crucified was near the city, and the inscrip- war geschrieben auf ebräische, griechische tion was in Hebrew, Greek, and Latin. Then und lateinische Sprache. Da sprachen die the chief priests of the Jews said to Pilate: Hohenpriester der Jüden zu Pilato:

50 Chorus Priests: Schreibe nicht: der Jüden König, sondern Do not write “King of the Jews,” but that he daß er gesaget habe: Ich bin der Jüden Kö- said, “I am the King of the Jews.” nig. 51 Recitative Evangelist: Pilatus antwortet: Pilate replied:

Pilate: Was ich geschrieben habe, das habe ich What I have written, I have written. geschrieben. 52 Chorale In meines Herzens Grunde At the bottom of my heart Dein Nam und Kreuz allein your name and cross alone Funkelt all Zeit und Stunde, shine forth every minute of every day, Drauf kann ich fröhlich sein. for which I can be joyful. Erschein mir in dem Bilde Show me in my mind’s eye— Zu Trost in meiner Not, for consolation in my distress— Wie du, Herr Christ, so milde how you, Christ, so abundantly Dich hast geblut’ zu Tod! bled to death!

THE DEATH OF JESUS John 19:23–30

53 Recitative Evangelist: Die Kriegsknechte aber, da sie Jesum The soldiers, having crucified Jesus, gekreuziget hatten, nahmen seine Kleider took possession of his clothes and divided und machten vier Teile, einem jeglichen them into four parts, one for each soldier, Kriegesknechte sein Teil, dazu auch den leaving out the tunic. The tunic was Rock. Der Rock aber war ungenähet, von seamless, woven in one piece from top to oben an gewürket durch und durch. Da bottom. So they said to one another: sprachen sie untereinander: 16

54 Chorus Soldiers: Lasset uns den nicht zerteilen, sondern Let’s not cut it up, but toss for it, to see darum losen, wes er sein soll. whose it shall be.

55 Recitative Evangelist: Auf daß erfüllet würde die Schrift, die da So that the Scripture would be fulfilled, saget: Sie haben meine Kleider unter sich which says, “They shared my garments geteilet und haben über meinen Rock das among them, and cast lots for my Los geworfen, solches taten die clothing,” that is what the soldiers did. Near the cross where Jesus hung stood Kriegesknechte. Es stund aber bei dem his mother with her sister, Mary wife of Kreuze Jesu seine Mutter und seiner Clopas, and Mary of Magdala. Now when Mutter Schwester, Maria, Kleophas Weib, Jesus saw his mother, and the disciple und Maria Magdalena. Da nun Jesus seine whom he loved standing beside her, Mutter sahe und den Jünger dabei stehen, he said to his mother: den er lieb hatte, spricht er zu seiner Mutter: Jesus: Woman, behold, this is your son! Weib, siehe, das ist dein Sohn!

Evangelist: After that he said to the disciple: Darnach spricht er zu dem Jünger: Jesus: Behold, this is your mother! Siehe, das ist deine Mutter! 56 Chorale He thought of everything Er nahm alles wohl in acht in his last hour: In der letzten Stunde, still considerate of his mother, Seine Mutter noch bedacht, he assigned her a guardian. Setzt ihr ein Vormunde. Humankind, you too should act rightly: O Mensch, mache Richtigkeit, love God and fellow humans, Gott und Menschen liebe, then die without any sorrow Stirb darauf ohn alles Leid, and do not let yourself be troubled. Und dich nicht betrübe! 57 Recitative Evangelist: And from that moment the disciple took Und von Stund an nahm sie der Jünger zu her under his care. After that, Jesus, sich. Darnach, als Jesus wußte, daß schon aware that all had now been accom- alles vollbracht war, daß die Schrift erfüllet plished, said in fulfilment of Scripture: würde, spricht er:

Jesus: I thirst! Mich dürstet!

Evangelist: A jar stood there full of sour wine. So they Da stund ein Gefäße voll Essigs. Sie fülleten soaked a sponge with the wine, set it up- aber einen Schwamm mit Essig und legten on a hyssop branch, and held it up to his ihn um einen Isopen, und hielten es ihm lips. Having received the wine, he said: dar zum Munde. Da nun Jesus den Essig genommen hatte, sprach er: 17

Jesus: Es ist vollbracht! It is accomplished!

58 Aria (Alto) Es ist vollbracht! It is accomplished! O Trost vor die gekränkten Seelen! What comfort for afflicted souls! Die Trauernacht The night of mourning läßt nun die letzte Stunde zählen. now marks the final hour. Der Held aus Juda siegt mit Macht The hero from Judah triumphs with power und schließt den Kampf. and brings the battle to a close. Es ist vollbracht! It is accomplished!

59 Recitative Evangelist: Und neiget das Haupt und verschied. He bowed his head and died. 60 Aria (Bass) with Chorale Mein teurer Heiland, laß dich fragen, My precious Saviour, let me ask you, Jesu, der du warest tot, Jesus, you who were dead, Da du nunmehr ans Kreuz geschlagen Since you were nailed to the cross Und selbst gesagt: and have yourself said, Es ist vollbracht, “It is accomplished,” Lebest nun ohn Ende, but now live eternally, Bin ich vom Sterben frei gemacht? have I been made free from death? In der letzten Todesnot, in the final throes of death Nirgend mich hinwende I turn nowhere Kann ich durch deine Pein und Sterben Can I through your pain and death Das Himmelreich ererben? inherit the kingdom of heaven? Ist aller Welt Erlösung da? Is the redemption of all the world here? Als zu dir, der mich versühnt, but to you, who reconciled me O du lieber Herre! [with God] O you, dear Lord! Du kannst vor Schmerzen You can in agony, it is true, zwar nichts sagen; say nothing, Gib mir nur, was du verdient, Give me only what you have Doch neigest du das Haupt merited— Und sprichst stillschweigend: ja. But you bow your head and say in silence, “Yes.” Mehr ich nicht begehre! more I do not desire!

BURIAL Matthew 27:51–52, John 19:31–42

61 Recitative Evangelist: Und siehe da, der Vorhang im Tempel At that moment, the curtain of the Temple zerriß in zwei Stück von oben an bis unten was torn in two from top to bottom. The aus. Und die Erde erbebete, und die Felsen earth shook, the rocks split, and the graves zerrissen, und die Gräber täten sich auf, opened, and the bodies of many saints und stunden auf viel Leiber der Heiligen. arose.

62 Arioso (Tenor) Mein Herz, indem die ganze Welt My heart—while the whole world 18

Bei Jesu Leiden gleichfalls leidet, at Jesus’ sufferings also suffers; Die Sonne sich in Trauer kleidet,Der the sun clothes itself in mourning, Vorhang reißt, der Fels zerfällt, the curtain is rent, the rock crumbles, Die Erde bebt, die Gräber spalten, the earth quakes, the graves split open, Weil sie den Schöpfer sehn erkalten, because they see the Creator grow cold in Was willst du deines Ortes tun? death—what will you (my heart) do for your part? 63 Aria (Soprano) Zerfließe, mein Herze, Dissolve then, my heart, in Fluten der Zähren in floods of tears dem Höchsten zu Ehren! to honor the Most High! Erzähle der Welt Declare to the world und dem Himmel die Not: and to heaven the distress: Dein Jesus ist tot! your Jesus is dead! 64 Recitative Evangelist: Die Jüden aber, dieweil es der Rüsttag war, Because it was the Day of Preparation, the daß nicht die Leichname am Kreuze blieben Jews were anxious that the bodies should den Sabbat über (denn desselbigen Sabbats not remain on the cross for the coming Tag war sehr groß), baten sie Pilatum, daß Sabbath, since that Sabbath was a day of ihre Beine gebrochen und sie abgenommen great solemnity. So they asked Pilate to würden. Da kamen die Kriegsknechte und have the legs broken and the bodies taken brachen dem ersten die Beine und dem down. The soldiers accordingly came to the andern, der mit ihm gekreuziget war. Als first of those crucified with him and to the sie aber zu Jesu kamen, da sie sahen, daß second, and broke their legs; but when er schon gestorben war, brachen sie ihm they came to Jesus, they found that he was die Beine nicht; sondern der Kriegsknechte already dead, so they did not break his einer eröffnete seine Seite mit einem legs. But one of the soldiers opened up his Speer, und alsobald ging Blut und Wasser side with a lance, and at once there was a heraus. Und der das gesehen hat, der hat flow of blood and water. This is vouched es bezeuget, und sein Zeugnis ist wahr, und for by an eyewitness, whose evidence is to derselbige weiß, daß er die Wahrheit saget, be trusted. He knows that he speaks the auf daß ihr gläubet. Denn solches ist ges- truth, so that you too may believe; for this chehen, auf daß die Schrift erfüllet würde: happened in fulfilment of the text of Scrip- “Ihr sollet ihm kein Bein zerbrechen.” Und ture: “No bone of his shall be broken.” And abermal spricht eine andere Schrift: “Sie again another text says, “They shall look on werden sehen, in welchen sie gestochen him whom they pierced.” haben.”

65 Chorale O hilf, Christe, Gottes Sohn, O help, Christ, Son of God, Durch dein bitter Leiden, through your bitter suffering Daß wir dir stets untertan that we, ever submissive to you, All Untugend meiden, may shun all wrongdoing, Deinen Tod und sein Ursach may consider, to our benefit, Fruchtbarlich bedenken, your death and its cause, Dafür, wiewohl arm und schwach, for which we, though poor and weak, Dir Dankopfer schenken! may bring you thank-offerings.

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66 Recitative Evangelist: Darnach bat Pilatum Joseph von Arimathia, After that, Pilate was approached by der ein Jünger Jesu war (doch heimlich aus Joseph of Arimathaea, a disciple of Jesus Furcht vor den Jüden), daß er möchte ab- (but secretly, for fear of the Jews), who nehmen den Leichnam Jesu. Und Pilatus asked to be allowed to remove the body erlaubete es. Derowegen kam er und nahm of Jesus, and Pilate gave permission. So den Leichnam Jesu herab. Es kam aber Joseph came and took the body down. He auch Nikodemus, der vormals bei der was joined by Nicodemus (the man who Nacht zu Jesu kommen war, und brachte earlier had come to Jesus by night), who Myrrhen und Aloen untereinander, bei brought with him a mixture of myrrh and hundert Pfunden. Da nahmen sie den aloes, about a hundred pounds. They took Leichnam Jesu und bunden ihn in Leinen the body of Jesus and wrapped it, with the Tücher mit Spezereien, wie die Jüden spices, in strips of linen cloth according to pflegen zu begraben. Es war aber an der Jewish burial custom. Now at the place Stätte, da er gekreuziget ward, ein Garten, where he had been crucified there was a und im Garten ein neu Grab, in welches garden, and in the garden a new tomb, in niemand je geleget war. Daselbst hin leg- which no one had ever been laid. They laid ten sie Jesum, um des Rüsttags willen der Jesus there, because it was the eve of the Jüden, dieweil das Grab nahe war. Jewish Sabbath, and the tomb was near at hand. 67 Chorus Ruht wohl, ihr heiligen Gebeine, Rest well, sacred bones, Die ich nun weiter nicht beweine, for which I no longer weep— Ruht wohl rest well, und bringt auch mich zur Ruh! and bring me also to my rest. Das Grab, so euch bestimmet ist The grave that is yours, Und ferner keine Not umschließt, that holds no further suffering, Macht mir den Himmel auf for me opens heaven Und schließt die Hölle zu. and closes hell. 68 Chorale Ach Herr, laß dein lieb Engelein O Lord, send your dear little angels Am letzten End die Seele mein in my last hour to bear my soul away In Abrahams Schoß tragen, to Abraham’s bosom. Den Leib in seim Schlafkämmerlein Let my body rest in its snug bedchamber, Gar sanft ohn eigne Qual und Pein without any sorrow or pain, Ruhn bis am jüngsten Tage! until the Judgment Day! Alsdenn vom Tod erwecke mich, Then wake me from death, Daß meine Augen sehen dich that my eyes may see you In aller Freud, o Gottes Sohn, in great joy, O Son of God, Mein Heiland und Genadenthron! my Saviour and Throne of Grace! Herr Jesu Christ, erhöre mich, Lord Jesus Christ, grant me this— Ich will dich preisen ewiglich! I want to praise you evermore!

Translation: Robert Coote, San Francisco Theological Seminary

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the traditional art song repertory or the ROGERS COVEY-CRUMP operatic stage. The list of early music Evangelist ensembles with which he has sung is Tenor Rogers virtually a history of the London early instrument movement since the mid- Covey-Crump is a leading British 1960s and includes David Munroe’s Early Music Consort, the Consort of Musick, the concert and ensemble singer Medieval Ensemble of London, the Landini Consort, the Deller Consort, the Taverner who tends to be interested in Consort, the Baccholian Singers, the King’s early and very Consort, and the Washington, D.C. based recent music. Folger Consort. In 1981, he was one of the founders of Gothic Voices. Rogers Henry Much of his activity is devoted to his Lewis Covey- Crump won a position as a boy chorister membership in the . This in the Choir of New College, Oxford. While ensemble of four voices (five since 1999) performs up to 100 concerts and conducts singing daily services at the College chapel during school term, he was taught general its own summer school and festival. subjects at New College’s prep school and Covey-Crump is far from being exclusively studied music theory and performance, interested in older music. As a member of voice, and organ. Songcircle he participated in the first After his voice changed to tenor, he was performances and recording of Stimmung accepted as a lay clerk at St. Alban’s (Voices) by German avant-gardist Karlheinz Stockhausen. Particularly in Abbey. He studied at the in London with John Birch as his recent years the Hilliard Ensemble has often sung very recent and experimental organ teacher, with vocal studies under Ruth Packer and Wilfred Brown. He music by the likes of Arvo Pärt and Jan received diplomas and a prize from the Garbarek. RCM for his organ playing, and the Covey-Crump also frequently sings in such Bachelor of Music degree from London repertory as Handel oratorios and the University. Although he has worked as an major J. S. Bach choral masterpieces. He is organist, his distinctive talents as a singer known as one of the leading Evangelists in led him to make his career with his voice. the Bach Passions. His appearances in the Covey-Crump is a “tenor haute-contre,” Passions with Denys Darlow at St George’s a natural voice in a high range without Church, Hanover Square, has become virtually a Good Friday tradition. falsetto, while still retaining the characteristic ring of a true tenor. His He is also active as a solo singer with a example has led to a revival in singing repertory extending from Renaissance certain music by tenors, which the New lute-songs, Baroque, the Classical era, and Grove Dictionary’s article on him by contemporary music. He is especially George Pratt concludes is “a major known for his performance of music of contribution.” . He has made over a dozen His vocal type and his interest led him to Purcell recordings for the Hyperion label. the early music movement rather than to From his days as an organist he took an

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interest in the history and practice of Ali is increasingly active as a soloist and various musical temperaments (tuning recitalist, with highlights including systems) used from early times to the performances of Vivaldi’s solo cantata present. He has published several articles Nulla in Mundo with Philharmonia of on that subject as applied to vocal music Edinburgh and Brahms Liebesleider and his accurate pitch and ability to adapt Walzer in Glasgow and at the Edinburgh to different temperaments is a major Festival. In Wells, as part of the ‘Early factor in his outstanding career. Music Wells’ series she has recently given a performance of Handel’s Neun deutsche Arien, and working with duet partner ALI DARRAGH Lesley Jane Rogers, she has given a recital of Baroque music, including the original Soprano Handel Messiah duets. In the Southwest Ali Darragh was of England more generally she has given born in County recitals as part of the Exon Singers Festival Antrim, Northern in Tavistock, at Stogursey Parish Church, Ireland and the Bishop’s Palace in Wells, in Bristol and studied English in Bath. She performs regularly as a soloist Literature and Art with choral societies with recent History at the performances including Mozart’s C Minor University of St Mass; Requiem; Haydn’s Nelson Mass; Andrews, where Handel’s Messiah and Acis and Galatea; she also held a Bach’s St Matthew Passion, B Minor Mass choral and ; Karl Jenkins’s The Armed scholarship. She Man; and Purcell’s Dido and Aeneas. She has since was also a soloist in a Gala Concert with performed with many of the leading early Wells Cathedral Choir and soloists Dame music ensembles, with highlights Emma Kirkby, James Bowman, Daniel including performances of Bach’s St Norman and Neal Davies (Bach’s Matthew Passion (with Collegium Vocale, Magnificat and Handel Utrecht Te Deum Gent /Philippe Herreweghe, and the and Jubilate). She is also in increasing Dunedin Consort/John Butt) and Blow’s demand in the area of film music, with her Venus and Adonis (with The Musicians of most recent appearance being as ‘the the Globe Theatre, London/Phillip voice’ of Gillian Anderson on the Pickett). She has sung frequently with the soundtrack for the new ‘Moby Dick’ mini Gramophone and MIDEM award-winning series! Dunedin Consort in works such as Ali has also been heavily involved with Handel’s Messiah, Dixit Dominus and Music in Hospitals – a registered charity Bach’s B Minor Mass and with which she whose mission it is to improve the quality recently made her solo CD debut in a of life of adults and children in hospitals recording of Bach’s St Matthew Passion and care homes through the joy and released by Linn Records. She has also therapeutic benefits of live music. sung with The Exon Singers (Matthew In 2011 she was awarded a PhD in Owens), and with Chorus Angelorum Architectural History from the University (Gavin Carr), performing Olivier of St Andrews. Messiaen’s Trois Petites Liturgies de la présence divine in Turin Opera House.

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SIMON CLULOW working with classical guitarist Cobie Mills.

Countertenor In 2001 he became a Vicar Choral at Wells Simon Clulow Cathedral. Duties with the choir have began his included solo extracts from Mozart’s singing career Coronation Mass at Hong Kong City Hall as a boy and before The Countess of Wessex at St chorister at St James’s Palace, and several solo Mary’s, the parish church of contributions to the choir’s regular Nottingham. recordings. He has been a soloist with Following a several local including The Paragon music degree at Singers, The Beaumont Singers, City of Huddersfield he Bath Bach Choir, Chew Valley Choral spent two years Society and Thornbury Choral Society and studying singing this will be his fifth appearance with Wells at the Royal Northern College of Music Cathedral Oratorio Society. He is also a and embarked on a professional career in singing teacher at Millfield Senior School the early 90’s. He made his professional and The Wells Blue School and currently operatic debut at The Buxton Festival in studies with operatic soprano Rosa 1992 following a course at The Britten/ Mannion. Pears School where he studied the role of Oberon with James Bowman. He then continued in opera with several touring companies before moving to London in DOMINIC BOWE 1994. Pilate Following this he began to concentrate Dominic is exclusively on concert work and session currently a work with a variety of professional choirs, postgraduate including the BBC Singers and the choirs student of the of St Paul’s Cathedral and Westminster Royal Academy Abbey. He enjoyed a variety of concert of Music where engagements through the Musicmakers he studies with agency and has performed the alto solos Alex Ashworth in all the major baroque oratorios and in and Audrey several classical liturgical pieces both in Hyland. Prior to the UK and in Europe. Performances of this he studied Handel’s Messiah have taken him from Classics at the University of Oxford. While York Minster via Southwell Minster down at Oxford he sang with many ensembles to Gloucester Cathedral and most recently including the Schola Cantorum, Exeter here to Wells. Other career highlights College Chapel Choir, the Clarendon have included performing ‘Sound The Consort, and the Blenheim Singers as well Trumpet’ with James Bowman and solos as touring with the Choir of New College. in works by Purcell at The York Early Music Festival. As a recitalist he has worked with As a soloist he has performed in, amongst the lutenist David Miller and is currently other things, Brahms Ein deutches Requiem, Fauré Requiem, Duruflé

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Requiem, Haydn’s Creation and Dispensing Optician. Vaughan-Williams’ Five Mystical Songs, Mark is increasingly becoming a noted Bach’s St John Passion and Britten’s War tenor for his baroque and classical Requiem. His roles in opera have included performances. He is greatly in demand as Aeneas in Purcell’s Dido and Aeneas, the an oratorio soloist and increasingly as an eponymous anti-hero in Tchaikovsky’s Evangelist. Eugene Onegin, and Figaro in the Barber of Seville – he has also understudied the Along with singing in cathedral choirs, title role of Salieri’s Falstaff for New Mark regularly performs as a consort Chamber Opera. singer with some of the country’s leading choirs including The Choir of the English Dominic has performed recitals for New Concert, Ex Cathedra, and Armonico Chamber Opera Studio, the Exon Singers Consort. Festival and St Cuthbert’s Music Festival. Before moving to London to study at the In Mark’s short but varied career, he has Royal Academy of Music he sang with the sung on fifteen CD recordings, toured internationally renowned choir of Wells across Europe, America, Hong Kong and Cathedral with whom he toured Hong China, sung solos on both BBC Radios 3 Kong and sang the bass solos in the world and 4 and sung on backing tracks for premiere of John Joubert’s Missa Ferrari. Wellensis. Upcoming engagements Future engagements includes a tour to include Masetto in Don Giovanni for Germany with The Choir of the English Westminster Opera Company. Concert, as well as concerts throughout

the UK. As a soloist, Mark will be performing extensively including Bach St MARK HOUNSELL John Passion, Bach Cantata Wachet Auf, Handel Messiah and Mozart Requiem. Tenor The English tenor, Mark CHRISTOPHER SHELDRAKE Hounsell, began singing at the Jesus and age of 7 at the Bass civic church, All Christopher Saints in Sheldrake was Northampton. born in Leicester. Mark went on to He was a Junior study singing at Exhibitioner at Birmingham the Royal conservatoire with Julian Pike. He was a Academy of Vicar Choral at Lichfield Cathedral. Music, a prize- Following five years at Lichfield he joined winning the Choir of St Albans Abbey. In 2009 he graduate of the was appointed a Vicar Choral at Wells Royal College of Music where he studied Cathedral and combines this with a busy with Edward Brooks and Robert freelance schedule throughout the South Sutherland. Christopher was a Lay Clark of England along with his day job as a at St George’s Chapel, Windsor Castle,

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and is currently a Vicar Choral at Wells (The Queen’s College Oxford). Cathedral. He also teaches piano at Christopher has been involved in many Downside School, Somerset. recordings with labels such as Hyperion, Christopher has sung with the Musicke Regent, Priory, and Lammas. Recent Company, with whom he made his recordings with Deutsche Grammophon’s Wigmore Hall debut in 1999, the Archiv Label include Biber’s F Minor Monteverdi Choir, Sir John Eliot Gardiner, Requiem, Haydn’s Creation and Mozart’s and the Gabrieli Consort under Paul C Minor Mass, which is among the McCreesh. nominees in the 49th Grammy awards. Highlights include Mozart’s C Minor Mass Future engagements include Brahm’s Ein in Athens, Madrid and Innsbruck, Handel’s Deutsches Requiem (Armagh, Northern Belshazzar in Paris, Lyon and Zurich, The Ireland), Handel’s Athalia with in Monte Carlo, Darmstadt and Orquesta Nacional de Espana (Madrid), the Barbican, Monteverdi/Stravinsky Handel’s Jeptha at the Wroclaw festival in Mass in Santiago de Compostela and the Poland, Handel’s Samson in London and Cuenca Festival, Spain. Oslo with the London Handel Festival and Recent solo performances include most of a performance of The Creation in this the mainstream oratorios: Bach’s year’s prom at the Royal Albert Hall with Weihnachts Oratorium (Wells Cathedral), the Gabrieli Consort.

Johannes Passion (Tilford Bach Festival), Monteverdi (Truro Cathedral), Messiah (St Patrick’s, Armagh, The Waterfront, Belfast) Mozart’s Requiem Conductor (with the London Mozart Players in Madrid, Segovia) Judas Maccabeus Matthew Owens (Sweden), Missa de Gloria, Puccini is Organist and (Bonhelm, Denmark) St Matthew Passion Master of the (conducted by Sir for the Choristers of memorial concert for Sir Keith Faulkner at Wells Cathedral, the Royal College of Music). having previously been Organist and Operatic credits include Mars, God of War Master of the in Boyce’s The Secular Masque (London Music at St Mary’s Handel Festival), Voice of God in Benjamin Episcopal Britten’s Noye’s Fludde (Royal Albert Hall) Cathedral, and ‘il Commendatore’, Don Giovanni with Edinburgh (1999- Prior Park Opera, Bath. 2004), and Sub Organist of Manchester Christopher performed the world Cathedral. He is also Conductor of the premieres of And the Music played on by Wells Cathedral Oratorio Society, and was Hungki-joo (Huddersfield Contemporary President of the Cathedral Organists’ Music Festival), Stanley Glasser’s Ezra Association from 2010-13. He is the (St George’s Chapel, Windsor), the British Founder Artistic Director of two initiatives premieres of John Joubert’s Three Faces at Wells: Cathedral Commissions, a of Love (Windsor Fringe Festival) and the scheme which enables the cathedral choir Messe de Requiem of to commission new works from pre- eminent British composers;

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and new music wells, a festival which is a As an organist, Matthew has given retrospective of the last forty years of recitals in Australia, France, the Republic music as well as featuring many of Ireland, Switzerland, New Zealand, premieres. In addition to being and throughout the UK, including many responsible for the 1100 year old choral festival appearances, and at venues such tradition of daily worship at Wells as St Paul’s Cathedral, Westminster Cathedral, Matthew has toured, Cathedral, and St John’s Smith Square. broadcast, and recorded extensively with He has championed new music, Wells Cathedral Choir which, in 2011, particularly of British composers, was named by an international jury for premiering many new works by leading Gramophone as the best choir in the composers ranging from Jools Holland world with children, and the sixth to James MacMillan, and to greatest overall. Sir Peter Maxwell Davies. He is active as Born in 1971, Matthew was educated at a composer himself and has works Chetham’s School of Music and The published by Oxford University Press Queen’s College, Oxford. As a and Novello. He was made an Honorary postgraduate he received the highest Fellow of the Guild of Church Musicians award for performance, the Professional in November 2012. Performance Diploma, with distinction, and the college Bach prize at the Royal Northern College of Music; gained a MUSIC FOR AWHILE Master’s Degree from the University of ORCHESTRA Manchester; won thirteen prizes in the diplomas of the Royal College of Artistic Director Organists, and was awarded the Silver Margaret Faultless Medal of the Worshipful Company of Musicians. He then studied at the Since its first performance in 1996, and Sweelinck Conservatorium in continuing under its Artistic Director Amsterdam. His major organ studies Margaret Faultless, Music for Awhile were with Gordon Stewart, Margaret continues to inspire audiences and Phillips, and Jacques van Oortmerssen. performers alike with concerts in a From 1994-99, he was Tutor in Organ variety of venues and at its own Studies at the RNCM and Chetham’s and Summer Festival in the magical setting worked for BBC Religious Broadcasting. of All Saints, Alton Priors. Musicians From 1997-2011 he was Conductor of from Europe's most acclaimed The Exon Singers. ensembles come together to perform a As well as guest conducting a number of wide range of repertoire spanning over professional orchestras, Matthew has two centuries. Music for Awhile has directed choral workshops and summer specialised in performing English Opera schools throughout the UK and abroad – from Purcell's time and thanks to including recent visits to Australia, China, sponsorship from the Cecil King Germany, Hong Kong, Luxembourg, New Memorial Foundation it also features Zealand, and the USA – and has made the music of J S Bach. Music for Awhile over thirty CDs as a conductor or solo regularly expands to form a larger organist with major labels including orchestra enabling it to perform major Hyperion and Regent.

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choral works in venues such as Violins: Maggie Faultless, Westminster Abbey, Bath Abbey, Exeter, Claire Holden, Dan Edgar, Gloucester, Hereford and Bristol Colin Scobie, Jean Paterson, Cathedrals. It also has its own chamber Iona Davies, Lucy Russell, music series, formerly held at Conock Manor. Claire Sansom, James Toll, Stephen Pedder, Kathryn Parry Our aim is to make music accessible to people of all ages. In particular, it is Violas: Katharine Hart, Nick Logie, establishing contacts with schools and Peter Mallinson groups of young musicians to attract children to rehearsals or concerts, and Cellos: Andrew Skidmore, Jonathan Rees provides access to live music in a rural area for our local community. Bass: Kate Aldridge

Flutes: Lisa Besnosuik, Brinley Yare

Oboes: Frances Norbury, Rachel Chaplin

Bassoon: Zoe Shevlin

Wells Cathedral Oratorio Society President: The Very Reverend John Clarke, Dean of Wells

The Wells Cathedral Oratorio Society With a repertoire ranging from the (WCOS), founded in 1896, performs ma- masterpieces of the Baroque through jor works from the choral repertory with the Classical and Romantic periods to some of the country’s leading soloists the present day the society works with and orchestral ensembles. a number of specialist professional With around 160 voices the society gives orchestras including: Music for Awhile, three concerts a year under the direction Chameleon Arts and La Folia. of Matthew Owens, Organist and Master Chorus rehearsals are on Monday of the Choristers at the Cathedral. Con- evenings in the Cathedral from certs are normally in early November, September to March and generally December (an annual performance of follow 's term Handel’s Messiah) and late March. times. Our current accompanist and The society also hosts a Come and Sing Assistant Conductor is Jeremy Woodside, day each year, normally in May, to which the Senior Organ Scholar at the Cathedral. any singers are welcome to study and New singers are always welcome to apply perform a work from scratch. to join the choir. Why not join us? See our website at WCOS.org.uk

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Wells Cathedral Oratorio Society Friends

Since 2013 the Society gives three concerts each year which include an annual performance of Handel’s Messiah in December. The other two concerts are in early November and late March.

The main features of the Friends scheme are: • Priority booking of up to 4 prime Nave tickets for each concert • Name/s of Friends printed in concert programmes • Annual Newsletter • Invitation to a special Friends event each year • Annual subscription of £24

All of us in the Society thank you for continuing your support as a Friend of Wells Cathedral Oratorio Society and look forward to seeing you at our concerts.

Contact our Friends Secretary, Nancy McGiveron: [email protected]

Wells Cathedral Oratorio Society Corporate Patrons

Wells Cathedral Oratorio Society is most grateful to its Corporate Patron, Chalmers HB, Chartered Accountants, of Chamberlain Street, Wells, for their support of the Society under our Corporate Patrons scheme.

Companies willing to join this scheme will be assured of a warm welcome. For further information, please contact Robin Walker on 01749 939973.

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Wells Cathedral Oratorio Society

Soprano Maggie St Quinton Catherine Hay Martin Godfrey Janet Saxon Gilly Hayward Clive Howarth Sarah Allen Jo Spence Mary l’Anson Martin Lovell Ann Baker Jean Stagg Jane James Nigel Lloyd Sandra Ashford Margaret Sutton Lynne Jarman John Morton Tess Baker-Hytch Pamela Tomlinson Jane Jarratt Andrew Phillips Joyce Banner Christine Tudor Janet Johnson Oliver Rundell Pam Booth Patricia Turner Sue Jones Ben Tambling * Kate Brown Helen Wade Amanda Karpinski Elsa van der Zee Barbara Calverley Jan Weaver Hilary Kitcher Robin Walker Felicity Chapman Jo Weir Nic Lacey David Wood Margaret Chapman Lucy Williams Jessica Leach Barbara Cooke Colette Winfield Alex Lemanski Bass JoAn Davies Jane Withey Swan Lennard Payne Julia Davies David Abels Jackie Young Jennifer Mackenzie Christopher Allinson Margaret Davies Philippa Mains Cheril Evans-Jones Martin Banner Alto Mary Massey Christopher Boddie Heather Forgham Della Menday Sandra Freeborn Christine Barker Neill Bonham Sandra Barwise Liz Metcalfe Rupert Bullock Carolyn Fussell Claire Mitchell Deborah Gaunt Sally Bayley Michael Calverly Anne Beechey Margaret Moore John Castree Margaret Gelder Mary Newman Sue Gould Sylvia Birbeck Geoffrey Clarke Claire Pennack David Cooke Maureen Grant Sue Boothroyd Diana Brown Janet Ravenscroft Francis Dewar Antonia Gwynn Margaret Rayfield Sarah Hare Jo Brown Peter Farrell Mhairi Brown Lindsey Richards David Flinders Fran Hawkins Janet Rundle Margaret Heffernan Vivienne Burgess Niall Garden Louise Burton Mary Sage Gabriel Gilson Jenny Henderson Olivia Sharp Rachel Hewson Mary Carlisle Roger Good Diana Chedgy Celia Townend Trevor Hazelgrove Isabel Lee Lynn Waldron Carolyn Legg Rosemary Cooke Richard Henderson Nikki Copleston Sue Wells Derek Hiller Ruth Lickfold Kate Wilson Anne Limond Sue Curragh Christian Hughes Gill Deamer Kate Wood Chris Jenkins Rose Longman Jo Wright Della Luetchford Sian Decamp Dennis Johnson Piers Kennedy * Rosemary Lunn Joan Dovey Tenor Jennie Lunnon Robin Duys John King Geoffrey Baker-Hytch Richard Lander Nancy McGiveron Carole Estall Meriel Matthews Kate Fielder Alan Brown Michael Leach Sarah May Barbara Green Simon Bruce Robin Perry Ben Clay Alan Rayfield Janice Merritt Jane De Gruchy Ann Parsons Helen Griffiths Andrew Cruickshank Brian Roberts-Wray Alexandra De Glan- David Rosser Maureen Pickford Shelley Gu Pamela Pye dgin ville Robert Smallcombe Frank Fisher William Truscott Margaret Raynes Faith Guest Frances Rowe Jane Gunn Richard Garstang Kenneth Wade * Choral Scholars 29

Wells Cathedral Oratorio Society Friends

Mrs S Allen Mr & Mrs M Gelder Mrs B S May Mrs A Baker Mrs S J Gould Ms S Metters Mrs M Barker Harland Mrs M A Grant Mrs N McGiveron Mrs S Birbeck Mr & Mrs Gunn Mr J M Morton Mr C Boddie Mr N Hamilton QC Mr & Mrs G Parsons Mr R C Brown Mrs S A Hare Mr & Mrs J Rattenbury Mrs B Calverley Capt & Mrs P A C Harland Mr A Rayfield Mrs M Carlisle Mr M Hay Mrs M Rayfield Ms F Chapman Mr & Mrs D Hiller Mr N Record Mr G Clarke Mrs M S I'Anson Mrs P H Roberts Miss B J Connolly Mr C R Jenkins Mr D Rosser Mr D Corp Mrs J Johnson Mrs S Rowe Mr & Mrs C E F Cox Mrs J Jubb Mr A Rowntree Mrs S Crease Mrs A Karpinski Mrs M St Quintin Dr & Mrs A Crossland Mr A Kaye Mrs M Sutton Mrs J D Davies Mr J King Mr & Mrs Templar Mrs S Decamp Mr P Lemanski Mrs P Tomlinson Mr F Dewar Ms S Lennard Payne Mrs C Townend Mr & Mrs J A Edwards Mrs A Lewis Mr P M Walker Mrs Featherstone Mrs A Limond Dr & Mrs M A T Waters Mrs J Frith Mr N Lloyd Mr J Whitely Mrs C Fussell Mr & Mrs R Lovell Mr D Williams Miss J Fussell Mrs J Lunnon Mrs C Winfield Mr N Garden Mrs E Winter

WELLS CATHEDRAL CAFÉ

open until 6.45pm on Oratorio Society concert nights

visit our website for further information

email [email protected]

Tel: 01749 676543

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