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Home , Bach festival, Boston Baroque, Dave Holland (drummer), Early music, Phyllis Mailing, St John Passion

Early Music Vancouver john sawyer (1937-2017)

board of directors Tonight’s performance is dedicated to the memory of John Sawyer (1937-2017). Tony Knox president For such a soft-spoken and Chris Guzy self-effacing gentleman, the vice president impact of John’s life and Spencer Corrigal cpa,ca work on the musical life of treasurer Vancouver and beyond has Sharon Kahn past president been loud and clear. Fran Watters secretary He was a member of the Stuart Bowyer very first undergraduate Sherrill Grace class in music at UBC, and, Ilia Korkh after studies elsewhere, Melody Mason returned as a faculty Tim Rendell cpa,ca member and became a Ingrid Söchting Vincent Tan passionate and popular teacher, with a focus on ÷ early music. He established Photo credit: Daryl Kahn Cline José Verstappen cm a Collegium Musicum, instigated the purchase of historical instruments and a library artistic director emeritus of music to play on them, and inspired in several generations of students an interest in ÷ period performance practice. A number of these went on to become core members of staff the Pacific Baroque Orchestra, to form their own ensembles, and to perform with early Matthew White music groups internationally.. executive & artistic director Nathan Lorch John’s primary role in establishing the Vancouver Society for Early Music (later Early business manager Alicia Hansen Music Vancouver), along with the summer courses they hosted at UBC, led to Vancouver production and summer programme director becoming something of a hotspot for early music performance and study. Jocelyn Peirce development coordinator The main thrust for establishing the Pacific Baroque Orchestra came from John, as did Laina Tanahara the name, as he had previously played concerts with a small group called the Pacific marketing & volunteer coordinator Baroque Ensemble. John’s dedication to the Pacific Baroque Orchestra for over twenty Jonathan Evans production coordinator years extended to hosting board meetings, sometimes quite spirited, at his Dunbar home, Daniel Bortoni and to taking an active part in programming and other areas of running the organization. summer festival production intern

Jan Gates Inevitably John’s passion for early music brought his family into the fold, and Elaine’s event photographer famous cookies, along with the cheerful faces of the Sawyer family that served them Murray Paterson during intermission, became an important attraction at PBO concerts, perhaps drawing Marketing Group marketing & media relations audiences back for the next concert when newly-commissioned works for period Trevor Mangion instruments were performed. and The Chan Centre Box Office Staff John’s influence reaches well beyond Vancouver: his deep love and knowledge of the emv ticket office: 604.822.2697 music of Handel (his email address was handelfreak@…), combined with his experience as a performer, led to his being invited to prepare a new edition of Handel’s opera 1254 West 7th Avenue, Vancouver BC, V6H 1B6 Agrippina, published in 2013 in the Halle Handel edition and given its first performance using this edition at the 2015 Handel Festival in Göttingen. tel: 604.732.1610 fax: 604.732.1602 All of us in Vancouver owe John and his family a debt of gratitude for their important [email protected] contribution to making our city include a vibrant early music community. earlymusic.bc.ca – Marc Destrubé

2  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] the artists programme

friday august 11 at 7:30 pm | chan centre at ubc

Alexander Weimann music director Johann Sebastian Bach (1685-1750) Thomas Hobbs evangelist St. John Passion Pacific Baroque Orchestra Vancouver Cantata Singers (Passio secundum Johannem) prepared by vcs artistic director BWV 245 Paula Kremer

in cooperation with PARTE PRIMA Gli Angeli Genève:

Jenny Högström 1-7: Verrat und Gefangennahme Betrayal and Capture soprano Johannes 18, 1-14 St. John 18 : 1-14 Aleksandra Lewandowska soprano 8-14: Verleugnung Denial Johannes 18, 15-27; St. John 18 : 15-27; Alex Potter countertenor Matthäus 26, 75 St. Matthew 26 : 75 Robert Getchell tenor Sumner Thompson interval baritone Stephan MacLeod bass PARTE SECUNDA

Supported by Verhör und Geißelung Interrogation and Flagellation The Drance Family 15-20: Johannes 18, 28-40; 19, 1 St.John 18 : 28-40; 19 : 1 and by Verurteiling und Kreuzigung Condemnation and Crucifixion 21-26: Johannes 19, 2-22 St. John 19 : 2-22

Tod Jesu The death of Jesus 27-32: Johannes 19, 23-30 St. John 19 : 23-30 Pre-concert chat with host Matthew White at 6:45: Grablegung Burial Alexander Weimann 33-40: Matthäus 27, 51-52; St. Matthew 27: 51-52; Johannes 19, 31-42 St. John 19 : 31-42

THE UNAUTHORISED USE OF EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the ANY VIDEO OR AUDIO RECORDING Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia. DEVICE IS STRICTLY PROHIBITED earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  3 ultureulture is is the the expression expression of of Canada’s Canada’s soul; soul; it it defines defines aa culture culture est est l’expression l’expression de de l’âme l’âme du du Canada. Canada. CC Culture is the expression of Canada’s soul; it defines LLa culture est l’expression de l’âme du Canada. usus and and helps helps bring bringus and us ushelps together. together. bring us Thetogether. The Government Government The Government of of of ElleElle contibue contibue contibue à nous à à nousdéfinir nous définir définiret à nous etunir.et à à nousLenous unir.unir. 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The Honourable / L’honorable Mélanie Joly

TheThe Honourable Honourable / /L’honorable L’honorable Mélanie Mélanie Joly Joly

4  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected]

GOVERNMENT SUPPORT

We acknowledge the support of the Province of British Columbia

FOUNDATIONS

THE DRANCE FAMILY EARLY MUSIC VANCOUVER FUND

2017-18 PRODUCTION PARTNERS

EMV’s performances at the Chan Centre are presented in partnership with the Chan Centre for the Performing Arts, with the support of the Chan Endowment Fund at the University of British Columbia.

C C C Vancouver, BC . Open Doors, Open Hearts, Open Minds C C C Vancouver, BC . Open Doors, Open Hearts, Open Minds

CORPORATE SUPPORT

Rosedale on Robson Suite Hotel VANCOUVER, BC Tony Knox Barrister & Solicitor, Arbitrator

Tel: 604 263 5766 Cell: 604 374 7916 Fax: 604 261 1868 Email: [email protected]

1291 West 40th Avenue, Vancouver, B.C. V6M 1V3 Canada We also gratefully acknowledge www.knoxlex.comthe generosity of our many donors and volunteers. Knox & Co. denotes D.A.Knox Law Corporation THANK YOU! You can be in good company too! The corporate sponsors of Early Music Vancouver give back to their community through the support of our performances and education & outreach programmes. Their e orts make a meaningful di erence for concertgoers and musicians alike. Our wide range of activities o ers unique sponsorship opportunities for both large and small companies to support us while also reaching their corporate goals. A range of sponsorship advantages is available, including logo recognition, complimentary tickets for your clients, employee discounts, and many other benefi ts tailored to your specifi c needs. Call Jocelyn Peirce to discuss how our audience profi le may fi t with your company’s objectives: . earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  5 BRING EMV HOME!

Host an EMV Guest Musician Do you have a guest room that often sits empty? Do BECOME A MEMBER OF you enjoy well-educated, articulate houseguests from EARLY MUSIC VANCOUVER across the country and the world? Do you like Classical music? Would you like to get the ‘inside scoop’ about EMV is a not-for-profit Society incorporated in BC and, performing from a professional musician? If your like all such Societies, our success is driven by the active answer to any of these questions is ‘yes’, then I invite you to consider joining the growing number of EMV participation of our members. supporters who house visiting guest musicians. Get to know some of the wonderful musicians that WHO CAN BE A MEMBER? come to Vancouver to bring you great music. A member is any person who: Host only when it is convenient for you; all you need to provide is a private room. • Donates $50 or more to the Society and/or • Subscribes to any EMV concert series For more information please contact Membership is valid for 1 year from date of donation and/or Jonathan Evans Production Manager, Early Music Vancouver: subscription. [email protected] 604.732.1610 BENEFITS OF MEMBERSHIP:

Early Music Vancouver • The right to vote at the Annual General Meeting of thanks the following for graciously hosting y the Societ guest musicians for this summer Festival: • Invitations to special events including the Annual Spencer Corrigal General Meeting Martha Hazevoet • Copy of the annual calendar of EMV Delma Hemming • Invitation to attend selected dress rehearsals Judy Killam • Signed copy of selected season posters Tony & Margie Knox J. Evan & Janice Kreider Marlene LeGates & Al Dreher Hannelore Pinder Kimberly & Stuart Smith Alex & Rosemary Waterhouse-Hayward Valerie Weeks & Barry Honda 1254 West 7th Avenue, Vancouver BC, V6H 1B6 Marc White & Joey Schibild earlymusic.bc.ca Jane & Michael Woolnough

6  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] vancouver cantata singers pacific baroque orchestra paula kremer - artistic director alexander weimann - music director

choir preparation for tonight’s performance: Alexander Weimann director & harpsichord Paula Kremer harpsichord by Craig Tomlinson of West Vancouver, after Blanchet (1760) Chloe Meyers concertmaster, violin & viola d’amore sopranos tenors violin by an unknown maker (Italy c.1760) Rachel Brown Ian Bannerman viola d’amore by Joannes Udalricus Eberle (Prague, 1759) Emily Cheung Sam Dabrusin Linda Melsted violin & viola d’amore Sarah McGrath Paul Haskill violin by Nicolò Amati (Cremona, 1670) Wendy McMillan Ray Horst viola d’amore Benila Ninan Bernard Lambrechts Hilary Piets Trevor Mangion Christi Meyers violin violin by Ekkard Seidl (Germany, 1998), after Giuseppe Guarneri Asha Pratt-Johnson Taka Shimojima Kate Radford Nick Sommer Paul Luchkow violin Lucy Smith Clinton Stoffberg violin by Christopher Dungey (Eugene OR, 1986), after Jacob Stainer Troy Topnik Cristina Zacharias violin altos violin Maureen Bennington basses Sallynee Amawat violin Tiffany Chen Andy Booth violin from the Klotz School (Mittenwald, Germany, c.1790) Elspeth Finlay Derrick Christian Mavis Friesen Doug Colpitts Christine Beckman violin Shane Hanson Chris Doughty violin by Jason Viseltear (NY City, 2011) after Giuseppe Testore Beth Helsley Matthew Fisher Mieka Michaux viola Nina Horvath Jake Gramit viola by Ferdinand Wilhelm Jaura (Vienna, 1908) converted to historical set up Erik Kallo Gerald Harder Joanna Hood viola Paula Kremer J. Evan Kreider viola by Edmond Aireton (London, c.1754) Sarah McNair Javier Rodriguez-Martin Dave Rosborough Beiliang Zhu cello & viola da gamba cello by David van Zandt, from the collection of the UBC School of Music viola da gamba by Dietrich Kessler , from the collection of the UBC School of Music vancouvercantatasingers.com Nathan Whittaker cello cello by Gustav Griener (Breitonfeld, Germany, 1875) Natalie Mackie violone with our thanks violone by Dominik Zuchowicz (1991), after Gasparo da Salo

Our thanks to Curtis Daily bass Darryl Nixon and St. Andrew’s -Wesley United Church, bass from the atelier of Ignazio Ongaro (Venice, c.1770) and to the UBC School of Music, for offering rehearsal space. Nate Helgeson bassoon bassoon by Guntram Wolf (Kronach, Germany, 2011) after HKICW, (Germany, c,1700) Thanks also to the following John Lenti theorbo & lute for generously making instruments available for this event: theorbo by Klaus Jacobsen (London, 1985) after Matteo Sellas (Venice, 1635) Matthew Jennejohn oboe & oboe da caccia Hans Karl Piltz, for the two violas d’amore, oboe by Mary Kirkpatrick (Ithaca, NY) after Jonathan Bradbury (England, c.1720) played by Chloe Meyers and Linda Melsted. Curtis Foster oboe & oboe da caccia oboe: Sand Dalton (Lopez Island, WA) after J.H. Eichentopf (Leipzig, c.1720) Alexander Fischer and the UBC School of Music for the cello and the viola da gamba played by Beiliang Zhu. Janet See flute Martin Wenner (Singen, Germany,) after Carlo Palanca (Torino, c. 1750) Carol Tsuyuki for the use of her harpsichord, Soile Stratkauskas flute played by Alexander Weimann: Martin Wenner (Singen, Germany, 2004) after Carlo Palanca (Torino, c. 1750) an instrument by Craig Tomlinson of West Vancouver, based Christina Hutten organ on a harpsichord by François Blanchet built in Paris (1765). chamber & continuo organ by Helmuth Wolff (Laval, QC, 1995) from the instrument collection of Early Music Vancouver earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  7 2017 Early Music Vancouver Raffle LAST CHANCE TO WIN! Enter to win the trip-for-two of a lifetime! Buy your Raffle Tickets in the lobby tonight Enjoy 14 days in the heartland of J.S. Bach. before the concert or during the interval! Tickets on sale in the lobby – 1 ticket for $50. The draw will take place in the lobby, — CHANCES ARE 1 IN 400 (TOTAL TICKETS) — following tonight’sThe Sans performance. Souci Palace in Potsdam GRAND PRIZE: From Prague to Berlin - Cruise Down the Elbe River for Two MAY 19 TO JUNE 2, 2018 | 3 DAYS PRAGUE, 7 DAY CRUISE, AND 4 NIGHTS IN BERLIN — A VALUE OF OVER $21,000 — Cruise down one of Europe’s legendary rivers aboard the “Elbe Princesse”, featuring diverse ports of call and tours of historic cities important to the great J.S. Bach, including Prague, Dresden, Leipzig and Berlin. 5 on-board recitals with harpsichordist Alexander Weimann, violinist Chloe Meyers, and bassoonist Nate Helgeson. 5 on-shore concerts include: Collegium 1714 in Prague, harpsichordist Jean Rondeau in Dresden, Amarcord Vocal Ensemble in Leipzig, and the Sans Soucis Chamber Ensemble in Potsdam and Berlin. Music programme designed in conjunction with EMV by George Zukerman, O.C., O.B.C. An STI Classical Concerts River Cruise. Also - visit the Thomasschule in Leipzig to see the grave of JS Bach, and the Sans Souci Palace in Potsdam (where Frederick the Great gave Bach the ‘royal theme” for his Musical Offering). trip for two includes: • An economy round trip flight from Vancouver to Europe. • Deluxe European Cruise planned by Special Travel International and hosted by PBO Music Director Alexander Weimann and EMV Executive Director Matthew White. • Deluxe hotel accommodation and daily meals while cruising. • Complimentary regional wine and beer served with all onboard lunches and dinners. • All applicable taxes, fees and basic gratuities included. • Tickets to all performances on the itinerary. Tickets available by phone or email at 604.732.1610 / [email protected] The Grand Prize draw will take place on Friday, August 11 at 9:30 pm, at the reception following Bach's St. John Passion at the Chan Centre for the Performing Arts (6265 Crescent Road, UBC Campus). Please see the EMV Website at earlymusic.bc.ca for the Rules of Play, FAQ, and Restriction on Prizes.

BC Gaming Event Licence #93882 Know your limit, play within it RAFFLE TICKETS Problem Gambling Help Line: 1-888-795-6111 / www.bcresponsiblegambling.ca ON SALE IN THE LOBBY! Chances are 1 in 400 (total tickets for sale) 1 TICKET FOR $50 | CHANCES ARE 1 IN 400 (TOTAL TICKETS)

8  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] j.s. bach: the st. john passion

It is always astonishing to realize how little known Johann Sebastian Bach was in his day, and to learn the circumstance surrounding his accession to the post of cantor of the Saint-Thomas church in Leipzig. When the post became available after the death of Kuhnau in June 1722, it took almost a year of negotiations, and refusals by both Telemann and Graupner, before the city council settled on Bach who, until then, had been in the service of the Prince of Anhalt-Cöthen.

So it was that on May 13, 1723, after having settled his family come down to us, apart from some sections reused in various in the house the city provided, that Bach took up the post. cantatas, are the Saint John Passion and the Saint Matthew He was happy to leave Cöthen for a number of reasons. Passion, the latter composed at the end of the 1720s. (Stéphan First, Prince Leopold had lost interest in music. Second, Bach Vincent-Lancrin believes that we should translate the original wished to give his sons the university training he himself never German titles, Johannes Passion and Matthäus Passion, as received, and Leipzig housed within its walls one of the most "Passion According to John" and "Passion According to celebrated universities in Germany. Finally, because Bach had Matthew" because 'Protestants don’t have saints.') composed a good deal of instrumental music for the Calvinist We do not know whether Bach wrote the first of these two Cöthen court, he was doubtless stimulated by the prospect of works when he first took up his new post; some believe that it once again writing music for the church. He had been happy could have been performed in April 1723, as a kind of entrance in Cöthen but he was unhappy in Leipzig, where for some 30 exam, while others believe it was first heard on April 7, 1724 years he was harassed by the pettiness of the ‘Most Noble – or maybe that this was the work Bach performed, in whole and Most Wise’ city council. or in part, during his visit to Gotha in 1717. Whatever the case, Bach now began a period of intense creativity, producing an Bach presented the work, with modifications, a further three impressive number of cantatas during his first years as cantor. times: in 1725, in 1728 or 1732, and at the end of the 1740s. But of the five Passions attributed to his pen, all that has Despite this imprecision, we know that in Leipzig the text of

Interested in joining the EMV Board?

Interested in rolling up your sleeves to help one of the most active and acclaimed musical organiza- tions in our region? The EMV board of directors is a varied and collegial group of individuals dedicated to providing support and leadership to our professional artistic and management team. We are always interested in hearing from poten- tial new directors and welcome energetic, posi- tive people with skills relevant to non-profit gov- ernance, including fundraising, communications, and networking. Directors serve a two-year term, meeting once a month from September to June at Hodson Manor (West 7th Ave and Birch) in Van- couver. If you have some of this experience and if you would relish a leadership role in building something truly great in our community, please get in touch with us by emailing us your resume and a Dirk Hals: “Merry Company” short note outlining what you feel you can contribute and why taking up the challenge of helping shape EMV interests you. All enquiries can be emailed to [email protected]. We look forward to hearing from you!

earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  9 Experience an early music concert series while cruising from Prague to Berlin on the River Elbe. Experience an early music concert series while cruising cruising while series concert music early an Experience ExperienceJoinExperience PBO Musical an an early early Director music music Alexander concert concert series series Weimann, while while cruising cruisingviolinist from Prague to Berlin on the River Elbe. River the on Berlin to Prague from fromfromChloe Prague Prague Meyers to to Berlin, Berlin along on on withthe the River River bassoonist Elbe. Elbe. Nate Helgeson, violinist violinist Weimann, Alexander Director Musical PBO Join JoinJoinfor PBOthis PBO glorious Musical Musical journey Director Director into Alexander Alexander the heart Weimann,of Weimann, Europe. violinist violinist photo: O.Asmussen , , Helgeson Nate bassoonist with along , Meyers Chloe ChloeChloe Meyers Meyers, , along along with with bassoonist bassoonist NateNate Helgeson Helgeson, ,

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Your Concert Series on the Elbe will feature: ■ 5 concerts aboard the Elbe Princesse with harpsichordist Alexander Your Concert Series on the Elbe will feature: will Elbe the on Series Concert Your YourYourWeimann, Concert Concert violinist Series ChloeSeries Meyers on on andthe the bassoonist Elbe Elbe will willNate Helgesonfeature: feature: aboard the Elbe Princesse with harpsichordist Alexander Alexander harpsichordist with Princesse Elbe the aboard concerts 5 ■ ■■ 55 concerts concerts aboard ashore,aboard the includingthe Elbe Elbe Princesse PrincesseCollegium with with 1714 harpsichordist harpsichordist in Prague, HarpsichordistAlexander Alexander Weimann, violinist Chloe Meyers and bassoonist Nate Helgeson Nate bassoonist and Meyers Chloe violinist Weimann, Weimann,JeanWeimann, Rondeau* violinist violinist in Chloe Dresden,Chloe Meyers Meyers Amarcord and and bassoonist bassoonist Vocal Ensemble Nate Nate Helgeson Helgesonin Leipzig and ashore, including Collegium 1714 in Prague, Harpsichordist Harpsichordist Prague, in 1714 Collegium including ashore, concerts 5 ■ ■■ 5Ensemble5 concerts concerts Sansashore, ashore, Souci including including in Potsdam Collegium Collegium and Berlin 1714 1714 (*unconfirmed in in Prague, Prague, Harpsichordist Harpsichordist as of April 2017) Jean Rondeau* in Dresden, Amarcord Vocal Ensemble in Leipzig and and Leipzig in Ensemble Vocal Amarcord Dresden, in Rondeau* Jean ■ Jean VisitJean Rondeau* theRondeau* Thomasschule in in Dresden, Dresden, in Leipzig, Amarcord Amarcord Bach’s Vocal Vocal home Ensemble Ensemble as Thomaskantor in in Leipzig Leipzig and and Ensemble Sans Souci in Potsdam and Berlin (*unconfirmed as of April 2017) April of as (*unconfirmed Berlin and Potsdam in Souci Sans Ensemble EnsembleEnsembleand the siteSans Sans of Souci Soucihis tomb in in Potsdam Potsdam and and Berlin Berlin (*unconfirmed (*unconfirmed asas ofof AprilApril 2017)2017) Visit the Thomasschule in Leipzig, Bach’s home as Thomaskantor Thomaskantor as home Bach’s Leipzig, in Thomasschule the Visit ■ ■■ Visit HearVisit the the the Thomasschule Thomasschule Trio Sonata infrom in Leipzig, Leipzig, the Musical Bach’s Bach’s Offeringhome home as as Thomaskantornear Thomaskantor the palace in Potsdam and the site of his tomb his of site the and andwhereand the the Fredericksite site of of his his thetomb tomb Great gave Bach the Royal Theme Hear the Trio Sonata from the Musical Offering near the palace in Potsdam Potsdam in palace the near Offering Musical the from Sonata Trio the Hear ■ ■■ Hear Hear the the Trio Trio Sonata Sonata from from the the Musical Musical Offering Offering near near the the palace palace in in Potsdam Potsdam Theme Royal the Bach gave Great the Frederick where wherewhere Frederick Frederick the the Great Great gave gave Bach Bach the the Royal Royal Theme Theme

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10  VancouverVancouver BachBach FestivalFestival 2017 JE.S. Bach M - St. JohnV Passion [email protected] the Passion was set to music to be sung during Vespers on reveals a crowd that is, in the words of Karl Geiringer, “fervent, Good Friday, in two parts, before and after the sermon, and impassioned, and aroused”. To render the rapidity of narrative that this, Bach’s first Passion, was performed in the Saint that characterizes this gospel, Bach provides various kinds of Nicholas church, which alternated with the Saint Thomas contrast, and particularly a rapid alternation between sharp church as the venue for an annual musical representation of and flat keys. the Passion. This scheme is interrupted by commentaries in free poetry, The monumental and anguished opening chorus in G minor the texts of which Bach may have written himself, drawing sets the mood of the drama right away. Though its text inspiration from the writings of pastors Barthold Heinrich invites the believer to pray and to glorify the omnipotent and Brockes and Christian Heinrich Postel. Arias and ariosos, like eternal Lord, the music gives off palpable tension: while the the chorales chosen by the composer, serve as resting points oboes, doubled by the flutes, slowly descend in pungently as the story unfurls, moments to meditate upon the meaning abrasive seconds, the string figurations evoke the endless and implications for the Christian of the sufferings of Jesus. suffering of Christ. Then, before returning to the material The goal is not only to relate the sequence of events leading already presented by the instruments, the chorus enters to salvation, but also to explain them to the faithful by means with exclamations that sound more like pathetic cries than at times theatrical, moving, or meditative. confident affirmations. The various sections are not randomly arranged. Rather, This Passion follows the generic rules of oratorio. The story, as is true of so many elements in the Cantor’s music, they which is drawn from chapters XVIII and XIX of the Gospel are ordered following rules that are precise though not according to John, supplemented by some verses from immediately perceptible to the listener. For an idea of the Matthew, is presented in essence as a commentary with composer’s organizing thought at work, consider this: all the personifications of the protagonists. Following tradition, music between the chorales Ach großer König (No. 17) and In this narration is assigned to a tenor voice. Other voices meines Herzens (No. 26), is organized as a vast palindrome personify various key persons, while the choir sings the role extending symmetrically on both sides of the chorale Durch of the crowd, of groups of soldiers, and of groups of priests. dein Gefängnis (No. 22). The text of this chorale develops the The role of Christ, sung by a bass, as usual, is “calm and paradoxical idea that it was by his captivity that Christ assured sublimely majestic,” while the treatment of the choruses our freedom. By placing it at the centre of his organizational

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12  Vancouver Bach Festival 2017 DanceHouseJ.S. Bach -/ St. Bach John FestivalPassion prgm [email protected] 7.5 x 4.75” / BW / 8 June 2017 Keith > rare design inc: 604 505 4100 scheme, Bach highlights the centrality of the message of the that these matchings and the composer’s choices are sound. Redemption. Thus, according to Mattheson, the viola da gamba evokes tenderness and serious matters and is the ideal choice to This structure is not only elaborate – an essential characteristic give an impression of nocturnal mystery in Es ist vollbracht. of the Baroque that Bach developed more than anyone else – The violas d’amore, again according to Mattheson, convey but alive, fully inhabited; nothing in it is left to chance and, by a languishing tenderness, such as the dolorous joy evoked in variety of compositional techniques, all emotional responses the aria Betrachte,mein Seel (No. 31). Flutes are often used as to the profound subject being treated are plumbed. Note the funerary instruments, evoking the departure of the soul, the care with which Bach musically emphasizes the sense of unknown, mercy, and serene joy. Oboes, when they are not certain key words. For instance, on the words weinete bitterlich being loud or vehement, as they are when they accompany (bitterly weeping), recitative No. 12 becomes an arioso full of the crowd scenes, are uneasy and moving. According to André chromaticisms evoking Peter’s tears; or, in the unusually long Pirro, the oboe da caccia makes audible “rumours of grief and aria Erwäge, wie sein blutgefärbter Rücken (No. 20), delicate of the night with the pungent stubbornness of a tolling bell.” figurations on two violas d’amore represent the rainbow. With Listen, for example, to the arioso Mein Herz […] Was willt du its rapid central part, in which the voice is accompanied by deines Ortes tun? (No. 34). Finally, the oboe d’amore evokes the string ensemble, Es ist vollbracht (No. 30), the expressive abandon and the “grief of compassionate friendship”, while peak of the work, inverts what was, in Bach’s day, the usual da the lute adds its gentle sound to the ethereal voices of the capo structure of an aria (that is, with a slow central section viola d’amore, as if not to rush them. sandwiched between the first section and its reprise). Grief at the death of Jesus is here doubled by the affirmation, from This Saint John Passion ends with a funerary chorale on a the left, that it constitutes the ultimate triumph. Bach reaches lullaby rhythm, written for the same forces as those used an incomparable profundity of expressiveness not by rote for the opening chorus – its descending motives illustrate association of musical motif with image (such literal music is the lowering of the body into the grave – and a simple and dull), but by the beauty of his melodies, the feeling associated touching chorale. Compared to the Saint Matthew Passion, with various keys, and the richness of his harmonies. this is a more intimate, less grandiose, less orchestral, and possibly also more subjective work. As Geiringer puts it, His expressive intention is also seen in his choice of Bach’s musical setting of the gospel according to Christ’s instruments. We speak here not of orchestration, but rather favourite disciple shows “the celestial power in opposition to of the colours painted by instruments chosen following the earthly suffering.” It is a dramatic work combining great rigour theory of affects: that is, according to the conventions of the and emotion. day by which particular instruments symbolized particular emotions. The use of period instruments today convinces us ©François Filiatrault, 2010; translated by Sean McCutcheon.

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earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  13 passio secundum johannem

— PARTE PRIMA —

1. Coro Herr, unser Herrscher, dessen Ruhm Lord, thou our master, whose repute In allen Landen herrlich ist! In every land majestic is! Zeig uns durch deine Passion, Show us through this thy passion Dass du, der wahre Gottessohn, That thou, the very Son of God, Zu aller Zeit, In every age, Auch in der größten Niedrigkeit, E’en in the midst of deepest woe, Verherrlicht worden bist! Art magnified become!

2a. Recitativo Evangelista: Evangelist: Jesus ging mit seinen Jüngern über den Bach Jesus went with his disciples over the brook Kidron, da war ein Garten, darein ging Jesus und Kidron, where there was a garden, which Jesus seine Jünger. Judas aber, der ihn verriet, wusste entered with his disciples. But Judas, who had den Ort auch, denn Jesus versammlete sich oft betrayed him, also knew the place, for Jesus had daselbst mit seinen Jüngern. Da nun Judas zu often assembled there with his disciples. When sich hatte genommen die Schar und der Hohen- Judas had procured for himself the crowd and priester und Pharisäer Diener, kommt er dahin the chief priests and the Pharisees’ servants, mit Fackeln, Lampen und mit Waffen. Als nun he entered there with torches, lanterns and Jesus wusste alles, was ihm begegnen sollte, weapons. Now as Jesus knew all that he must ging er hinaus und sprach zu ihnen: encounter, he went outside and said to them: Jesus: Jesus: Wen suchet ihr? Whom do ye seek? Evangelista: Evangelist: Sie antworteten ihm: They replied unto him:

2b. Coro Jesum von Nazareth. Jesus of Nazareth.

2c. Recitativo Evangelista: Evangelist: Jesus spricht zu ihnen: Jesus saith unto them: Jesus: Jesus: Ich bin’s. I am he. Evangelista: Evangelist: Judas aber, der ihn verriet, stund auch bei ihnen. Judas also, who had betrayed him, stood though Als nun Jesus zu ihnen sprach: Ich bin’s, wichen beside them. And when Jesus had said to them, sie zurücke und fielen zu Boden. Da fragete er “I am he”, they drew back and fell to the ground. sie abermal: Then he asked them for a second time: Jesus: Jesus: Wen suchet ihr? Whom do ye seek? Evangelista: Evangelist: Sie aber sprachen: And they did answer:

2d. Coro Jesum von Nazareth. Jesus of Nazareth.

2e. Recitativo Evangelista: Evangelist: Jesus antwortete: Jesus, answering, said: Jesus: Jesus: Ich hab’s euch gesagt, dass ich’s sei, suchet ihr I have told you that I am he; so if ye seek me, then denn mich, so lasset diese gehen! let these people go!

14  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] 3. Choral O große Lieb, o Lieb ohn alle Maße, O mighty love, O love beyond all measure, Die dich gebracht auf diese Marterstraße Which thee hath brought upon this way of torment! Ich lebte mit der Welt in Lust und Freuden, I lived amongst the world in joy and pleasure, Und du musst leiden. And thou must suffer.

4. Recitativo Evangelista: Evangelist: Auf dass das Wort erfüllet würde, welches er So that the word might be accomplished, which sagte: Ich habe der keine verloren, die du mir gege- he had spoken, “I have not lost one of those thou ben hast. Da hatte Simon Petrus ein Schwert und didst give me.” Now Simon Peter had a sword zog es aus und schlug nach des Hohenpriesters and drew it forth and struck at the chief priest’s Knecht und hieb ihm sein recht Ohr ab; und der slave and cut his right ear off. The slave’s name Knecht hieß Malchus. Da sprach Jesus zu Petro: was Malchus. Then said Jesus to Peter: Jesus: Jesus: Stecke dein Schwert in die Scheide! Soll ich den Put back thy sword in its scabbard! Shall I the Kelch nicht trinken, den mir mein Vater gegeben hat? cup not drink which my Father hath given me?

5. Choral Dein Will gescheh, Herr Gott, zugleich Thy will be done, Lord God, alike Auf Erden wie im Himmelreich. On earth as e’en in heaven’s realm. Gib uns Geduld in Leidenszeit, Give us restraint in time of pain, Gehorsam sein in Lieb und Leid; Obedience both in love and woe; Wehr und steur allem Fleisch und Blut, Guard and guide every flesh and blood Das wider deinen Willen tut! Which counter to thy will doth strive!

6. Recitativo Evangelista: Evangelist: Die Schar aber und der Oberhauptmann und die The crowd, though, and their captain and the Diener der Jüden nahmen Jesum und bunden servants of the Jews laid hold of Jesus and bound ihn und führeten ihn aufs erste zu Hannas, der him fast and led him away first unto Annas, who war Kaiphas Schwäher, welcher des Jahres was Caiphas’ wife’s father, who was the high Hoherpriester war. Es war aber Kaiphas, der priest of that year. But it was Caiphas who had den Jüden riet, es wäre gut, dass ein Mensch told the Jews it would be good if one man were würde umbracht für das Volk. to die for the people.

7. Aria Von den Stricken meiner Sünden From the bondage of my errors (alto) Mich zu entbinden, Me to deliver Wird mein Heil gebunden. Is my Saviour fettered. Mich von allen Lasterbeulen He from all my body’s torments, Völlig zu heilen, Fully to heal me, Läßt er sich verwunden. Lets himself be wounded.

8. Recitativo Evangelista: Evangelist: Simon Petrus aber folgete Jesu nach und ein Simon Peter followed after Jesus, and one other ander Jünger. disciple.

9. Aria Ich folge dir gleichfalls mit freudigen Schritten I’ll follow thee likewise with gladdening paces (soprano) Und lasse dich nicht, And thee not forsake, Mein Leben, mein Licht. My life and my light. Befördre den Lauf Now forward my course Und höre nicht auf, And do thou not cease Selbst an mir zu ziehen, zu schieben, zu bitten. Thyself me to draw and to press and to summon.

Please turn page quietly earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  15 10. Recitativo Evangelista: Evangelist: Derselbige Jünger war dem Hohenpriester This same disciple was acquainted with the high bekannt und ging mit Jesu hinein in des Ho- priest and went with Jesus within, to the palace henpriesters Palast. Petrus aber stund draußen of the high priest. Peter, though, stood outside für der Tür. Da ging der andere Jünger, der dem before the door. Then came the other disciple, Hohenpriester bekannt war, hinaus und redete who was acquainted with the high priest, outside mit der Türhüterin und führete Petrum hinein. and spake with the woman guarding the door, Da sprach die Magd, die Türhüterin, zu Petro: and led Peter inside. Then said the maid who guarded the door to Peter: Ancilla: Maid: Bist du nicht dieses Menschen Jünger einer? Art thou not also one of his disciples? Evangelista: Evangelist: Er sprach: He said: Petrus: Peter: Ich bin’s nicht. I am not. Evangelista: Evangelist: Es stunden aber die Knechte und Diener und And there the soldiers and servants were hatten ein Kohlfeu’r gemacht (denn es war kalt) standing, who had made a fire out of charcoal und wärmeten sich. Petrus aber stund bei ihnen (for it was cold), and were warming themselves. und wärmete sich. Aber der Hohepriester fragte Peter, too, was standing with them and warming Jesum um seine Jünger und um seine Lehre. Jesus himself. But the high priest put forth questions to antwortete ihm: Jesus about his disciples and about his teaching. Jesus answering him said: Jesus: Jesus: Ich habe frei, öffentlich geredet für der Welt. Ich Before the world I have spoken openly and freely habe allezeit gelehret in der Schule und in dem before the world. And in the synagogue and in the Tempel, da alle Jüden zusammenkommen, und temple have I always been teaching, where all the habe nichts im Verborgnen geredt. Was fragest du Jews come together, and I have nought spoken in mich darum? Frage die darum, die gehöret haben, secret. Why dost thou ask me about this? Question was ich zu ihnen geredet habe! Siehe, dieselbigen those about this who have already heard what I wissen, was ich gesaget habe. have spoken to them. See, these people know what I have said. Evangelista: Evangelist: Als er aber solches redete, gab der Diener einer, But when he had spoken thus, one of the die dabeistunden, Jesu einen Backenstreich und attendants who stood nearby struck Jesus with sprach: a slap of his hand and said: Servus: Servant: Solltest du dem Hohenpriester also antworten? Shalt thou answer the high priest thus? Evangelista: Evangelist: Jesus aber antwortete: Jesus, though, thus replied to him: Jesus: Jesus: Hab ich übel geredt, so beweise es, dass es böse If I have spoken ill, then bear witness to the ill sei, hab ich aber recht geredt, was schlägest du there-in, but if I have told the truth, why strikest mich? thou me?

11. Choral Wer hat dich so geschlagen, Who hath thee now so stricken, Mein Heil, und dich mit Plagen My Saviour, and with torments So übel zugericht’? Such ill upon thee laid? Du bist ja nicht ein Sünder For thou art not a sinner Wie wir und unsre Kinder, Like us and our own children, Von Missetaten weißt du nicht. From evildoing thou art free. continued >>

16  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] Ich, ich und meine Sünden, I, I and my transgressions, Die sich wie Körnlein finden Which to the grains are likened Des Sandes an dem Meer, Of sand beside the sea, Die haben dir erreget These have in thee awakened Das Elend, das dich schläget, The sorrow that doth strike thee Und das betrübte Marterheer. And this most grievous host of pain.

12a. Recitativo Evangelista: Evangelist: Und Hannas sandte ihn gebunden zu dem Ho- And Annas sent him in fetters unto Caiphas, henpriester Kaiphas. Simon Petrus stund und the high priest. Simon Peter stood and warmed wärmete sich, da sprachen sie zu ihm: himself, when they said unto him:

12b. Coro Bist du nicht seiner Jünger einer? Art thou not one of his disciples?

12c. Recitativo Evangelista: Evangelist: Er leugnete aber und sprach: But he denied it and said: Petrus: Peter: Ich bin’s nicht. I am not. Evangelista: Evangelist: Spricht des Hohenpriesters Knecht’ einer, ein Then saith one of the high priest’s servants, Gefreundter des, dem Petrus das Ohr abge- an acquaintance of him, whose ear Peter had hauen hatte: smitten off: Servus: Servant: Sahe ich dich nicht im Garten bei ihm? Did I not see thee with him in the garden? Evangelista: Evangelist: Da verleugnete Petrus abermal, und alsobald Peter once again denied it and at once the cock krähete der Hahn. Da gedachte Petrus an die did crow. Then did Peter think back to the words Worte Jesu und ging hinaus und weinete bitterlich. of Jesus and went outside and wept most bitterly.

13. Aria Ach, mein Sinn, Ah, my mind, (tenore) Wo willt du endlich hin, Where wouldst thou go at last, Wo soll ich mich erquicken? Where shall I find refreshment? Bleib ich hier, Stay I here, Oder wünsch ich mir Or choose to place Berg und Hügel auf den Rücken? Hills and mountains far behind me? Bei der Welt ist gar kein Rat, In the world there is no help; Und im Herzen And my bosom Stehn die Schmerzen Keeps the sorrow Meiner Missetat, For my evil deed, Weil der Knecht den Herrn verleugnet hat. Since the servant hath denied his Lord.

14. Choral Petrus, der nicht denkt zurück, Peter, when he fails to think, Seinen Gott verneinet, Hath his God deniéd. Der doch auf ein’ ernsten Blick Yet when first the truth is seen, Bitterlichen weinet. Bitterly he weepeth. Jesu, blicke mich auch an, Jesus, look on me as well, Wenn ich nicht will büßen; When I feel no sorrow; Wenn ich Böses hab getan, When I wickedness have done, Rühre mein Gewissen! Stir thou up my conscience!

interval

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18  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] — PARTE SECONDA —

15. Choral Christus, der uns selig macht, Christ, who hath us blessed made, Kein Bös’ hat begangen, No wrong hath committed; Der ward für uns in der Nacht He was for us in the night Als ein Dieb gefangen, Like a thief made captive, Geführt für gottlose Leut Led before a godless crowd Und fälschlich verklaget, And falsely indicted, Verlacht, verhöhnt und verspeit, And mocked and scorned and bespat, Wie denn die Schrift saget. For so it was written.

16a. Recitativo Evangelista: Evangelist: Da führeten sie Jesum von Kaiphas vor das Then they led away Jesus from Caiphas to the Richthaus, und es war frühe. Und sie gingen nicht prætorium, and it was early. And they entered in das Richthaus, auf dass sie nicht unrein würden, not the prætorium, so that they be not defiled, sondern Ostern essen möchten. Da ging Pilatus but might eat the Passover. So Pilate went forth zu ihnen heraus und sprach: to them outside and said: Pilatus: Pilate: Was bringet ihr für Klage wider diesen Menschen? What accusation bring ye against this man? Evangelista: Evangelist: Sie antworteten und sprachen zu ihm: And they answered and said unto him:

16b. Coro Wäre dieser nicht ein Übeltäter, Were this man not an evildoer, wir hätten dir ihn nicht überantwortet. we would to thee him not have handed over.

16c. Recitativo Evangelista: Evangelist: Da sprach Pilatus zu ihnen: Then Pilate said unto them: Pilatus: Pilate: So nehmet ihr ihn hin und richtet ihn nach eurem So take ye him from here and judge him according Gesetze! to your law! Evangelista: Evangelist: Da sprachen die Jüden zu ihm: Then said the Jews unto him:

16d. Coro Wir dürfen niemand töten. To death we may put no one.

16e. Recitativo Evangelista: Evangelist: Auf dass erfüllet würde das Wort Jesu, welches So that might be fulfilled the word of Jesus which er sagte, da er deutete, welches Todes er sterben he had spoken when he prophesied by what death würde. Da ging Pilatus wieder hinein in das Rich- he was to perish. Then Pilate went back inside thaus und rief Jesu und sprach zu ihm: the prætorium and called Jesus and said to him: Pilatus: Pilate: Bist du der Jüden König? Art thou the King of the Jews? Evangelista: Evangelist: Jesus antwortete: Jesus replied to him: Jesus: Jesus: Redest du das von dir selbst, oder haben’s dir Dost thou say this of thyself, or have others said andere von mir gesagt. this of me to thee? Evangelista: Evangelist: Pilatus antwortete: And Pilate replied to him: Pilatus: Pilate: Bin ich ein Jüde? Dein Volk und die Hohen- Am I a Jew? Thy people and the high priests priester haben dich mir überantwortet; was hast have handed thee here over to me; what hast du getan? thou done? Please turn page quietly earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  19 Evangelista: Evangelist: Jesus antwortete: Jesus replied: Jesus: Jesus: Mein Reich ist nicht von dieser Welt; wäre mein My kingdom is not of this world, else my servants Reich von dieser Welt, meine Diener würden darob would fight that I not be handed over unto the kämpfen, dass ich den Jüden nicht überantwortet Jews; but my kingdom is not from there. würde; aber nun ist mein Reich nicht von dannen.

17. Choral Ach großer König, groß zu allen Zeiten, Ah King so mighty, mighty in all ages, Wie kann ich gnugsam diese Treu ausbreiten? How may I fitly thy devotion publish? Keins Menschen Herze mag indes ausdenken, No human heart could ever now imagine Was dir zu schenken. What it should give thee.

Ich kann’s mit meinen Sinnen nicht erreichen, I cannot with my reason ever fathom Womit doch dein Erbarmen zu vergleichen. To what indeed thy mercy may be likened. Wie kann ich dir denn deine Liebestaten How can I then the acts of thy compassion Im Werk erstatten? In deed repay thee?

18a. Recitativo Evangelista: Evangelist: Da sprach Pilatus zu ihm: Then Pilate said unto him: Pilatus: Pilate: So bist du dennoch ein König? So art thou truly a king? Evangelista: Evangelist: Jesus antwortete: Jesus answering said: Jesus: Jesus: Du sagst’s, ich bin ein König. Ich bin dazu geboren Thou say’st I am a king. I have been born for this und in die Welt kommen, dass ich die Wahrheit and into the world come, that I may witness zeugen soll. Wer aus der Wahrheit ist, der höret unto truth. All who are of the truth will hearken meine Stimme. to my voice. Evangelista: Evangelist: Spricht Pilatus zu ihm: Then said Pilate to him: Pilatus: Pilate: Was ist Wahrheit? What is truth? Evangelista: Evangelist: Und da er das gesaget, ging er wieder hinaus zu And after he had said this, he went outside again den Jüden und spricht zu ihnen: to the Jews and said unto them: Pilatus: Pilate: Ich finde keine Schuld an ihm. Ihr habt aber eine I find no wrong at all in him. Ye have, however, a Gewohnheit, dass ich euch einen losgebe; wollt custom, that I set free to you one man; would ye ihr nun, dass ich euch der Jüden König losgebe? now, that I set the King of the Jews free to you? Evangelista: Evangelist: Da schrieen sie wieder allesamt und sprachen: They shouted again together then and answered:

18b. Coro Nicht diesen, sondern Barrabam! Not this one, rather Barabbas!

18c. Recitativo Evangelista: Evangelist: Barrabas aber war ein Mörder. Da nahm Pilatus Barabbas, though, was a murderer. And Pilate Jesum und geißelte ihn. then took Jesus and scourged him.

20  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] 19. Arioso Betrachte, meine Seel, mit ängstlichem Vergnügen, Observe now, O my soul, with fearful satisfaction, (basso) Mit bittrer Lust und halb beklemmtem Herzen With bitter joy and with a heart half-anguished Dein höchstes Gut in Jesu Schmerzen, Thy highest good in Jesus’ torments: Wie dir auf Dornen, so ihn stechen, For thee the thorns there which have pierced him Die Himmelsschlüsselblumen blühn! As keys to heaven’s flowers bloom! Du kannst viel süße Frucht von seiner Thou canst pluck much sweet fruit from his Wermut brechen most bitter wormwood, Drum sieh ohn Unterlass auf ihn! So look unceasingly on him!

20. Aria Erwäge, wie sein blutgefärbter Rücken Consider how his back so stained with bleeding (tenore) In allen Stücken In every portion Dem Himmel gleiche geht, Doth heaven imitate, Daran, nachdem die Wasserwogen On which, when once the waves and waters Von unsrer Sündflut sich verzogen, From our own Flood of sin have settled, Der allerschönste Regenbogen The world’s most lovely rainbow, arching, Als Gottes Gnadenzeichen steht! As God’s own sign of blessing stands!

21a. Recitativo Evangelista: Evangelist: Und die Kriegsknechte flochten eine Krone von And then the soldiers plaited him a crown out of Dornen und satzten sie auf sein Haupt und legten thorns and set it upon his head and laid on him a ihm ein Purpurkleid an und sprachen: purple robe and said:

21b. Coro Sei gegrüßet, lieber Jüdenkönig! Hail unto thee, O thou King of the Jews!

21c. Recitativo Evangelista: Evangelist: Und gaben ihm Backenstreiche. Da ging Pilatus And then with their hands they struck him. Then wieder heraus und sprach zu ihnen: Pilate came again outside and said unto them: Pilatus: Pilate: Sehet, ich führe ihn heraus zu euch, dass ihr erken- Witness, I bring him out here unto you, that ye net, dass ich keine Schuld an ihm finde. see clearly that I have no wrong found in him. Evangelista: Evangelist: Also ging Jesus heraus und trug eine Dornenkrone And thus came Jesus outside and wore both a und Purpurkleid. crown of thorns and a purple robe. Und er sprach zu ihnen: And he said unto them: Pilatus: Pilate: Sehet, welch ein Mensch! Behold, what a man! Evangelista: Evangelist: Da ihn die Hohenpriester und die Diener sahen, But when the chief priests and their servants saw schrieen sie und sprachen: him, they cried out and said:

21d. Coro Kreuzige, kreuzige! Crucify, crucify!

21e. Recitativo Evangelista: Evangelist: Pilatus sprach zu ihnen: Then Pilate said unto them: Pilatus: Pilate: Nehmet ihr ihn hin und kreuziget ihn; denn ich Take him away yourselves and crucify him; for I finde keine Schuld an ihm! find no fault in him. Evangelista: Evangelist: Die Jüden antworteten ihm: The Jews then replied unto him:

21f. Coro Wir haben ein Gesetz, We have with us a law, und nach dem Gesetz soll er sterben; and by this same law he should perish; denn er hat sich selbst zu Gottes Sohn gemacht. for he hath proclaimed himself the Son of God.

Please turn page quietly earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  21 21g. Recitativo Evangelista: Evangelist: Da Pilatus das Wort hörete, fürchtet’ er sich noch And when Pilate heard what they had said, he mehr und ging wieder hinein in das Richthaus und was yet more afraid and went once more inside spricht zu Jesu: the prætorium and saith to Jesus: Pilatus: Pilate: Von wannen bist du? From where then art thou? Evangelista: Evangelist: Aber Jesus gab ihm keine Antwort. Da sprach But Jesus gave to him no answer. Then Pilate Pilatus zu ihm: said unto him: Pilatus: Pilate: Redest du nicht mit mir ? Weißest du nicht, dass Speakest thou not with me? Dost thou not know ich Macht habe, dich zu kreuzigen, und Macht I have power to crucify thee, and power to give habe, dich loszugeben ? thee thy freedom? Evangelista: Evangelist: Jesus antwortete: Jesus replied to him: Jesus: Jesus: Du hättest keine Macht über mich, wenn sie dir Thou wouldst not have any power over me, if nicht wäre von oben herab gegeben; darum, der it had not been given unto thee from above; mich dir überantwortet hat, der hat’s größ’re therefore, he who did hand me over to thee hath Sünde. the greater sin. Evangelista: Evangelist: Von dem an trachtete Pilatus, From this time forth did Pilate seek wie er ihn losließe. how he might release him.

22. Choral Durch dein Gefängnis, Gottes Sohn, Through this thy prison, Son of God, Muss uns die Freiheit kommen; Must come to us our freedom; Dein Kerker ist der Gnadenthron, Thy dungeon is the throne of grace, Die Freistatt aller Frommen; The refuge of the righteous; Denn gingst du nicht die Knechtschaft ein, For hadst thou not borne servitude, Müßt unsre Knechtschaft ewig sein. Would we be slaves eternally.

23a. Recitativo Evangelista: Evangelist: Die Jüden aber schrieen und sprachen: The Jews, however, cried out and said:

23b. Coro Lässest du diesen los, so bist du des Kaisers Freund If thou let this man go, then art thou the Caesar’s nicht; denn wer sich zum Könige machet, der ist friend not; for whoever maketh himself king is the wider den Kaiser. foe of the Caesar.

23c. Recitativo Evangelista: Evangelist: Da Pilatus das Wort hörete, führete er Jesum And when Pilate had heard this saying, he then led heraus und satzte sich auf den Richtstuhl, an der Jesus outside and sat down on the judgment seat, Stätte, die da heißet: Hochpflaster, auf Ebräisch at the place which is called the High Pavement, but aber: Gabbatha. Es war aber der Rüsttag in Ostern in Hebrew is called Gabbatha. It was Preparation um die sechste Stunde, und er spricht zu den Jüden: Day of the Passover, about the sixth hour, and he saith to the Jews: Pilatus: Pilate: Sehet, das ist euer König! Behold, here is your King! Evangelista: Evangelist: Sie schrieen aber: But they cried out:

23d. Coro Weg, weg mit dem, kreuzige ihn! Off, off with him, crucify him!

22  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] 23e. Recitativo Evangelista: Evangelist: Spricht Pilatus zu ihnen: Pilate saith unto them: Pilatus: Pilate: Soll ich euren König kreuzigen? Am I then to crucify your King? Evangelista: Evangelist: Die Hohenpriester antworteten: The high priests thereupon answered him:

23f. Coro Wir haben keinen König denn den Kaiser. We have no other king except the Caesar.

23g. Recitativo Evangelista: Evangelist: Da überantwortete er ihn, dass er gekreuziget He handed him over then to them, that he might be würde. Sie nahmen aber Jesum und führeten ihn crucified. And they in turn took Jesus and led him hin. Und er trug sein Kreuz und ging hinaus zur away. And he bore his cross and went thenceforth Stätte, die da heißet Schädelstätt, welche heißet to the place which is called the Place of Skulls, auf Ebräisch: Golgatha. but whose name is called in Hebrew Golgotha.

24. Aria Eilt, ihr angefochtnen Seelen, Haste, ye, O sorely tempted spirits, (basss & coro) Geht aus euren Marterhöhlen, Go forth from your torment’s caverns, Eilt – Wohin ? – nach Golgatha! Haste – where to? – to Golgotha! Nehmet an des Glaubens Flügel, Put ye on of faith the pinions, Flieht - Wohin? - zum Kreuzeshügel, Flee – where to? – the cross’s hilltop, Eure Wohlfahrt blüht allda! For your welfare bloometh there!

25a. Recitativo Evangelista: Evangelist: Allda kreuzigten sie ihn, und mit ihm zween And they crucified him there, and two others andere zu beiden Seiten, Jesum aber mitten with him, one on either side, Jesus, though inne. Pilatus aber schrieb eine Überschrift und between them. But Pilate wrote an inscriptions satzte sie auf das Kreuz, und war geschrieben: and set it upon the cross, and it was written, “Jesus von Nazareth, der Jüden König”. Diese “Jesus of Nazareth, the King of the Jews.” And Überschrift lasen viel Jüden, denn die Stätte war this inscription was read by many Jews, for the nahe bei der Stadt, da Jesus gekreuziget ist. Und city was not far from the place where Jesus was es war geschrieben auf ebräische, griechische crucified. And it had been written in the Hebrew, und lateinische Sprache. Da sprachen die Ho- the Greek and the Latin language. And then said henpriester der Jüden zu Pilato: the chief priests of the Jews unto Pilate:

25b. Coro Schreibe nicht: der Jüden König, sondern dass er Do not write: the King of the Jews, rather that he gesaget habe: Ich bin der Jüden König. hath only said this, “I am the King of the Jews.”

25c. Recitativo Evangelista: Evangelist: Pilatus antwortet: But Pilate responded: Pilatus: Pilate: Was ich geschrieben habe, What I have written, das habe ich geschrieben. that is what I have written.

26. Choral In meines Herzens Grunde Within my heart’s foundation Dein Nam und Kreuz allein Thy name and cross alone Funkelt all Zeit und Stunde, Shine forth each day and hour, Drauf kann ich fröhlich sein. For which I can rejoice. Erschein mir in dem Bilde Appear to me the vision, Zu Trost in meiner Not, For strength in my distress, Wie du, Herr Christ, so milde How thou, Lord Christ, so gently Dich hast geblut’ zu Tod! Didst give thy blood till death!

Please turn page quietly earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  23 27a. Recitativo Evangelista: Evangelist: Die Kriegsknechte aber, da sie Jesum gekreuz- The soldiers, however, after they had crucified iget hatten, nahmen seine Kleider und machten Jesus, gathered all his garments and made of vier Teile, einem jeglichen Kriegesknechte sein them four parts, unto each of the soldiers giving Teil, dazu auch den Rock. Der Rock aber war un- one part, and also his cloak. The cloak, though, genähet, von oben an gewürket durch und durch. was made without stitching, from top to bottom Da sprachen sie untereinander: it was woven throughout. They said then, each one to the other:

27b. Coro Lasset uns den nicht zerteilen, sondern darum losen, Let us not divide or tear it, but cast lots to settle wes er sein soll. who shall have it.

27c. Recitativo Evangelista: Evangelist: Auf dass erfüllet würde die Schrift, die da saget: Sie So that might be accomplished the text which haben meine Kleider unter sich geteilet und haben declareth, “They have divided all my garments über meinen Rock das Los geworfen, Solches taten among themselves and have cast lots for my die Kriegesknechte. Es stund aber bei dem Kreuze cloak.” This is what the soldiers were doing. Jesu seine Mutter und seiner Mutter Schwester, But standing beside the cross of Jesus were his Maria, Kleophas Weib, und Maria Magdalena. mother and the sister of his mother, and Mary, Da nun Jesus seine Mutter sahe und den Jünger Cleophas’ wife, and Mary Magdalen. Now when dabei stehen, den er lieb hatte, spricht er zu Jesus saw his mother and that disciple standing seiner Mutter: there whom he loved, he saith unto his mother: Jesus: Jesus: Weib, siehe, das ist dein Sohn! Look, woman, this is thy son! Evangelista: Evangelist: Darnach spricht er zu dem Jünger: Then he saith to the disciple: Jesus: Jesus: Siehe, das ist deine Mutter! See thou, this is thy mother!

28. Choral Er nahm alles wohl in acht He of all did well take heed In der letzten Stunde, In those final moments, Seine Mutter noch bedacht, On his mother still intent, Setzt ihr ein’ Vormunde. Gave to her a guardian. O Mensch, mache Richtigkeit, O man, ever do the right, Gott und Menschen liebe, God and man love dearly, Stirb darauf ohn alles Leid, Die then free of every pain Und dich nicht betrübe! And yield not to sorrow!

29. Recitativo Evangelista: Evangelist: Und von Stund an nahm sie der Jünger zu sich. And from this moment the disciple took her unto Darnach, als Jesus wusste, dass schon alles himself. And then, as Jesus knew that everything vollbracht war, dass die Schrift erfüllet würde, had been accomplished that the scripture might spricht er: be fulfilled, he saith: Jesus: Jesus: Mich dürstet! I thirst! Evangelista: Evangelist: Da stund ein Gefäße voll Essigs. Sie fülleten There stood there a bowl full of vinegar. Then aber einen Schwamm mit Essig und legten ihn they took a sponge and filled it with vinegar and um einen Isopen, und hielten es ihm dar zum set it on a branch of hyssop, and held it forth to Munde. Da nun Jesus den Essig genommen him, to his mouth. When now Jesus accepted hatte, sprach er: the vinegar, he said: Jesus: Jesus: Es ist vollbracht! It is fulfilled!

24  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] 30. Aria Es ist vollbracht! It is fulfilled! (alto) O Trost vor die gekränkten Seelen! O hope for ev’ry ailing spirit! Die Trauernacht The night of grief Läßt nun die letzte Stunde zählen. Is now its final hours counting. Der Held aus Juda siegt mit Macht The man of Judah wins with might Und schließt den Kampf. And ends the fight. Es ist vollbracht! It is fulfilled!

31. Recitativo Evangelista: Evangelist: Und neiget das Haupt und verschied. And he bowed his head and was dead.

32. Aria Mein teurer Heiland, lass dich fragen, My precious Saviour, let me ask thee, (basso & coro) Jesu, der du warest tot, Jesus, thou who suffered death, Da du nunmehr ans Kreuz geschlagen Since thou upon the cross wast fastened Und selbst gesagt: Es ist vollbracht, And said thyself, “It is fulfilled”, Lebest nun ohn Ende, Livest now forever, Bin ich vom Sterben frei gemacht? Am I from dying been made free? In der letzten Todesnot In the final throes of death Nirgend mich hinwende Nowhere other guide me Kann ich durch deine Pein und Sterben Can I through this thy pain and dying Das Himmelreich ererben? The realm of heaven inherit? Ist aller Welt Erlösung da? Is all the world’s redemption here? Als zu dir, der mich versühnt, But to thee, redeemer mine, O du lieber Herre! O thou, my dear master! Du kannst vor Schmerzen zwar nichts sagen; Thou canst in pain, indeed, say nothing; Gib mir nur, was du verdient, Give me just what thou hast earned, Doch neigest du das Haupt But thou dost bow thy head Und sprichst stillschweigend: ja. And sayest in silence, “Yes.” Mehr ich nicht begehre! More I cannot wish for!

33. Recitativo Evangelista: Evangelist: Und siehe da, der Vorhang im Tempel zerriss in And now behold, the veil of the temple was parted zwei Stück von oben an bis unten aus. Und die in twain, from top down to the bottom rent. And Erde erbebete, und die Felsen zerrissen, und die the earth was filled with quaking, and the rocks Gräber täten sich auf, und stunden auf viel Leiber split asunder, and the graves were opened wide, der Heiligen. and there rose up the bodies of many saints.

34. Arioso Mein Herz, in dem die ganze Welt My heart, since thus doth all the world (tenore) Bei Jesu Leiden gleichfalls leidet, At Jesus’ passion also suffer, Die Sonne sich in Trauer kleidet, The sun itself in mourning cladeth, Der Vorhang reißt, der Fels zerfällt, The veil is rent, the rocks fall down, Die Erde bebt, die Gräber spalten, The earth doth quake, the graves are parted, Weil sie den Schöpfer sehn erkalten, For they behold grown cold their maker, Was willst du deines Ortes tun? What wouldst thou for thy part now do?

35. Aria Zerfließe, mein Herze, in Fluten der Zähren O melt now, my bosom, in rivers of weeping, (soprano) Dem Höchsten zu Ehren! The Most High to honour! Erzähle der Welt und dem Himmel die Not: Declare to the world and to heaven thy woe: Dein Jesus ist tot! Thy Jesus is dead!

Please turn page quietly earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  25 36. Recitativo Evangelista: Evangelist: Die Jüden aber, dieweil es der Rüsttag war, dass The Jews, however, it being the Preparation, so nicht die Leichname am Kreuze blieben den Sab- that the body might not stay upon the cross on bat über (denn desselbigen Sabbats Tag war sehr the sabbath (for this sabbath was a very high groß), baten sie Pilatum, dass ihre Beine gebrochen day), therefore asked of Pilate to let their legs und sie abgenommen würden. Da kamen die be broken and to have them taken down. There Kriegsknechte und brachen dem ersten die Beine came then the soldiers and broke the legs of und dem andern, der mit ihm gekreuziget war. the first one and the other one who had been Als sie aber zu Jesu kamen, da sie sahen, dass er crucified with him. But when they came to Jesus, schon gestorben war, brachen sie ihm die Beine and saw that he was already dead, they did not nicht; sondern der Kriegsknechte einer eröffnete break his legs, but one of the soldiers opened seine Seite mit einem Speer, und alsobald ging Blut up his side with a spear, and straightway came und Wasser heraus. Und der das gesehen hat, der blood and water therefrom. And he who hath hat es bezeuget, und sein Zeugnis ist wahr, und seen these things hath borne witness thereof, derselbige weiß, dass er die Wahrheit saget, auf and his witness is true, and this very man knows dass ihr gläubet. Denn solches ist geschehen, that he doth speak the truth, that ye believe it. For auf dass die Schrift erfüllet würde: “Ihr sollet ihm all these things took place so that the scripture kein Bein zerbrechen”. Und abermal spricht eine might be accomplished, “Ye shall of him no bone andere Schrift: “Sie werden sehen, in welchen sie have broken.” Again another scripture doth say, gestochen haben”. “They will behold him whom they have piercéd.”

37. Choral O hilf, Christe, Gottes Sohn, O help, Christ, O Son of God, Durch dein bitter Leiden, Through thy bitter passion, Dass wir dir stets untertan That we, who thee ever serve, All Untugend meiden, May avoid all error, Deinen Tod und sein Ursach May thy death and its true cause Fruchtbarlich bedenken, Fruitfully consider, Dafür, wiewohl arm und schwach, For which, although poor and weak, Dir Dankopfer schenken! Thee our thanks we offer!

38. Recitativo Evangelista: Evangelist: Darnach bat Pilatum Joseph von Arimathia, der Then came unto Pilate Joseph of Arimathaea, who ein Jünger Jesu war (doch heimlich aus Furcht was one of Jesus’ disciples (but secretly, from fear vor den Jüden), dass er möchte abnehmen of the Jews), that he might take away the body of den Leichnam Jesu. Und Pilatus erlaubete es. Jesus. And Pilate allowed him to do it. Consequently, Derowegen kam er und nahm den Leichnam Jesu he came and took the body of Jesus away. But also herab. Es kam aber auch Nikodemus, der vormals there came Nicodemus, who had come in the night bei der Nacht zu Jesu kommen war, und brachte to Jesus once before, and he brought a mixture of Myrrhen und Aloen untereinander, bei hundert myrrh and aloes, about an hundred pound weight. Pfunden. Da nahmen sie den Leichnam Jesu und Then they took away the body of Jesus and bound bunden ihn in leinen Tücher mit Spezereien, wie it up in linen cloths with the precious spices, which die Jüden pflegen zu begraben. Es war aber an the Jews are wont to use in burial. There was now der Stätte, da er gekreuziget ward, ein Garten, in that same place where he had been crucified a und im Garten ein neu Grab, in welches niemand garden, and the garden had a tomb, within which je geleget war. Daselbst hin legten sie Jesum, no one had ever been laid. Therein did they now um des Rüsttags willen der Jüden, dieweil das lay Jesus, since it was the Jews’ Preparation, and Grab nahe war. since the tomb was nearby.

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26  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] 39. Coro Ruht wohl, ihr heiligen Gebeine, Rest well, ye holy bones and members, Die ich nun weiter nicht beweine, Which I henceforth shall never weep for, Ruht wohl und bringt auch mich zur Ruh! Rest well and bring me, too, to rest! Das Grab, so euch bestimmet ist The tomb which for you is assigned, Und ferner keine Not umschließt, And henceforth no distress will hold, Macht mir den Himmel auf Doth open heav’n to me und schließt die Hölle zu. and shut the gates of hell.

40. Choral Ach Herr, lass dein lieb Engelein Ah Lord, let thine own angels dear Am letzten End die Seele mein At my last hour my spirit bear In Abrahams Schoß tragen, To Abraham’s own bosom, Den Leib in seim Schlafkämmerlein My body in its simple bed Gar sanft ohn einge Qual und Pein In peace without distress and dread Ruhn bis am jüngsten Tage! Rest till the day of judgment! Alsdenn vom Tod erwecke mich, And then from death awaken me, Dass meine Augen sehen dich That with mine eyes I may see thee In aller Freud, o Gottes Sohn, In fullest joy, O God’s own Son, Mein Heiland und Genadenthron! My Saviour and my gracious throne! Herr Jesu Christ, erhöre mich, Lord Jesus Christ, give ear to me, Ich will dich preisen ewiglich! I would thee praise eternally!

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We’ve got you covered! Hear Sir András Schi perform The Well Tempered Clavier Book 1 Prelude & Fugue No. 24 in B minor; Schaghajegh Nosrati perform the Goldberg Variations; Inon Barnatan perform Allemande from Partita No. 4; and Alban Gerhardt perform Cello Suite No. 2 in D minor. All on our upcoming 2017-18 Season. Full details are available at vanrecital.com Tickets: 604 602 0363 I VANRECITAL.COM Tickets start at $25

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28  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] guests at the festival: performing ensembles

Gli Angeli Genève awarded the Canada Council’s top prize in choral singing, the Healey Willan Grand Prize, more than any other choir in the Gli Angeli Genève was founded by Stephan MacLeod in 2005 country. Led by Paula Kremer since 2013, VCS also commissions and is an ensemble of varying composition that performs vocal new works from critically acclaimed composers which have led to and instrumental repertoire of the renaissance, baroque and extremely successful and innovative collaborations with regional classical periods. It is made up of musicians who either have solo and international artists and ensembles. careers of their own or who are chamber recitalists in the field of baroque music, but who are not exclusively active in this clearly defined area: in other words, they perform more than just early music, their eclecticism guaranteeing their enthusiasm and the sincerity of their research. While performing the complete Bach pacific baroque orchestra cantatas in a long-term concert series in Geneva, Gli Angeli 2017-18 CONCERT SEASON Genève is initiating a new adventure in September 2017 with the start of the performing of all Haydn Symphonies over a decade. The ensemble is regularly invited in leading festivals and concert venues all around the world. [www.ensemblecinquecento.com] pacific Pacific Baroque Orchestra baroque The Pacific Baroque Orchestra is recognised as one of Canada’s most exciting and innovative ensembles performing “early orchestra music for modern ears”. The orchestra brings the music of the past up to date by performing with cutting edge style and alexander weimann enthusiasm. Formed in 1990, the orchestra quickly established MUSIC director itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver. In 2009 the ensemble welcomed Alexander Weimann, one of the most sought-after ensemble directors, soloists, and chamber music partners of his generation, as Artistic Director. Weimann’s imaginative programming and expert leadership have drawn in many new concertgoers, and his creativity and engaging musicianship have carved out a unique and vital place in the cultural landscape of Vancouver. The orchestra regularly joins forces with internationally celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured B.C., the northern United States and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra have been at the core of many large-scale productions by Early Music Vancouver in recent years, including many summer festival performances led by Alexander Weimann, and the orchestra continues to perform and expand its concerts in the Pacific Northwest, from Portland, Oregon, to Seattle, Washington, Victoria, and here at home in Vancouver. In 2014 the orchestra was honoured to have their recording of Handel’s Orlando nominated for a Juno Award. 17 18 Vancouver Cantata Singers Vancouver Cantata Singers was founded in 1957, and has become one of Canada’s preeminent, award-winning choral ensembles. pick up a copy of our brochure The Vancouver choir has become known for technical virtuosity, PBO Brochure 17-18 as booklet.inddin 1 the lobby tonight – or7/31/2017 check 2:15:25 PM fine blend and exceptionally high performance standards our website: pacificbaroque.com encompassing 500 years of choral repertoire. VCS has been earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  29 30  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] guests at the festival: performing artists

Thomas Hobbs - tenor [evangelist] John Duxbury (Cantatio) and also Andrew Parrot, Iván Fisher, Giovanni Antonini, Skip Sempé, Daniel Reuss, Christophe Coin, Thomas Hobbs is in demand with many leading baroque and Peter Neumann and Christoph Spering. She has appeared at such early music ensembles, appearing throughout Europe and festivals as : Musikfest Bremen, Bachwoche Stuttgart, Thüringer the US as a soloist in key works from the 16th, 17th and 18th Bachwochen, Festival Oude Muziek (Utrecht), Kulturwald centuries. Current and future engagements include Haydn’s Festspiele Bayerischer Wald, Vratislavia Cantans, Chopin and Creation with Israel Camerata in Jerusalem, the London His Europe. Philharmonic Orchestra, and the CBSO, further tours with Collegium Vocale Gent, and Bach cantatas, B Minor Mass, and Alex Potter - alto Easter Oratorio with Nederlandse Bachvereniging. Hobbs will also sing Bach with the Musikpodium Stuttgart, Monteverdi Alex Potter is a sought-after interpreter of seventeenth- Vespers with the Academy of Ancient Music. Recent concert and eighteenth-century music, performing with conductors performances include concerts with Tonkünstler-Orchester including Philippe Herreweghe, Thomas Hengelbrock, Lars Niederösterreich and Tonhalle Orchester Zürich, Evangelist Ulrik Mortensen, Jos van Veldhoven, and Stephen Layton. in the Bach St Matthew Passion and St John Passion with the He began his musical education as a chorister at Southwark Choir of King’s College, Cambridge, Le Concert Lorrain and Cathedral, continued as a Choral Scholar at New College, Ensemble Pygmalion, Bach Magnificat with De Nederlandse Oxford and then pursued further study at the Schola Cantorum Bachvereniging, Bach Christmas Oratorio with the Australian in Basel, Switzerland. Recent performances of note include Chamber Orchestra and Handel Israel in Egypt with the Choir of Handel’s Solomon with Stephen Layton/The Holst Singers, King’s College, Cambridge. Bach’s St. John Passion with Manfred Honeck and the Stuttgart Symphony Orchestra, Bach’s B-Minor Mass at the Salzburger Festspiele with Collegium 1704/Vaclav Luks, and several tours Jenny Högström - soprano of music by J.S. Bach under Philippe Herreweghe and Collegium Jenny Högström is a Swedish soprano currently based in Basel, Vocale Gent. Alex Potter’s large discography includes a number Switzerland. She began her voice studies at 16. After having of solo discs featuring lesser-known composers such as completed her Bachelor in Music at the College of Music in Rosenmüller, Fux, Zelenka and Caldara, and he also features Piteå, Sweden, she went on to pursue advanced studies with on the highly acclaimed new B-Minor Mass recording with Professor Ulrich Messthaler at Schola Cantorum Basiliensis, Concerto Copenhagen and Lars Urik Mortensen. He lives in Basel, graduating with a Master of Arts in Historical Performance the Lüneburger Heath region of Germany with his wife and with honours. In 2014 she completed a Master in Music two daughters. When not singing he also enjoys baking bread, Pedagogy. Jenny Högström appears regularly as a soloist in restoring his half timbered house and growing vegetables in the concert, oratorio, song recital and chamber music programmes garden with varying degrees of success. with baroque ensembles such as La Cetra Barockorchester Basel, Il Profound, Alia Mens and Ensemble Odyssee. Jenny Robert Getchell - tenor has worked with the renowned conductors Andrea Marcon, American born tenor Robert Getchell has established himself Hervé Niquet, René Jacobs and Michael Form. Among her more in Europe as an ‘haute contre’ (high tenor) and is known for recent solo engagements include Theater Basel’s productions his many roles in French baroque operas. Robert Getchell has of Charpentier’s Medée , the role of Abra in Vivaldi’s Juditha performed as a soloist with internationally renowned conductors Triumphans, and the role of Calliope in Händel’s Parnasso in such as Philippe Herreweghe, Jordi Savall, Frans Brüggen, Festa in 2016-17. Christophe Rousset, Jean-Claude Malgoire, Jaap van Zweden and Ryan Brown in major concert venues and festivals all over Aleksandra Lewandowska - soprano Europe, the United States, South America and Asia and has recorded numerous CDs. Among his operatic repertoire includes Aleksandra Lewandowska began her musical road studying Astolphe in Lully’s Roland, Mercure in Lully’s Persée, Eurimaco in violin and piano and later turned to singing. She graduated Monteverdi’s Il ritorno d’Ulisse, Glaucus in Le Claire´s Scylla et with distinction from the Music Academy in Poznan (Poland), Glaucus, Hyppolyte in Rameau´s Hippolyte et Aricie, Le Chevalier in the class of Wojtek Drabowicz, and continued as a student in Gluck’s Armide, Polinice in Sacchini´s Oedipe a Colone, Renaud of postgraduate studies at the University of Music Franz in Lully’s Armide (the latter two recorded by Naxos) and Ferrando Liszt in Weimar (Germany). Since always loving early music, in Mozart’s Così fan tutte. also performing modern repertoire with great enthusiasm (collaboration with excellent Swiss Quator Sine Nomine,) she now has a well-estabilished international career as a lyrical singer Sumner Thompson - baritone (solo and ensemble) and since 2010 has been regularly singing Baritone Sumner Thompson has been hailed as “the real thing” with leading groups and conductors like Philippe Herreweghe (Cleveland Plain Dealer) and praised for his “elegant style” (recorded 3 CDs with music of J.S. Bach and Gesualdo with (Boston Globe). He has appeared on operatic stages from Boston Collegium Vocale Gent), Jos van Veldhoven (Nederlandse to Copenhagen, including the Boston Early Music Festival’s Bachvereniging), Stephan MacLeod (Gli Angeli Genève), productions of Conradi’s Ariadne and Lully’s Psyché, and in the earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  31 Where the Music Begins

SUBSCRIBE TODAY TO AN EXCITING NEW SEASON! HERITAGE Singing Canada’s Choral Songs 8pm Friday, September 22, 2017 Dunbar Ryerson United Church THE MASTERS Great Choral Music 8pm Friday, October 13, 2017 Dunbar Ryerson United Church ISCM World New Music Days 2017 7:30pm Saturday, November 4, 2017 Christ Church Cathedral Vancouver · 368 Terminal Ave · 604.734.4886 North Vancouver · 1363 Main St · 604.986.0911 REJOICE! European Carols & Readings www.long-mcquade.com 8pm Friday, December 1, 2017 Dunbar Ryerson United Church A BAROQUE CHRISTMAS Bach and More for Christmas 8pm Saturday, December 16, 2017 Orpheum Theatre CHORAL EXPLORATIONS with Timothy Shantz 8pm Friday, January 26, 2018 Dunbar Ryerson United Church MAESTRO! The Annual Conductors’ Concert 8pm Saturday, February 17, 2018 Dunbar Ryerson United Church MOODS AND MODES Emotion in Music 8pm Friday, March 9, 2018 Dunbar Ryerson United Church RACHMANINOV VESPERS and Lauridsen Lux Aeterna 8pm Friday, March 30, 2018 Orpheum Theatre PRINTEMPS A Choral Spring with Michael Zaugg 8pm Friday, April 20, 2018 Dunbar Ryerson United Church

Subscribe to all 10 wonderful concerts or choose four or more – it’s up to you. Call for your season brochure 604-738-6822. vancouverchamberchoir.com

32  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] title role of Monteverdi’s L’Orfeo with Contemporary Opera many of which have won awards in the press. He teaches in Denmark. He has performed as a concert soloist with many Switzerland, where he holds a professorship in singing at the leading ensembles, including the Handel and Haydn Society, Haute Ecole de Musique of Lausanne and also has a career as Britten-Pears Orchestra, the National Symphony, the Boston a conductor, both with his own ensemble Gli Angeli Genève Early Music Festival, Apollo’s Fire, Pacific Baroque Orchestra, and with other leading baroque and modern orchestras in Les Boréades de Montréal, Mercury Baroque, Les Voix Baroques, Europe. Boston Baroque, and Tafelmusik. A noted recitalist, Mr. Thompson has sung in Stuttgart, Amsterdam, Regensburg, and >> << at London’s famed Wigmore Hall. Recent engagements included Handel’s Messiah with the Handel and Haydn Society (recorded Alexander Weimann – music director on the CORO label), Bach’s St. John Passion with Orchestra Iowa and Switzerland’s Gli Angeli Genève, and a return to Early Music Alexander Weimann is one of the most sought-after ensemble Vancouver’s summerFestival with Les Voix Baroques. Thompson directors, soloists, and chamber music partners of his can also be heard on the Boston Early Music Festival’s Grammy- generation. After traveling the world with ensembles like nominated recording of Lully’s Psyché on the CPO label and with Tragicomedia, Cantus Cölln, the Freiburger Barockorchester, Les Voix Baroques on the ATMA label. the Gesualdo Consort and Tafelmusik, he now focuses on his activities as Artistic Director of the Pacific Baroque Orchestra in Vancouver, and as music director of Les Voix Baroques, Le - bass Stephan MacLeod Nouvel Opéra and Tempo Rubato. Recently, he has conducted Born in Geneva, Stephan MacLeod first played the violin and the Montreal-based baroque orchestra Ensemble Arion, Les the piano. He later studied singing with Kurt Moll in Cologne Violons du Roy, the Victoria Sumphony Orchestra, Symphony and with Gary Magby in Lausanne. Particularly active in the Nova Scotia, and the Portland Baroque Orchestra; both the oratorio repertoire, he sings regularly under Herreweghe, Orchestre Symphonique de Québec and the Montreal Symphony Savall, Goebel, Kuijken, Suzuki, Pierlot, Harding, Luks, Van Orchestra have regularly featured him as a featured soloist. Immerseel, Brüggen, Corboz, Leonhardt, Van Veldhoven, Alexander Weimann can be heard on some 100 CDs. He made his Junghänel, Coin, Stubbs, Rilling, Bernius, López-Cobos or Van North American recording debut with the ensemble Tragicomedia Nevel. He has taken part in opera productions in Brussels, on the CD Capritio (Harmonia Mundi USA), and won worldwide Venice, Cologne, Bilbao, Potsdam and Geneva and has given acclaim from both the public and critics for his 2001 release of concerts all over the world and in the most prestigious halls Handel’s Gloria (ATMA Classique). Volume 1 of his recordings of and festivals. His work is documented on more than 75 CDs, the complete keyboard works by Alessandro Scarlatti appeared

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Buy Early for Best Seats! 604-739-0559 • bardonthebeach.org earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  33 International InternationalSeriesInternational SeriesSeries SeriesSUN. 8 OCT. 2017 SUN.SUN. 8 OCT. 8 OCT. 2017 2017 DiabolusSUN. 8 OCT. in Musica 2017 DiabolusCantores:Diabolus in Musica Chapelin Musica of the Popes in Avignon Cantores:Cantores:Diabolus Chapel Chapelin Musicaof the of Popes the Popes in Avignon in Avignon TUES.Cantores: 19 Chapel& THURS. of the 21 Popes DEC. in 2017 Avignon TUES.TUES. 19 & 19 THURS. & THURS. 21 DEC. 21 DEC. 2017 2017 TUES.Northwest 19 & BaroqueTHURS. 21Masterworks DEC. 2017 Project NorthwestVenetianNorthwest Baroque Women: Baroque Masterworks Vivaldi’s Masterworks Gloria Project and Project Magnificat VenetianVenetianNorthwest Women: Women: Baroque Vivaldi’s Vivaldi’s MasterworksGloria Gloria and Magnificat and Project Magnificat VenetianSUN. 25 Women:FEB. 2018 Vivaldi’s Gloria and Magnificat SUN.SUN. 25 FEB. 25 FEB. 2018 2018 RachelSUN. 25 Barton FEB. 2018 Pine 2017–18 RachelTestament:Rachel Barton Barton Pine Complete Pine Sonatas and 2017–182017–18 Rachel Barton Pine 2017–18SEASON PREVIEW Testament:Testament:Partitas Complete for CompleteSolo SonatasViolin Sonatas by and J.S. Bachand SEASONSEASON PREVIEW PREVIEW PartitasTestament:Partitas for Solo for CompleteViolinSolo Violin by J.S. Sonatas by Bach J.S. Bachand Seattle Baroque SEASON PREVIEW THURS.Partitas for 12 Solo APR. Violin 2018 by J.S. Bach SeattleSeattle Baroque Baroque THURS. 12 APR. 2018 OrchestraSeattle Baroque THURS.The 12King’s APR. Singers 2018 THURS. 12 APR. 2018 OrchestraOrchestraAlexander Weimann, Music Director The King’sTheGOLD50 King’s Singers Singers OrchestraSAT. 11 NOV. 2017 GOLD50TheGOLD50 King’s Singers SAT. SAT.11 NOV. 11 NOV. 2017 2017 GOLD50 ForcesSAT. 11 of NOV. Nature 2017 SAT. 5 MAY. 2018 ForcesForces of Nature of Nature SAT. SAT.5 MAY. 5 MAY. 2018 2018 Forces of Nature JordiSAT. 5Savall MAY. and 2018 Hespèrion XXI SUN. 14 JAN. 2018 JordiJordiwith Savall CarlosSavall and Hespèrion andNúñez Hespèrion XXI XXI SUN.SUN. 14 JAN. 14 JAN. 2018 2018 Jordi Savall and Hespèrion XXI ByronSUN. 14 Schenkman’s JAN. 2018 Favorites with CelticwithCarlos Carlos Universe Núñez Núñez ByronByron Schenkman’s Schenkman’s Favorites Favorites with Carlos Núñez CelticCeltic Universe Universe ByronSAT. 17 Schenkman’s MAR. 2018 Favorites Celtic Universe SAT. SAT.17 MAR. 17 MAR. 2018 2018 TheSAT. Fairy 17 MAR. Queen 2018 The FairyThe Fairy Queen Queen TheSUN. Fairy 8 APR. Queen 2018 SUN.SUN. 8 APR. 8 APR. 2018 2018 BUY TICKETS AT earlymusicseattle.org TheSUN. Splendor 8 APR. 2018 of Dresden BUYBUY TICKETS TICKETS AT ATearlymusicseattle.org earlymusicseattle.org The SplendorThe Splendor of Dresden of Dresden BUY TICKETS AT earlymusicseattle.org The Splendor of Dresden

Byron Schenkman & Friends announces a new CD R

The Art of the Harpsichord Byron Schenkman on eight historical harpsichords in the National Music Museum

Available at www.byronschenkman.com Photo: Tony Jones, National Music Museum

34  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] in May 2005. Critics around the world unanimously praised it, and in the following year it was nominated for an Opus Prize as the best Canadian early music recording. Recently, he has also released an Opus Award-winning CD of Handel oratorio arias with superstar soprano Karina Gauvin and his new Montreal-based ensemble Tempo Rubato, a recording of Bach’s St. John’s Passion, various albums with Les Voix Baroques of Buxtehude, Carissimi and Purcell, all with rave reviews. His latest album with Karina Gauvin and Arion Baroque Orchestra (Prima Donna) won a Juno Award in 2013, and a complete recording of Handel’s Orlando was Bring a Youth for Free! released in the fall of 2013, with an exciting group of international star soloists and the Pacific Baroque Orchestra performing. Early Music Vancouver’s audience initiative for young Alexander Weimann was born in 1965 in Munich, where he people aged 7-17: Youths receive free admission to any studied the organ, church music, musicology (with a summa cum of our concerts when they bring along a paying adult laude thesis on Bach’s secco recitatives), theatre, medieval Latin, and jazz piano, supported by a variety of federal scholarships (one youth per attending adult). These free tickets are for the highly talented. In addition to his studies, he has only available in advance through the Chan Centre Box attended numerous master classes in harpsichord and historical Office, by phone: 604.822.2697 (for our concerts at the performance. To ground himself further in the roots of western music, he became intensely involved over the course of several Chan Centre for the Performing Arts at least one week years with Gregorian chant. before the concert date), or at the door on the evening Alexander Weimann has moved to the Vancouver area with his of the concert. (Subject to availability). wife, 3 children and pets, and tries to spend as much time as possible in his garden and kitchen. Rush Seating for Students, Chloe Meyers – pbo concertmaster at only $10 per ticket! Heralding her beginnings as a true northern Albertan, violinist Chloe Early Music Vancouver offers rush tickets for students Meyers began her training at the age of three. Her studies followed her through the University of Victoria, and then McGill University in at a special rate of only $10. This offer applies to all our Montreal, where she was introduced, and fell in love with, the baroque concerts! These rush seats are available only at the violin. Chloe is now increasingly sought after, and performs as soloist, leader, chamber musician, and teacher in early music orchestras venue box office, one hour before the start of each and ensembles all over North America. Chloe has recently made performance; bring your valid student ID. (Subject to Vancouver her home, where she is the concertmaster of Vancouver’s availability). Pacific Baroque Orchestra. She also works at the University of British Columbia, where she teaches baroque violin and heads up the Baroque Need to plan ahead? Students with valid ID can also Orchestra Mentorship Project with Alexander Weimann. Chloe plays $ principal second with Montreal’s Arion Baroque Orchestra, and purchase Series Tickets at a price of only 10 /concert. performed solo this past year with both her orchestras. She also enjoyed being a guest soloist with both Seattle’s Baroque Orchestra, and Stephen Stubbs’ Pacific MusicWorks. Chloe is a founding member Are you 35 or younger? of Les Voix Baroques, and has performed recently with Les Violons We have tickets for you at half price! du Roy, Tafelmusik, the Montreal Symphony Orchestra, Ensemble Les Boreades, the Theatre of Early Music, and Les Idées Heureuses. Chloe Early Music Vancouver now also offers half-price tickets can be heard on record labels ATMA, Deutschland Funk, Analekta, for audiences 35 & younger! Tickets at this special rate CBC, earlymusic.com and on Bravo television. may be ordered in advance, and will also be available at the door on the day of the concert (some restrictions Paula Kremer – vcs artistic director apply). This 50% discount will also apply to our Series Born in Vancouver and educated at the Vancouver Academy of Music and the University of British Columbia, Paula Kremer has studied choral Tickets. conducting in courses and workshops at Eton, Westminster Choir College, the Eastman School of Music and the University of Michigan. She has also Some restrictions apply. been a vocal student of Phyllis Mailing, Bruce Pullan and Laura Pudwell. Tickets are for sale only through the Chan Centre Box Office, In 1997, Kremer joined the faculty of Vancouver Community College’s 604.822.2697, on Tuesday-Saturday from noon to 5:00 pm. School of Music, where she is a full-time instructor of solfège, aural skills, concert choir and voice. She has been the director of two Vancouver Bach Choir ensembles for young adults since 2008. Contact us for more details: earlymusic.bc.ca

earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  35 Vancouver's leading arts source since 1967. Celebrating our 50th Anniversary in 2017. #straight50

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36  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] Two Special Gifts towards EMV’s Instrument Collection

This year's Festival will prominently feature two new additions to EMV's important collection of historical instruments: a superb French Harpsichord after Taskin - the perfect instrument for most baroque repertoire; and an original 1870 Broadwood Pianoforte, an original instrument that is ideal for the performance or romantic repertoire, including works Brahms, Schumann and Mendelssohn.

Early Music is the grateful recipient of both instruments, which were generously gifted by music lovers in the community: Carol Brauner donated the French harpsichord after Pascal Taskin; the original Broadwood pianoforte was a recent contribution offered by Dr. Patricia M. Lee and Dr. Nicholas H. Lee.

Celebrating 10 Years of excellence

2017 2018 Songs of Love and Passion Every Time I Feel the Spirit The Intimate Chamber Cantatas of Black Voices in American Music Agostino Steffani Sunday, February 11, 2pm Sunday, October 1, 2pm Seattle Seattle Roman Holiday Monteverdi | L’ORFEO Young Handel’s Italian Adventures A Timeless Tale of Love and Loss Saturday, May 12, 7:30pm Saturday, October 28, 7:30pm Mercer Island Seattle Sunday, May 13, 2pm Light in the Darkness Seattle Bach Cantatas for Advent Saturday, December 9, 7:30pm Pacific MusicWorks Mercer Island Underground Sunday, December 10, 2pm A series of fun, informal concerts Seattle all under the artistic leadership of Henry Lebedinsky.

Orpheus by Emily Balivet pacificmusicworks.org earlymusic.bc.ca J.S. Bach - St. John Passion Vancouver Bach Festival 2017  37

EARLY MUSIC VANCOUVER EARLY MUSIC VANCOUVER ENDOWMENT FUND DONORS Leave a Legacy A select group of donors has, in addition to their annual donations, generously contributed to Early Music Vancouver’s Endowment Fund which is administered by the Vancouver Foundation, and which currently stands at over 1.2 million dollars. Interest from this Fund will continue to support our performances & activities in perpetuity.

 ($100,000+) Zelie & Vincent Tan The Drance Family Lorna Weir Early Music Vancouver Funds 3 Anonymous Donors

 ($20,000+)  (up to $1,000) Vic & Joan Baker Evelyn Anderson Ralph Spitzer Alan & Elizabeth Bell & Hisako Kurotaki Meo Beo José Verstappen Jeffrey Black & Mary Chapman

Photo credit Jan Gates credit Photo 2 Anonymous Donors L & C Bosman A donation in memory of C Y Chiu  ($5,000+) Mary Christopher Help us give the gift of Early Music A donation in memory of Gillian & Mike Collins Tom Blom A donation in memory of to future generations The Nemetz Foundation Basil Stuart-Stubbs Dr Katherine E Paton Judith Davis You can ensure the continued health and vibrancy of Early Marcia Sipes Jane Flick & Robert Heidbreder Music in Vancouver through one of the most powerful tools A donation in memory of Dr Val Geddes in your possession – your estate plan. Legacy gifts are an Peter Wood Margot Guthrie Patrick Gilligan-Hackett expression of your values, wishes and hopes for the future.  ($2,500+) Mark Halpern There are different ways in which you can make a legacy gift. The RPC Family Foundation Linda Johnston Maurice & Tama Copithorne Peter Kwok Each type has different benefits for you and your family. Frank & Helen Elfert Elizabeth Lamberton Tony & Margie Knox Susanne Lloyd Examples: James C. & Wendy Russell Janette McMillan • A Bequest in your Will – naming Early Music Vancouver Anona Thorne & Takao Tanabe & Douglas Graves as a beneficiary Rob Mayhew  ($1,000+) Benjamin Milne • Naming EMV as a beneficiary of a Life Insurance Policy or A donation in memory of Alberto Mondani RRSP Mrs Betty Drance Alfred & Jennifer Muma Heather Franklyn Barbara Murray • Creating or contributing to an Endowment Fund Marianne Gibson Judith & Greg Phanidis If you have already included Early Music Vancouver Patrick Gilligan-Hackett Joan Rike Martha Hazevoet in your estate plan or would like more information Elfriede & Peter Rohloff Dorothy Jantzen Dr Robert S Rothwell on possibilities for legacy gifts, please contact our Ottie Lockey & Eve Zaremba Zelie & Vincent Tan Business Manager Nathan Lorch at 604.732.1610 or Susanne Lloyd Jo & Bob Tharalson [email protected] for more information. Greg Louis Glenys McDonald James Walsh To ensure that your particular needs are met and that your Dr Robert S Rothwell Fran Watters exact wishes are honoured, we recommend that you consult Karen Shuster Glenys Webster & Paul Luchkow Nicholas Swindale 5 Anonymous Donors your legal and/or financial advisors. Planned gifts can create excellent tax advantages; ask your It is possible to contribute to the Early Music Vancouver financial advisor to help determine the most advantageous Endowment Fund with a current gift, which can be pledged plan for you. over time, or through a gift in your will. Matching funds for current gifts are available from Canadian Heritage. All donors Thank you for your support! to the Fund, whether their gift is current or planned, will be recognised in our programmes, with the donor’s permission. Full Legal name: Vancouver Society for Early Music To find out more, please contact our Business Manager Nathan Charitable Number: 10816 7776 RR0001 Lorch at 604.732.1610 or [email protected]. Early Music Vancouver is pleased to accept gifts of publicly traded securities. When you donate securities traded on a Early Music Vancouver designated stock exchange directly to Early Music Vancouver, 1254 West 7th Avenue, you benefit from the donation tax credit, and the complete Vancouver BC, V6H 1B6 elimination of the capital gains tax. As a result, the combined tax savings can be quite impressive.

38  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected] 40  Vancouver Bach Festival 2017 J.S. Bach - St. John Passion [email protected]