BACH Matthew Passion

Alice Evans (Violin) Alice Evans Director Kristian Bezuidenhout

Wed 12.4.17 - New Auditorium, Royal Concert Hall, Glasgow Thurs 13.4.17 - Perth Concert Hall, Perth Fri 14.4.2017 - The Queen’s Hall, Edinburgh 2 MATTHEW PASSION

BWV 244 MATTHÄUS-PASSION J.S. BACH (1685-1750)

PASSIO DOMINI NOSTRI J. C. SECUNDUM EVANGELISTAM MATTHAEUM

Dunedin Consort acknowledges with grateful thanks the generous support of the Dunard Fund whose financial assistance has enabled us to present this timeless masterpiece in Edinburgh for many years. MATTHEW PASSION 3

KRISTIAN BEZUIDENHOUT DIRECTOR, ORGAN & HARPSICHORD

CHORUS 1 Rachel Redmond — Soprano & Maid Emilie Renard — Alto Daniel Norman — Tenor & Evangelist Robert Davies — Bass & Jesus Christ

CHORUS 2 Miriam Allan — Soprano, Maid & Pilate’s Wife Rory McCleery — Alto & Witness David Lee — Tenor & Witness Jimmy Holliday — Bass, Pilate, Priests, Peter & Judas

ORCHESTRA 1 ORCHESTRA 2

Violins Sophie Gent (Leader) Violins Matthew Truscott Sarah Bevan Baker Hilary Michael Alice Evans Rebecca Livermore Sijie Chen Kristin Deeken Viola Alfonso Leal del Ojo Viola Oliver Wilson Cello/Gamba Jonathan Manson Cello Andrew Skidmore Violone William Hunt Violone Christine Sticher Oboes Alexandra Bellamy Oboes Joel Raymond Frances Norbury Tatjana Zimre Flutes Katy Bircher Flutes Amelia Shakespeare Graham O’Sullivan Fiona Ferguson Organ David Gerrard 4 MATTHEW PASSION PROGRAMME NOTE The tradition of singing one of the four Gospel greatest ironies about Bach’s Passions is that their Passion narratives on Good Friday and Palm original audiences were far less familiar with the Sunday stretches back to the beginnings of the genre than we are; moreover - as is the case with formalized Christian liturgy. Like the other all Bach’s most celebrated music - we have often Gospel readings, it was originally chanted by a heard it many more times than did the original single deacon but, in the course of time, he began performers or even Bach himself. to alter his tessitura and style according to his role as the Evangelist, Jesus or the other characters and Bach’s Passions were performed during the crowd. These three roles were eventually taken afternoon Vesper service on Good Friday, their over by separate singers together with a choir two parts replacing the cantata and Magnificat to recite the crowd scenes. It was basically this which were normally sung on either side of the format that the Lutheran Reformers inherited in sermon. With a hymn opening and closing the the sixteenth century and early Lutheran settings, liturgy, the entire service was thus symmetrical, such as Johann Walter’s, were still chanted within with its central axis falling on the sermon. Like the Eucharistic celebrations on Good Friday and Bach’s cantatas, the Passions adopt something of Palm Sunday in Bach’s era. What is especially the sermon’s function since the free poetry of the interesting is the fact that the Passion story had arias, ariosos and framing choruses provide both a musical-dramatic tradition well before the a commentary and an emotional interpretation of invention of opera and oratorio. It was only a the biblical text, one that is designed to effect an matter of time before these later dramatic genres actual change of mood and attitude on the part of would cross-fertilize with the church tradition. the believer. Moreover, the symmetrical structure of the Towards the end of the seventeenth century liturgy finds its analogue in Bach’s musical pacing several more elaborate versions of the Passion were of the Passion. This is most evident when Bach developed, involving independent instrumental wishes to highlight the importance or irony of parts, introducing free poetry around the biblical a particular event or concept. For instance, the narrative (Oratorio Passions) or presenting point at which Peter swears that he will not deny entirely free elaborations of the Passion story. Christ is surrounded by two verses of the ‘Passion These latter were designed for spiritual concerts Chorale’, the second (‘Ich will hier bei dir stehen’) rather than for Holy Week liturgies and are thus a semitone below the first (‘Erkenne mich, mein termed Passion Oratorios. Most of these genres Hüter’). This therefore functions as a musical incorporated the most up-to-date musical forms metaphor of descent or depression, alluding and devices from Italian opera, capitalizing, as it to the frailty of human promises. The aria ‘Aus were, on the conventions that congregations would Liebe will mein Heiland sterben’ is perhaps the have learned in the world of secular entertainment. most important of all since it underlines one of However, the Oratorio Passion did not arrive in the central themes of the Matthew Passion - that Leipzig until 1717 (at the modish Neue-Kirche), Christ died for the love of humankind - and this and the Cantorate of the Thomasschule, under the is the focal point falling between two matching aging Johann Kuhnau, did not perform its first choruses ‘Laß ihn Kreuzigen’. These - depicting Oratorio Passion until 1721, shortly before Bach the crowd’s desire to crucify Christ - provide a himself came to Leipzig (1723). Thus one of the vivid antithesis to Christ’s love, but, given the MATTHEW PASSION 5 fact that the second chorus (coming directly after nicht!’), complimentary points (‘Ach, nun ist mein ‘Aus Liebe’) is a tone higher, there is a sense that Jeusu hin’/’Wo ist denn dein Freund hingegangen’) Christ’s supreme act of love has changed things or a dialogue between a single speaker and a group in an ‘upward’, positive direction: we recognise (‘Ich will bei meinem Jesu wachen’/’So schlafen it as precisely the same music, yet every note is unsre Sünden ein’). All of these devices serve different. Thus the music could act as a metaphor to personify the various ‘voices’ within a single for the mystery of our own spiritual development: listener, acting out one’s reactions and conflicts. we remain exactly the same beings yet we are profoundly changed. The most impressive of the dialogue numbers is the opening chorus, which could be considered It is not difficult to understand some of the the ‘Exordium’ (the traditional opening section of complaints that members of the congregation an oration). This is a dialogue between Christian voiced in Bach’s time; the Passions do, after all, believers and the Old Testament figures, ‘the borrow liberally from secular conventions such Daughters of Zion’ (from the Song of Songs). as dance and, particularly, opera. However, the The theme of love in the Song of Songs is recast Matthew Passion also draws heavily from the in a Christian context with Christ as the loving long traditions of spiritual meditation by which bridegroom and the church as his bride. A third the story is interspersed with the regular breaks element is introduced with the German chorale on (fifteen in all) provided by the paired ariosos the Agnus Dei, ‘O Lamm Gottes, unschuldig’, sung and arias. These force the implied listener into by ripieno sopranos (often boys’ voices today, in a personal contemplation; the chorales moreover tradition that dates back to the nineteenth century). engender the sense of a community response to This would have had particular significance the biblical events. The whole thus has something for members of Bach’s congregation since they of the character of a Lutheran Stations of the Cross. would have heard this hymn at the conclusion The free text follows Luther’s own meditations of the morning Eucharistic liturgy. Christ is thus on the Passion which require the believer first to portrayed as an innocent sacrificial lamb, an image acknowledge his own guilt and show remorse, which points towards the Apocalypse when Christ then to recognize that Christ has suffered on our as a lamb rules the new Jerusalem, a bridegroom behalf – that his love will conquer all -and, finally, to the (‘feminine’) community of all believers. to experience reconciliation with Christ and to In Bach’s time this melody would have sounded imitate his example (most movingly captured out loudly from the second organ at the east of in the fiinal aria, ‘Mache dich’). According to the church, a graphic depiction of the direction Luther, this ambition to imitate Christ could not of Christ’s throne in the new Jerusalem. In all, be fulfilled without our having gone through these then, this chorus sets up three temporal levels, the earlier stages. ancient Daughters of Zion in dialogue with the Christians of the New Testament, both pointing Particularly subtle in the construction of the free forward to the future union with the Lamb, poetry (by the Leipzig poet, Picander) and Bach’s achieved through his ultimate love (of which we musical setting is the emphasis on dialogue form are about to hear). We may also note that the -- necessitating the performing format of double chorale is the only element of the chorus in the chorus and orchestra. This rhetorical device major mode, a vision of the celestial city which, allows for contrasting or even opposing points of at this time, is still subservient to the earthly tonic view to be presented simultaneously (e.g. ‘So ist of e minor. mein Jesus nun gefangen’/’Laßt ihn, haltet, bindet 6 MATTHEW PASSION The analogy between the Bach-Picander Matthew Bach shared something of the encyclopaedic urge Passion and a sermon is thus not to be taken of his age, and, in the Matthew Passion compiled lightly. Moreover, for about half the aria texts virtually every possible musical form available for Picander drew from a series of passion sermons an oratorio: recitatives (accompanied and secco), by the theologian Heinrich Müller (published in arioso, aria (several types which include dance 1681). Given that Bach himself possessed these, and concerto elements), chorales, chorale settings, he may have instigated the borrowing. This not choruses and motets. Together with two elements only shows that both were thinking along the lines unusual in Bach works - the doubled forces and of sermon composition but also that the sermon the string ‘halo’ for Christ’s utterances - these was an important poetic genre of the time, as elements render it far more ambitious than any much artistic elaboration as stern preaching. An opera of the age and something which works on understanding of the rhetoric of the Lutheran rather more levels than the more brutally effective sermon as both persuasive and cunningly John Passion. ornamental sheds a significant light on the role of music in the liturgy of Bach’s era. Bach obviously saw all excellent earthly things as capable of serving the highest purpose; it is With its unfolding levels of symbolism, precisely this religious conception of music and of theological interpretation and - most striking of the world as a whole which lies at the heart of most all - psychological insight, the Matthew Passion disputes concerning church music. To some - is perhaps the most challenging and ambitious then as now - nothing does religion a finer service Christian artwork. It is thus not entirely surprising than Bach’s music; to others, sumptuous music that Bach seems to have spent considerable time undermines a transcendent view of the Godly and care in preparing the work. He probably began and spiritual, which are to be kept somewhat writing it in 1725 but did not finish or perfect it in apart from the world. While it is obvious that our time for the Good Friday performance; the earlier contemporary ‘horizon’ is very different from that John Passion was performed on this occasion, only of Bach’s time and, consequently, many meanings a year after its premiere and containing a substitute and implications in the work are lost, we have chorale fantasia (‘O Mensch, bewein’) that gained many more dimensions and modes of eventually became part of the Matthew Passion. appreciation. Bach spun a dialogue between Old Bach did not present the latter work until 1727 and New Testaments, between both these elements and refined it again during the 1730s. During the and the Lutheran tradition (especially with the last few years of his life he went to great trouble to traditional chorales) and between all these and repair the autograph score, sewing in new patches the believer of his own time (all together pointing of paper that are designed to be barely perceptible towards the Apocalypse); to these we can add a to the casual reader. This could hardly have been rich history of reception (with both its insights and necessitated by the performing demands of the mystifications) and our own particular standpoint, time and points to the special status Bach seems within or without the Christian tradition. to have afforded the work, a status that was not a general conceptual possibility until the early nineteenth century. It is not surprising that the © John Butt work became an immediate ‘masterwork’ at the time of its revival by Mendelssohn in 1829; this was precisely the period when such a concept was developed. MATTHEW PASSION 7

TEXT & TRANSLATION

ERSTER TEIL FIRST PART

1. Cori 1. Chorus I, II Kommt, ihr Töchter, helft mir klagen, Come, ye daughters, share my mourning, Sehet - Wen? - den Bräutigam, See ye - whom? - the bridegroom there, Seht ihn - Wie? - als wie ein Lamm! See him - how? - just like a lamb! O Lamm Gottes, unschuldig O Lamb of God, unspotted Am Stamm des Kreuzes geschlachtet, Upon the cross’s branch slaughtered, Sehet, - Was? - seht die Geduld, See ye, - what? - see him forbear, Allzeit erfunden geduldig, Alway displayed in thy patience, Wiewohl du warest verachtet. How greatly wast thou despised. Seht - Wohin? - auf unsre Schuld; Look - where, then? - upon our guilt; All Sünd hast du getragen, All sin hast thou born for us, Sonst müßten wir verzagen. Else we had lost all courage. Sehet ihn aus Lieb und Huld See how he with love and grace Holz zum Kreuze selber tragen! Wood as cross himself now beareth! Erbarm dich unser, o Jesu ! Have mercy on us, O Jesus!

2. Evangelist, Jesus 2. Evangelist, Jesus Da Jesus diese Rede vollendet hatte, sprach er zu When Jesus, then, had finished all these sayings, he seinen Jüngern: said to his disciples: Ihr wisset, daß nach zweien Tagen Ostern wird, Ye know well that in two days will be Passover, and und des Menschen Sohn wird überantwortet the Son of man is then to be handed over, that he werden, daß er gekreuziget werde. be crucified.

3. Choral 3. Chorale Herzliebster Jesu, was hast du verbrochen, O dearest Jesus, how hast thou offended, Daß man ein solch scharf Urteil hat gesprochen? That such a cruel sentence hath been spoken? Was ist die Schuld, in was für Missetaten What is thy guilt, what were the evil doings Bist du geraten? Thou hast committed?

4a. Evangelist 4a. Evangelist Da versammleten sich die Hohenpriester und There assembled the high priests and the scribes, Schriftgelehrten und die Ältesten im Volk in den and the elders of the people within the palace of the Palast des Hohenpriesters, der da hieß Kaiphas, chief priest, whose name was Caiphas; and there und hielten Rat, wie sie Jesum mit Listen grien und took counsel, how with stealth they might capture töteten. Sie sprachen aber: Jesus and put him to death. They said however:

4b. Cori 4b. Chorus I, II Ja nicht auf das Fest, auf daß nicht ein Aufruhr Not upon the feast, lest there be an uproar in the werde im Volk. people. 8 MATTHEW PASSION 4c. Evangelist 4c. Evangelist Da nun Jesus war zu Bethanien, im Hause Simonis When now Jesus visited Bethany and was in the des Aussätzigen, trat zu ihm ein Weib, die hatte ein house of the leper called Simon, unto him came Glas mit köstlichem Wasser und goß es auf sein a woman who carried a jar of precious ointment Haupt, da er zu Tische saß. Da das seine Jünger and poured it on his head as he sat at the table. But sahen, wurden sie unwillig und sprachen: when his disciples saw it, they became indignant and said: 4d. Coro Wozu dienet dieser Unrat? Dieses Wasser hie 4d. Chorus I mögen teuer verkauft und den Armen gegeben What end serveth all this nonsense? For this werden. ointment might indeed have been sold for much, and the sum to the poor been given. 4e. Evangelist, Jesus Da das Jesus merkete, sprach er zu ihnen: 4e. Evangelist, Jesus Was bekümmert ihr das Weib? Sie hat ein gut But when Jesus noticed this, said he to them: Werk an mir getan. Ihr habet allezeit Armen bei Why trouble ye so this woman? For she hath done euch, mich aber habt ihr nicht allezeit. Daß sie dies a good deed for me! Ye always have the poor with Wasser hat auf meinen Leib gegossen, hat sie getan, you, me though will ye not have always. That she daß man mich begraben wird. Wahrlich, ich sage hath poured this ointment over my body hath she euch Wo dies Evangelium geprediget wird in der done because I am to be buried. Truly I say to you: ganzen Welt, da wird man auch sagen zu ihrem wherever this gospel shall be preached throughout Gedächtnis, was sie getan hat. the whole world, there will be told also in memory of her what she hath done.

5. Recitativo Alt 5. Recit. Alto Du lieber Heiland du, Belove’d Savior thou, Wenn deine Jünger töricht streiten, Midst thy disciples’ foolish quarrel, Daß dieses fromme Weib Because this loyal dame Mit Salben deinen Leib Thy body with her oils Zum Grabe will bereiten, To bury would make ready, So lasse mir inzwischen zu, O in the meanwhile grant me this, Von meiner Augen Tränenflüssen From these my eyes’ own streams of crying Ein Wasser auf dein Haupt zu gießen! To pour upon thy head an ointment!

6. Aria Alt 6. Aria Alto Buß und Reu Guilt and pain Knirscht das Sündenherz entzwei, Break the sinful heart in twain, Daß die Tropfen meiner Zähren So the teardrops of my weeping Angenehme Spezerei, A most soothing precious balm, Treuer Jesu, dir gebären. Faithful Jesus, thee doth offer.

7. Evangelist, Judas 7. Evangelist, Judas Da ging hin der Zwölfen einer, mit Namen Judas Then there went one of the twelve, whose name was Ischarioth, zu den Hohenpriestern und sprach: Judas Iscariot, forth unto the chief priests and said: Was wollt ihr mir geben? Ich will ihn euch verraten. What would ye then give me? I would to you betray Und sie boten ihm dreißig Silberlinge. him. Und von dem an suchte er Gelegenheit, daß er ihn And they offered him thirty silver pieces. And from verriete. thence forth he sought an opportunity when he MATTHEW PASSION 9 might betray him.

8. Aria Sopran 8. Aria Soprano Blute nur, du liebes Herz! Bleed always, O thou my heart! Ach! ein Kind, das du erzogen, Ah, a child which thou hast nurtured, Das an deiner Brust gesogen, Which at thine own breast hath suckled, Droht den Pfleger zu ermorden, Bodes his keeper now to murder, Denn es ist zur Schlange worden. For it hath become a serpent.

9a. Evangelist 9a. Evangelist Aber am ersten Tage der süßen Brot traten die But on the first day of Unleavened Bread came the Jünger zu Jesu und sprachen zu ihm: disciples to Jesus and said to him:

9b. Coro 9b. Chorus I Wo willst du, daß wir dir bereiten, das Osterlamm What place wouldst thou have us prepare thee, the zu essen? paschal lamb to eat now?

9c. Evangelist, Jesus 9c. Evangelist, Jesus Er sprach: He said: Gehet hin in die Stadt zu einem und sprecht zu Go ye forth to the town, to one there and say to ihm: Der Meister laßt dir sagen: Meine Zeit ist him: The Master sends thee this message: Now my hier, ich will bei dir die Ostern halten mit meinen time is here, I would in thy house keep the Passover Jüngern. with my disciples. Und die Jünger täten, wie ihnen Jesus befohlen The disciples did this, as Jesus had commanded hatte, und bereiteten das Osterlamm. Und am them, and made ready there the paschal lamb. And Abend satzte er sich zu Tische mit den Zwölfen. at evening he sat down at the table with the twelve. Und da sie aßen, sprach er: And while they ate there, he said: Truly, I say to Wahrlich, ich sage euch: Einer unter euch wird you: there is one of you who will betray me. mich verraten.

9d. Evangelist 9d. Evangelist Und sie wurden sehr betrübt und huben an, ein And they were then very sad and they began, each jeglicher unter ihnen, und sagten zu ihm: one of them in turn, to say unto him:

9e. Coro 9e. Chorus I Herr, bin ich’s? Lord, is it I? 10. Choral 10. Chorale Ich bin’s, ich sollte büßen, ‘Tis I, I must be sorry, An Händen und an Füßen With hands and feet together Gebunden in der Höll. Bound fast, must lie in hell. Die Geißeln und die Banden The scourges and the fetters Und was du ausgestanden, And all that thou hast suffered, Das hat verdienet meine Seel. All this deserveth now my soul.

11. Evangelist, Jesus, Judas 11. Evangelist, Jesus, Judas Er antwortete und sprach: He answered thus and said: Der mit der Hand mit mir in die Schüssel tauchet, He who his hand with me in the dish now dippeth, der wird mich verraten. Des Menschen Sohn this one will betray me. The Son of man indeed 10 MATTHEW PASSION gehet zwar dahin, wie von ihm geschrieben stehet; goeth hence, as it hath been written of him; but woe doch wehe dem Menschen, durch welchen des to that man through whom the Son of man hath Menschen Sohn verraten wird! Es wäre ihm besser, been betrayed! It would have been better for him if daß derselbige Mensch noch nie geboren wäre. this very man had never been born.

Da antwortete Judas, der ihn verriet, und sprach: Then answered Judas, who betrayed him, and said: Bin ich’s, Rabbi? Is it I, Rabbi? Er sprach zu ihm: He said to him: Du sagest’s. Thou sayest.

Da sie aber aßen, nahm Jesus das Brot, dankete und But when they had eaten, did Jesus take bread, gave brach’s und gab’s den Jüngern und sprach: thanks and brake it, and gave it to his disciples, Nehmet, esset, das ist mein Leib. saying: Take, eat, this is my Body.

Und er nahm den Kelch und dankte, gab ihnen den And he took the cup and, giving thanks, he gave it und sprach: to them, saying:

Trinket alle daraus; das ist mein Blut des neuen Drink, all of you, from this; this is my Blood of Testaments, welches vergossen wird für viele zur the New Testament, which hath been poured out Vergebung der Sünden. Ich sage euch: Ich werde here for many in remission of their sins. I say to von nun an ‘nicht mehr von diesem Gewächs des you: I shall from this moment forth no more drink Weinstocks trinken bis an den Tag, da ich’s neu from this the fruit of the vine until the day when trinken werde mit euch in meines Vaters Reich. I shall drink it anew with you within my Father’s kingdom.

12. Recitativo Sopran 12. Recit. Soprano Wiewohl mein Herz in Tränen schwimmt, In truth my heart in tears doth swim, Daß Jesus von mir Abschied nimmt, That Jesus doth from me depart, So macht mich doch sein Testament erfreut: But I am by his Testament consoled: Mein Fleisch und Blut, o Kostbarkeit, His Flesh and Blood, O precious gift, Vermacht er mir in meine Hände. Bequetheth he to mine own hands now. Wie er es auf der Welt mit denen Seinen Just as he in the world unto his people Nicht böse können meinen, Could never offer malice, So liebt er sie bis an das Ende. He loveth them until the finish.

13. Aria Sopran 13. Aria Soprano Ich will dir mein Herze schenken, I will thee my heart now offer, Senke dich, mein Heil, hinein! Merse thyself, my health, in it! Ich will mich in dir versenken; I would merse myself within thee; Ist dir gleich die Welt zu klein, If to thee the world’s too small, Ei, so sollst du mir allein Ah, then shalt thou me alone Mehr als Welt und Himmel sein. More than world and heaven be.

14. Evangelist, Jesus 14. Evangelist, Jesus Und da sie den Lobgesang gesprochen hatten, But after the song of praise had been recited, gingen sie hinaus an den Ölberg. Da sprach Jesus they went out to the Mount of Olives. And there zu ihnen: In dieser Nacht werdet ihr euch alle Jesus said to them: In this same night ye will all MATTHEW PASSION 11 ärgern an mir. Denn es stehet geschrieben: Ich become annoyed for my sake. For it standeth in the werde den Hirten schlagen, und die Schafe der scripture: I shall strike down then the shepherd, Herde werden sich zerstreuen. Wenn ich aber and the sheep of the flock will by themselves be auferstehe, will ich vor euch hingehen in Galiläam. scattered. When, however, I am risen, I will go before you into Galilee.

15. Choral 15. Chorale Erkenne mich, mein Hüter, Acknowledge me, my keeper, Mein Hirte, nimm mich an! My shepherd, make me thine! Von dir, Quell aller Güter, From thee, source of all blessings, Ist mir viel Guts getan. Have I been richly blest. Dein Mund hat mich gelabet Thy mouth hath oft refreshed me Mit Milch und süßer Kost, With milk and sweetest food, Dein Geist hat mich begabet Thy Spirit hath endowed me Mit mancher Himmelslust. With many heav’nly joys.

16. Evangelist, Petrus, Jesus 16. Evangelist, Peter, Jesus Petrus aber antwortete und sprach zu ihm: Peter, however, answered and said to him. Wenn sie auch alle sich an dir ärgerten, so will ich Although the others are annoyed because of thee, doch mich nimmermehr ärgern. yet will I never feel annoyance.

Jesus sprach zu ihm: Jesus said to him: Wahrlich, ich sage dir: In dieser Nacht, ehe der Truly, I say to thee: in this same night, before the Hahn krähet, wirst du mich dreimal verleugnen. cock croweth, wilt thou three times deny me. Petrus sprach zu ihm: Peter said to him: Und wenn ich mit dir sterben müßte, so will ich And even if I must die with thee, I will not ever dich nicht verleugnen. Desgleichen sagten auch alle deny thee. Jünger. And so declared all the other disciples.

17. Choral 17. Chorale Ich will hier bei dir stehen; I will here by thee stand now; Verachte mich doch nicht! O put me not to scorn! Von dir will ich nicht gehen, From thee will I go never, Wenn dir dein Herze bricht. While thee thy heart doth break. Wenn dein Herz wird erblassen When thy heart doth grow pallid Im letzten Todesstoß, Within death’s final stroke, Alsdenn will ich dich fassen E’en then will I enfold thee In meinen Arm und Schoß. Within my arms and lap.

18. Evangelist, Jesus 18. Evangelist, Jesus Da kam Jesus mit ihnen zu einem Hofe, der hieß Then came Jesus with them to a garden, Gethsemane, und sprach zu seinen Jüngern: known as Gethsemane, and said to Setzet euch hie, bis daß ich dort hingehe und bete. his disciples: Und nahm zu sich Petrum und die zween Söhne Sit ye down here, while I go over there and pray. Zebedäi und fing an zu trauern und zu zagen. Da And taking Peter with him and the two sons of sprach Jesus zu ihnen: Zebedee, he began to mourn and to be troubled. Meine Seele ist betrübt bis an den Tod, bleibet hie Then said Jesus unto them: und wachet mit mir. Now my soul is sore distressed, even to death; tarry 12 MATTHEW PASSION

here and keep watch with me.

19. Recitativo Tenor, Coro 19. Recit. Tenor; Chorus II O Schmerz! Hier zittert das gequälte Herz; O pain! Here trembleth the tormented heart; Wie sinkt es hin, wie bleicht sein Angesicht! How it doth sink, how pale his countenance! Was ist die Ursach aller solcher Plagen? What is the reason for all these torments? Der Richter führt ihn vor Gericht. The judge conveys him to the court. Da ist kein Trost, kein Helfer nicht. Here is no hope, and helper none. Ach! meine Sünden haben dich geschlagen; Alas, my sins, they have thee stricken; Er leidet alle Höllenqualen, He suffers all of hell’s own torture, Er soll vor fremden Raub bezahlen. He must for others’ theft make payment. Ich, ach Herr Jesu, habe dies verschuldet I, ah Lord Jesus, have this debt encumbered Was du erduldet. Which thou art bearing. Ach, könnte meine Liebe dir, Ah, would that now my love for thee, Mein Heil, dein Zittern und dein Zagen My health, thy trembling and thy terror Vermindern oder helfen tragen, Could lighten or could help thee carry. Wie gerne blieb ich hier! How gladly would I stay!

20. Aria Tenor, Coro 20. Aria Tenor; Chorus II Ich will bei meinem Jesu wachen, I will be with my Jesus watching, So schlafen unsre Sünden ein. That slumber may our sins enfold. Meinen Tod büßet seine Seelennot; Mine own death is redeemed by his soul’s woe; Sein Trauren machet mich voll Freuden. His sorrow filleth me with gladness. Drum muß uns sein verdienstlich Leiden Thus for us his most worthy passion Recht bitter und doch süße sein. Most bitter and yet sweet must be. 21. Evangelist, Jesus 21. Evangelist, Jesus Und ging hin ein wenig, fiel nieder auf sein He went on a little, fell down upon his face and, Angesicht und betete und sprach: having prayed, he said: Mein Vater, ist’s möglich, so gehe dieser Kelch von My Father, if possible, allow this cup to pass from mir; doch nicht wie ich will, sondern wie du willt. me; but not as I will, rather as thou wilt.

22. Recitativo Baß 22. Recit. Bass Der Heiland fällt vor seinem Vater nieder; The Saviour falls before his Father prostrate; Dadurch erhebt er mich und alle Thereby he raiseth me and all men Von unserm Falle From our corruption Hinauf zu Gottes Gnade wieder. Aloft again to God’s dear mercy. Er ist bereit, He is prepared Den Kelch, des Todes Bitterkeit The cup, the bitterness of death, Zu trinken, To drink now, In welchen Sünden dieser Welt In which the sins of this our world Gegossen sind und häßlich stinken, Have been infused, now loathsome reeking, Weil es dem lieben Gott gefällt. Because God wills it so to be.

23. Aria Baß 23. Aria Bass Gerne will ich mich bequemen, Gladly would I be most willing Kreuz und Becher anzunehmen, Cross and chalice to accept now, Trink ich doch dem Heiland nach. Drinking from my Saviour’s cup. Denn sein Mund, For his mouth, MATTHEW PASSION 13 Der mit Milch und Honig fließet, Which with milk and honey floweth, Hat den Grund Hath the earth, Und des Leidens herbe Schmach And all sorrow’s bitter taste Durch den ersten Trunk versüßet. With the very first draught sweetened.

24. Evangelist, Jesus 24. Evangelist, Jesus Und er kam zu seinen Jüngern und fand sie And he came to his disciples and found them schlafend und sprach zu ihnen: sleeping and said unto them: Könnet ihr denn nicht eine Stunde mit mir Could ye then not watch with me even for one wachen? Wachet und betet, daß ihr nicht in hour? Watch ye and pray, that ye not fall into Anfechtung fallet! Der Geist ist willig, aber das temptation! The spirit is willing, but the flesh is Fleisch ist schwach. weak. Zum andernmal ging er hin, betete und sprach: A second time he went away, prayed and said:

Mein Vater, ist’s nicht möglich, daß dieser Kelch My Father, if it cannot be that this cup pass from von mir gehe, ich trinke ihn denn, so geschehe dein me, unless I have drunk it, then let thy will be done. Wille.

25. Choral 25. Chorale Was mein Gott will, das g’scheh allzeit, What my God will, be done alway, Sein Will, der ist der beste, His will, it is the best will; Zu helfen den’n er ist bereit, To help all those he is prepared Die an ihn gläuben feste. Whose faith in him is steadfast. Er hilft aus Not, der fromme Gott, He frees from want, this righteous God, Und züchtiget mit Maßen. And punisheth with measure: Wer Gott vertraut, fest auf ihn baut, Who trusts in God, on him relies, Den will er nicht verlassen. Him will he not abandon.

26. Evangelist, Jesus, Judas 26. Evangelist, Jesus, Judas Und er kam und fand sie aber schlafend, und ihre And he came and found them once more sleeping, Augen waren voll Schlafs. Und er ließ sie und ging and now their eyes were heavy with sleep. And he abermal hin und betete zum drittenmal und redete left them and went off once again a third time and dieselbigen Worte. Da kam er zu seinen Jüngern said again the very same words. Then came he to und sprach zu ihnen: his disciples and said to them:

Ach! wollt ihr nun schlafen und ruhen? Siehe, Ah, would ye now sleep and rest? Lo now, the hour die Stunde ist hie, daß des Menschen Sohn in der is come when the Son of man is delivered over to Sünder Hände überantwortet wird. Stehet auf, the hands of sinners Rise ye up, let us be going; see lasset uns gehen; siehe, er ist da, der mich verrät. there, he is come, who doth betray me. Und als er noch redete, siehe, da kam Judas, And while he was speaking still, behold, there came der Zwölfen einer, und mit ihm eine große Judas, one of the twelve, and with him came a great Schar mit Schwerten und mit Stangen von den crowd with swords and with clubs from the chief Hohenpriestern und Altesten des Volks. Und der priests and elders of the people. And the betrayer Verräter hatte ihnen ein Zeichen gegeben und had given them a signal already and had said: “He gesagt: »Welchen ich küssen werde, der ist’s, den whom I shall kiss, is he, him take ye!” At that he greifet!« Und alsbald trat er zu Jesu und sprach: went up to Jesus and said:

Gegrüßet seist du, Rabbi! My greetings to thee, Rabbi! 14 MATTHEW PASSION

Und küssete ihn. Jesus aber sprach zu ihm: And gave him a kiss. But Jesus said to him: Mein Freund, warum bist du kommen? My friend, wherefore art thou come here? Da traten sie hinzu und legten die Hände an Jesum Then came the others forth and, laying their hands und griffen ihn. upon Jesus, they captured him.

27a. Aria (Duetto) Sopran, Alt e Coro 27a. Aria Soprano, Alto and Chorus II So ist mein Jesus nun gefangen. Thus hath my Jesus now been taken. Laßt ihn, haltet, bindet nicht! Free him, hold off, bind him not! Mond und Licht Moon and light Ist vor Schmerzen untergangen, Are in sorrow set and hidden, Weil mein Jesus ist gefangen. For my Jesus hath been taken. Laßt ihn, haltet, bindet nicht! Free him, hold off, bind him not! Sie führen ihn, er ist gebunden. They lead him off, he is in fetters.

27b. Cori 27b. Chorus I, II Sind Blitze, sind Donner in Wolken verschwunden? Hath lightning, hath thunder in clouds fully Eröffne den feurigen Abgrund, o Hölle, vanished? Zertrümmre, verderbe, verschlinge, zerschelle Lay open thy fire’s raging chasm, O hell, then, Mit plötzlicher Wut Now ruin, demolish, devour, now shatter Den falschen Verräter, das mördrische Blut! With suddenmost wrath The lying betrayer, that murderous blood! 28. Evangelist, Jesus Und siehe, einer aus denen, die mit Jesu 28. Evangelist, Jesus waren, reckete die Hand aus und schlug des And lo now, one of that number, who were there Hohenpriesters Knecht und hieb ihm ein Ohr ab. with Jesus, did stretch out his hand then and struck Da sprach Jesus zu ihm: the slave of the chief priest and cut off his ear. Then Stecke dein Schwert an seinen Ort; denn wer said Jesus to him: das Schwert nimmt, der soll durchs Schwert Put back thy sword into its place; for all who take umkommen. Oder meinest du, daß ich nicht the sword must by the sword perish. Or dost thou könnte meinen Vater bitten, daß er mir zuschickte then think that I could not appeal unto my Father mehr denn zwölf Legion Engel? Wie würde aber that to me he send forth more than twelve legions die Schrift erfüllet? Es muß also gehen. of angels? How would the scripture, though, be fulfilled? It must be this way. Zu der Stund sprach Jesus zu den Scharen: Ihr seid ausgegangen als zu einem Mörder, mit At this hour said Jesus to the many: Schwerten und mit Stangen, mich zu fahen; bin ich Ye are now come forward as against a murderer, doch täglich bei euch gesessen und habe gelehret with swords and with clubs now to take me; but im Tempel, und ihr habt mich nicht gegriffen. Aber I have daily been sitting with you and have been das ist alles geschehen, daß erfüllet würden die there teaching in the temple, and ye did not ever Schriften. seize me. But all this is now come to pass, to bring fulfillment to the scriptures of the prophets. Da verließen ihn alle Jünger und flohen. Then all the disciples fled and forsook him. 29. Choral O Mensch, bewein dein Sünde groß, 29. Chorus [Chorale] (Chorus I, II) Darum Christus seins Vaters Schoß O man, bewail thy sins so great, Äußert und kam auf Erden; For which Christ did his Father’s lap Von einer Jungfrau rein und zart Reveal and came to earth here; MATTHEW PASSION 15

Für uns er hie geboren ward, And of a virgin pure and mild Er wollt der Mittler werden. For us he here to birth did come Den Toten er das Leben gab To be the Intercessor. Und legt darbei all Krankheit ab, Unto the dead he granted life Bis sich die Zeit herdrange, And put off all infirmity Daß er für uns geopfert würd, Until the time pressed forward Trüg unsrer Sünden schwere Bürd That he for us be sacrificed; Wohl an dem Kreuze lange. He bore our sins’ most grievous weight Upon the cross, long suff’ring.

ZWEITER TEIL SECOND PART

30. Aria Alt e Coro 30. Aria (Chorus I, II) Zion, The Faithful Ach! nun ist mein Jesus hin! Ah, now is my Jesus gone! Wo ist denn dein Freund hingegangen, Where is then thy friend now departed, O du Schönste unter den Weibern? O thou fairest of all the women? Ist es möglich, kann ich schauen? Is it granted, can I see him? Wo hat sich dein Freund hingewandt? Where hath he thy friend gone away? Ach! mein Lamm in Tigerklauen, Ah, my lamb in tiger’s clutches, Ach! wo ist mein Jesus hin? Ah, where is my Jesus gone? So wollen wir mit dir ihn suchen. We will with thee now go and seek him. Ach! was soll ich der Seele sagen, Ah, what shall I say to my spirit Wenn sie mich wird ängstlich fragen? When it doth in anguish ask me: Ach! wo ist mein Jesus hin? Ah, where is my Jesus gone?

31. Recitativo Evangelist 31. Evangelist Die aber Jesum gegriffen hatten, führeten ihn But those, however, who had seized Jesus led him zu dem Hohenpriester Kaiphas, dahin die away to the chief priest, who was Caiphas, there Schriftgelehrten und Ältesten sich versammlet where the learned scribes and the elders already hatten. Petrus aber folgete ihm nach von ferne bis had assembled. Peter, though, had followed him in den Palast des Hohenpriesters und ging hinein from a distance up to the palace of the chief priest und satzte sich bei die Knechte, auf daß er sähe, and went inside and sat himself near the servants, wo es hinaus wollte. Die Hohenpriester aber und that he might see what the outcome would be. The Ältesten und der ganze Rat suchten falsche Zeugnis chief priests, though, and also the elders and the wider Jesum, auf daß sie ihn töteten, und funden whole assembly sought untrue witness against Jesus keines. in order to kill him, and they did find none.

32. Choral 32. Chorale (Chorus I and II) Mir hat die Welt trüglich gericht’ The world hath judged me with deceit, Mit Lügen und mit falschem G’dicht, With lying and with false conceit, Viel Netz und heimlich Stricke. With nets and snares in secret. Herr, nimm mein wahr in dieser G’fahr, Lord, me regard in this distress, B’hüt mich für falschen Tücken! Guard me from false deceptions.

33. Recitativo Evangelist , Zeugen, Hoherpriester 33. Evangelist, Two Witnesses Und wiewohl viel falsche Zeugen herzutraten, And although there came there many false funden sie doch keins. Zuletzt traten herzu zween witnesses, they still did find none. At last entered 16 MATTHEW PASSION falsche Zeugen und sprachen: therein two false informants and said: Er hat gesagt: Ich kann den Tempel Gottes He hath declared: “God’s temple can I fully abbrechen und in dreien Tagen denselben bauen. demolish and within three days’ time I can rebuild Und der Hohepriester stund auf und sprach zu it .” ihm: And the chief priest then stood up and said to him: Antwortest du nichts zu dem, das diese wider dich Replies thou nought to that which they have zeugen? witnessed against thee? But Jesus kept silent. Aber Jesus schwieg stille. 34. Recit. 34. Recitativo Tenor My Jesus keeps Mein Jesus schweigt Amidst false lies his silence, Zu falschen Lügen stille, To show us by example Um uns damit zu zeigen, That his dear mercy’s full intention Daß sein Erbarmens voller Wille For us to suffer now inclines, Vor uns zum Leiden sei geneigt, In order that within such pain Und daß wir in dergleichen Pein We should resemble him, Ihm sollen ähnlich sein In persecution keep our silence. Und in Verfolgung stille schweigen. 35. Aria 35. Aria Tenor Forbear, Though deceiving tongues may sting me! Geduld! Wenn mich falsche Zungen stechen. Though I suffer, innocent, Leid ich wider meine Schuld Mocking scorn, Schimpf und Spott, Ah, then may the Lord above Ei, so mag der liebe Gott Give my guiltless heart its vengeance. Meines Herzens Unschuld rächen.

36a. Recitativo Evangelist, Hoherpriester, Jesus 36a. Evangelist, Chief Priest, Jesus Und der Hohepriester antwortete und sprach zu And the chief priest then, answering, spake thus to ihm: him: Ich beschwöre dich bei dem lebendigen Gott, daß I adjure thee in the name of the living God, that du uns sagest, ob du seiest Christus, der Sohn thou shouldst tell us, if thou art the Christ, the Son Gottes? of God.

Jesus sprach zu ihm: Jesus said to him: Du sagest’s. Doch sage ich euch: Von nun an wird’s Thou sayest. But I say to you: from henceforth it geschehen, daß ihr sehen werdet des Menschen will happen that ye shall behold the Son of man Sohn sitzen zur Rechten der Kraft und kommen in sitting at the right hand of power and coming in the den Wolken des Himmels. clouds of heaven.

Da zerriß der Hohepriester seine Kleider und Thereupon the chief priest rent his clothes asunder sprach: and said: Er hat Gott gelästert; was dürfen wir weiter God hath he blasphemed; what need we of further Zeugnis? Siehe, itzt habt ihr seine Gotteslästerung witness? See here, now have ye heard his blasphemy gehöret. Was dünket euch? against God. What is your judgment? They Sie antworteten und sprachen: answered and said: MATTHEW PASSION 17 36b. Cori 36b. The Council Er ist des Todes schuldig! He is of death deserving!

36c. Recitativo Evangelist 36c. Evangelist Da speieten sie aus in sein Angesicht und schlugen Then did they spit upon his countenance and ihn mit Fäusten. Etliche aber schlugen ihn ins struck him with their fists. Some, though, there Angesicht und sprachen: were who struck him upon his face and said:

36d. Cori 36d. The Council Weissage uns, Christe, wer ist’s, der dich schlug? Foretell it us, Christ Lord, tell us who struck thee!

37. Choral 37. Chorale Wer hat dich so geschlagen, Who hath thee thus so smitten, Mein Heil, und dich mit Plagen My health, and thee tormented, So übel zugericht’? So evilly abused? Du bist ja nicht ein Sünder Thou art indeed no sinner Wie wir und unsre Kinder; Like us and our descendants; Von Missetaten weißt du nicht. Of evil deeds thou knowest not.

38a. Recitativo Evangelist, Magd, Petrus 38a. Evangelist, First Maid, Second Maid, Peter Petrus aber saß draußen im Palast; und es trat zu Peter, meanwhile, sat outside in the court; and there ihm eine Magd und sprach: came to him a maid and said:

Und du warest auch mit dem Jesu aus Galiläa. And thou was also with Jesus of Galilee. Er leugnete aber vor ihnen allen und sprach: But he then denied this before them all and said: Ich weiß nicht, was du sagest. I know not what thou sayest.

Als er aber zur Tür hinausging, sahe ihn eine But when he went out to the porch, he was seen by andere und sprach zu denen, die da waren: another maid, who said to those who were there: Dieser war auch mit dem Jesu von Nazareth. Und This man was also with Jesus of Nazareth. And er leugnete abermal und schwur dazu: once more did he deny it and with an oath: Ich kenne des Menschen nicht. I know nothing of the man.

Und über eine kleine Weile traten hinzu, die da And when a little time had passed, there came to stunden, und sprachen zu Petro: him those who were present and said to Peter:

38b. Coro 38b. Bystanders Wahrlich, du bist auch einer von denen; denn deine Truly, thou art one of those men also; for thine own Sprache verrät dich. speech doth betray thee.

38c. Recitativo Evangelist, Petrus 38c. Evangelist Da hub er an, sich zu verfluchen und zu schwören: Then he began to invoke a curse upon himself and Ich kenne des Menschen nicht. to swear: I know nothing of the man.

Und alsbald krähete der Hahn. Da dachte Petrus an And at this moment the cock crew. Then Peter die Worte Jesu, da er zu ihm sagte: Ehe der Hahn thought back to the words of Jesus, when he said krähenwird, wirst du mich dreimal verleugnen. unto him: “Before the cock shall have crowed, wilt 18 MATTHEW PASSION

Und ging heraus und weinete bitterlich. three times thou have denied me.” And he went out and wept bitterly.

39. Aria Alt 39. Aria Erbarme dich, Have mercy Lord, Mein Gott, um meiner Zähren willen! My God, because of this my weeping! Schaue hier, Look thou here, Herz und Auge weint vor dir bitterlich. Heart and eyes now weep for thee bitterly.

40. Choral 40. Chorale Bin ich gleich von dir gewichen, Though I now have thee forsaken, Stell ich mich doch wieder ein; I will once again return; Hat uns doch dein Sohn verglichen For thy Son hath reconciled us Durch sein’ Angst und Todespein. Through his agony and death. Ich verleugne nicht die Schuld; I deny no whit my guilt; Aber deine Gnad und Huld But thy mercy and thy grace Ist viel größer als die Sünde, Are much greater than the failings Die ich stets in mir befinde. Which I ever find within me.

41a. Recitativo Evangelist, Judas 41a. Evangelist, Judas Des Morgens aber hielten alle Hohepriester und When morning came, however, all the chief die Ältesten des Volks einen Rat über Jesum, daß priests and the elders of the people took council sie ihn töteten. Und bunden ihn, führeten ihn hin concerning Jesus, that they might put him to death. und überantworteten ihn dem Landpfleger Pontio And binding him, they led him away and handed Pilato. Da das sahe Judas, der ihn verraten hatte, him over unto the governor Pontius Pilatus. And daß er verdammt war zum Tode, gereuete es ihn when Judas saw this, the one who had betrayed und brachte herwieder die dreißig Silberlinge den him, that he had been condemned to death, it gave Hohenpriestern und Ältesten und sprach: him great remorse, and, bringing back again the Ich habe übel getan, daß ich unschuldig Blut thirty silver pieces unto the chief priests and elders, verraten habe. he said: I have committed a sin, for I have innocent Sie sprachen: blood here betrayed. They said:

41b. Cori 41b. Chief Priests and Elders Was gehet uns das an? Da siehe du zu! How doth that us concern? See to it thyself!

41c. Recitativo Evangelist, Hohepriester 41c. Evangelist, Chief Priests Und er warf die Silberlinge in den Tempel, hub sich And he cast the silvers pieces in the temple, rose up davon, ging hin und erhängete sich selbst. Aber from there, went forth and then hanged himself at die Hohenpriester nahmen die Silberlinge und once. But the chief priests took the silver pieces and sprachen: said: Es taugt nicht, daß wir sie in den Gotteskasten We cannot lawfully put them in the temple legen, denn es ist Blutgeld. treasury, for this is blood money.

42. Aria Baß 42. Aria Gebt mir meinen Jesum wieder! Give back this my Jesus to me! Seht, das Geld, den Mörderlohn, See the price, this murder’s wage, Wirft euch der verlorne Sohn Thrown by this the fallen son Zu den Füßen nieder! At your feet before you! MATTHEW PASSION 19

43. Recitativo Evangelist, Pilatus, Jesus 43. Evangelist, Pilate, Jesus Sie hielten aber einen Rat und kauften einen So they took counsel once again and bought Töpfersacker darum zum Begräbnis der Pilger. with them a potter’s field set aside for the burial Daher ist derselbige Acker genennet der Blutacker of strangers. Therefore is this selfsame field also bis auf den heutigen Tag. Da ist erfüllet, das gesagt known as the Field of Blood from then to this very ist durch den Propheten Jeremias, da er spricht: day. Thus is fulfilléd what was told before by the »Sie haben genommen dreißig Silberlinge, damit prophet Jeremiah, when he saith: “And they have bezahlet ward der Verkaufte, welchen sie kauften accepted thirty silver pieces, with which to pay the von den Kindern Israel, und haben sie gegeben um price of one purchased, whom they had purchased einen Töpfersacker, als mir der Herr befohlen hat.« from the children of Israel, and they have given it Jesus aber stund vor dem Landpfleger; und der to buy a potter’s field, as the Lord hath commanded Landpfleger fragte ihn und sprach: me.” Jesus meanwhile stood before the governor; and the governor questioned him and said:

Bist du der Jüden König? Art thou the King of the Jews? Jesus aber sprach zu ihm: Jesus then replied to him: Du sagest’s. Thou sayest it.

Und da er verklagt war von den Hohenpriestern And when he was charged by the chief priests and und Ältesten, antwortete er nichts. Da sprach the elders, he made no reply. Then said Pilate unto Pilatus zu ihm: him: Hörest du nicht, wie hart sie dich verklagen? Hearest thou not how harshly they accuse thee?

Und er antwortete ihm nicht auf ein Wort, also, daß And he answeréd him to never a word, such that sich auch der Landpfleger sehr verwunderte. the governor was also much amazed at him.

44. Choral 44. Chorale Befiehl du deine Wege Commend thou all thy pathways Und was dein Herze kränkt And all that grieves thy heart Der allertreusten Pflege To the most faithful keeping Des, der den Himmel lenkt. Of him who ruleth heav’n. Der Wolken, Luft und Winden To clouds and air and breezes Gibt Wege, Lauf und Bahn, He gives their course to run, Der wird auch Wege finden, He will find pathways also Da dein Fuß gehen kann. Whereon thy foot may walk.

45a. Recitativo Evangelist, Pilatus, Pilati Weib, 45a. Evangelist, Pilate, Pilate’s Wife, Crowd Volk But upon this feast the governor had the custom Auf das Fest aber hatte der Landpfleger of setting free a prisoner to the people, whom they Gewohnheit, dem Volk einen Gefangenen had chosen. He had, however, on this occasion a loszugeben, welchen sie wollten. Er hatte aber zu prisoner, who stood out above the others, whose der Zeit einen Gefangenen, einen sonderlichen vor name was Barabbas. And when they had come andern, der hieß Barrabas. Und da sie versammlet together, Pilate said unto them: waren, sprach Pilatus zu ihnen: Which one would ye have that I release unto you? Welchen wollet ihr, daß ich euch losgebe? Barabbas or Jesus, of whom it is said that he is the Barrabam oder Jesum, von dem gesaget wird, er sei Christ? Christus? For he knew full well that it was for envy that 20 MATTHEW PASSION

Denn er wußte wohl, daß sie ihn aus Neid über- they had delivered him. And as he sat upon the antwortet hatten. Und da er auf dem Richtstuhl saß, judgment seat, his wife sent unto him and gave this schickete sein Weib zu ihm und ließ ihm sagen: message:

Habe du nichts zu schien mit diesem Gerechten; Have thou nothing to do with this righteous man; ich habe heute viel erlitten im Traum von for I today have suffered much in a dream because seinetwegen! of him!

Aber die Hohenpriester und die Ältesten Nevertheless the chief priests and the elders had überredeten das Volk, daß sie um Barrabas bitten now persuaded the crowd, that they should ask for sollten und Jesumumbrächten. Da antwortete nun Barabbas and destroy Jesus. And in answer now, the der Landpfleger und sprach zu ihnen: governor said unto them:

Welchen wollt ihr unter diesen zweien, den ich Which one would ye have of these two men here, euch soll losgeben? that I set free to you?

Sie sprachen: Barrabam! And they said: Barabbas! Pilatus sprach zu ihnen: And Pilate said unto them: Was soll ich denn machen mit Jesu, von dem gesagt What shall I then do with Jesus, of whom is said wird, er sei Christus? Sie sprachen alle: that he is Christ? And they all said:

45b. Cori 45b. Crowd Laß ihn kreuzigen! Have him crucified!

46. Choral 46. Chorale Wie wunderbarlich ist doch diese Strafe! How awe-inspiring is indeed this sentence! Der gute Hirte leidet für die Schafe, The worthy shepherd for his flock now suffers; Die Schuld bezahlt der Herre, der Gerechte, The debt he pays, the master, he the righteous, Für seine Knechte. For all his servants.

47. Recitativo Evangelist, Pilatus 47. Evangelist, Pilate Der Landpfleger sagte: The governor said then: Was hat er denn Übels getane Why, what evil hath this man done?

48. Recitativo Sopran 48. Recit. Er hat uns allen wohlgetan, He hath us all so richly blessed, Den Blinden gab er das Gesicht, The blind he hath returned their sight, Die Lahmen macht er gehend, The lame he leaveth walking, Er sagt uns seines Vaters Wort, He tells us of his Father’s word, Er trieb die Teufel fort, He drives the devil forth, Betrübte hat er aufgericht’, The troubled hath he lifted up, Er nahm die Sünder auf und an. He took the sinners to himself. Sonst hat mein Jesus nichts getan. Else hath my Jesus nothing done.

49. Aria Sopran 49. Aria Aus Liebe, For love now, Aus Liebe will mein Heiland sterben, For love now would my Savior perish, MATTHEW PASSION 21

Von einer Sünde weiß er nichts. Of any sin he knoweth nought. Daß das ewige Verderben That eternal condemnation Und die Strafe des Gerichts And the sentence of the court Nicht auf meiner Seele bliebe. Not upon my soul continue.

50a. Recitativo Evangelist 50a. Evangelist Sie schrieen aber noch mehr und sprachen: They cried again even more and said:

50b. Cori 50b. Crowd Laß ihn kreuzigen! Have him crucified!

50c. Recitativo Evangelist, Pilatus 50c. Evangelist, Pilate Da aber Pilatus sahe, daß er nichts schaffete, But when Pilate saw that he could prevail nothing, sondern daß ein viel großer Getümmel ward, nahm rather that a much greater disturbance grew, he er Wasser und wusch die Hände vor dem Volk und took water and washed his hands before the crowd sprach: and said: Ich bin unschuldig an dem Blut dieses Gerechten, I am not guilty for the blood of this just person, see sehet ihr zu. ye to it. Da antwortete das ganze Volk und sprach: Thereupon answered all the people and said:

50d. Cori 50d. Crowd Sein Blut komme über uns und unsre Kinder. His blood come upon us then and on our children.

50e. Recitativo Evangelist 50e. Evangelist Da gab er ihnen Barrabam los; aber Jesum ließ er To them he then set Barabbas free; but he had Jesus geißeln und überantwortete ihn, daß er gekreuziget scourged and then delivered him up, that he might würde. be crucifiéd.

51. Recitativo Alt 51. Recit Erbarm es Gott! Have mercy, God! Hier steht der Heiland angebunden. Here stands the Savior, bound and fettered. O Geißelung, o Schläg, o Wunden! Such scourging this, such blows, such wounding! Ihr Henker, haltet ein! Ye hangmen, stop your work! Erweichet euch Do ye not feel Der Seelen Schmerz, Your spirit’s grief, Der Anblick solches Jammers nicht? The vision of such pain and woe? Ach ja! ihr habt ein Herz, Ah yes! Ye have a heart Das muß der Martersäule gleich Which must be like the whipping post Und noch viel härter sein. And e’en much harder still. Erbarmt euch, haltet ein! Have mercy, stop your work!

52. Aria Alt 52. Aria Können Tränen meiner Wangen If the tears upon my cheeks can Nichts erlangen, Nought accomplish, O, so nehmt mein Herz hinein! Oh, then take my heart as well! Aber laßt es bei den Fluten, But then let amidst the streaming Wenn die Wunden milde bluten, Of the wounds abundant bleeding Auch die Opferschale sein! Be the sacrificial cup! 22 MATTHEW PASSION

53a. Recitativo Evangelist 53a. Evangelist Da nahmen die Kriegsknechte des Landpflegers And then did the governor’s soldiers take Jesus into Jesum zu sich in das Richthaus und sammleten the praetorium and gathered before him there all über ihn die ganze Schar und zogen ihn aus und the troops, and they did strip him and put upon legeten ihm einen Purpurmantel an und flochten him a purple robe and plaited a crown of thorns eine dornene Krone und satzten sie auf sein Haupt and set it upon his head, and a reed in his right und ein Rohr in seine rechte Hand und beugeten hand and then they bent their knees before him, die Knie vor ihm und spotteten ihn und sprachen: both mocking him and saying:

53b. Cori 53b. Soldiers Gegrüßet seist du, Jüdenkönig! All hail now to thee, King of the Jews!

53c. Recitativo Evangelist 53c. Evangelist Und speieten ihn an und nahmen das Rohr und And spat upon his face and, taking the reed, they schlugen damit sein Haupt. struck him upon his head.

54. Choral 54. Chorale O Haupt voll Blut und Wunden, O head of blood and wounding, Voll Schmerz und voller Hohn, Of pain and scorn so full, O Haupt, zu Spott gebunden O Head, for spite now fettered Mit einer Dornenkron, Beneath a crown of thorns, O Haupt, sonst schön gezieret O head, once fair and lovely, Mit höchster Ehr und Zier, With highest praise adorned, Jetzt aber hoch schimpfieret, But highly now insulted, Gegrüßet seist du mir! All hail to thee, I say!

Du edles Angesichte, Thou countenance so noble, Dafür sonst schrickt und scheut At which should shrink and quail Das große Weltgewichte, The mighty world’s great burden, Wie bist du so bespeit; How spat upon thou art; Wie bist du so erbleichet! How pale thou art become now! Wer hat dein Augenlicht, Who hath thine eyes’ bright light, Dem sonst kein Licht nicht gleichet, Alike no other light once, So schändlich zugericht’? So shamefully abused?

55. Recitativo Evangelist 55. Evangelist Und da sie ihn verspottet hatten, zogen sie ihm And after they had mocked and scorned him, den Mantel aus und zogen ihm seine Kleider an they removed the robe from him and put his own und führeten ihn hin, daß sie ihn kreuzigten. raiment upon him and led him away, that they Und indem sie hinausgingen, funden sie einen might crucify him. And after they went out, they Menschen von Kyrene mit Namen Simon; den found a man who came from Cyrene, whose name zwungen sie, daß er ihm sein Kreuz trug. was Simon; and they compelled him to bear his cross.

56. Recitativo Baß 56. Recit. Ja freilich will in uns das Fleisch und Blut Yea truly, would in us our flesh and blood Zum Kreuz gezwungen sein; Be forced upon the cross; Je mehr es unsrer Seele gut, The more it doth our spirit good, MATTHEW PASSION 23

Je herber geht es ein. The grimmer it becomes.

57. Aria Baß 57. Aria Komm, süßes Kreuz, so will ich sagen, Come, O sweet cross, thus I’ll confess it: Mein Jesu, gib es immer her! My Jesus, give it evermore! Wird mir mein Leiden einst zu schwer, Whene’er my burden be too grave, So hilfst du mir es selber tragen. Then thou thyself dost help me bear it.

58a. Recitativo Evangelist 58a. Evangelist Und da sie an die Stätte kamen mit Namen And when they came unto a place with the name Golgatha, das ist verdeutschet Schädelstätt, gaben of Golgotha, which is to say, the place of a skull, sie ihm Essig zu trinken mit Gallen vermischet; they did give him vinegar to drink which had been und da er’s schmeckete, wollte er’s nicht trinken. mixed with gall; and when he tasted it, he refused Da sie ihn aber gekreuziget hatten, teilten sie to drink it. But after they had crucified him, they seine Kleider und wurfen das Los darum, auf daß divided his garments by casting lots for them, that erfüllet würde, das gesagt ist durch den Propheten: it might be accomplished what had once been said »Sie haben meine Kleider unter sich geteilet, und by the prophet: “They have divided all my garments über mein Gewand haben sie das Los geworfen.« among them and over mine own vesture did they Und sie saßen allda und hüteten sein. Und oben cast lots.” And they sat all around and guarded zu seinen Häupten hefteten sie die Ursach seines him there. And over his head they fastened the Todes beschrieben, nämlich: »Dies ist Jesus, der reason for his death in writing, namely: “This is Jüden König.« Und da wurden zween Mörder mit Jesus, the King of the Jews.” And with him were two ihm gekreuziget, einer zur Rechten und einer zur murderers also crucified, one on the right hand, Linken. Die aber vorübergingen, lästerten ihn und another on the left. And those who there passed by schüttelten ihre Köpfe und sprachen: derided him both wagging their heads before him and saying:

58b. Cori 58b. Passers-by Der du den Tempel Gottes zerbrichst und bauest Thou who dost God’s own temple destroy and ihn in dreien Tagen, hilf dir selber! Bist du Gottes buildest it within three days’ time, save thyself now! Sohn, so steig herab vom Kreuz! If thou art God’s Son, then climb down from the 58c. Recitativo Evangelist cross! Desgleichen auch die Hohenpriester spotteten 58c. Evangelist sein samt den Schriftgelehrten und Ältesten und In like wise did also the chief priests ridicule him sprachen: and together with the scribes and elders say:

58d. Cori 58d. Chief Priests and Elders Andern hat er geholfen und kann ihm selber nicht Others brought he salvation and can himself yet not helfen. Ist er der König Israel, so steige er nun vom save now. Is he the King of Israel? Let him climb Kreuz, so wollen wir ihm glauben. Er hat Gott down from the cross and we will then believe him. vertrauet, der erlöse ihn nun, lüstet’s ihn; denn er In God hath he trusted, let him save him then now, hat gesagt: Ich bin Gottes Sohn. if he will, for he hath declared: “I am Son of God.”

58e. Recitativo Evangelist 58c. Evangelist Desgleichen schmäheten ihn auch die Mörder, die In like wise did the murderers also mock him, who mit ihm gekreuziget waren. with him had been crucified. 24 MATTHEW PASSION

59. Recitativo Alt 59. Recit: Zion Ach Golgatha, unselges Golgatha! Ah Golgotha, unhappy Golgotha! Der Herr der Herrlichkeit muß schimpflich hier The Lord of majesty must scornfully here perish, verderben The saving blessing of the world Der Segen und das Heil der Welt Is placed as scorn upon the cross. Wird als ein Fluch ans Kreuz gestellt. Creator of both earth and heaven Der Schöpfer Himmels und der Erden From earth and air must now be taken. Soll Erd und Luft entzogen werden. The guiltless must here die guilty, Die Unschuld muß hier schuldig sterben, The pierceth deep into my soul; Das gehet meiner Seele nah; Ah Golgotha, unhappy Golgotha! Ach Golgatha, unselges Golgatha!

60. Aria Alt e Coro 60. Aria, Zion, The Faithful Sehet, Jesus hat die Hand, See ye, Jesus hath his hand, Uns zu fassen, ausgespannt, Us to capture, now outstretched, Kommt! - Wohin? - in Jesu Armen Come! - Where to? - In Jesus’ bosom Sucht Erlösung, nehmt Erbarmen, Seek redemption, take his mercy, Suchet! - Wo? - in Jesu Armen. Seek it - Where? - in Jesus’ bosom! Lebet, sterbet, ruhet hier, Living, dying, rest ye here, Ihr verlass’nen Küchlein ihr, Ye forsaken little chicks, Bleibet - Wo? - in Jesu Armen. Bide ye - where? - in Jesus’ bosom.

61a. Recitativo Evangelist, Jesus 61a. Evangelist, Jesus Und von der sechsten Stunde an war eine And from the sixth hour on there was a darkness Finsternis über das ganze Land bis zu der neunten over all the land until the ninth hour. And about Stunde. Und um die neunte Stunde schriee Jesus the ninth hour Jesus cried aloud and said: laut und sprach:

Eli, Eli, lama asabthani? Eli, Eli, lama sabathani? Das ist: Mein Gott, mein Gott, warum hast du mich That is: “My God, my God, wherefore hast thou me verlassen? Etliche aber, die da stunden, da sie das forsaken? But there were some who stood about höreten, sprachen sie: there who, when they heard that, spake thus:

61b. Coro 61b. Bystanders Der rufet dem Elias! He calleth to Elias!

61c. Recitativo Evangelist 61c. Evangelist Und bald lief einer unter ihnen, nahm einen And straightway one of them ran forth, who took Schwamm und füllete ihn mit Essig und steckete a sponge and, filling it with vinegar, and placing it ihn auf ein Rohr und tränkete ihn. Die andern aber upon a reed, gave him to drink. The others said, sprachen: however:

61d. Coro 61d. Bystanders Halt! laß sehen, ob Elias komme und ihm helfe? Stop! Let us see if Elias will come forth and save him.

61e. Recitativo Evangelist 61e. Evangelist Aber Jesus schriee abermal laut und verschied. But Jesus cried again aloud and died. MATTHEW PASSION 25

62. Choral 62. Chorale Wenn ich einmal soll scheiden, When I one day must leave here, So scheide nicht von mir, Yet do thou not leave me; Wenn ich den Tod soll leiden, When I my death must suffer, So tritt du denn herfür! Come forth thou then to me! Wenn mir am allerbängsten And when most anxious trembling Wird um das Herze sein, Have once my heart possessed, So reiß mich aus den Ängsten Then free me from my anguish Kraft deiner Angst und Pein! Through thine own fear and pain!

63a. Recitativo Evangelist 63a. Evangelist Und siehe da, der Vorhang im Tempel zerriß in And lo, behold: the curtain of the temple was zwei Stück von oben an bis unten aus. Und die rent in twain from the top to the bottom. And the Erde erbebete, und die Felsen zerrissen, und earth was filled with quaking, and the cliffs split die Gräber täten sich auf, und stunden auf viel asunder, and the graves themselves opened up, Leiber der Heiligen, die da schliefen, und gingen and there rose up the bodies of many saints who aus den Gräbern nach seiner Auferstehung und were sleeping, and they came out of the graves after kamen in die heilige Stadt und erschienen vielen. his resurrection and came into the holy city and Aber der Hauptmann und die bei ihm waren und appeared to many. But the centurion and those who bewahreten Jesum, da sie sahen das Erdbeben und were with him and were watching over Jesus, when was da geschah, erschraken sie sehr und sprachen: they witnessed the earthquake and all that there occurred, were sore afraid and said:

63b. Cori 63b. Soldiers Wahrlich, dieser ist Gottes Sohn gewesen. Truly, this man was God’s own Son.

63c. Recitativo Evangelist 63c. Evangelist Und es waren viel Weiber da, die von ferne And there were many women there, who looked zusahen, die da waren nachgefolget aus Galiläa on from a distance, having followed after him from und hatten ihm gedienet, unter welchen war Maria Galilee and ministered unto him, in whose number Magdalena und Maria, die Mutter Jacobi und Joses, was Mary Magdalene and Mary, the mother of und die Mutter der Kinder Zebedäi. Am Abend James and Joseph, and the mother of the children aber kam ein reicher Mann von Arimathia, der of Zebedee. At evening, though, there came a hieß Joseph, welcher auch ein Jünger Jesu war, der wealthy man of Arimathea, whose name was ging zu Pilato und bat ihn um den Leichnam Jesu. Joseph, who was also a disciple of Jesus, who went Da befahl Pilatus, man sollte ihm ihn geben. to Pilate and asked him for the body of Jesus. Then Pilate ordered that it be given to him.

64. Recitativo Baß 64. Recit. Am Abend, da es kühle war, At eventide, when it was cool, Ward Adams Fallen offenbar; Was Adam’s fall made manifest; Am Abend drücket ihn der Heiland nieder. At eventide the Savior overwhelmed him. Am Abend kam die Taube wieder At eventide the dove returneth, Und trug ein Ölblatt in dem Munde. Its mouth an olive branch now bearing. O schöne Zeit! O Abendstunde! O time so fair! O evening hour! Der Friedensschluß ist nun mit Gott gemacht, The pact of peace is now with God complete, Denn Jesus hat sein Kreuz vollbracht. For Jesus hath his cross fulfilled. Sein Leichnam kömmt zur Ruh, His body comes to rest, 26 MATTHEW PASSION

Ach! liebe Seele, bitte du, Ah, thou my spirit, hearken thou, Geh, lasse dir den toten Jesum schenken, Go, let them give thee Jesus’ lifeless body, O heilsames, o köstlichs Angedenken! How healing this, how precious this memorial!

65. Aria Baß 65. Aria Mache dich, mein Herze, rein, Make thyself, my heart, now pure, Ich will Jesum selbst begraben. I myself would Jesus bury. Denn er soll nunmehr in mir For he shall henceforth in me Für und für Seine süße Ruhe haben. More and more find in sweet repose his dwelling. Welt, geh aus, laß Jesum ein! World, depart, let Jesus in!

66a. Recitativo Evangelist 66a. Evangelist Und Joseph nahm den Leib und wickelte ihn in And Joseph took the body and wrapped it in a ein rein Leinwand und legte ihn in sein eigen neu pure shroud of linen and laid it in his own new Grab, welches er hatte lassen in einen Fels hauen, tomb, which he had had hewn within a rock, and und wälzete einen großen Stein vor die Tür des rolled up a heavy stone in front of the door of Grabes und ging davon. Es war aber allda Maria this tomb and went away. In this place was Mary Magdalena und die andere Maria, die satzten sich Magdalene and the other Mary, who sat themselves gegen das Grab. Des andern Tages, der da folget next to the tomb. On the day after, the one after nach dem Rüsttage, kamen die Hohenpriester the Preparation, came the chief priests and the undPharisäer sämtlich zu Pilato und sprachen: Pharisees together unto Pilate and said: 66b. Cori 66b. Chief Priests and Pharisees Herr, wir haben gedacht, daß dieser Verführer Sire, we have taken thought how once this deceiver sprach, daer noch lebete: Ich will nach dreien Tagen said when he was still alive: “I will in three days’ wiederauferstehen. Darum befiehl, daß man das time again stand here arisen.” Therefore, command Grab verwahrebis an den dritten Tag, auf daß nicht that now the tomb be guarded until the three days seine Jüngerkommen und stehlen ihn und sagen zu pass, so none of his disciples come forth and steal dem Volk: Er istauferstanden von den Toten, und him hence and to the people say: “He is risen from werde der letzte Betrugärger denn der erste! the dead,” for thus will the final deceit be worse than the first one!

66c. Recitativo Evangelist, Pilatus 66c. Evangelist, Pilate Pilatus sprach zu ihnen: And Pilate said unto them: Da habt ihr die Hüter; gehet hin und verwahret’s, Ye have your watchmen; go ye forth and secure it as wie ihr’s wisset! best ye can! Sie gingen hin und verwahreten das Grab mit So they went forth and made safe the tomb with Hütern und versiegelten den Stein. watchmen and did seal in the stone.

67. Recitativo Soloisten e Coro 67. Recit. Zion, The Faithful Nun ist der Herr zur Ruh gebracht. Now is the Lord brought to his rest. Mein Jesu, gute Nacht! My Jesus, now good night! Die Müh ist aus, die unsre Sünden ihm gemacht. The toil is o’er which all our sins have laid on him. Mein Jesu, gute Nacht! My Jesus, now good night! O selige Gebeine, O thou, most blessed body, Seht, wie ich euch mit Buß und Reu beweine, See how I weep with grief and sorrow for thee, Daß euch mein Fall in solche Not gebracht! That thee my fall to such distress hath brought! Mein Jesu, gute Nacht! My Jesus, now good night! Habt lebenslang Have all my life MATTHEW PASSION 27

Vor euer Leiden tausend Dank, For thy great passion countless thanks, Daß ihr mein Seelenheil so wert geacht’. That thou my spirit’s health such worth did pay. Mein Jesu, gute Nacht! My Jesus, now good night!

68. Coro 68. Chorus Tutti Wir setzen uns mit Tränen nieder We lay ourselves with weeping prostrate Und rufen dir im Grabe zu: And cry to thee within the tomb: Ruhe sanfte, sanfte ruh! Rest thou gently, gently rest! Ruht, ihr ausgesognen Glieder! Rest, O ye exhausted members! Euer Grab und Leichenstein This your tomb and this tombstone Soll dem ängstlichen Gewissen Shall for ev’ry anguished conscience Ein bequemes Ruhekissen Be a pillow of soft comfort Und der Seelen Ruhstatt sein. And the spirit’s place of rest. Höchst vergnügt schlummern da die Augen ein. Most content, slumber here the eyes in rest.

Text: Christian Friedrich Henrici (Picander) Translation reprinted from Michael Marissen Bach’s 1729 nach Matthäus 26-27, freie Dichtung und Oratorios – The Parallel German-English texts, with Kirchenlieder Annotations (New York: Oxford University Press, 2008).

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MONTEVERDI: LOVE’S FIRE, LOVE’S ASHES ABERDEEN - ST MACHAR’S CATHEDRAL, 18 MAY 2017 EDINBURGH - METHODIST CHURCH, 21 MAY 2017 28 MATTHEW PASSION

The Dunedin Consort was founded in 1995 which won the 2008 Midem Baroque Award and is named after Din Eidyn, the ancient and the 2007 Gramophone Award for Best Celtic name of Edinburgh Castle. Baroque Vocal Album; Bach’s Matthew Passion (Last Performing Version, c. 1742); Acis Under the musical direction of John Butt, the and Galatea (Original Cannons Performing ensemble has established itself as the leading Version, 1718), nominated for a Gramophone Scottish Baroque ensemble, and now regualrly Award in 2008; Bach’s Mass in B Minor performs at major national and international (Breitkopf & Härtel Edition, edited by Joshua festivals. In addition to performing the Rifkin, 2006); Handel’s first English Oratorio, Baroque and Classical repertory and Esther; Bach’s John Passion (Reconstruction researching historical performance, the of Bach’s Passion liturgy) nominated for ensemble has commissioned and performed a Recording of the Year award in both works by numerous contemporary composers, Gramophone and BBC Music Magazine and, including William Sweeney, Errollyn Wallen, most recently, David Black’s new edition of Peter Nelson and Sally Beamish. Mozart’s Requiem, which won a Gramophone Award last year and was nominated for a It broadcasts frequently on BBC Radio 3 and GRAMMY™ Award. BBC Scotland, and its discography includes the original Dublin version of Handel’s Messiah, MATTHEW PASSION 29 KRISTIAN BEZUIDENHOUT DIRECTOR

Kristian Bezuidenhout is one of today’s most notable and exciting keyboard artists, equally at home on the fortepiano, harpsichord, and modern piano. Born in South Africa in 1979, he began his studies in Australia, completed them at the Eastman School of Music, and now lives in London. After initial training as a pianist with Rebecca Penneys, he explored early keyboards, studying harpsichord with Arthur Haas, fortepiano with Malcolm Bilson, and continuo playing and performance practice with Mozart Violin Sonatas with Petra Müllejans; Paul O’Dette. Kristian first gained international Mendelssohn and Mozart Piano Concertos recognition at the age of 21 after winning the with the Freiburger Barockorchester (ECHO prestigious first prize, and audience prize in the Klassik); Beethoven, & Mozart Lieder, and Bruges Fortepiano Competition. Schumann Dichterliebe with Mark Padmore (Edison Award). In 2013 he was nominated Kristian is a regular guest with the world’s as Gramophone Magazine’s Artist of the leading ensembles including the Freiburger Year. Recent releases include Volume 2 of Barockorchester, Les Arts Florissants, Mozart Piano Concertos with the Freiburger Orchestra of the Age of Enlightenment, Barockorchester. Orchestre des Champs Elysées, Koninklijk Concertgebouworkest, Chicago Symphony In the 2016/17 season, Kristian performs Orchestra & the Leipzig Gewandhausorchester; fortepiano concerti with the Orchestre and has guest-directed (from the keyboard) the Révolutionnaire et Romantique/Gardiner, English Concert, Orchestra of the Eighteenth Orchestre des Champs Elysées/Herreweghe and Century, Tafelmusik, Collegium Vocale, Juilliard Il Giardino Armonico/Antonini; as harpsichord 415 and the Kammerakademie Potsdam. soloist with Arcangelo/Cohen (Bach Concerti); and on modern piano with the Chamber He has performed with celebrated artists Orchestra of Europe/Haitink, Amsterdam including John Eliot Gardiner, Philippe Sinfonietta/de Vriend, Symphonieorchester des Herreweghe, Frans Brüggen, Trevor Pinnock, Bayerischen Rundfunks/Labadie, Australian Giovanni Antonini, Jean-Guihen Queyras, Chamber Orchestra/Tognetti, & Melbourne Isabelle Faust, Alina Ibragimova, Rachel Podger, Symphony Orchestra/Egarr. Solo recitals and Carolyn Sampson, Anne Sofie von Otter, Mark chamber music take him to London, New York, Padmore & Matthias Goerne. Tokyo, Boston, Madrid, Innsbruck & Sydney; and he will direct his first Bach St. Matthew Kristian’s rich and award-winning discography Passion with the Dunedin Consort. on Harmonia Mundi includes the complete keyboard music of Mozart (Diapason d’Or de Kristian had been appointed Artistic Director of L’année, Preis der Deutschen Schallplattenkritik, the Freiburger Barockorchester for three years & Caecilia Prize); from the 2017/18 season. 30 MATTHEW PASSION RACHEL REDMOND SOPRANO EMILIE RENARD ALTO Rachel Redmond was born in Glasgow. She Emilie Renard studied at the Royal Scottish discovered her love of singing with the Junior Academy of Music and Drama and at the Chorus of the Royal Scottish National Orchestra Benjamin Britten International Opera School at the age of seven. of the Royal College of Music. She is also an She studied at the Music School of alumnus of Le Jardin des Voix where she worked Douglas Academy and subsequently received regularly with conductors William Christie and her BA Hons from the Royal Scottish Academy Paul Agnew. of Music and Drama, where she was awarded Highlights to date include Emilie’s the Florence Veitch Ibler prize for oratorio debut at English National Opera as Little Arab, performance. She went on to earn an MA 1st Gentleman and Errand boy in Martinú’s with Merit at the Guildhall School of Music & Julietta, Upon Silence by George Benjamin Drama and, in 2011, she was a member of the for the Messiaen Festival in France, Dido prestigious Jardin des Voix, the Academy for Dido and Aeneas with William Christie, young singers of Les Arts Florissants. Junon Platée with Les Arts Florissants, Zweite Rachel’s recent performances include Dame Die Zauberflöte (Nantes-Angers the role of Léontine in Campra’s Les Fêtes Opera), Amore L’incoronazione di Poppea Venitiènnes at the Opera Comique, Theatre de with Laurence Cummings (Opera North), Caen, Théâtre du Capitole, Toulouse and BAM, Campra Les Fêtes Vénitiennes with William New York, Caecilia in Charpentier’s Caecilia, Christie and Robert Carsen, Ersinda in Virgin and Martyr in Aix-en-Provence, Porpora’s Il Germanico in Germania under Ambronay and New York, Irene in Lully’s Atys, the baton of Alessandro de Marchi (Innsbruck Grands Motets de Rameau et Mondonville, Bach’s Festival), Valetto L’incoronazione di Poppea Coffee Cantata and Charpentier’s Te Deum at the at Theater an der Wien, and title role Armide opening of the new Paris Philharmonie with Les for the Musikfestspiele Potsdam. She has Arts Florissants, Purcell’s The Fairy Queen and also performed Mozart Requiem with the Rameau’s Pygmalion with the European Union Philhamonia Orchestra in aid of Pancreatic Baroque Orchestra, Handel’s Messiah with the Cancer UK, Mozart’s Coronation Mass at Norwegian Chamber Orchestra, Handel’s Saul the Innsbruck Festival and in Wroclaw with in Aldeburgh, Carmina Burana at the Auditorio Academia Montis Regalis. Manuel de Falla in Granada with Concerts from 2017 performances include Giuletta Scratch, Jommelli’s Beatus Vir with Musica Giuletta e Romeo at the Schwetzingen Festival, Ghislieri at Ambronay Festival, Handel’s Israel Heidelberg and Zweite Dame in Die Zauberflöte in Egypt at Festival de la Chaise-Dieu with Les in Dijon, Limoges and Caen. Emilie will Cris de Paris and Loena in Offenbach’s La Belle also perform some Bach Cantatas with Paul Hélène at Théâtre du Châtelet, Paris. McCreesh at Saffron Hall, a concert with La Rachel’s future plans include; concerts Nuova Musica under David Bates and a return of Handel, Pergolesi and Vivaldi with Giulio at the Innsbruck festival to perform Stradella’s Prandi, Musica Ghislieri, Belinda in Dido and San Giovanni Batista. Aeneas with William Christie and Les Arts Florissants, Handel’s Messiah with Jordi Savall DANIEL NORMAN TENOR and the Centre Internacional de Música Antiga and Proserpine in La Descente d’Orfée aux Daniel Norman was a choral scholar at New Enfers with Sébastien Daucé and Ensemble College Oxford and went on to study in the US Correspondances. and Canada and at the Royal Academy of Music. MATTHEW PASSION 31

Concert performances include Evangelist St and Rigoletto (Bury Court Opera); Zurga John Passion at the Royal Festival Hall, Tippett (Pearl Fishers) and Don Alfonso (Cosi fan A Child of Our Time with the CBSO, Britten Les tutte Reisopera, Holland); Demetrius (A Mid- Illuminations and Mozart Requiem with Noseda Summer Night’s Dream) and Papageno (Magic and the BBC Philharmonic, Britten Nocturne Flute ETO); Ned Keene (Peter Grimes at the with Edward Gardner, Britten St Nicolas at the Stadttheater, Bern); Chef Grec (Les Troyens Gulbenkian in Porto, Stravinsky Les Noces with Châtelet, Paris); Ottokar (Der Freischutz at Martha Argerich, Bach St Matthew Passion at the Opera Comique, Paris); Leone (Tamerlano the Concertgebouw and for the Sønderjyllands Buxton Festival); Dancaïre (Carmen) and Symfonieorkester, Beethoven 9th Symphony Schaunard (La Boheme Endellion Festival). for Minnesota Orchestra and with Het Gelders He has also performed under the baton of Sir Orkest, Holst Savitri with London Sinfonietta, Simon Rattle, Sir John Eliot Gardiner, Sir Mark Sam Kaplan Street Scene at the BBC Proms, Elder, Ed Gardner, Vladimir Jurowski and Messiah at the Royal Festival Hall, Delius Mass Robin Ticciati. of Life with the BBC Philharmonic, Haydn Recordings include Monteverdi Stabat Mater with Europa Galante (Fabio Vespers with the OAE, Bach St John Passion; Biondi), Stravinsky’s In Memoriam Dylan Handel Esther with Dunedin Consort; Haydn Thomas with the CBSO, Renard (Helsinki, Creation for Alte Musik/ORF; Bach St John Paris & South Bank), Britten War Requiem Passion in a world premier translation in Welsh for Southbank Sinfonia, Yan Tan Tethera with to be televised on S4C and Hawes Angel for Britten Sinfonia, Dream of Gerontius at Ely Decca. Known for excelling in a wide range Cathedral, and recitals at Wigmore Hall, Kings of repertoire, his performances include the Place and for Oxford Lieder. World Premier of Blitz Requiem in St Paul’s Recent and future engagements include Cathedral with the RPO (Classic FM); the 50th Laca Jenufa at the Longborough Festival, Judas Anniversary (Gardiner) Monteverdi Vespers in The Last Supper with BBC Scottish Symphony Kings College, Cambridge (BBC Radio 3 live), (Brabbins), Glass The Trial with Scottish Barcelona and Versailles; Bach Mass in B Minor Opera, Gerald Barry’s Alice’s Adventures Under in Duomo, Pisa (Gardiner); Orff Carmina Ground in Dublin, Billy Budd at the Aldeburgh Burana in Barbican, London; Brahms Requiem Festival and Glagolitic Mass at the Three Choirs in Worcester, Westminster and Coventry Festival, Worcester. Cathedrals; Mozart Mass in C minor in St David’s Hall, Cardiff with Florilegium; Bach ROBERT DAVIES BASS St John Passion (OAE/Polyphony) in St John’s, Smith Square; Haydn Creation in Cadogan Born in Colchester, Robert studied at the Hall; Bach St Matthew Passion tour in Holland University of Sheffield and the Guildhall School (Nieuwe Philharmonie Utrecht). of Music and Drama before embarking on a solo career, both on the opera stage and concert platform. MIRIAM ALLAN SOPRANO Awarded the Erich Viertheer Gramophone describes Miriam Allan’s Memorial Award at Glyndebourne in 2003, singing as “enchanting” and “impressive” with Robert went on to appear as Mr Gedge (Albert audiences around the world engaged by her Herring), Marcello (La Boheme), Count (Le honesty and “depictions of sublime hope” in Nozze de Figaro) and Falke (Die Fledermaus) places of darkness and sorrow. She has given for Glyndebourne on Tour. Other roles include performances from Edinburgh to Auckland and the title roles in Figaro (English Touring Opera) many places in between – especially her native 32 MATTHEW PASSION Australia and in Europe. She has been fortunate regular radio appearances both in the UK and to work with many of the finest conductors, abroad. Rory also greatly enjoys working as a directors and accompanists including Sir John countertenor soloist and consort singer with Eliot Gardiner, William Christie, Laurence ensembles including The Dunedin Consort, Cummings, Lars Ulrik Mortensen, Nicholas The Monteverdi Choir, Ludus Baroque, The Collon and Roy Goodman. Her engagements Sixteen, The Gabrieli Consort, Contrapunctus, with the Monteverdi Choir, Les Violons du Le Concert d’Astrée, The Academy of Roy, Sydney Philharmonia Choirs, Concerto Ancient Music, The Orchestra of the Age of Copenhagen, Auckland Philharmonic, Enlightenment and The Cardinall’s Musick. Gewandhaus Kammerchor, Israel Camerata Recent solo performances have and Melbourne Symphony Orchestra have seen included Bach St John and St Matthew Passions; her in concerts of Mozart, Monteverdi, Rameau, Handel Messiah, Dixit Dominus and Ode for Bach, Handel and Haydn to mention but a few. the Birthday of Queen Anne; Pärt Passio and She has graced the opera stage in productions Stabat Mater; Purcell Come ye Sons of Art, Ode for the Opéra Comique, Glyndebourne Festival to St Cecilia and Welcome to All the Pleasures; Opera, Pinchgut Opera and for Les Arts and Britten Abraham and Isaac in venues Florissants featuring Purcell, Cavalli, Handel, including the Chapelle Royale de Versailles, Vivaldi and Rameau. Equally at home in The Concertgebouw Brugge, and the Snape contemporary repertoire, Miriam has enjoyed Maltings Concert Hall. Rory has appeared as a working with Sinfonia Australis and more soloist for broadcasts on ARTE, Radio France, recently with the outstanding Aurora Orchestra BBC Radio 3 and German and Italian radio, and in London. A long term project of Monteverdi collaborates regularly with the Rose Consort of with Les Arts Florissants under Paul Agnew’s Viols. direction continues from performances of every Rory is also in demand as a guest madrigal Monteverdi wrote through to concerts conductor, chorus master and workshop leader, of the masterpieces from those books, and a and is a passionate believer in the importance of staged production of Orfeo 2017. Recently music education and singing for young people: Miriam made her debut with the Academy he is the Associate Director of the Oxford Youth of Ancient Music in a concert performance Choirs. of Monteverdi’s L’incoronazione di Poppea in Venice and with the Dunedin Consort for DAVID LEE TENOR concerts of Bach and Handel. David Lee’s first musical experience was as a chorister in Paisley Abbey Choir under RORY MCCLEERY ALTO George McPhee, before beginning at the Junior ‘McCleery elicits performances that glow with Department of the Royal Scottish Academy golden purity and soul’ (The Scotsman). of Music and Drama, where he studied piano, Rory McCleery began his musical career as singing and composition. a chorister in the choir of St Mary’s Episcopal David now enjoys a multi-faceted Cathedral, Edinburgh, subsequently gaining a career balancing performance and scholarship. double first in Music and an MSt in Musicology Having graduated from the University of Oxford with Distinction from Oxford University. with a first in Music -- where he sang with the Rory is the founder and director of The choirs of Christ Church and New College, Marian Consort, with whom he has performed featuring as a soloist on several recordings -- across Europe and made seven highly- he has recently returned north to undertake lauded CD recordings, in addition to making doctoral research on early modern German MATTHEW PASSION 33 music, supervised by John Butt at the University EXAUDI, Ensemble Plus Ultra, The Sixteen and of Glasgow. I Fagiolini. As an Oratorio performer across Alongside his academic work, David the UK and Europe, recent highlights include appears as a soloist and ensemble singer J.S. Bach St Matthew Passion with The Dunedin across the UK and abroad, working regularly Consort, Verdi Requiem with David Hill and the with ensembles including Dunedin Consort, BSO, Bach Easter Oratorio and Cantata BWV Nederlandse Bachvereniging, Concerto 158 Der Friede sei mit dir at The Wigmore Hall Copenhagen, I Fagiolini, Gabrieli Consort, with Florilegium, Monteverdi 1610 Vespers in Polyphony, Academy of Ancient Music, La France with Emmanuelle Haïm and Elgar’s The Nuova Musica, and Oxford Camerata. Dream of Gerontius at Winchester Cathedral. On the stage, he has performed Jimmy has performed numerous operatic roles Monteverdi’s Orfeo (AAM/Richard Egarr; including Bottom in Britten’s A Midsummer Bavarian State Opera/Ivor Bolton), and most Night’s Dream, Sarastro in Mozart’s Die recently Britten’s Curlew River with Ian Zauberflöte and Kecal in Smetana’s The Bartered Bostridge, at the new Elbphilharmonie in Bride at RCM. Since leaving NOS opera Hamburg. performances include Stravinsky’s The Rake’s David also enjoys delving into Progress Nick Shadow and Wagner’s Lohengrin contemporary music with groups including Heinrich der Vogler for Ostrava Opera, Czech London Voices and Britten Sinfonia, with Republic, Wolfgang Rihm’s Jakob Lenz Pastor whom he has given several premieres and Oberlin (cover) and ensemble role and Puccini’s performances of notable works by Harrison La Fanciulla del West Billy Jackrabbit for ENO, Birtwistle, Steve Reich, and Louis Andriessen. and Puccini’s La Boheme Colline for Opera North. JIMMY HOLLIDAY BASS Jimmy is also a regular on the session circuit, singing on numerous film soundtracks and Jimmy Holliday, born in Birmingham, studied computer games, including Harry Potter, singing at the RCM’s International Opera School Fantastic Beasts and Where to Find Them, where he graduated with distinction as the The Hobbit trilogy, and solos on the Steve Jobs Martin Harris scholar supported by a Douglas movie. & Kyra Downie Award. He was also supported by a Toeman Weinberger Opera Scholarship. In his last year at the RCM Jimmy won numerous awards including the inaugural Richard Van Allan Award administered by MBF, and the 10th Hampshire Singer of the Year competition. He followed the RCM with a year’s study at The National Opera Studio, London supported by British American Tobacco and The Friends of Covent Garden. He was an Independent Opera Vocal Scholar 2011-2013. Jimmy is in extremely high demand as a consort singer and regularly works with many of the UK’s professional choirs, consorts and vocal ensembles, including The BBC Singers, the UK’s only full-time professional choir, Tenebrae, 34 MATTHEW PASSION

DID YOU KNOW? We are now the most decorated classical music company in Scotland thanks to awards for our sought-aft er recordings. Th ese include two Gramophone Awards, three further Gramophone nominations, a Grammy Nomination, three BBC building a library recom- mendations and two SAY award nominations!

OUR NEXT RELEASE Earlier this month we teamed up with Linn Records yet again in order to add to our award-winning recording catalogue. As with many of our past recordings, the beautiful Greyfriars Kirk was transformed into a recording venue, with the goal this time to capture Monteverdi’s Vespers of 1610 as depicted by our wonderful singers and instrumentalists under the baton of John Butt. A release date is not yet confi rmed, but watch this space!

Not only do our recordings provide our audience with lots of listening pleasure, they also provide us with an invaluable calling card that has given us opportunities to perform in some of Europe’s fi nest concert halls. Even though our recordings have consistenly been Linn Record’s best-sellers over the past three years, such is the state of the recording industry that making them is an expensive business that requires a signifi cant outlay. It is yet again thanks to our incredible group of dedicated supporters that we are able to keep making these recordings, in so doing creating more opportunity for our musicians to fl y the Dunedin fl ag far and wide.

Our latest recording...

available at the desk or at www.dunedin-consort.org.uk MATTHEW PASSION 35

THANK YOU Dunedin Consort is grateful to the following organisations, charitable trusts and individuals for their generous support of our regular performances and educational work.

SUPPORTERS CANTORS’ CIRCLE Hilary Patrick Hugh Andrew PRINCIPAL SUPPORTERS KAPPELLMEISTER Iain McGillivray Creative Scotland Sir Muir & Lady Russell Ian and Lorna Paterson Dunard Fund Richard Burns Iona MacKinlay Binks Trust Isabel Nisbet KONZERTMEISTER James Friend TRUSTS AND FOUNDATIONS Anonymous James and Isobel Stretton Bacher Trust Janette Dobson STADTPFEIFER Cray Trust Jo Elliot Cruach Trust Sir Jack & Lady Shaw Jo Leighton Cruden Foundation Sir Raymond & Lady Johnstone Mrs Jocelyn Blackburn Ernest Cook Trust Anonymous John Innes JTH Charitable Trust John & Lady Shaw ALUMNUS Hugh Fraser Foundation John E Dale HR Creswick Trust Alastair Weatherston Judith Brearley Lindsays Charitable Trust Agnes Robson Jürgen Munz M&K Charitable Fund Brian and Deborah Lady Hope Nancie Massey Charitable Trust Charlesworth Mike Radcliffe Penpont Trust Caroline Higgitt Peter Smaill Scott Davidson Charitable Trust Christine Lessels Dr Roger and Judith McClure Stevenston Trust Colin Mumford Collins Plum Trust David and Ann Caldwell Russell Duncan Robertson Trust Dr Elizabeth Rogers Sir Russell Hillhouse Tarnie Trust Elspeth MacArthur and Ruth Woodburn Turtleton Trust Michael Anderson Spedding Micklem The Tay Charitable Trust Elwyn Evans Susanna Kerr Hannah Mills

If you are interested in becoming a supporter of Dunedin Consort, please come and chat to us at the interval or visit www.dunedin-consort.org.uk/support

Sincere thanks to three Edinburgh businesses who have recently provided in-kind sponsorship. 36 MATTHEW PASSION

THE DUNEDIN CONCERTS TRUST LIMITED Registered Scottish Charity Number SC025336 Registered in Scotland Company Number SC361385

DIRECTORS Sir Muir Russell KCB FRSE (Chairman) Jo Elliot Shonaig MacPherson Kirsteen McCue David McLellan David Strachan John Wallace CBE

MUSIC DIRECTOR John Butt OBE

MANAGEMENT Alfonso Leal del Ojo (Chief Executive) Robin Hiley (Planning Manager)

77 Montgomery Street, Edinburgh, EH7 5HZ Tel: +44 131 516 3718 e: [email protected]

Twitter @dunedinconsort Facebook.com/Dunedin

www.dunedin-consort.org.uk