Virtual Easter Festival

VIRTUAL EASTER FESTIVAL

2-5 APRIL & ON DEMAND UNTIL 30 APRIL 2021 1 David Fisher

2 OXFORD BACH SOLOISTS

The Oxford Bach Soloists (OBS) is a Baroque ensemble whose ambition is to perform, in sequence, the complete canon of J.S. Bach’s vocal works over 12 years. Founded by Tom Hammond-Davies (Artistic Director) in 2015, OBS offers a unique musical experience that brings together a new generation of young soloists to perform these concerts. The OBS’s mission is distinctive and pioneering; while there have been many recordings and performances of Bach’s complete vocal works, OBS is performing them chronologically, programmed in real-time, and set in the context for which they were conceived – for instance, as Bach would have with performers, instruments and venues that echo the university and churches of his hometown of Leipzig. Bach’s music is community music – he was part of an extended network of musicians in northern Germany – and today, OBS champions our local students, scholars, players and soloists.

Artistic Director Patron Tom Hammond-Davies Michael Chance CBE General Manager Trustees Flynn Le Brocq Miles Young (Chair) Helen Morton (Treasurer) Concert Manager Judith Finch Nathan Grassi Pegram Harrison Social Media Robert Quinney Rachel Lockwood Miranda Whiteley PR by Pumpkin PR www.oxfordbachsoloists.com [email protected]

3 WELCOME TO OUR FIRST EASTER FESTIVAL

This year has been extraordinary. The Covid-19 pandemic has highlighted the fragility of life and shown us how everything we know and love can be taken away from us overnight. And yet the seasons continue to turn, benignly unaware of the hardships we have endured. And even though this once-in-a-hundred-years event threatens to put the unshakeable on shaky ground, the human spirit somehow finds resilience in the face of crisis. Our capacity to seek out the silver linings in every situation has revealed immense innovation, leapfrogging our understanding of everyday life into a new age, precipitating what would have happened inexorably over a much longer period of time. Only through struggle does true innovation happen, and our achievements this year have been extraordinary. Our Easter Festival is an example of this. By coming together to find ways of connecting with our friends of family in spite of our bounds, we have discovered a panoply of generosity, warmth, and talent within our number, capable of shouldering the burden when others felt overwhelmed, and pulling together to keep things on course, following that message of hope that guides us all to find the things that bind us together in our common humanity. Easter is a celebration of renewal and rebirth. In the northern hemisphere, these themes are championed vividly in nature: new life and green shoots appear as Ēostre, or Ostara, the West Germanic goddess of Spring, ushers in her season of hope. During the past year, our capacity for maintaining hope has been put to the test like never before. The effects of the pandemic have created uncertainties that test even the most sanguine, buckling under the torment of hope deferred. But by definition, the object of hope is uncertain, synonymous to faith. Faith is what led John to write down his story of the life, death, and resurrection of Jesus of Nazareth. It is the greatest story ever told. Set to music by Johann Sebastian Bach, it finds a rhetorical power that is “daring, forceful and poetic” (Robert Schumann). In the final aria, the soprano mandates “Erzähle der Welt und dem Himmel die Not: Dein Jesus ist

4 tot!” (Tell the world and heaven the anguish: Your Jesus is dead!). This is exactly what John does, and it is painful, but necessary. Like John, our quest for truth can find reward, however hard the journey. There’s nothing ordinary in the story of Easter, and every year we are reminded of it. That makes every year extraordinary. Nick Pritchard (Evangelist), Peter Harvey (Christ), Alex Ashworth (Pilate), and our outstanding cast of young soloists present a brand new semi- staged production of Bach’s St John Passion directed by Tom Guthrie. Over the rehearsal period, our understanding of this monumental work deepened, and we found new insights that reveal a truth for us in the here and now. This is a performance for our time. At the heart of it, Martin Luther’s Easter hymn Christ lag in Todesbanden is an epic legend depicting the struggle between life and death. Told in 7 verses, it has the feeling of a folklore saga, passed down the generations by oral tradition around a fire. Picking up from where we left off at the end of the Passion, it graphically tells of how Christ vanquished death, each verse capped with a Hallelujah. It’s probably the first Cantata that Sebastian ever penned. Written at the age of 22, he sets Luther’s verses verbatim, each one cast in a unique musical style. Our young Bach defies all monotony with his fecund imagination, and the 14th century chapel at New College is the perfect location for this delicious medieval pageant. Our performance is preceded by a short lecture-concert presented by Professor Henrike Lähnemann, with music performed by the Lay Clerks and Organists of Christ Church Cathedral. Together they trace the development of the melody from its Roman Catholic roots (Victimae paschali laudes) through to its firm position in the Reformation canon. The Roman Catholic trope Quem queritis? (Whom do you seek?) is perhaps the best-known Medieval Mystery Play. It is a dramatised liturgical dialogue between the angel at the tomb of Christ and the women who are seeking his body. Bach takes up this ancient idea of the Mystery Play in his Osteroratorium (Easter Oratorio). Whereas the Quem queritis is directly lifted from the bible, the Easter Oratorio takes up an imagined narrative between Mary Magdalene, Mary Mother of James, Simon Peter, and John the Evangelist. Peter and John, at first incredulous, find hope and faith from the Mary’s who had seen an Angel with the news of Jesus’s resurrection. The story is interspersed with some of Bach’s finest arias and flanked with euphoric festive choruses. No one writes in D major like Bach!

5 Triumphant festivities bring our weekend to a close with Bach’s Easter Cantata 31 Der Himmel lacht! Die Erde jubilieret (Heaven laughs! The earth rejoices). Written when he was 30 years old, it is a rich scoring for full suite of brass, woodwind, strings, and five-part chorus—a foretaste of the B minor Mass. The chorus cackles in triumph at the victory over death, and the soloists exhort us to jettison the old in favour of the new—like a good spring-clean! The famous heart-stoppingly beautiful soprano aria Letzte Stunde, brich herein (Final hour, break forth) points heavenward, before taking flight on the wings of a transcendent trumpet descant in the final chorale.

ACKNOWLEDGEMENTS Our thanks to the Dean and Canons of Christ Church Cathedral, and to the Warden and Scholars of New College for allowing us to come and film in their beautiful spaces. Special thanks to Joseph Denby and Nancy-Jane Rucker who went above and beyond to make it such a smooth experience

for us. David Fisher In particular, I want to thank Tom Guthrie and Simon Wall. It has been extraordinary to have them join us on this project, particularly at short notice and we are so proud to witness the finished product! I also want to say a huge thanks to our General Manager, Flynn Le Brocq, whose unflagging energy, brilliance, and optimism has been phenomenal. No request is too great. No detail too small to worry about. He has been the linchpin in bringing about this extraordinary project. And finally, to you, our Bach Family of Friends and supporters. Thank you for sustaining OBS throughout this year, and beyond. Without your help, none of this would be possible. You foster the inspirational talents of our musicians whose energy and dedication shine gloriously. We have all grown musically, personally, and spiritually throughout the making of this project, and your support has given us the space to create something truly remarkable. Thank you!

Tom Hammond-Davies

6 FESTIVAL OVERVIEW

3pm Friday 2nd April 10 BWV 245 St John Passion 3pm Saturday 3rd April 32 BWV 4 Christ lag in Todesbanden 3pm Sunday 4th April 52 BWV 249 Easter Oratorio 3pm Monday 5th April 58 BWV 31 Der Himmel lacht! Die Erde jubilieret

All Festival content is available to view ‘on demand’ at www.oxfordbachsoloists.com/easter2021 David Fisher Nick Rutter

7 David Fisher

CHRIST CHURCH CATHEDRAL

Christ Church Cathedral is one of the oldest buildings in Oxford and one of the smallest cathedrals in the Church of England. For almost 900 years this church has stood here as a place of worship and prayer. Since 1546, uniquely in the world, it has had a dual function as both College Chapel and Cathedral church for the Diocese of Oxford. This beautiful building is home to a vibrant worshipping community and hosts a wide range of events, music, art and drama. The Shrine of St Frideswide, our patron saint, lies at the heart of the Cathedral in the Latin Chapel. The Latin Chapel also houses the St Frideswide Window, by the famous pre-Raphaelite artist Edward Burne- Jones. The Cathedral also boasts a Chancel with a remarkable stone vaulted ceiling which was created in 1500 and is considered to be one of the finest examples of its type in any English cathedral.

8 NEW COLLEGE OXFORD

New College was founded in 1379 by William of Wykeham (1324-1404), bishop of Winchester, as ‘the college of St Mary of Winchester in Oxford’, and it was the largest college in Oxford at that time. It very soon became known as New College to distinguish it from an earlier Oxford college (Oriel, founded 1326) also dedicated to the Virgin Mary, but its full title remains in use today for formal transactions. Wykeham had risen from modest beginnings in Hampshire to become Lord Chancellor twice, under both Edward III and Richard II. He allowed New College to adopt his private coat of arms and personal motto ‘Manners makyth Man’ as emblematic of its collegiate identity. His statutes provided for a college comprising a Warden and 70 Fellows, both graduates and, a novelty at the time, undergraduates. Senior Fellows taught the juniors - the beginning of a formal tutorial system. The provision of religious services, chaplains and choristers were central to Wykeham’s scheme; the Choir and Choir School persist to this day. Architecturally, New College was innovative in its enclosed quadrangle (finished 1386) - the first of its type, which has since become one of the defining features of colleges across Oxford and Cambridge. It included all the essential elements required by the Fellows in one single quad - accommodation, library, chapel, and dining hall. Nick Rutter

9 CONCERT ONE: FRIDAY 2ND APRIL 2021 ST JOHN PASSION JOHANNESPASSION BWV 245 Johann Sebastian Bach (1685-1750) Filmed on location at Christ Church Cathedral, Oxford David Fisher

10 OXFORD BACH SOLOISTS MUSICIANS

Conductor Cello Tom Hammond Davies Jonathan Manson, Gabriel Amherst Director Double bass Thomas Guthrie Rosie Moon Evangelist Theorbo Nick Pritchard Johan Löfving Christ Bassoon Peter Harvey Catriona McDermid Pilate Organ Alex Ashworth Dónal McCann Harpsichord Anhad Arora ORCHESTRA

Flute I Yu-Wei Hu Sopranos Gwendolen Martin, Rowan Pierce, Flute II Lucy Cox, Lucy Cronin Jonathan Slade Alto Oboe I Alexander Chance, Frances Norbury Helen Charlston, Hugh Cutting Oboe II Tenor Oonagh Lee Guy Cutting, Sam Jenkins, Violin I Bradley Smith Bojan Čičic, Theresa Caudle, Bass Kirra Thomas Ben Davies, Thomas Lowen, Violin II Edmund Saddington Jean Paterson, Will Harvey, Ellen Bundy By kind permission of the Dean and Canons Viola of Christ Church Cathedral, Oxford Jane Rogers, Naomi Orrell

11 ST JOHN PASSION JOHANNESPASSION BWV 245 Part I 1 Chorus Herr, unser Herrscher, dessen Ruhm 2 Evangelist, Jesus Jesus ging mit seinen Jüngern Chorus Jesum von Nazareth Evangelist, Jesus Jesus spricht zu ihnen Chorus Jesum von Nazareth Evangelist, Jesus Jesus antwortete 3 Choral O große Lieb, o Lieb ohn’ alle Maße 4 Evangelist, Jesus Auf dass das Wort erfüllet würde 5 Chorale Dein Will gescheh, Herr Gott, zugleich 6 Evangelist Die Schar aber und der Oberhauptmann 7 Aria: Alto Von den Stricken meiner Sünden 8 Evangelist Simon Petrus aber folgete Jesu nach 9 Aria: Soprano Ich folge dir gleichfalls 10 Evangelist, Ancilla, Petrus, Jesus, Servus I Derselbige Jünger war dem Hohenpriester bekannt 11 Choral Wer hat dich so geschlagen 12 Evangelist Und Hannas sandte ihn gebunden Chorus Bist du nicht seiner Jünger einer? Evangelist, Petrus, Servus II Er leugnete aber und sprach 13 Aria: Tenore Ach, mein Sinn 14 Choral Petrus, der nicht denkt zurück

Part II 15 Choral Christus, der uns selig macht 16 Evangelist, Pilatus Da führeten sie Jesum Chorus Wäre dieser nicht ein Übeltäter Evangelist, Pilatus Da sprach Pilatus zu ihnen Chorus Wir dürfen niemand töten Evangelist, Pilatus, Jesus Auf dass erfüllet würde das Wort Jesu 17 Choral Ach großer König, groß zu allen Zeiten 18 Evangelist, Pilatus, Jesus Da sprach Pilatus zu ihm Chorus Nicht diesen, sondern Barrabam! Evangelist Barrabas aber war ein Mörder 19 Arioso: Basso Betrachte, meine Seel 20 Aria: Tenore Erwäge, wie sein blutgefärbter Rücken

12 21 Evangelist Und die Kriegsknechte flochten eine Krone von Dornen Chorus Sei gegrüßet, lieber Jüdenkönig! Evangelist, Pilatus Und gaben ihm Backenstreiche Chorus Kreuzige, kreuzige! Evangelist, Pilatus Pilatus sprach zu ihnen Chorus Wir haben ein Gesetz Evangelist, Pilatus, Jesus Da Pilatus das Wort hörete 22 Choral Durch dein Gefängnis, Gottes Sohn 23 Evangelist Die Jüden aber schrieen und sprachen Chorus Lässest du diesen los Evangelist, Pilatus Da Pilatus das Wort hörete Chorus Weg, weg mit dem, kreuzige ihn! Evangelist, Pilatus Spricht Pilatus zu ihnen Chorus Wir haben keinen König denn den Kaiser Evangelist Da überantwortete er ihn, dass er gekreuziget würde 24 Aria: Basso con Coro Eilt, ihr angefochtnen Seelen 25 Evangelist Allda kreuzigten sie ihn Chorus Schreibe nicht: der Jüden König Evangelist, Pilatus Pilatus antwortet 26 Choral In meines Herzens Grunde 27 Evangelist Die Kriegsknechte aber Chorus Lasset uns den nicht zerteilen Evangelist, Jesus Auf dass erfüllet würde die Schrift 28 Choral Er nahm alles wohl in Acht 29 Evangelist, Jesus Und von Stund an nahm sie der Jünger zu sich 30 Aria: Alto Es ist vollbracht! 31 Evangelist Und neiget das Haupt und verschied 32 Aria: Basso con Chorale Mein teurer Heiland, lass dich fragen 33 Evangelist Und siehe da, der Vorhang im Tempel 34 Arioso: Tenore Mein Herz, in dem die ganze Welt 35 Aria: Soprano Zerfließe, mein Herze, in Fluten der Zähren 36 Evangelist Die Juden aber 37 Choral O hilf, Christe, Gottes Sohn 38 Evangelist Darnach bat Pilatum Joseph von Arimathia 39 Chorus Ruht wohl, ihr heiligen Gebeine 40 Choral Ach Herr, lass dein lieb Engelein

13 I. Teil Part I 1. Chorus 1. Chorus Herr, unser Herrscher, dessen Ruhm O Lord, our ruler, whose glory in allen Landen herrlich ist! is magnified in all lands, Zeig uns durch deine Passion, testify to us by thy Passion dass du, der wahre Gottessohn, that thou, the true Son of God, zu aller Zeit, hast at all times, auch in der größten Niedrigkeit, even in time of deepest lowliness, verherrlicht worden bist! been glorified. 2a. Recitativo 2a. Recitative Evangelist Evangelist Jesus ging mit seinen Jüngern über Jesus went forth with his disciples den Bach Kidron, da war ein Garten, over the brook Cedron, where was darein ging Jesus und seine Jünger. a garden, into which he entered, and Judas aber, der ihn verriet, wusste den his disciples. And Judas also, which Ort auch, denn Jesus versammlete betrayed him, knew the place; for sich oft daselbst mit seinen Jüngern. Jesus ofttimes resorted thither with his Da nun Judas zu sich hatte genommen disciples. Judas then, having received die Schar und der Hohenpriester und a band of men and officers from the Pharisäer Diener, kommt er dahin chief priests and Pharisees, cometh mit Fackeln, Lampen und mit Waffen. thither with lanterns and torches and Als nun Jesus wusste alles, was ihm weapons. Jesus therefore, knowing begegnen sollte, ging er hinaus und all things that should come upon him, sprach zu ihnen: went forth, and said unto them, Jesus Jesus Wen suchet ihr? Whom seek ye? Evangelist Evangelist Sie antworteten ihm: They answered him, 2b. Chorus 2b. Chorus Jesum von Nazareth. Jesus of Nazareth. 2c. Recitativo 2c. Recitativo Evangelist Evangelist Jesus spricht zu ihnen: Jesus saith unto them, Jesus Jesus Ich bin’s. I am he. Evangelist Evangelist Judas aber, der ihn verriet, stund And Judas also, who betrayed him, auch bei ihnen. Als nun Jesus zu ihnen stood with them. As soon as he had sprach: Ich bin’s, wichen sie zurücke said unto them, I am he, they went und fielen zu Boden. Da fragete er sie backward, and fell to the ground. Then abermal: asked he them again, Jesus Jesus Wen suchet ihr? Whom seek ye? Evangelist Evangelist Sie aber sprachen: And they said,

14 2d. Chorus 2d. Chorus Jesum von Nazareth. Jesus of Nazareth. 2e. Recitativo 2e. Recitative Evangelist Evangelist Jesus antwortete: Jesus answered, Jesus Jesus Ich hab’s euch gesagt, dass ich’s sei, I have told you that I am he: suchet ihr denn mich, so lasset diese if therefore ye seek me, let these go gehen! their way. 3. Choral 3. Chorale O große Lieb, o Lieb ohn’ alle Maße, O great, boundless love, die dich gebracht auf diese that hath brought thee Marterstraße! to this path of martyrdom! Ich lebte mit der Welt in Lust I lived among the worldly und Freuden, in contentment and pleasure und du musst leiden. and thou must suffer! 4. Recitativo 4. Recitative Evangelist Evangelist Auf dass das Wort erfüllet würde, That the saying might be fulfilled, welches er sagte: Ich habe der keine which he spake, Of them which thou verloren, die du mir gegeben hast. gavest me have I lost none. Then Da hatte Simon Petrus ein Schwert Simon Peter having a sword drew it, und zog es aus und schlug nach des and smote the high priest’s servant, Hohen-priesters Knecht und hieb ihm and cut off his right ear. The servant’s sein recht Ohr ab; und der Knecht hieß name was Malchus. Then said Jesus Malchus. Da sprach Jesus zu Petro: unto Peter, Jesus Jesus Stecke dein Schwert in die Scheide! Put up thy sword into the sheath: Soll ich den Kelch nicht trinken, den the cup which my Father hath given mir mein Vater gegeben hat? me, shall I not drink it? 5. Choral 5. Chorale Dein Will gescheh, Herr Gott, zugleich Thy will be done, O God, our Lord, auf Erden wie im Himmelreich. on earth as it is in heaven; Gib uns Geduld in Leidenszeit, give us patience in time of trouble, gehorsam sein in Lieb und Leid; obedience in love and grief, wehr und steur allem Fleisch und Blut, restrain and check all flesh and blood das wider deinen Willen tut! that acts contrary to thy will. 6. Recitativo 6. Recitative Evangelist Evangelist Die Schar aber und der Then the band and the captain and Oberhauptmann und die Diener der officers of the Jews took Jesus, and Jüden nahmen Jesum und bunden ihn bound him, and led him away to und führeten ihn aufs erste zu Hannas, Annas first; for he was father-in-law to der war Kaiphas Schwäher, welcher Caiaphas, which was the high priest des Jahres Hoher - priester war. Es that same year. Now Caiaphas was he, war aber Kaiphas, der den Jüden riet, which gave counsel to the Jews, that it es wäre gut, dass ein Mensch würde was expedient that one man should die umbracht für das Volk. for the people. 15 7. Aria: Alto 7. Aria: Alto Von den Stricken meiner Sünden To set me free mich zu entbinden, from my sins’ chain, wird mein Heil gebunden. my Saviour is being bound; Mich von allen Lasterbeulen to heal me quite völlig zu heilen, of all the sores of vice, lässt er sich verwunden. he allows himself to be wounded. 8. Recitativo 8. Recitative Evangelist Evangelist Simon Petrus aber folgete Jesu nach And Simon Peter followed Jesus, and und ein ander Jünger. so did another disciple. 9. Aria: Soprano 9. Aria: Soprano Ich folge dir gleichfalls I, too, follow thee mit freudigen Schritten with joyful steps, und lasse dich nicht, and will not let thee go, mein Leben, mein Licht. my life, my light. Befördre den Lauf Show me the way und höre nicht auf, and do not cease selbst an mir zu ziehen, to push me, to pull me, zu schieben, zu bitten. to encourage me. 10. Recitativo 10. Recitative Evangelist Evangelist Derselbige Jünger war dem Hohen- That disciple was known unto the priester bekannt und ging mit Jesu high priest, and went in with Jesus hinein in des Hohenpriesters Palast. into the palace of the high priest. But Petrus aber stund draußen für der Tür. Peter stood at the door without. Then Da ging der andere Jünger, der dem went out that other disciple, which Hohenpriester bekannt war, hinaus und was known unto the high priest, and redete mit der Türhüterin und führete spake unto her that kept the door, and Petrum hinein. Da sprach die Magd, die brought in Peter. Then saith the damsel Türhüterin, zu Petro: that kept the door unto Peter, Ancilla Maid Bist du nicht dieses Menschen Jünger Art not thou also one of this man’s einer? disciples? Evangelist Evangelist Er sprach: He saith, Petrus Peter Ich bin’s nicht. I am not. Evangelist Evangelist Es stunden aber die Knechte und And the servants and officers stood Diener und hatten ein Kohlfeu’r there, who had made a fire of coals; gemacht (denn es war kalt) und for it was cold: and they warmed wärmeten sich. Petrus aber stund bei themselves: and Peter stood with ihnen und wärmete sich. Aber der them, and warmed himself. The high Hohepriester fragte Jesum um seine priest then asked Jesus of his disciples, Jünger und um seine Lehre. Jesus and of his doctrine. Jesus answered antwortete ihm: him,

16 Jesus Jesus Ich habe frei, öffentlich geredet für I spake openly to the world; I ever der Welt. Ich habe allezeit gelehret taught in the synagogue, and in the in der Schule und in dem Tempel, da temple, whither the Jews always alle Jüden zusammenkommen, und resort; and in secret have I said habe nichts im Verborgnen geredt. nothing. Why askest thou me? Ask Was fragest du mich darum? Frage die them which heard me, what I have said darum, die gehöret haben, was ich zu unto them: behold, they know what I ihnen geredet habe! Siehe, dieselbigen said. wissen, was ich gesaget habe. Evangelist Evangelist Als er aber solches redete, gab der And when he had thus spoken, one Diener einer, die dabeistunden, Jesu of the officers which stood by struck einen Backenstreich und sprach: Jesus with the palm of his hand, saying, Servus Officer Solltest du dem Hohenpriester also Answerest thou the high priest so? antworten? Evangelist Evangelist Jesus aber antwortete: Jesus answered him, Jesus Jesus Hab ich übel geredt, so beweise es, If I have spoken evil, bear witness of dass es böse sei, hab ich aber recht the evil: but if well, why smitest thou geredt, was schlägest du mich? me? 11. Choral 11. Chorale Wer hat dich so geschlagen, Who has beaten thee thus, mein Heil, und dich mit Plagen my Saviour, and with torments so übel zugericht? so mistreated thee? Du bist ja nicht ein Sünder Surely, thou art not a sinner, wie wir und unsre Kinder, as we are, and our children; von Missetaten weißt du nicht. thou knowest nothing of misdeeds.

Ich, ich und meine Sünden, I, I and my sins, die sich wie Körnlein finden that are as the grains des Sandes an dem Meer, of the sand by the sea, die haben dir erreget it is they that have caused das Elend, das dich schläget, thee the misery that lays thee low, und das betrübte Marterheer. and the dejected host of martyrs. 12a. Recitativo 12a. Recitative Evangelist Evangelist Und Hannas sandte ihn gebunden zu Now Annas had sent him bound unto dem Hohenpriester Kaiphas. Simon Caiaphas the high priest. And Simon Petrus stund und wärmete sich, da Peter stood and warmed himself. They sprachen sie zu ihm: said therefore unto him, 12b. Chorus 12b. Chorus Bist du nicht seiner Jünger einer? Art not thou also one of his disciples?

17 12c. Recitativo 12c. Recitative Evangelist Evangelist Er leugnete aber und sprach: He denied it, and said, Petrus Peter Ich bin’s nicht. I am not. Evangelist Evangelist Spricht des Hohenpriesters Knecht’ One of the servants of the high priest, einer, ein Gefreundter des, dem Petrus being his kinsman whose ear Peter cut das Ohr abgehauen hatte: off, saith, Servus Servant Sahe ich dich nicht im Garten bei ihm? Did not I see thee in the garden with Evangelist him? Da verleugnete Petrus abermal, Evangelist und alsobald krähete der Hahn. Da Peter then denied again: and gedachte Petrus an die Worte Jesu immediately the cock crew. Then Peter und ging hinaus und weinete bitterlich. remembered the word of Jesus, and went out, and wept bitterly.

13. Aria: Tenore 13. Aria: Tenor Ach, mein Sinn, O, my senses, wo willt du endlich hin, where will you end? wo soll ich mich erquicken? Where shall I refresh myself? Bleib ich hier, Shall I stay here, oder wünsch ich mir or would I prefer Berg und Hügel auf den Rücken? the hills and mountains behind me? Bei der Welt ist gar kein Rat, In the world there is no counsel, und im Herzen and in my heart stehn die Schmerzen there are the pains meiner Missetat, of my misdoing, weil der Knecht den Herrn verleugnet for the servant has renounced his Lord. hat. 14. Choral 14. Chorale Petrus, der nicht denkt zurück, Peter, who does not reflect, seinen Gott verneinet, denies his God, der doch auf ein’ ernsten Blick and yet at that earnest look bitterlichen weinet. weeps bitter tears. Jesu, blicke mich auch an, Jesu, look upon me, too, wenn ich nicht will büßen; when I will not repent; wenn ich Böses hab getan, when I have done ill, rühre mein Gewissen! stir my conscience.

18 II. Teil Part II 15. Choral 15. Chorale Christus, der uns selig macht, Christ, who brings us salvation, kein Bös’ hat begangen, who has done no wrong, der ward für uns in der Nacht for our sakes was taken als ein Dieb gefangen, like a thief in the night, geführt für gottlose Leut was brought before godless men und fälschlich verklaget, and wrongly accused, verlacht, verhöhnt und verspeit, derided, mocked and spat upon: wie denn die Schrift saget. so says the Scripture. 16a. Recitativo 16a. Recitative Evangelist Evangelist Da führeten sie Jesum von Kaiphas Then led they Jesus from Caiaphas vor das Richthaus, und es war frühe. unto the hall of judgment: and it was Und sie gingen nicht in das Richthaus, early; and they themselves went not auf dass sie nicht unrein würden, into the judgment hall, lest they should sondern Ostern essen möchten. be defiled; but that they might eat the Da ging Pilatus zu ihnen heraus und passover. Pilate then went out unto sprach: them, and said, Pilatus Pilate Was bringet ihr für Klage wider diesen What accusation bring ye against this Menschen? man? Evangelist Evangelist Sie antworteten und sprachen zu ihm: They answered and said unto him, 16b. Chorus 16b. Chorus Wäre dieser nicht ein Übeltäter, wir If he were not a malefactor, we would hätten dir ihn nicht überantwortet. not have delivered him up unto thee. 16c. Recitativo 16c. Recitative Evangelist Evangelist Da sprach Pilatus zu ihnen: Then said Pilate unto them, Pilatus Pilate So nehmet ihr ihn hin und richtet ihn Take ye him, and judge him according nach eurem Gesetze! to your law. Evangelist Evangelist Da sprachen die Jüden zu ihm: The Jews therefore said unto him, 16d. Chorus 16d. Chorus Wir dürfen niemand töten. It is not lawful for us to put any man to death.

16e. Recitativo 16e. Recitative Evangelist Evangelist Auf dass erfüllet würde das Wort That the saying of Jesus might be Jesu, welches er sagte, da er deutete, fulfilled, which he spake, signifying welches Todes er sterben würde. what death he should die. Then Da ging Pilatus wieder hinein in das Pilate entered into the judgment hall

19 Richthaus und rief Jesu und sprach zu again, and called Jesus, and said unto ihm: him, Pilatus Pilate Bist du der Jüden König? Art thou the King of the Jews? Evangelist Evangelist Jesus antwortete: Jesus answered him, Jesus Jesus Redest du das von dir selbst, oder Sayest thou this thing of thyself, or did haben’s dir andere von mir gesagt? others tell it thee of me? Evangelist Evangelist Pilatus antwortete: Pilate answered, Pilatus Pilate Bin ich ein Jüde? Dein Volk und Am I a Jew? Thine own nation and the die Hohenpriester haben dich mir chief priests have delivered thee unto überantwortet; was hast du getan? me: what hast thou done? Evangelist Evangelist Jesus antwortete: Jesus answered, Jesus Jesus Mein Reich ist nicht von dieser My kingdom is not of this world: if Welt; wäre mein Reich von dieser my kingdom were of this world, then Welt, meine Diener würden darob would my servants fight, that I kämpfen, dass ich den Jüden nicht should not be delivered to the Jews: überantwortet würde; aber nun ist but now is my kingdom not from mein Reich nicht von dannen. hence. 17. Choral 17. Chorale Ach großer König, groß zu allen Zeiten, O great King, at all time great, wie kann ich gnugsam how may I sufficiently diese Treu ausbreiten? spread this faith abroad? Keins Menschen Herze mag indes Yet no human heart may imagine ausdenken, what thing to offer thee. was dir zu schenken.

Ich kann’s mit meinen Sinnen nicht My senses cannot conceive erreichen, with what to compare thy compassion; womit doch dein Erbarmen zu how, then, may I repay thy deeds of vergleichen. love Wie kann ich dir denn deine with any deeds of mine? Liebestaten im Werk erstatten? 18a. Recitativo 18a. Recitative Evangelist Evangelist Da sprach Pilatus zu ihm: Pilate therefore said unto him, Pilatus Pilate So bist du dennoch ein König? Art thou a king then? Evangelist Evangelist Jesus antwortete: Jesus answered,

20 Jesus Jesus Du sagst’s, ich bin ein König. Ich bin Thou sayest that I am a king. To this dazu geboren und in die Welt kommen, end was I born, and for this cause dass ich die Wahrheit zeugen soll. Wer came I into the world, that I should aus der Wahrheit ist, der höret meine bear witness unto the truth. Every one Stimme. that is of the truth heareth my voice. Evangelist Evangelist Spricht Pilatus zu ihm: Pilate saith unto him, Pilatus Pilate Was ist Wahrheit? What is truth? Evangelist Evangelist Und da er das gesaget, ging er wieder And when he had said this, he went hinaus zu den Jüden und spricht zu out again unto the Jews, and saith unto ihnen: them, Pilatus Pilate Ich finde keine Schuld an ihm. Ihr I find in him no fault at all. But ye habt aber eine Gewohnheit, dass ich have a custom, that I should release euch einen losgebe; wollt ihr nun, unto you one at the passover: will ye dass ich euch der Jüden König therefore that I release unto you the losgebe? King of the Jews? Evangelist Evangelist Da schrieen sie wieder allesamt und Then cried they all again, saying, sprachen: 18b. Chorus 18b. Chorus Nicht diesen, sondern Barrabam! Not this man, but Barabbas. 18c. Recitativo 18c. Recitative Evangelist Evangelist Barrabas aber war ein Mörder. Da Now Barabbas was a robber. Then nahm Pilatus Jesum und geißelte ihn. Pilate therefore took Jesus, and scourged him. 19. Arioso: Basso 19. Arioso: Bass Betrachte, meine Seel, Contemplate, my soul, mit ängstlichem Vergnügen, with fearful pleasure, mit bittrer Lust with bitter joy und halb beklemmtem Herzen and half-oppressed heart, dein höchstes Gut in Jesu Schmerzen, in Jesu’s agony see thy highest good. wie dir auf Dornen, so ihn stechen, See how, from the thorns that pierce die Himmelsschlüsselblumen blühn! him, the flowers of heaven open to you. Du kannst viel sü.e Frucht You may gather a sweet harvest von seiner Wermut brechen, from his suffering: drum sieh ohn Unterlass auf ihn look upon him, therefore, without cease. 20. Aria: Tenore 20. Aria: Tenor Erwäge, wie sein blutgefärbter Rücken Imagine, that his blood-bespattered in allen Stücken body dem Himmel gleiche geht, in every member daran, nachdem die Wasserwogen is a part of Heaven above. von unsrer Sündflut sich verzogen, There, after the surging waters

21 der allerschönste Regenbogen of our flooding sins disperse, als Gottes Gnadenzeichen steht! the fairest rainbow stands, God’s token of his grace and love. 21a. Recitativo 21a. Recitative Evangelist Evangelist Und die Kriegsknechte flochten eine And the soldiers plaited a crown of Krone von Dornen und satzten sie thorns, and put it on his head, and they auf sein Haupt und legten ihm ein put on him a purple robe, and said, Purpurkleid an und sprachen: 21b. Chorus 21b. Chorus Sei gegrüßet, lieber Jüdenkönig! Hail, King of the Jews! 21c. Recitativo 21c. Recitative Evangelist Evangelist Und gaben ihm Backenstreiche. Da And they smote him with their hands. ging Pilatus wieder heraus und sprach Pilate therefore went forth again, and zu ihnen: saith unto them, Pilatus Pilate Sehet, ich führe ihn heraus zu euch, Behold, I bring him forth to you, dass ihr erkennet, dass ich keine that ye may know that I find no fault Schuld an ihm finde. in him. Evangelist Evangelist Also ging Jesus heraus und trug eine Then came Jesus forth, wearing the Dornenkrone und Purpurkleid. Und er crown of thorns, and the purple robe. sprach zu ihnen: And Pilate saith unto them, Pilatus Pilate Sehet, welch ein Mensch! Behold the man! Evangelist Evangelist Da ihn die Hohenpriester und die When the chief priests therefore Diener sahen, schrieen sie und and officers saw him, they cried out, sprachen: saying, 21d. Chorus 21d. Chorus Kreuzige, kreuzige! Crucify him, crucify him. 21e. Recitativo 21e. Recitative Evangelist Evangelist Pilatus sprach zu ihnen: Pilate saith unto them, Pilatus Pilate Nehmet ihr ihn hin und kreuziget ihn; Take ye him, and crucify him: for I find denn ich finde keine Schuld an ihm! no fault in him. Evangelist Evangelist Die Jüden antworteten ihm: The Jews answered him, 21f. Chorus 21f. Chorus Wir haben ein Gesetz, und nach dem We have a law, and by our law he ought Gesetz soll er sterben; denn er hat sich to die, because he made himself the selbst zu Gottes Sohn gemacht. Son of God.

22 21g. Recitativo 21g. Recitative Evangelist Evangelist Da Pilatus das Wort hörete, fürchtet’ When Pilate therefore heard that er sich noch mehr und ging wieder saying, he was the more afraid; and hinein in das Richthaus, und spricht went again into the judgment hall, and zu Jesu: saith unto Jesus, Pilatus Pilate Von wannen bist du? Whence are thou? Evangelist Evangelist Aber Jesus gab ihm keine Antwort. But Jesus gave him no answer. Da sprach Pilatus zu ihm: Then saith Pilate unto him, Pilatus Pilate Redest du nicht mit mir? Weißest Speakest thou not unto me? du nicht, dass ich Macht habe, dich Knowest thou not that I have power zu kreuzigen, und Macht habe, dich to crucify thee, and have power to loszugeben? release thee? Evangelist Evangelist Jesus antwortete: Jesus answered, Jesus Jesus Du hättest keine Macht über mich, Thou couldest have no power at all wenn sie dir nicht wäre von oben herab against me, except it were given thee gegeben; darum, der mich dir überant- from above: therefore he that delivered wortet hat, der hat’s größ’re Sünde. me unto thee hath the greater sin. Evangelist Evangelist Von dem an trachtete Pilatus, wie er And from thenceforth Pilate sought to ihn losließe. release him. 22. Choral 22. Chorale Durch dein Gefängnis, Gottes Sohn, By way of thy prison, Son of God, muss uns die Freiheit kommen; freedom must come to us; dein Kerker ist der Gnadenthron, thy prison is the throne of grace, die Freistatt aller Frommen; the refuge of all godly folk; denn gingst du nicht for if thou hadst not die Knechtschaft ein, suffered imprisonment, müsst unsre Knechtschaft ewig sein. our slavery would be everlasting. 23a. Recitativo 23a. Recitative Evangelist Evangelist Die Jüden aber schrieen und sprachen: But the Jews cried out, saying, 23b. Chorus 23b. Chorus Lässest du diesen los, so bist du des If thou let this man go, thou art not Kaisers Freund nicht; denn wer sich Caesar’s friend: whosoever maketh zum Könige machet, der ist wider den himself a king speaketh against Kaiser. Caesar. 23c. Recitativo 23c. Recitative Evangelist Evangelist Da Pilatus das Wort hörete, führete When Pilate therefore heard that saying, er Jesum heraus, und satzte sich auf he brought Jesus forth, and sat down

23 den Richtstuhl, an der Stätte, die da in the judgment seat in a place that is heißet: Hochpflaster, auf Ebräisch aber: called the Pavement, but in the Hebrew, Gabbatha. Es war aber der Rüsttag in Gabbatha. And it was the preparation of Ostern um die sechste Stunde, und er the passover, and about the sixth hour: spricht zu den Jüden: and he saith unto the Jews, Pilatus Pilate Sehet, das ist euer König! Behold your King! Evangelist Evangelist Sie schrieen aber: But they cried out, 23d. Chorus 23d. Chorus Weg, weg mit dem, kreuzige ihn! Away with him, away with him, crucify him. 23e. Recitativo 23e. Recitative Evangelist Evangelist Spricht Pilatus zu ihnen: Pilate saith unto them, Pilatus Pilate Soll ich euren König kreuzigen? Shall I crucify your King? Evangelist Evangelist Die Hohenpriester antworteten: The chief priests answered, 23f. Chorus 23f. Chorus Wir haben keinen König denn den We have no king but Caesar. Kaiser. 23g. Recitative 23g. Recitativo Evangelist Evangelist Then delivered he him therefore Da überantwortete er ihn, dass er unto them to be crucified. And they gekreuziget würde. Sie nahmen aber took Jesus, and led him away. And Jesum und führeten ihn hin. Und er he bearing his cross went forth into a trug sein Kreuz und ging hinaus zur place called the place of a skull, which Stätte, die da heißet Schädelstätt; is called in the Hebrew Golgotha. welche heißet auf Ebräisch: Golgatha. 24. Aria: Basso con Coro 24. Aria: Bass with Chorus Eilt, ihr angefochtnen Seelen, Hasten, you troubled souls, geht aus euren Marterhöhlen, leave your dens of martyrdom, eilt – Wohin? – nach Golgatha! hurry – where? – to Golgotha! Nehmet an des Glaubens Flügel, Take to wings of faith, flieht – Wohin? – zum Kreuzeshügel, fly – where? – to the hill of the cross, eure Wohlfahrt blüht allda! your welfare flourishes there. 25a. Recitativo 25a. Recitative Evangelist Evangelist Allda kreuzigten sie ihn, und mit ihm Where they crucified him, and two zween andere zu beiden Seiten, Jesum others with him, on either side aber mitten inne. Pilatus aber schrieb one, and Jesus in the midst. And eine Überschrift und satzte sie auf das Pilate wrote a title, and put it in the Kreuz, und war geschrieben: “Jesus cross. And the writing was, ‘Jesus of von Nazareth, der Jüden König”. Diese Nazareth, the King of the Jews’. This

24 Überschrift lasen viel Jüden, denn title then read many of the Jews: for die Stätte war nahe bei der Stadt, the place where Jesus was crucified da Jesus gekreuziget ist. Und es war was nigh to the city: and it was written geschrieben auf ebräische, griechische in Hebrew, and Greek, and Latin. Then und lateinische Sprache. Da sprachen said the chief priests of the Jews to die Hohenpriester der Jüden zu Pilato: Pilate, 25b. Chorus 25b. Chorus Schreibe nicht: der Jüden König, Write not, The King of the Jews; but sondern dass er gesaget habe: Ich bin that he said, I am King of the Jews. der Jüden König. 25c. Recitativo 25c. Recitative Evangelist Evangelist Pilatus antwortet: Pilate answered, Pilatus Pilate Was ich geschrieben habe, das habe What I have written I have written. ich geschrieben. 26. Choral 26. Chorale In meines Herzens Grunde Deep in my heart dein Nam und Kreuz allein thy name and cross alone funkelt all Zeit und Stunde, shine all the time and every hour, drauf kann ich fröhlich sein. for that I may rejoice. Erschein mir in dem Bilde Appear to me in that likeness zu Trost in meiner Not, as comfort to my need, wie du, Herr Christ, so milde how thou, Lord Christ, so generously dich hast geblut’ zu Tod! hast bled thyself to death. 27a. Recitativo 27a. Recitative Evangelist Evangelist Die Kriegsknechte aber, da sie Jesum Then the soldiers, when they had gekreuziget hatten, nahmen seine crucified Jesus, took his garments, and Kleider und machten vier Teile, einem made four parts, to every soldier a jeglichen Kriegesknechte sein Teil, part; and also his coat. Now the coat dazu auch den Rock. Der Rock aber was without seam, woven from the top war ungenähet, von oben an gewürket throughout. They said therefore among durch und durch. Da sprachen sie themselves, untereinander: 27b. Chorus 27b. Chorus Lasset uns den nicht zerteilen, sondern Let us not rend it, but cast lots for it, darum losen, wes er sein soll. whose it shall be. 27c. Recitativo 27c. Recitative Evangelist Evangelist Auf dass erfüllet würde die Schrift, die That the scripture might be fulfilled, da saget: „Sie haben meine Kleider unter which saith, They parted my raiment sich geteilet und haben über meinen among them, and for my vesture they Rock das Los geworfen.“ Solches taten did cast lots. These things therefore die Kriegesknechte. Es stund aber the soldiers did. Now there stood by

25 bei dem Kreuze Jesu seine Mutter the cross of Jesus his mother, and und seiner Mutter Schwester, Maria, his mother’s sister, Mary the wife of Kleophas Weib, und Maria Magdalena. Cleophas, and Mary Magdalene. When Da nun Jesus seine Mutter sahe und den Jesus therefore saw his mother, and Jünger dabei stehen, den er lieb hatte, the disciple standing by, whom he spricht er zu seiner Mutter: loved, he saith unto his mother, Jesus Jesus Weib, siehe, das ist dein Sohn! Woman, behold thy son! Evangelist Evangelist Darnach spricht er zu dem Jünger: Then saith he to the disciple, Jesus Jesus Siehe, das ist deine Mutter! Behold thy mother! 28. Choral 28. Chorale Er nahm alles wohl in Acht He had a care for everything, in der letzten Stunde, in his last hour, seine Mutter noch bedacht, he took thought for his mother still, setzt ihr ein’ Vormunde. and assigned to her a guardian. O Mensch, mache Richtigkeit, Oh, mankind, exercise righteousness, Gott und Menschen liebe, love both God and man, stirb darauf ohn alles Leid then die free from pain, und dich nicht betrübe! and do not grieve! 29. Recitativo 29. Recitative Evangelist Evangelist Und von Stund an nahm sie der And from that hour that disciple took Jünger zu sich. Darnach, als Jesus her unto his own home. After this, wusste, dass schon alles vollbracht Jesus knowing that all things were now war, dass die Schrift erfüllet würde, accomplished, that the scripture might spricht er: be fulfilled, saith, Jesus Jesus Mich dürstet! I thirst. Evangelist Evangelist Da stund ein Gefäße voll Essigs. Sie Now there was set a vessel full of fülleten aber einen Schwamm mit Essig vinegar: and they filled a sponge und legten ihn um einen Isopen, und with vinegar, and put it upon hyssop, hielten es ihm dar zum Munde. Da and put it to his mouth. When Jesus nun Jesus den Essig genommen hatte, therefore had received the vinegar, he sprach er: said, Jesus Jesus Es ist vollbracht! It is finished. 30. Aria: Alto 30. Aria: Alto Es ist vollbracht! It is finished! O Trost vor die gekränkten Seelen! Oh, consolation for all hurt souls; Die Trauernacht that night of mourning lässt nun die letzte Stunde zählen. approaches its final hour. Der Held aus Juda siegt mit Macht The hero from Judah has triumphed und schließt den Kampf. in strength and ends the struggle. Es ist vollbracht! It is finished!

26 31. Recitativo 31. Recitative Evangelist Evangelist Und neiget das Haupt und verschied. And he bowed his head, and gave up the ghost. 32. Aria: Basso [con Chorale] Mein teurer Heiland, lass dich fragen, 32. Aria: Bass [with Chorale] Jesu, der du warest tot, My dear Saviour, let me ask thee, da du nunmehr ans Kreuz geschlagen Jesu, thou who wert dead, und selbst gesaget: since thou now art nailed to the cross Es ist vollbracht, and since thou sayest thyself: lebest nun ohn Ende, It is finished! bin ich vom Sterben frei gemacht? now livest for ever; in der letzten Todesnot Am I now set free from death? nirgend mich hinwende. in my last agony Kann ich durch deine Pein und Sterben nowhere will I turn but to thee das Himmelreich ererben? May I, through thy suffering and death, Ist aller Welt Erlösung da? inherit heaven? Als zu dir, der mich versühnt, Has salvation come for all the world? o du lieber Herre! who hast redeemed me. Du kannst vor Schmerzen O my beloved Lord! zwar nichts sagen; True, thou canst not speak for pain, Gib mir nur, was du verdient, Give me only that which doch neigest du das Haupt thou hast won, und sprichst stillschweigend: ja. yet thy head thou bowest Mehr ich nicht begehre! and tacitly thou sayest: Yes. I desire nothing more. 33. Recitativo 33. Recitative Evangelist Evangelist Und siehe da, der Vorhang im Tempel And, behold, the veil of the temple zerriss in zwei Stück von oben an bis was rent in twain from the top to the unten aus. Und die Erde erbebete, und bottom; and the earth did quake, and die Felsen zerrissen, und die Gräber the rocks rent; and the graves were täten sich auf, und stunden auf viel opened; and many bodies of the saints Leiber der Heiligen. which slept arose. 34. Arioso: Tenore 34. Arioso: Tenor Mein Herz, in dem die ganze Welt My heart, wherein the whole world bei Jesu Leiden gleichfalls leidet, suffers likewise with Jesu’s sorrow, the die Sonne sich in Trauer kleidet, der sun is wrapped in mourning. the curtain Vorhang reißt, der Fels zerfällt, die is torn asunder, the rock crumbles, the Erde bebt, die Gräber spalten, weil sie earth trembles, the tombs burst open, den Schöpfer sehn erkalten, was willst because they behold the Creator grow du deines Ortes tun? cold: what wilt thou do for thy part? 35. Aria: Soprano 35. Aria: Soprano Zerfließe, mein Herze, Melt, my heart, in Fluten der Zähren in floods of tears dem Höchsten zu Ehren! in honour of the Lord most high. Erzähle der Welt Tell the misery to the world und dem Himmel die Not: and to the heavens, Dein Jesus ist tot! thy Jesus is dead! 27 36. Recitativo 36. Recitative Evangelist Evangelist Die Jüden aber, dieweil es der Rüsttag The Jews therefore, because it was war, dass nicht die Leichname am the preparation, that the bodies Kreuze blieben den Sabbat über (denn should not remain upon the cross desselbigen Sabbats Tag war sehr on the sabbath day (for that sabbath groß), baten sie Pilatum, dass ihre day was an high day), besought Pilate Beine gebrochen und sie abgenommen that their legs might be broken, and würden. Da kamen die Kriegsknechte that they might be taken away. Then und brachen dem ersten die Beine und came the soldiers, and brake the legs dem andern, der mit ihm gekreuziget of the first, and of the other which war. Als sie aber zu Jesu kamen, da was crucified with him. But when they sie sahen, dass er schon gestorben came to Jesus, and saw that he was war, brachen sie ihm die Beine nicht; dead already, they brake not his legs: sondern der Kriegsknechte einer but one of the soldiers with a spear eröff-nete seine Seite mit einem Speer, pierced his side, and forthwith came und alsobald ging Blut und Wasser there out blood and water. And he heraus. Und der das gesehen hat, der that saw it bare record, and his record hat es bezeuget, und sein Zeugnis is true: and he knoweth that he saith ist wahr, und derselbige weiß, dass true, that ye might believe. For these er die Wahrheit saget, auf dass ihr things were done, that the scripture gläubet. Denn solches ist geschehen, should be fulfilled, A bone of him shall auf dass die Schrift erfüllet würde: „Ihr not be broken. And again another sollet ihm kein Bein zerbrechen“. Und scripture saith, They shall look on him abermal spricht eine andere Schrift: whom they pierced. „Sie werden sehen, in welchen sie gestochen haben“. 37. Choral 37. Chorale O hilf, Christe, Gottes Sohn, O help us, Jesus Christ, Son of God, durch dein bitter Leiden, through thy bitter suffering, dass wir dir stets untertan to be always obedient to thee, all Untugend meiden, eschewing all sin: deinen Tod und sein Ursach to contemplate fruitfully fruchtbarlich bedenken, thy death and its cause: dafür, wiewohl arm und schwach, for which, though poor and weak, dir Dankopfer schenken! we will offer up our thanks. 38. Recitativo 38. Recitative Evangelist Evangelist Darnach bat Pilatum Joseph von And after this Joseph of Arimathaea, Arimathia, der ein Jünger Jesu war being a disciple of Jesus, but secretly (doch heimlich, aus Furcht vor den for fear of the Jews, besought Pilate Jüden), dass er möchte abnehmen den that he might take away the body Leichnam Jesu. Und Pilatus erlaubete of Jesus: and Pilate gave him leave. es. Derowegen kam er und nahm He came therefore, and took the den Leichnam Jesu herab. Es kam body of Jesus. And there came also aber auch Nikodemus, der vormals Nicodemus, which at the first came to bei der Nacht zu Jesu kommen war, Jesus by night, and brought a mixture

28 und brachte Myrrhen und Aloen of myrrh and aloes, about an hundred unter-einander, bei hundert Pfunden. pound weight. Then took they the Da nahmen sie den Leichnam Jesu body of Jesus, and wound it in linen und bunden ihn in Leinentücher mit clothes with the spices, as the manner Spezereien, wie die Jüden pflegen of the Jews is to bury. Now in the zu begraben. Es war aber an der place where he was crucified there Stätte, da er gekreuziget ward, ein was a garden; and in the garden a new Garten, und im Garten ein neu Grab, sepulchre, wherein was never man yet in welches niemand je geleget war. laid. There laid they Jesus therefore Daselbst hin legten sie Jesum, um des because of the Jews’ preparation day; Rüsttags willen der Jüden, dieweil das for the sepulchre was nigh at hand. Grab nahe war. 39. Chorus 39. Chorus Ruht wohl, ihr heiligen Gebeine, Rest in peace, you holy bones, die ich nun weiter nicht beweine, which I will now no longer mourn; ruht wohl und bringt auch mich zur rest in peace, and take me, too, to rest. Ruh! The grave, that is destined for you Das Grab, so euch bestimmet ist and contains no more grief, und ferner keine Not umschließt, opens up the heavens to me macht mir den Himmel auf and closes hell. und schließt die Hölle zu. 40. Choral 40. Chorale Ach Herr, lass dein lieb Engelein O Lord, let thy dear angels am letzten End die Seele mein carry my soul when my end comes in Abrahams Schoß tragen, to Abraham’s bosom; den Leib in seim Schlafkämmerlein let my body in its resting chamber gar sanft ohn eigne Qual und Pein gently repose, without pain or grief, ruhn bis am jüngsten Tage! till Judgment Day! Alsdenn vom Tod erwecke mich, Then awaken me from death, dass meine Augen sehen dich that my eyes may behold thee in aller Freud, o Gottes Sohn, in all joy, O Son of God, mein Heiland und Genadenthron! my Saviour and my Throne of Grace! Herr Jesu Christ, erhöre mich, Lord Jesus Christ, hear my prayer, ich will dich preisen ewiglich! I will ever praise thee!

John 18 & 19; Matthew 26:75 (12), 27:51-52 (33)

Translation © Pamela Dellal, courtesy of Emmanuel Music Inc. www.emmanuelmusic.org

29 CONCERT TWO: SATURDAY 3RD APRIL 2021 CANTATA “CHRIST LAG IN TODESBANDEN” BWV 4 Johann Sebastian Bach (1685-1750) Filmed on location at New College, Oxford Nick Rutter

30 CHRIST LAG IN TODESBANDEN – A MUSICO-THEOLOGICAL INTRODUCTION Henrike Lähnemann

In BWV 4, Johann Sebastian Bach set all seven verses of Martin Luther’s chorale “Christ lag in Todesbanden”. This in turn was a rewriting and fusing of two medieval Easter chants, the Latin “Victimae Paschali Laudes” and the German “Christ ist erstanden”. Echoes of these medieval predecessors of Luther’s chorale can be heard in the settings of the verses by Bach; this introduction will focus on the significant theological, literary and musical elements which proved influential before pointing out some characteristic features in the different movements of the cantata.

1. Victimae paschali laudes “Victimae paschali laudes”, the medieval Latin source for Luther’s chorale, is a so-called Sequence, a highly elaborate form used from the 10th century by monastic poets such as Notker of St Gall for compositions for the feast days of the church year. This particular text-music ensemble for Easter was probably written by Wipo of Burgund in the early 11th century. The form consists of an introduction followed by pairs of verses which work like acts in a miniature drama. The introduction calls on all Christians Victimaeto offer praise paschali to the “paschal laudes victim”, namely Christ.

� le froh� sein,� �Christ� will� u�nser� Trost sein. � Ky- ri- e- leis.�� all merry be And rejoice with him gladly.� � � � � � � � 31 � A�gnus re- dé�mit� o-� ves:� Chri� �stus� �ínno-� cens Patri � re- co�nci- li- á- A Lamb the sheep redeemeth: Christ, who only� is sinless,� � Reconcileth� � � sinners� � � � vit pecca-� tó- res. ��Mors� et vita� du-� é�llo� �co�nfli-� xé-� re� mi-� rándo: � � to� the Father;� � Death and life have contended In that combat stupendous:� � � �dux� vi-� tae mórtu- us, regnat� vi- vus. ��Christ� �ist e�rstanden� …�� The prince� of life,� � who� died,� reigns� immortal.�

1 Victimae paschali laudes

i V � ictimae pa�schá-� li� laudes � �ímmo-� lent Chri-� sti-� á- ni. �� Christians,� � � to the paschal� victim� Offer� your thankful praises!� � � �Christ� �ist e�rstanden� � von� der� Ma�rter alle; � des solln� wir� al- TheChrist first ispair risen of againverses exploresFrom all the starkhis torment:�contrasts� whichTherefore Easter provides: will we Christ as the innocent lamb redeems the sheep, the� sinners;� this is � portrayed as a battle between life and death from which the dead prince of life emerges triumphantly. The tune rises to the high point of the sequence �onle thefroh words� sein, �‘redemit’�Christ (redeems)� will� andu�nser �in theTrost repetitionsein. ‘vita’� Ky- (life).ri- e- leis.�� all merry be And rejoice with him gladly.� � � � � � � � � A�gnus re- dé�mit� o-� ves:� Chri� �stus� �ínno-� cens Patri � re- co�nci- li- á- A Lamb the sheep redeemeth: Christ, who only� is sinless,� � Reconcileth� � � sinners� � � � vit pecca-� tó- res. ��Mors� et vita� du-� é�llo� �co�nfli-� xé-� re� mi-� rándo: � � to� the Father;� � Death and life have contended In that combat stupendous:� � � �dux� vi-� tae mórtu- us, regnat� vi- vus. ��Christ� �ist e�rstanden� …�� The prince� of life,� � who� died,� reigns� immortal.�

32 The second pair of verses of the Latin completely changes voice, also in the register: it starts with the disciples quizzing Mary Magdalene what she saw at the tomb, which she answers with a confession of faith proclaiming that she saw the tomb of the living Christ and his glory.

� Dic nobis� Ma-� rí-� a,� �quid vi-� dí-� sti� �in vi- a?� �� Speak� Mary, declaring � Whatthousawestwayfaring:�

�Sepú�lcrum� Chris-� ti vi-� véntis, � et gló-� ri- am� vi-� di� re- su�rgéntis:�� ‘TheTombofChrist,whoisliving.� � � � � The glory� of Jesu’s resurrection;� � � � Angé- li-� cos� tes-� tes,� � sudá-� ri-� um,� et� vestes.� �� Bright angels attesting, �Theshroudandnapkinresting.�

�Surré-� xit� Chri�stus spes� me- a: prae� cé-� det su-� os� �in Ga- li-� laé- am. �� Yea, Christ my hope� is arisen:� � � To Galilee� he goes before� you.’� �

This short dialogue was in the Middle Ages the starting point for dramatizing the Easter events. Under the floorboards of the nuns’ choir in the Abbey of �Christ ist ersta�nden … Wienhausen� � � in Northern� �� Germany, a booklet was found which contained the text and music of the Sequence, marked up for the role of Mary Magdalene, showing how the nuns would have semi-staged it.

33 2 2. Christ ist erstanden. The dramatic piece with its Easter proclamation called for a congregational response. As early as the 12th century, “Christ ist erstanden” developed as a vernacular summary of the Sequence, making it the oldest known German hymn which is still sung today. The text “Christ is risen” picks up the lines of Mary Magdalene in the Latin and the tune is based on the introduction to Victimaethe Sequence. paschali On Easter laudesday, when the lay people would celebrate with the monastic community in the shared church, the nuns would sing the complex Sequencei from their gallery, behind the screen that would hide them from the main church and the congregation would answer with the vernacular response after each verse. V � ictimae pa�schá-� li� laudes � �ímmo-� lent Chri-� sti-� á- ni. �� Christians,� � � to the paschal� victim� Offer� your thankful praises!� � � �Christ� �ist e�rstanden� � von� der� Ma�rter alle; � des solln� wir� al- Christ is risen again From all his torment:� � � �Therefore will we�

� le froh� sein,� �Christ� will� u�nser� Trost sein. � Ky- ri- e- leis.�� all merry be And rejoice with him gladly.� � � � � � 3. Christ� lag� in Todesbanden. �“ChristA�gnus ist re-erstanden”dé�mit� o-� circulatedves:� Chri� in�stus various� �ínno- versions,� cens Pa fromtri the� re- oneco�nci- verseli- á- versionA Lamb to the the sheep three redeemeth: verse structureChrist, which whoonly is now� is sinless, in the� EvangelischesReconcileth� � sinners Gesangbuch, all over the German-speaking lands in the �late Middle� Ages.� Martin Luther realised the potential of these popular songs to spread the gospel and complex theological� messages in an accessible way. He �marketedvit pecca- histó- hymnres. “ChristMors� laget� invi- Todesbanden”ta� du- é�llo� asco� “Christnfli- xé-� istre erstanden,mi- rándo: gebessert”,� i.e. “an updated�� version of Christ� is Risen”.� � � � � � to� the Father;� � Death and life have contended In that combat stupendous:� � � �dux� vi-� tae mórtu- us, regnat� vi- vus. ��Christ� �ist e�rstanden� …�� The prince� of life,� � who� died,� reigns� immortal.�

34 1 Figure 1 ‘Christ lag in Todesbanden’ in the Erfurt Enchiridion, 1524

The “gebessert” applies to the tune which Luther expands and restructures to conform to the norms established in Germany by the Meistersinger. This means taking the signature first line, expanding its ambitus and making it the A part which is repeated. The B part is then formed of musical material which is partly taken from the Latin Sequence which would have been equally familiar to Luther. He ends the reconfigured hymn with a Halleluiah which takes the place of the Kyrieleis of the medieval version, emphasising the triumphal nature of the hymn. For the text, Luther fuses the two medieval versions: he uses the vernacular first verse as a basic structure which he expands with the theological background of the sequence. Luther goes beyond the short theological explanation of the medieval Latin version by expanding the biblical references to emphasize the central theological insight of the Reformation, salvation by grace alone. It became obligatory for every primary and secondary school and every parish church in the Protestant principalities, to have a folio edition of the core repertoire at hand to be put on a lectern. Children would have been standing around it, following the pointing stick of the cantor learning to read and to sing from it, making Luther’s hymns and “Christ lag in Todesbanden” among them the shared cultural reference framework for all walks of Protestant German society. During the service, students would sing settings

35 such as those from the “Wittenbergisch Gsangbüchli” by Johann Walther, the congregation would sing along in unison, knowing probably most of them by heart. The hymn was translated into English for the first time in the 1530s by Miles Coverdale in his “Goostly Psalmes and Spirituall Songes” but had only limited effect since it ended up on the index and only one copy survived.

Figure 2 ‘Christ lag in Todesbanden’ in Miles Coverdale’s hymnbook, The Queen’s College, Oxford, Sel.d.81

Lutheran hymns then only came in fashion in England with dissenting movements, particularly the Methodists, in the 19th century when Richard Massie translated it. In Germany in contrast, the Reformation hymns continued to be highly influential throughout the 17th and 18th centuries. The congregations in Mühlhausen and Leipzig would almost certainly have known it by heart and J S Bach certainly would have known a large number of previous settings of the tune, e.g. the version by Johann Hermann Schein, one of his predecessors as Thomaskantor. The most notable change the tune underwent in the intervening time was that the first interval of the signature opening was changed to a semi tone, a modification which took the tune out of the Dorian mode of the medieval tune which Luther had preserved in his version. The other change that the tune underwent before Bach took it on

36 was the evening out of rhythmical structures and introduction of additional passing notes. For the performance, the choristers would have sung the first six verses and the congregation would have been expected to join in the final chorale, in a way a continuation of the medieval practice of lay-people joining in as a response, starting appropriately “wir essen und wir leben wohl” – we, all of us eat and live well since we are invited to a proper Easter feast, involving the whole church community in the Easter celebration.

Bach’s setting of the verses The cantata is organised in symmetrical structure of the cantata with the verses 1, 4, and 7 set for full choir, 2 and 6 for two voices and 3 and 5 as solo arias. The complex theological content of Luther’s hymn must have attracted Bach and led him to explore in his cantata setting the different emotional facets in ever new mutations through the different movements, including the short opening sinfonia which also develops from the signature motif. The key word of the first verse is “erstanden” (risen from the dead). If the dark mode of the sinfonia has been read as symbolising the “Todesbande”, the bonds of death, this is definitely resurrection music, moving towards the jubilant “Hallelujah”, acting out the imperative of the verse “Let us praise god by singing Hallelujah”. The semi tone starting the tune in Bach’s version of the second verse is used to characterise death and its depressing rule over mankind. It is a very subdued setting, ruminating on the motif of the sinfulness and the impossibility to extricate oneself from it – the soprano and alto turn and twist around each other, like in Luther’s dictum that sin is “incurvatus in se”: to be trapped by turning inward into oneself. Verse 3 has a completely different ebullient feel to it – rescue is at hand to get out of the man-made trap of sin with the help of Christ who reduces death to – exactly nothing! This is dramatically underlined by the general pause after “da bleibet nichts!” Death has lost its sting and a joyous “hallelujah” follows. Verse 4 is the description of the actual battle between life and death, the idea which Luther had taken over from the medieval Latin sequence. He expands this by further images taken from his favourite source in the Bible, the Pauline letters, to which he pointedly refers: Scripture has told us how one death ate the other death, making a mockery of death. “Spott”, the

37 mockery, is acted out in the short staccato phrases which all four voices throw across the staves like a ball. In Verse 5, a solemn explanation of the significance and biblical resonances of the Paschal lamb follows, explained by the bass, traditionally the Vox Christi who sings the hymn tune with some ornamentation, for example to form a cross ornament when talking about the tree of the cross, going down to a deep e for one of the starkest images in the hymn, that the cross has become the spit on which the lamb is roasted. Another expressive phrase is for the verb “zeichnen”, the drawing of the blood symbol on the doors, taken from the story of Exodus as a prefiguration of the sacrifice of Christ which draws a musical line with the voice of the singer. Death is again symbolised by a semi tone going down and then by a bottom e sharp held over more than two bars before the bass also explodes in a series of hallelujahs to celebrate that all of this is over, death cannot touch humankind any longer. Verse 6 is a duetting celebration of the feast with “Wonne” – delight which expresses itself in a series of triplets and punctuated rhythm in the basso continuo, leading to yet another outburst of hallelujahs. Verse 7 sums up all of the excitement of the previous verses from the perspective of the now-and-here congregation in the collective confession, emphasising as last noun of the text the Lutheran key concept of faith: der Glaub will keins andern leben. Hallelujah!

38 Appendix: Metamorphoses of the Tune for the Sing-Along

Victimae paschali laudes

� le froh� sein,� �Christ� will� u�nser� Trost sein. � Ky- ri- e- leis.�� all merry be And rejoice with him gladly.� � � � � � � � � A�gnus re- dé�mit� o-� ves:� Chri� �stus� �ínno-� cens Patri � re- co�nci- li- á- A Lamb the sheep redeemeth: Christ, who only� is sinless,� � Reconcileth� � � sinners� � � � vit pecca-� tó- res. ��Mors� et vita� du-� é�llo� �co�nfli-� xé-� re� mi-� rándo: � � to� the Father;� � Death and life have contended In that combat stupendous:� � � �dux� vi-� tae mórtu- us, regnat� vi- vus. ��Christ� �ist e�rstanden� …�� The prince� of life,� � who� died,� reigns� immortal.�

1 39 � Dic nobis� Ma-� rí-� a,� �quid vi-� dí-� sti� �in vi- a?� �� Speak� Mary, declaring � Whatthousawestwayfaring:�

�Surré-� xit� Chri�stus spes� me- a: prae� cé-� det su-� os� �in Ga- li-� laé- am. �� Yea, Christ my hope� is arisen:� � � To Galilee� he goes before� you.’� � � �Christ� �ist e�rstanden� …��

Figure 3 Reconstruction of the singing of the combined Latin Sequence and German Leise, based on the Manual of the Medingen Provost Oxford, Bodleian Library, MS. Lat. liturg. e. 18; typesetting: Andrew Dunning

40 Christ lag in Todesbanden

Johann Walther (1524)

                              1. Christ Je - sus lay in death's strong bands For our of - fen - ses gi - ven; 4. It was a strange and dread - ful strife When life and death con - ten - ded. 7. Then let us feast this Eas - ter Day On Christ, the bread of hea - ven;                                 6                               But now at God's right hand he stands And brings us life from hea - ven. The vic - to - ry re-mained with life; The reign of death was en - ded. The Word of grace has purged a - way The old and e - vil lea - ven.                                11                                     There-fore let us joy - ful be And sing to God right thank - ful - ly Loud Ho - ly Scrip-ture plain - ly says That death is swal-lowed up by death; Its Christ a - lone our souls will feed; He is our meat and drink in - deed; Faith                                        15                       songs of al - le - lu - ia! sting is lost for - ev - er. Al - le - lu - ia! lives u - pon no oth - er!                    

Figure 4 Johann Walter’s setting of ‘Christ lag in Todesbanden’ with verse 1, 4, and 7 of Richard Massie’s translation, typesetting: Benjamin Sheen

41 42 Figure 5 Final movement of BWV 4, IMSLP version marked up by Tom Hammond-Davies for the Oxford Bach Soloists’ tour to North Germany in 2016

43 CANTATA: “CHRIST LAG IN TODESBANDEN” BWV 4

In contrast with the rich legacy of Passion music which Bach has left us there is very little surviving music which he intended specifically for Easter Day. We know of only two cantatas originally written for this festival, both of them dating from Bach’s youthful years at Mühlhausen and Weimar. “Christ lag in Todesbanden” (“Christ lay in death’s bonds”) is the earlier of them but, although in existence as early as 1708, Bach made later use of this cantata on Easter Sunday in Leipzig in 1724 and in the following year. And it is the parts for these performances, perhaps with a few alterations, which have survived. Among the most satisfying features of Cantata No. 4 are its expressive homogeneity and its purity of form, which gives the work both a cohesive strength and a powerful sense of direction. Bach achieves this in two ways: first, by setting Luther’s text as it stands, an unusual procedure in the later cantatas, and, secondly, by using, in every verse, the chorale variation technique favoured by composers such as Buxtehude, and inherited from the seventeenth century. In this way a single melody provides the foundation of the entire work. Luther’s Easter hymn, dating from 1524, derives from the Latin sequence “Victimae paschali laudes”. There are seven verses, set in full, ranging in content from man’s powerlessness over death, to Christ’s resurrection and the significance of the Easter Festival. Within this strict textual framework Bach’s music is strikingly varied and reveals his early and profound mastery of form and technique. A short, poignant sinfonia for strings, containing the first measures of the chorale melody, introduces the work. This is followed by Verse One, which states fully the hymn tune. For this choral movement and the concluding one Bach added in 1725 a cornett and three trombones to the earlier five-strand string texture of two violins, two violas and continuo. The cornett doubles the soprano line, while a single trombone augments each of the three remaining vocal strands. Verse Two is a duet for soprano and alto, supported by cornett and trombone respectively. Verse Three is a tenor solo with an energetic accompaniment of unison violins. Verse Four is a four-part chorale movement in motet style with continuo. In this movement the hymn melody is sustained in the alto line. Verse Five is a

44 solo number for bass and strings, which builds up to a dramatic outburst in the line “Der Würger kann uns nicht mehr schaden” (“The destroyer can no longer harm us”). Verse Six is another duet, this time for soprano and tenor with continuo. The cantata ends with a four-part chorale whose text celebrates the Passover. This was newly composed by Bach in 1724, seemingly to replace an earlier, now lost setting of the concluding stanza of Luther’s hymn. Nicholas Anderson © 2017

OXFORD BACH SOLOISTS LECTURE

Professor Henrike Lähnemann Professor of Medieval German, University of Oxford The Lay Clerks of Christ Church Cathedral Soprano Margaret Lingas, Elizabeth Nurse Patrick Seeger Alto Michael Ash

Tenor Professor Henrike Lähnemann Charlie Hodgkiss Bass Christopher Murphy Director Steven Grahl Organist Benjamin Sheen

45 OXFORD BACH SOLOISTS MUSICIANS

Conductor Sopranos Tom Hammond Davies Gwendolen Martin, Rowan Pierce, Lucy Cox, Lucy Cronin Cornetto Russell Gilmour Alto Alexander Chance, Hugh Cutting, Violin I Stephanie Franklin Theresa Caudle, Kirra Thomas, Ellen Bundy Tenor Guy Cutting, Nick Pritchard, Violin II Bradley Smith Jean Paterson, Will Harvey Bass Viola Ben Davies, Thomas Lowen, Rachel Byrt, Naomi Orrell Edmund Saddington Cello Jonathan Manson By kind permission of the Warden and Double bass Scholars of New College, Oxford Rosie Moon Bassoon Catriona McDermid Organ Dónal McCann Harpsichord Anhad Arora

46 BWV 4 BWV 4 Christ lag in Todesbanden Christ lay in the snares of death (? 1708-1713) (? 1708-1713) 1. Sinfonia 1. Sinfonia 2. Versus 1 2. Versus 1 Christ lag in Todesbanden Christ lay in death’s bonds Für unsre Sünd gegeben, handed over for our sins, Er ist wieder erstanden he is risen again Und hat uns bracht das Leben; and has brought us life Des wir sollen fröhlich sein, For this we should be joyful, Gott loben und ihm dankbar sein praise God and be thankful to him Und singen halleluja, and sing allelluia, Halleluja! Alleluia! 3. Versus 2 3. Versus 2 Den Tod niemand zwingen kunnt Nobody could overcome death Bei allen Menschenkindern, among all the children of mankind. Das macht’ alles unsre Sünd, Our sin was the cause of all this, Kein Unschuld war zu finden. no innocence was to be found. Davon kam der Tod so bald Therefore death came so quickly Und nahm über uns Gewalt, and seized power over us, Hielt uns in seinem Reich gefangen. held us captive in his kingdom. Halleluja! Alleluia! 4. Versus 3 4. Versus 3 Jesus Christus, Gottes Sohn, Jesus Christ, God’s son, An unser Statt ist kommen has come in our place Und hat die Sünde weggetan, and has put aside our sins, Damit dem Tod genommen and in this way from death has taken All sein Recht und sein Gewalt, all his rights and his power, Da bleibet nichts denn Tods Gestalt, here remains nothing but death’s Den Stach’l hat er verloren. outward form Halleluja! it has lost its sting. Alleluia! 5. Versus 4 5. Versus 4 Es war ein wunderlicher Krieg, It was a marvellous battle Da Tod und Leben rungen, where death and life struggled. Das Leben behielt den Sieg, Life won the victory, Es hat den Tod verschlungen. it has swallowed up death Die Schrift hat verkündigt das, Scripture has proclaimed Wie ein Tod den andern fraß, how one death ate the other, Ein Spott aus dem Tod ist worden. death has become a mockery. Halleluja! Alleluia!

47 6. Versus 5 6. Versus 5 Hier ist das rechte Osterlamm, Here is the true Easter lamb Davon Gott hat geboten, that God has offered Das ist hoch an des Kreuzes Stamm which high on the trunk of the cross In heißer Lieb gebraten, is roasted in burning love, Das Blut zeichnet unsre Tür, whose blood marks our doors, Das hält der Glaub dem Tode für, which faith holds in front of death, Der Würger kann uns nicht mehr the strangler can harm us no more schaden. Alleluia! Halleluja! 7. Versus 6 7. Versus 6 So feiern wir das hohe Fest Thus we celebrate the high feast Mit Herzensfreud und Wonne, with joy in our hearts and delight Das uns der Herre scheinen lässt, that the Lord lets shine for us, Er ist selber die Sonne, He is himself the sun Der durch seiner Gnade Glanz who through the brilliance of his grace Erleuchtet unsre Herzen ganz, enlightens our hearts completely, Der Sünden Nacht ist verschwunden. the night of sin has disappeared. Halleluja! Alleluia! 8. Versus 7 8. Versus 7 Wir essen und leben wohl We eat and live well In rechten Osterfladen, on true Easter Bread, Der alte Sauerteig nicht soll the old leaven ought not to abide Sein bei dem Wort der Gnaden, be with the Word of Grace, Christus will die Koste sein Christ will be our food Und speisen die Seel allein, and alone feed the soul, Der Glaub will keins andern leben. faith would live in no other way. Halleluja! Alleluia!

Text: Martin Luther (1483-1546)

Translation © Pamela Dellal, courtesy of Emmanuel Music Inc. www.emmanuelmusic.org.

48 Nick Rutter Helena Cooke Nick Rutter

49 CONCERT THREE: SUNDAY 4TH APRIL 2021 EASTER ORATORIO “KOMMT, EILET UND LAUFET” BWV 249 Johann Sebastian Bach (1685-1750) Filmed on location at Christ Church Cathedral, Oxford David Fisher

50 EASTER ORATORIO “KOMMT, EILET UND LAUFET” BWV 249

It is surprising that a work whose music possesses such immediacy of appeal is so seldom performed. Bach’s Easter Oratorio, however, has a complicated pedigree. In February 1725 the composer produced a secular cantata, “Entfliehet, verschwindet” (BWV 249a) for the birthday of Duke Christian of Saxe-Weissenfels – he whom Bach had previously honoured in 1713 with another birthday treat, the so-called Hunting Cantata (BWV 208). Then, in April of the same year Bach and his librettist, Picander parodied the earlier birthday cantata, re-wrote the recitatives and perhaps made other small adjustments, too. In this form, and now dressed in sacred clothes the work was performed in Leipzig on Easter Day, 1725. That version has not survived but, in 1726 Bach revived the piece again, this time as a birthday offering to Count Joachim von Fleming and with a revised text “Verjaget, zerstreuet” (BWV 249b). For almost a decade afterwards the cantata remained undisturbed until, in 1735 the text was revised once more, probably by Picander, when it assumed the title “Kommt, eilet und laufet” and was termed an oratorio for the first time. A single further revision took place sometime during the 1740s when Bach converted the opening duet into a chorus. Though concise, in comparison with the Christmas Oratorio or those written by German contemporaries such as Telemann, “Kommt, eilet und laufet” qualifies for the term, as opposed to that of cantata by the fact that it contains passages of narrative. But it differs from many of its companions inasmuch as the “dramatis personae” are not named – in this respect it resembles the “Ascension Oratorio” in the second part of tonight’s programme – and that biblical text is not used at all. So we have a work that, while conforming in broad terms with Bach’s sacred cantata or Kirchenstück is nonetheless an oratorio somewhat in the Italian baroque oratorio tradition. Bach’s biographer, Philipp Spitta, remarked with evident dismay that “all that is most beautiful and significant in the history of the Resurrection ..... has not been made any use of”; yet the skill with which Bach set Picander’s text, and his deeply affecting response to it, suggest not only that the composer found it complementary to his own requirements but that the sacred context was envisaged from the very first. There are no anomalies between words and music here and the often vivid, always

51 masterly word-painting with which the work is generously endowed suggests a close identification by Bach with his textual subject matter. The opening orchestral Sinfonia is in two strongly contrasting parts: first, a richly scored D major allegro for flute, two recorders, two oboes, oboe d’amore, three trumpets, timpani, strings and continuo with an important bassoon part. This is followed by a poignantly expressive “adagio” in B minor for solo oboe over a dotted string accompaniment at the conclusion of which it seems at least possible that Bach once intended a return to the opening section. As it stands the voices enter in the oratorio’s third section which takes up the character, key, metre and instrumentation of the opening movement. Written as a duet for tenor and bass with chorus, this movement may originally have provided, as Arnold Schering and others have suggested, the finale of a lost concerto, the preceding sections providing its first and second movements. The remaining arias, one each for soprano, tenor and alto respectively, are all of high quality. The first, accompanied by flute or violin obbligato is in B minor and is a joyful contemplation of the soul. In the second aria, one of the expressive peaks of the oratorio, the voice is accompanied by two treble recorders doubling muted strings at the octave. The third aria introduces an oboe d’amore as obbligato, with the strings. This dance-like movement in the bright and radiant key of A major urgently asks the question “Tell me quickly, where can I find Jesus, whom my soul loves?” And at the close of the second section leading back to the “da capo” Bach intensifies this passionate longing with a brief four-bar “adagio” at the words “for without You my heart is sorely orphaned and distressed”. A final chorus reintroduces the full instrumental forces of the opening. Cast in two parts (adagio-allegro) rather in the manner of a French ouverture, it brings the oratorio to a brilliant conclusion. © Nicholas Anderson 2019

52 OXFORD BACH SOLOISTS MUSICIANS

Conductor Viola Tom Hammond Davies Jane Rogers, Naomi Orrell Mary Mother of James Cello Rowan Pierce Jonathan Manson, Gabriel Amherst Mary Magdalene Double bass Helen Charlston Rosie Moon Simon Peter Nick Pritchard Theorbo Johan Löfving John the Evangelist Ben Davies Bassoon Catriona McDermid

Trumpet Organ Russell Gilmour, Steve Keavy, Dónal McCann Robert Vanryne Harpsichord Timpani Anhad Arora Tristan Fry Soprano Flute Lucy Cox, Lucy Cronin, Yu-Wei Hu Gwendolen Martin, Rowan Pierce Oboe I Alto Frances Norbury Alexander Chance, Helen Charlston, Hugh Cutting Oboe II Oonagh Lee Tenor Guy Cutting, Nick Pritchard, Violin I Bradley Smith Bojan Čičic, Theresa Caudle, Kirra Thomas Bass Ben Davies, Thomas Lowen, Violin II Edmund Saddington Jean Paterson, Will Harvey, Ellen Bundy Filmed on location by kind permission of the Dean and Canons of Christ Church Cathedral, Oxford

53 BWV 249 BWV 249 Kommt, eilet und laufet Come, hasten and run “Oster-Oratorium” “Easter Oratorio” 1. Sinfonia 1. Sinfonia 2. Adagio 2. Adagio 3. Coro 3. Chorus Kommt, eilet und laufet, ihr flüchtigen Come, hurry and run, you speedy feet, Füße, reach the cavern which conceals Jesus! Erreichet die Höhle, die Jesum bedeckt! Laugter and merriment Lachen und Scherzen accompanies our hearts, Begleitet die Herzen, since our Saviour is risen again. Denn unser Heil ist auferweckt. 4. Recitativo 4. Recitative Maria Magdalena Mary Magdalene O kalter Männer Sinn! O cold hearts of men! Wo ist die Liebe hin, Where has your love gone, Die ihr dem Heiland schuldig seid? that you owe to the Savior? Maria Jacobi Mary, Mother of James Ein schwaches Weib muß euch A weak woman must put you to shame! beschämen! Peter Petrus Alas, a troubled grieving Ach, ein betrübtes Grämen John Johannes and anxious heartache Und banges Herzeleid Peter, John Peter, Johannes along with salty tears Hat mit gesalzen Tränen and woeful longing Und wehmutsvollem Sehnen were intended as an anointing for Him. Ihm eine Salbung zugedacht. Mary, Mother of James, Mary Maria Jacobi, Maria Magdalena Magdalene Die ihr, wie wir, umsonst gemacht. Which you, like us, prepared in vain. 5. Aria 5. Aria Maria Jacobi Mary, Mother of James Seele, deine Spezereien O soul, your spices Sollen nicht mehr Myrrhen sein. need no longer be myrrh. Denn allein For only Mit Lorbeerkranze prangen, crowning with the laurel wreath Stillt dein ängstliches Verlangen. will quiet your anxious longing. 6. Recitativo 6. Recitative Petrus Peter Hier ist die Gruft Here is the grave Johannes John Und hier der Stein, and here the stone Der solche zugedeckt. which sealed it. Wo aber wird mein Heiland sein? Where, however, can my Saviour be? Maria Magdalena Mary Magdalene Er ist vom Tode auferweckt! He is risen from the dead! Wir trafen einen Engel an, We encountered an angel 54 Der hat uns solches kundgetan. who gave us these tidings. Petrus Peter Hier seh ich mit Vergnügen Here I behold, with pleasure, Das Schweißtuch abgewickelt liegen. His shroud lying tossed aside. 7. Aria 7. Aria Petrus Peter Sanfte soll mein Todeskummer, Gentle shall my death-throes be, Nur ein Schlummer, only a slumber, Jesu, durch dein Schweißtuch sein. Jesus, because of your shroud. Ja, das wird mich dort erfrischen Indeed, it will refresh me there, Und die Zähren meiner Pein and the tears of my suffering Von den Wangen tröstlich wischen. it will tenderly wipe from my cheeks. 8. Recitativo 8. Recitative Maria Jacobi, Maria Magdalena Mary, Mother of James, Mary Magdalene Indessen seufzen wir Meanwhile we sigh Mit brennender Begier: with burning desire: Ach, könnt es doch nur bald geschehen, Ah, could it only happen soon, Den Heiland selbst zu sehen! to see the Saviour ourselves! 9. Aria 9. Aria Saget, saget mir geschwinde, Tell me, tell me quickly, Saget, wo ich Jesum finde, say where I can find Jesus, Welchen meine Seele liebt! whom my soul loves! Komm doch, komm, umfasse mich; O come, come, embrace me; Denn mein Herz ist ohne dich for without You my heart is Ganz verwaiset und betrübt. completely orphaned and wretched. 10. Recitativo 10. Recitative Johannes John Wir sind erfreut, We are delighted Daß unser Jesus wieder lebt, that our Jesus lives again, Und unser Herz, and our hearts, So erst in Traurigkeit zerflossen und which first dissolved and floated in grief, geschwebt, forget the pain Vergißt den Schmerz and imagine songs of joy; Und sinnt auf Freudenlieder; for our Saviour lives again. Denn unser Heiland lebet wieder. 11. Coro 11. Chorus Preis und Dank Praise and thanks Bleibe, Herr, dein Lobgesang. remain, Lord, your hymn of praise. Höll und Teufel sind bezwungen, Hell and devil are conquered, Ihre Pforten sind zerstört. its gates are destroyed. Jauchzet, ihr erlösten Zungen, Rejoice, you rescued tongues, Daß man es im Himmel hört. so that you are heard in heaven. Eröffnet, ihr Himmel, die prächtigen Bogen, Open, o heavens, your magnificent arches, Der Löwe von Juda kommt siegend the Lion of Judah comes, drawn gezogen! victoriously!

Text: possibly by Picander Translation © Pamela Dellal, courtesy of Emmanuel Music Inc. www.emmanuelmusic.org. 55 CONCERT FOUR: MONDAY 5TH APRIL 2021 CANTATA “DER HIMMEL LACHT! DIE ERDE JUBILIERET” BWV 31 Johann Sebastian Bach (1685-1750) Filmed on location at Christ Church Cathedral, Oxford David Fisher

56 CANTATA “DER HIMMEL LACHT! DIE ERDE JUBILIERET” BWV 31

“Der Himmel lacht! die Erde jubilieret” is a Weimar piece. Bach first performed it in the ducal chapel, the Himmelsburg (Heaven’s Castle), so called because of its ceiling fresco showing Heaven opening, on 21st April, 1715. The original key was C major at high Weimar Chorton (Choir Pitch). Because of conventional differences in pitch and notation at Leipzig (Weimar C = Leipzig E flat), Bach was confronted with problems, particularly affecting brass and reed instruments, for his revivals of the work in 1724, 1731 and perhaps 1735 as well. For these he kept the key of C major but at Kammerton (Chamber Pitch). His many revisions are complicated and, since some of the original parts are lacking, we may never fully understand his intentions. “Der Himmel lacht!” received its first Leipzig performance on Easter Day in 1724. Its libretto is based on a text from Weimar poet, Salomo Franck’s cycle, “Evangelisches Andachts-Opffer” which makes reference to the Easter Gospel. The Cantata begins with a resplendent C major concertato movement, a “Sonata” scored for a choir of three trumpets, a five-strand choir of woodwind – three oboes, oboe da caccia and bassoon – and five-part string texture with basso continuo. Bach retains this distinctively sonorous arsenal for the ensuing chorus, exceptionally among his sacred cantatas scored for five-part vocal texture. The joyful text is complemented by exhilarating music with jubilant vocal melismas which colour the “lacht” (laughs) of the text. Christ’s Resurrection is further celebrated in the two movements for bass which follow. The first is a simple recitative with passages of arioso, whose contrasting tempos mirror references to life and death. The aria, in C major, marked ‘Molto Adagio’ is accompanied by a robust dotted continuo line and is in free ‘da capo’ form. The remaining recitatives and arias of the work are similarly paired. A simple tenor recitative contains illustrative melismas on the words ‘flieht ganz eiland’ (‘flees with haste’) and leads to a tenor aria in G major with string accompaniment, whose infectious melodic contours quickly and firmly establish themselves in our memories. The last pairing is for soprano whose tenderly expressed simple recitative develops into arioso at the “auferstehen” of the text. The C major aria, suffused with mysticism

57 and yearning provides strong contrast with the opening movements of the Cantata. The soprano voice is accompanied by a flowing oboe obbligato which low-lying unison violins and violas interject six times, intoning a melody associated with Nikolaus Herman’s hymn “Wenn mein Stündlein vorhanden” (1575). The same melody is presented again in the concluding chorale of Herman’s hymn. The mystical longing for death, expressed in the preceding aria is retained, but Bach adds to the simple four-part setting, with doubling reed instruments and strings, a scintillating obbligato for first violin and trumpet in unison, affirming the Resurrection. The trumpet, though, may not have been intended by Bach but is, perhaps, the result of a copyist’s error. Nicholas Anderson © 2020 Nick Rutter

58 OXFORD BACH SOLOISTS MUSICIANS

Conductor Theorbo Tom Hammond Davies Johan Löfving Bassoon Trumpet Catriona McDermid Russell Gilmour, Steve Keavy, Organ Robert Vanryne Dónal McCann Timpani Harpsichord Tristan Fry Anhad Arora

Flute I Soprano Yu-Wei Hu Gwendolen Martin, Rowan Pierce Flute II Soprano II Jonathan Slade Lucy Cox, Lucy Cronin Oboe I Alto Frances Norbury Alexander Chance, Helen Oboe II Charlston, Hugh Cutting Oonagh Lee Tenor Guy Cutting, Nick Pritchard, Violin I Bradley Smith Bojan Čičic, Theresa Caudle, Bass Kirra Thomas Ben Davies, Thomas Lowen, Violin II Edmund Saddington Jean Paterson, Will Harvey, Ellen Bundy Viola Jane Rogers, Naomi Orrell Cello Jonathan Manson, Gabriel Amherst Double bass Filmed on location by kind permission of the Dean Rosie Moon and Canons of Christ Church Cathedral, Oxford

59 BWV 31 BWV 31 Cantata “Der Himmel lacht! Cantata “Der Himmel lacht! die Erde jubilieret” die Erde jubilieret” 1. Sinfonia 1. Sinfonia 2. Coro 2. Chorus Der Himmel lacht! die Erde jubilieret The heavens laugh! The earth shouts Und was sie trägt in ihrem Schoß; with joy Der Schöpfer lebt! der Höchste and what she bears in her bosom. triumphieret The creator lives! God most high Und ist von Todesbanden los. triumphs Der sich das Grab zur Ruh erlesen, and is free from the bonds of death. Der Heiligste kann nicht verwesen. He who has chosen the grave for rest, the Holiest, cannot decay. 3. Recitativo 3. Recitative (Bass) Erwünschter Tag! sei, Seele, wieder froh! Longed for day! Be joyful again, soul! Das A und O, The alpha and omega Der erst und auch der letzte, the first and also the last, Den unsre schwere Schuld in whom our heavy guilt put in death’s Todeskerker setzte, prison, Ist nun gerissen aus der Not! is now torn away from misery! Der Herr war tot, The Lord was dead Und sieh, er lebet wieder; and see, he lives again. Lebt unser Haupt, so leben auch die If our head lives, the limbs live also. Glieder. The Lord has in his hand Der Herr hat in der Hand the keys of death and hell! Des Todes und der Hölle Schlüssel! He who his garments Der sein Gewand sprinkled bloodred in his bitter Blutrot bespritzt in seinem bittern sufferings Leiden, wants today to be clothed with Will heute sich mit Schmuck und Ehren adornment and honour. kleiden.

4. Aria 4. Aria Fürst des Lebens, starker Streiter, Prince of life, mighty champion, Hochgelobter Gottessohn! highly praised Son of God ! Hebet dich des Kreuzes Leiter Does the ladder of the cross raise you Auf den höchsten Ehrenthron? to the highest throne of honour ? Wird, was dich zuvor gebunden, Will what before bound you Nun dein Schmuck und Edelstein? now be your adornment and precious Müssen deine Purpurwunden stone ? Deiner Klarheit Strahlen sein? Must your purple wounds be beams of your radiance? 5. Recitativo 5. Recitative (Tenor) So stehe dann, du gottergebne Seele, So now, you soul devoted to God, Mit Christo geistlich auf! rise up with Christ in your spirit! Tritt an den neuen Lebenslauf! Enter on the new way of life! Auf! von des Todes Werken! Up! Away from death’s works!

60 Laß, dass dein Heiland in der Welt, Make your saviour in the world An deinem Leben merken! be seen in your life Der Weinstock, der jetzt blüht, The vine-stock, that blooms now, Trägt keine tote Reben! bears no dead grapes! Der Lebensbaum lässt seine Zweige The tree of life lets its branches live! leben! A Christian flees Ein Christe flieht in a great hurry from the grave! Ganz eilend von dem Grabe! He leaves behind the stone, Er lässt den Stein, he leaves the shroud of sins Er lässt das Tuch der Sünden behind him Dahinten and wants to be alive with Christ. Und will mit Christo lebend sein.

6. Aria 7. Aria Adam muss in uns verwesen, Adam must in us decay, Soll der neue Mensch genesen, the new man should grow stronger. Der nach Gott geschaffen ist. who is created after the image of God. Du musst geistlich auferstehen You must arise in spirit Und aus Sündengräbern gehen, and leave the grave of sins Wenn du Christi Gliedmaß bist. if you are a member of Christ. 7. Recitativo 7. Recitative (Soprano) Weil dann das Haupt sein Glied For since the head Natürlich nach sich zieht, naturally takes his limbs with him, So kann mich nichts von Jesu scheiden. nothing then can separate me from Jesus. Muss ich mit Christo leiden, If I must suffer with Christ, So werd ich auch nach dieser Zeit so shall I also after this time Mit Christo wieder auferstehen rise again with Christ Zur Ehr und Herrlichkeit to honour and glory Und Gott in meinem Fleische sehen. and see God in my flesh. 8. Aria (e Choral) 8. Aria (and Chorale) (Soprano) Letzte Stunde, brich herein, Last hour, break now upon me Mir die Augen zuzudrücken! to close my eyes! Lass mich Jesu Freudenschein Let me gaze on the joyous radiance of Und sein helles Licht erblicken, Jesus Lass mich Engeln ähnlich sein! and his bright light Letzte Stunde, brich herein! Let me be like the angels! Last hour, break upon me! 9. Choral 9. Chorale So fahr ich hin zu Jesu Christ, In this way I shall journey towards Mein’ Arm tu ich ausstrecken; Jesus Christ: So schlaf ich ein und ruhe fein, I shall stretch out my arms towards him; Kein Mensch kann mich aufwecken, so I shall sleep and rest pleasantly, Denn Jesus Christus, Gottes Sohn, no man can awaken me, Der wird die Himmelstür auftun, other than Jesus Christ, God’s son, Mich führn zum ewgen Leben. he who will open the door of heaven for me, and lead me to the eternal life. English Translation by Francis Browne (April 2002)

61 John Hunt

62 ARTICTIC DIRECTOR TOM HAMMOND-DAVIES

Tom is the Founder and Artistic Director of the Oxford Bach Soloists. Since graduating in music from the University of Oxford, Tom has become a leading specialist in choral conducting. He studied with Paul Spicer at the Royal Birmingham Conservatoire and has gone on to gain a reputation as one of the top choral conductors in the world. In 2015, he founded the Oxford Bach Soloists a unique ensemble with a mission to perform the complete works of J.S. Bach chronologically, programmed in real-time, and in the context in which they were originally received – be that in terms of liturgical and ecclesiastical settings or instrument and choir positionings. Tom leads the baroque ensemble and singers performing concerts that are heralded around the world, capturing the imagination of existing and new Bach enthusiasts as well as supporting the next generation of soloists. Tom was not an immediate convert to Bach. Singing and playing Bach as a child and teenager, he initially found them uninspiring and difficult. But that all changed when he started singing some of the Lutheran chorales – then Bach’s ingenuity shone through, and with it began a lifelong appreciation. The first of the vocal works was performed by the OBS in 2017 – it is currently a quarter of the way through its project. Tom has also appeared on the BBC’s Proms at the Royal Albert Hall, at the Three Choirs Festival and at the Oxford Lieder Festival. His other roles include: Trustee of the Sir George Dyson Trust; Director of Music at the City Church of St Michael at the North Gate, Oxford; Acting Director of Music at Keble College, Oxford; and a member of Faculty for the Oxford Cultural Leaders programme.

63 DIRECTOR THOMAS GUTHRIE

Thomas Guthrie is an innovative and award-winning British director and musician working in theatre and music to tell stories in vivid, new and direct ways. A former Jette Parker Young Artist Stage Director at the Royal Opera House in London, his revival of David McVicar’s Die Zauberflöte there won What’s On Stage Best Revival 2018. His own productions of Le Nozze di Figaro and Die Zauberflöte at Longborough Festival Opera led to an invitation to direct Wagner’s Der Fliegende Holländer there in 2018 (subsequently called ‘one of the best productions at this venue I have seen’, Rupert Christiansen, Telegraph). Recent highlights include Semele (Monteverdi Choir/Gardiner), Dido and Aeneas (Academy of Ancient Music /Barbican) and the UK premiere of Jonathan Dove’s The Monster in the Maze (LSO). Guthrie is dedicated to outreach work, with highlights including Carmen for the Prison Choir Project at HMP Dartmoor, projects for Royal Opera House, Streetwise Opera, and National Youth Choir. Guthrie is the founder and artistic director of Music and Theatre for All, a groundbreaking charity which works to connect performers and public through transformative music, theatre and opera.

64 TENOR NICK PRITCHARD

Nick James Born in West Sussex, Nick Pritchard read music as a choral scholar at New College, Oxford and studied with Russell Smythe at the Royal College of Music. He was an inaugural member of the Orchestra of the Age of Enlightenment’s ‘Rising Stars’ scheme and in 2017, he won the Whatsonstage award for Breakthrough Artist in UK Opera. Described as a ‘Masterly Evangelist’ (The Guardian), Nick has sung the role in both the St John and St Matthew Passions of JS Bach with the OAE under John Butt, Polyphony under Stephen Layton, in New York with The Choir of New College, Oxford under Robert Quinney and with The Instruments of Time and Truth under Edward Higginbottom. Other concert highlights include Bach’s Mass in B minor with The Monteverdi Choir under Sir John Eliot Gardiner and The English Concert under Harry Bicket, Bach Cantatas with Ensemble Pygmalion under Raphaël Pichon and Mozart’s Requiem with The Gabrieli Consort under Paul McCreesh. Operatic roles include Lysander A Midsummer Night’s Dream at the Aldeburgh Festival, Ferrando Cosí fan tutte for Opera Holland Park, Amphinomus, The Return of Ulysses under Christian Curnyn for the Royal Opera House and Purcell’s The Indian Queen for l’Opéra de Lille under Emmanuelle Haïm. Recent highlights include Bach’s Easter Oratorio and the Magnificats of JS and CPE Bach with Les Talens Lyrique under Christophe Rousset, Bach Cantatas with Les Violons du Roy under Jonathan Cohen, Handel’s Messiah with The King’s Consort and Tamino The Magic Flute for Glyndebourne.

65 BARITONE PETER HARVEY

Patch Harvey Initially a student of French and German at Magdalen College, Oxford, English baritone Peter Harvey only later changed course to music, and a love of languages has always remained at the heart of his singing. On leaving university he went on to the Guildhall School of Music and Drama, during which time he won prizes in numerous competitions, including the Walther Grüner International Lieder Competition, the English Song Award, and the Peter Pears Award. Peter has made close to 150 recordings in repertoire spanning eight centuries, with an emphasis on the High Baroque. Along with works by Handel and Purcell he has recorded all the major vocal works of J.S. Bach and many of the cantatas with conductors including Sir John Eliot Gardiner, Philippe Herreweghe and Paul McCreesh. A fluent French speaker, Peter has recorded a great many sacred works of the French Baroque and performs regularly with Michel Corboz. Of his two recordings of the Fauré Requiem with Corboz, the latest version won the “Choc de l’année” in Le Monde de la Musique. The Gabrieli Consort’s recording of Haydn’s Creation, for Deutsche Grammophon, on which Peter sings “Adam”, won the ‘Grammy Award’ for the best choral recording of 2008. Recent and upcoming highlights include performances with Concerto Copenhagen, Internationale Bachakademie Stuttgart, Bach-Stiftung St Gallen, Akademie für Alte Musik Berlin, Gaechinger Cantorey, Freiburger Barockorchester, Mahler Chamber Orchestra, Ensemble Pygmalion, Gulbenkian Orchestra, Orquesta Sinfonica de Bilbao, Oslo Philharmonic, Bavarian Radio Symphony Orchestra, Rotterdam Philharmonic, Nederlands Kamerorkest, Orchestre symphonique de Montréal, and the Budapest Festival Orchestra.

66 BASS-BARITONE ALEX ASHWORTH

Alex Ashworth is a concert and opera singer working across Europe and the UnitedKingdom. He studied at the Royal Academy of Music in London, and has sung with opera houses including Glyndebourne Festival Opera, Welsh National Opera and Scottish Opera. Abroad he has performed for the Opéra Comique in Paris, Opéra de Lille and the Icelandic Opera. Alex’s recordings include Bach’s B Minor Mass and St Matthew Passion for Sir John Eliot Gardiner and the English Baroque Soloists, Œdipus Rex, Stravinsky, with the London Symphony Orchestra, Monteverdi Vespers with the Orchestra of the Age of Enlightenment, and Handel’s Giulio Cesare for Glyndebourne Festival Opera. 2019 saw the release of a new recording of the Magnificat by both Bach and Kuhnau with the baroque collective Solomon’s Knot, of whom Alex is a regular member. Recent performance highlights include Bach (St John Passion and the St Michael Cantatas) with Solomon’s Knot in the Wigmore Hall, at the Leipzig Bachfest and the BBC Proms. He also sang the role of Pompeo in Berlioz’ Benvenuto Cellini in Berlin, Versailles and at the BBC Proms for Sir John Eliot Gardiner, and toured South America singing Purcell and Carissimi. Other notable performances include Œdipus Rex with the Berlin Philharmonic, St Matthew Passion on tour across Europe and Vaughan Williams’ Dona Nobis Pacem for the Three Choirs Festival. Alex also recently performed in the inaugural Alamo Baroque Festival in Texas and on a tour of over twenty performances of several of Bach’s cantatas around Europe with Sir John Eliot Gardiner. Alongside his performing career, Alex is a Professor of Singing at the Royal Academy of Music in London.

67 OXFORD BACH SOLOISTS FRIENDS

Founded in January 2015, Oxford Bach Soloists has catapulted itself to the top drawer of ensembles in Oxford with one clear, simple aim: to perform the complete vocal works of JS Bach over 12 years in chronological order.

We are incredibly grateful to our loyal following. Without you, none of what we do would be possible. We want to build on our success, and we invite you to join us on our journey to secure our future by becoming a Friend of OBS.

From just £8.33 a month (£6.66 + Gift Aid), your support as our Friend will enable historians and scholars to discover more about Bach’s music and influence, nurture the next generation of outstanding performers, and preserve this unique art form with integrity, performing in a regular cycle throughout the year.

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68 Friend Friend of Oxford Bach Soloists FriendFriend Friend £8.33 of (£6.66 Oxford + Gift Bach Aid) per Soloists month Friend £8.33 (£6.66£100 + Gift(£80 +Aid) Gift Aid)per permonth year OXFORD BACH SOLOISTS As a Friend you will enjoy: £100 (£80 + Gift Aid) per year As• Priority a§ Friend Priority seating you seatingwill enjoy: FRIENDS • Free§ PriorityFreeprogramme programme seating • Invitations§ FreeInvitations programme to OBS to OBS friends’ friends drinks’ drinks reception reception Founded in January 2015, Oxford Bach Soloists has catapulted • Priority§ InvitationsPriority ticket ticket bookingto OBS booking friends’ drinks reception itself to the top drawer of ensembles in Oxford with one clear, • Extended§ Priority access ticket tobooking online content simple aim: to perform the complete vocal works of JS Bach over 12 years in chronological order. Leipzig Circle We are incredibly grateful to our loyal following. Without £25 (£20 + GiftLeipzig Aid) per Circle month you, none of what we do would be possible. We want to build £25 (£20£300 + (£240 Gift +Aid) Gift Aid)per permonth year on our success, and we invite you to join us on our journey to £300 (£240 + Gift Aid) per year secure our future by becoming a Friend of OBS. Provides Vocal Scores for one cantata per month for an entire year. Provides Vocal Scores for one cantata per month for an entire year. From just £8.33 a month (£6.66 + Gift Aid), your support as Membership to the Leipzig Circle offers a closer relationship with us and our Friend will enable historians and scholars to discover more Membership‘behind the scenes’ to the Leipzig access. Circle offers a closer relationship with us and about Bach’s music and influence, nurture the next generation ‘behind the scenes’ access. of outstanding performers, and preserve this unique art form § All the benefits of a Friend of Oxford Bach Soloists with integrity, performing in a regular cycle throughout the § All +the PLUS benefits of a Friend of Oxford Bach Soloists year. § Go + behind PLUS the scenes and watch our ensemble in rehearsal § Your gift will go towards the funding of the Oxford Bach Go behind the scenes and watch our ensemble in rehearsal Soloists: the choir, the orchestra, the administrative support, the educational projects, music lessons, language coaching sessions, tours and recordings, and special projects. Dresden Court £83.33 (£66.66 + GiftDresden Aid) per Court month £83.33 (£66.66£1,000 +(£800 Gift +Aid) Gift Aid)per permonth year Join us today This level of patronage provides funding for£1, 000a Choral (£800 Scholarship + Gift Aid) forper an year Thisentire level year. of We patronage would like provides to celebrate funding this for exceptionala Choral Scholarship contribution for by an www.oxfordbachsoloists.com/friends entireincluding: year. We would like to celebrate this exceptional contribution by including:§ All the benefits of a Friend of Oxford Bach Soloists § All +the PLUS ben efits of a Friend of Oxford Bach Soloists § Go + b PLUSehind the scenes and watch our ensemble in rehearsal § GoUpdates behind about the thescenes Choral and Scholars’ watch our progress ensemble in rehearsal § PrivateUpdates invitation about the to Choral the Patrons Scholars’’ dinner progress and Patrons’ concert69 § Private invitation to the Patrons’ dinner and Patrons’ concert WITH THANKS Joseph Denby, Christ Church Cathedral Operations Manager Helena Cooke Fisher Studios Steven Grahl Simon Neal Jacqui O’Reilly Orientis Recording Services Simon Vout Jan White Verity Peterken Robert Quinney Tatiana Quintivalle Nancy-Jane Rucker, New College Choir Administrator Nick Rutter Benjamin Sheen TallWall Media Simon Wall, Director Harry Pill, Cameras That Event Company

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70 Cover image: Rachel Lockwood | Programme Design: Kate Benjamin Kate Design: | Programme Lockwood Rachel image: Cover