Orchestra Seattle and the Seattle Chamber Singers present the

Brockes Passion for Soli, Chorus and Orchestra

by

featuring Terri Richter Kia Sams Hanne Ladefoged Jerry Sams Stephen Wall Simon Cram and Brian Box as Jesus

Orchestra Seattle Seattle Chamber Singers George Shangrow, conductor

Good Friday, April 10, 1998  7:30 PM University Christian Church

 Soloists

Jesus Daughter of Zion Evangelist Peter Brian Box Terri Richter Jerry Sams Stephen Wall

Judas Caiaphas, Pilate Faithful Soul, Mary Hanne Ladefoged Simon Cram Kia Sams

 Orchestra Seattle

Violin Viola Bass Oboe Dajana Akrapovic - Beatrice Dolf Allan Goldman Shannon Hill Hobson Saundrah Humphrey Principal Sue Herring Principal Tim Garrett Maria Hunt Jim Lurie Kirkland Harpsichord Bassoon Principal second Cello Robert Kechley Jeff Eldridge Fritz Klein Julie Reed Principal Concertmaster Principal Judith Lawrence Leif - Ivar Pedersen Matthew Wyant

 Seattle Chamber Singers

Soprano Paula Rimmer Christine Hackenberger Thomas Nesbitt Jennifer Adams Kelly Sanderbeck Susan Maloff Dave Spurling Barbara Anderson Liesel Van Cleeff Adrienne McCoy David Zapolsky Debra Browning Verlayn McManus Sue Cobb Alto Suzi Means Bass Crissa Cugini Laila Adams Laurie Medill Andrew Danilchik Kyla DeRemer Sharon Agnew Nedra Slauson Douglas Durasoff Susan Dier Cheryl Blackburn Liza Wells Dick Etherington Dana Durasoff Nicole Blackmer Peter Henry Cinda Freece Jane Blackwell Tenor Charles Hobson Kiki Hood Wendy Borton Alex Chun Rob Kline Lorelette Knowles Shireen Deboo Ralph Cobb Tim Ramos Nancy Lewis Penny Deputy Jon Lange John Stenseth Alexandra Miletta Laura Dooley Timothy Lunde Richard Wyckoff

 Administration

Board of Directors Administrative Personnel Alan S. Middleton, President Kerry Fowler George Shangrow, Music Director Rena Ilumin, Treasurer Dr. Richard Lyman Jane Blackwell, Office Manager Sharon Agnew Richard Wyckoff Andrew Danilchik, Librarian Douglas Durasoff Michael Yantis Jack Holtman, Bookkeeper

OS  S C S gratefully acknowledges the support of the Washington State Arts Commission, the King County Arts Commission, the Seattle Arts Commission, Corporate Council for the Arts, Seafirst Bank, The Boeing Company, Microsoft Corporation, Davis Wright Tremai ne LLP, and Classic KING - FM.

Special thanks to: University Christian Church; Dr. Richard Lyman for recording the concert; David Calhoun for the loan of his harpsichord; Jeff Cohan for tuning it; and all of our wonderful volunteers. Brian Box Terri Richter Baritone Brian Box is a native of Washington and Since arriving in the Pacific Northwest in 1995 , soprano received his Master of Music degree in vocal Terri Richter has quickly established herself as a leading performance from Western Washington University. Mr. opera and concert artist. A finalist in the 1995 - 96 Box has appeared frequently with OS/SCS as a soloist Metropolitan Opera Regional Auditions, she was in cantatas and . Among his credits are awarded the very first Mary Levine Memorial performances of Brahms' Four Last Songs with the Scholarship in 1997. Recently Ms. Richter has appeared Western Washington University Orchestra and the with the Spokane Symphony, Bellevue Philharmonic, leading role in Dominic Argento's opera Postcard from and Seattle Symphony, and was chosen as the first Morocco at the University of Briti sh Columbia. He is a member of Seattle Opera’s new Young Artist Program, regular performer with Northwest Opera in Schools, where she will sing Despina in Cosi fan tutte . She made Etc. (NOISE), and Seattle Opera's education program her Seattle Opera debut in Novemb er, as Barbarina in and made his Seattle Opera solo debut as the Corporal The Marriage of Figaro . in The Daughter of the Regiment ; this past summer he appeared in their produc tion of Der Rosenkavalier . Mr. Box’s recent appearances with Orchestra Seattle and the Jerry Sams Seattle Chamber Singers include Haydn’s The Seasons Tenor Jerry Sams has sung in the Seattle Chamber and Handel’s , and . Singers since the early days of the ensemble, both as a chorus member and soloist. With the group, he has performed tenor solos in almost all of the Handel Simon Cram oratorios as well as the major choral works of Bach, Bass - Baritone Simon Cram received his vocal training Mozart, and others. Mr. Sams has also appeared with from Marianne Weltmann. He has appeared in many several Seattle area ensembles, including the Northwest Northwest productions, most recently as Blue Chips in Chamber Orchestra and City Cantabile Choir. When Mozart's Impresario at the Seattle Fringe Festival. Last not summer he performed the title role in a concert version singing, he is a manager in Infor mation Technology for of The Marriage of Figaro under the dir ection of Beth a large tree growing company in Federal Way. Kirchhoff. Mr. Cram has also been seen in the role of Don Giovanni and as Olin Blitch in Carlisle Floyd's

Susannah . As the bass soloist for University Unitarian Kia Sams Church, Mr. Cram has performed extensive Kia Sams is a well - known Seattle composer and soprano and cantata work; under the baton of Karen Thomas, he who has been featured by many orchestras and groups, has sung works by Bach, Haydn, Mozart, Mendelssohn, including Orchestra Seattle and the Seattle Chamber Faurè and Britten. In addition to his solo work, Mr. Singers, University of Washington Contemporary Cram is a regular member of the Seattle Opera Chorus; Group, Cornish Performing Group, Washington he is also a two time award winner in the Civic Opera Composers Forum, City Cantabile Choir, and others. Guild Vocal Compe tition. Her compositions have been performed throughout the United States and Europe. Her latest opera, about the Pied Piper of Hamelin, was c ommissioned by Tacoma Hanne Ladefoged Opera and has been performed by them on two Born in Denmark, mezzo - soprano Hanne Ladefoged is different occasions since its premiere in November of now a resident of Seattle, where she is an active soloist, 1993. lecturer and teacher. In 1993, she was invited to join the Seattle Opera Young Artist Outreach Program, in which she sang and lectured extensively. Her professional Stephen Wall opera debut (as Prince Orlovsky in Die Fledermaus ) was A resident singer of the Pacific Northwest, tenor with the Whatcom Symphony. She has also performed Stephen Wall has appeared often with OS/SCS since leading roles with Seattle Experimental Opera and with 1985, including performances of Bach's St. Matthew OperaWorks in Los Angeles. Orchestral and oratori o Passion , St. John Passion , and the b Minor Mass . Mr. Wall works include Messiah with Seattle Choral Company, has sung with Seattle Opera in Wagner's Tannhäu ser and Bach’s Magnificat with Northwest Chamber Orchestra, Die Meistersinger and soloed with the Seattle Symphony and Beethoven’s 9th, Elgar’s Sea Pictures , Bach’s b minor led by Gerard Schwarz in Mendelssohn's Lobegesang . mass and Messiah with OS/SCS. Ms. Ladefoged also His association with Mr. Schwarz includes appearances appears as a recitalist, and as a frequent soloist with the with the Vancouver Symphony in performances of Pacific Northwest Ballet. This season she can be heard music by Bach and Wagner. Mr. Wall has also sung with the Estoria Company and in Charpentier’s Les Arts with the Bellevue Philharmonic, Seattle Bach Festival, Florissants ; this season she has appeared in Hercules with Seattle Choral Company, Northwest Chamber OS/SCS . Orchestra and the Everett Symphony, and with the orchestras of Spokane and Yakima. This season he has sung Israel in Egypt and Messiah with OS/SCS.

 Program Notes by Lorelette Knowles

Barthold Heinrich Brockes, Licentiate of Rights and Freislich followed. himself set Town Councilor of Hamburg, was somet hing of an parts of the text and wrote out half of a copy of Handel’s enigma and a contradiction. He was a fat little fellow, a setting (Paul Henry Lang says that this copy was vain and vulgar person who was nevertheless regarded completed by Bach’s second wife, Anna Magdalena). throughout the Germany of his age as a gifted poet and translator. He attended Halle University, exiting in the Brockes’ Passion text belongs to the ‘compromise species’ year that George Fride ric Handel entered. With typical of the “Passion - Oratorio,” which was cultivated self - praise and snobbery, he wrote the following extensively in the city of Hamburg, beginning in 1640. The account of what caused him to write an elaborate poetic text of this musical genre was based rather freely on the account in German of Christ’s Passion: Gospel narrati ves of the final sufferings and death of Jesus, while the music was composed in the style of the When, however, I became aware that poetry, in so sacred oratorio. Its text was characterized by the inclusion far as it is not directed to a particular and that is a in the narrative of non - Biblical, contemplative passages, useful end, be but an empty play of words, not and by extensive use of hymns, but the G ospel words still deserving of any great esteem, I endeavoured to predominated. Soon, however, the actual Biblical texts choose such objects for my poetical art by which were largely replaced by free paraphrases, and poetic the people, apart from a permissible amusement, embellishment of the texts through the use of metaphor might derive edif ication. Thus I wrote firstly the became common. Allegorical figures were also introduced Passion - Oratorium, afterwards translated into to reflect the dra matic effect of the in suitable several languages. I had it performed very arias. These works became nearly indistinguishable from solemnly at my house, which, as something the operas of the same period: both classes of uncommon, brought to me not only the whole compositions contained extensive introductory overtures, foreign nobility, all the Ministers and Resident s recitatives, ariosi, arias with preludes, ensembles, and with their ladies, but also the greater part of the choruses. most eminent Hamburg people, so that over 500 people were present, which gave me no small Beginning in 1687, Hamburg boasted an opera ensemble pleasure, the more so, as everything, praise be to that performed in a building existing specifically for this God! went off in the best order without all purpose, and the residents of this city - state developed a confusion, and to the enjoyment of the whole keen interest in dramatic musical presentations. During audience. the penitenti al season of Lent, however, the opera house had to remain closed, and the soloists, chorus, and Brockes’ dramatic poem, Der für die Sünden der Welt orchestra were therefore available for other musical gemarterte und sterbende Jesus (“Jesus martyred and engagements. It was appropriate to perform dying for the sins of the world”), which he published in during this season, however, so that the people would b e 1712, consisted of an alternation of Biblical paraphrase , provided with an edifying musical diversion, and emotional reflective aria and arioso verses, and “crowd composers began to write Passions with the abilities of scenes” and hymn texts, with inset and air these artists in mind. But just why and under what sequences called “soliloquia.” The poem had an circumstances Handel composed his , no immense impact on Hamburg society and became one knows. enormously popular. This was probably because Brock es appealed to his contemporaries’ fears, When King George I left England for Hanover in July of sufferings, and spiritual struggles through his highly 1716, Handel, who had been living in London for some graphic and dramatic imagery, and to their religious years, seems to have accompanied or followed him, and pietism as well. The poem passed through several the composer remained in Germany about six months. It printed editions and was circulated very widely. may have been during this period that he composed the Brockes seems to have written it with a musical Passion which we p resent this evening. The exact date of treatment in mind, and it was indeed set to music by its composition remains indeterminate (probably late the most celebrated composers of the time. The first of 1716), and even Handel’s original manuscript has these settings was composed in about 1712 by Handel’s disappeared (his music survives in five early copies). former employer, friend, and rival, , and the next was written in 1716 by Handel’s early There are a number of theories regarding the genesis of acquaintance, . Handel wrote th e Brockes Passion. Perhaps had his setting at about this same time, and in 1718, Johann planned for some time to follow the ancient custom of Mattheson also composed music for Brockes’ poem. reading all four Gospel accounts of the Passion during Numerous other settings, by Fasch (1723), Stölz el Holy Week by presenting four Passion compositions in (1729), Schuback (1750), Bachofen (175?), Steininger, and Hamburg during Holy Week of 1719. He might have

encouraged Handel to set the Brockes text , and then the passages that might have received the most s ublime of composed his own Passion only after he had received treatments from Bach, who was a Lutheran of deep Handel’s and two other scores. Herbert Weinstock conviction, it is likely that Handel’s work influenced Bach proposes that Handel took his setting of Brockes’ text in at least his St. John Passion (1724) and his St. Matthew back with him to England in 1717, had a fair copy made Passion (1729). of it there, and then sent this to Hamburg. Some have theorized that Handel wrote the work for performance We have no record of the effect of Handel’s music upon in England before the German - speaking King George I it s first audiences, but it appears to have been popular in and his court. Johann Mattheson himself wrote that Germany for some years. The fact that Handel’s and three Handel’s Passion setting was “composed in England, other settings of Brockes’ text were performed in and sent by post to Hamburg i n an uncommonly close - Hamburg from 1719 onward in rapid succession invited written score.” Mattheson’s writings about Handel’s comparisons even at that time. In a 17 19 edition of the career are so full of inaccuracies, however, that it is libretto, an unnamed writer, perhaps Brockes himself, hard to trust the veracity of his account. It seems quite stated that “even a connoisseur of fine music must confess likely, however, that Handel’s competitive instincts that he does not know what grace, artistry, and natural drove him to se t to music a text with which he was expression of feelings he is to forget here, and to whom to distinctly uncomfortable. Handel was pursuing a career award the palm, without venturing upon a dangerous as a composer of Italian - style opera, and showed little judgment.” Today’s critics, however, do not view the interest in setting German Lutheran liturgical texts to work favorably; they find the text “preposterous” and the music. He was primarily a humanist, fascinated by the music uncomfortably uneven in quality. R. A. Streatfeild analysis and musical depiction of human nature in all calls the Passion one of the least satisfacto ry of Handel’s its facets, and he must have found the extreme pietism works, because “it gives throughout the impression of a and sentimentality of Brockes’ text unsavory and man working with uncongenial material.” difficult to reflect convincingly in music. Why then would he have written such a work as this, i f not to Thus, Handel’s Brockes Passion is seldom performed show the German people that he was a better composer today. It does, however, deserve a hearing, for that very than Keiser and Telemann? In any event, Handel’s reason, and because it represents a significant step in the Passion seems to have received its first performance in composer’s musical development. In addition, Handel Hamburg, Brockes’ home city, without the composer used certain pieces from it in later works (the oratorios present, either during Lent of 1717, or on March 23, the and Deborah, and the opera ), and a Monday of Holy Week, in 1719, at the Cathedral in knowledge of these numbers in their original context aids Hamburg (the first documented performance). This in the understanding of Handel’s later compositions. This presentation took place under the direction of Passion remains, however, a contradictory and Mattheson, and was followed by performances of the “conflicted work,” one that contains some passages of settings of Brockes’ text by Keiser, Tele mann, and considerable emotional power and beauty, and others that Mattheson himself during the rest of Holy Week. seem strained, awkward, and rather uninspire d, perhaps Nothing is known of any performance in England, because the genius of the writer of the music was in Handel’s adopted country. conflict with the overblown and rather hypocritical

 religiosity of the writer of the text, whom Newman Flower calls a “wretched little man, whose eyes were on The Brockes Passion was the last complete work that the money - bags and his glib tongu e on his God.” Handel wrote using a text in his mother tongue. The score, made up of over fifty sections, is written for The Passion probably impressed its first audiences as a soloists, chorus, and an orchestra composed of strings, work arising from deeply - held religious convictions, oboes, bassoons, and continuo. The Passion consists of though it appears that neither the composer nor the an overture (a fast - paced fugue), leading via an operatic librettist were expressing a genuine faith through their oboe solo in recitative style to the usual arias , choruses, artistic creativity as Bach did. In fact, one might wonder and accompanied recitatives. The soloists have some why Bach was one of the only composers of the day who deeply moving and some very virtuosic pieces, but the did not write a “Brockes Passion,” particularly since, as a role of the chorus is relatively limited; the "crowd’s" sincerely religious German and a dedicated, life - long numbers are brief and the chorale settings are generally composer of Lutheran church music, he should have b een plain. The work is at its best when it is most operatic most likely to do so. The Brockes Passion, then, leaves us and dramatic. Some of the more remarkable portions with many questions – about its inspiration, its origins, its include Christ’s aria, "My Father," the pleading of the purpose, its nature, the date and circumstances of its Daughter of Zion with Pilate, Mary’s song, “O God! My premiere, and its performance history. It remains an Son is dragged away and torn from me,” the entire intriguingly mysteriou s puzzle. scene from the prayer in Gethsemane to the denial of Peter, and the ensemble “Awake!” (which Handel later used in his oratorio, Esther). Though the music reflects Handel’s relative lack of subjective religious feeling in

Sinfonia Jesus Recitative – Evangelist Soli and Chorus I say to you: before the cock crows twice you will And before he finished speaking Judas entered and To free me from the rope of my sins, have denied me thrice. with him a great multitude with swords and staves. they bind my Lord, Peter to heal me of the suppurating sores of vice, Chorus I will sooner be thro ttled and buried with you, yea, I He allows them to wound Him. Catch him, strike him dead, will sooner die ten times before I will deny you or but no, He must cover the stains of my sins abandon you. you must catch him alive. be dyed with this own blood Jesus indeed, life itself wants to die Withdraw now, I shall go to my Father, but do not Recitative to give me everlasting life. sleep because the time to pray has come. Evangelist And he who betrayed Him had given them a token: Recitative – Evangelist Aria – Jesus Judas When Jesus sat down at the table and with His Father, Father, So that you will know for sure which one is Jesus, I disciples was eating the Easter lamb, the symbol of His see how I suffer, shall kiss him, and then rush him in a great multitude. death, He took bread, and gave thanks to the Highest have mercy on me in my need, and broke it, gave it to them and said: my heart breaks and my soul Chorus sorrows unto death. Accompagnato – Jesus He shall not escape us. This is my body, take, eat; so you will not forget me. Recitative – Jesus Recitative The heavy weight of sins oppresses me, I fear the Aria – Daughter of Zion Judas horrors of the deep, a muddy swamp that is God, for whom the infinite heavens, Receive Rabbi this kiss from me. bottomless wants to cover me: the fierce embers of ad all space as space is too small Jesus hell press marrow and blood out of my bones an is present here, in an unfathomable way, Friend, tell me why you have come here? veins. And because on top of all torments I must with a nd as bread and wine. bear your wrath, O Father, compared to which all Aria – Peter He would be the spiritual food of sinners, torments are easy. There is no pain that compares Prison and red hot fire, light and flood, oh love, oh grace, oh wonder. to mine. smother, burn, smite asunder, sink the false betrayer Recitative – Evangelist Aria – Jesus this murderous intrigue! And soon after he took the cup and gave thanks, If it be possible for thy wrath to be assuaged, and gave it to them, saying: then let this cup pass, Jesus is pitiably fettered but Father let not my will, and do not the elements move? Accompagnato – Jesus but your will alone be. Up then, my tireless courage, This is my blood of the New Testament, which will be shed the sacrilegious blood Arioso – Daughter of Zion shed for you and for many. It will serve those who as poison and red hot fire, Sinners, look with fear and hesitation savor it to wipe out their sins. To make sure that light and flood do nothing. you truly recognize this I wish that all should drink this on the dreadfulness of your sins, blood so that they will remember me always. since their punishment and torments Recitative – Jesus can hardly be borne by the Son of God. Put up again your sword into his place, for all they Aria – Daughter of Zion Recitative – Evangelist seize the sword will be turned cold by the sword. Or God Himself is the fountain of all good, don’t you believe that I could immediately from my Pain increased by cruel shaking, so that he could aboundless sea of grace, Father on High obtain the help of angles? But the barely produce the death - rattle because of it; His He begins to bleed for sinners, scriptures will that it must happen thus. You have weak arms were seen to tremble, His dried lips until He is drained of blood, come, with swords and staves to take me as a scarcely breathed. His anguished heart began to from these floods of grace murderer, and yet as I t aught you , you listened to me beat so hard that bloody sweat in countless dr ops He offers His blood to us to drink. daily in the temple and none of you felt the desire to lay issued from his veins, until at last, tortured to hands on me. But all this had to happen now, what the Chorus death, filled with fear, tormented, His soul half Oh how my soul hungers, prophets had long ago predicted. gone, He even wrestled with death. Friend of Man, for your goo dness! Chorus Oh how often do I yearn in tears Aria – Daughter of Zion Break, my heart, dissolve in tears, O grief, they bind Him up for this nourishment! with ropes and chains! Oh how I thirst the body of Jesus dissolves in blood. Hear His pitiful g roans, Up, up, let us flee! for the drink of the Prince of Life, And save our lives! I always wish that my bones see how His tongue and lips thirst, may be united with God through God. hear His moans an sighing, Recitative – Peter see how much He is afraid. Where are you fleeing? Do not despair, stay! Too late,

Recitative they have gone! What shall I do? Shall I follow the Evangelist Recitative – Evangelist others, since alone I cannot help Him in any case? Then they gave thanks to the Most High and after the But an angles has come form the starry scenes to spoken hymns of praise, Jesus crossed the brook of serve Him in His woes and strengthens Him. And No, no, my heart, no, no I shall not leave Him alone, Cadron to the Mount of Olives, and said to be his He returned to where His weary discip les were, and and even if I must lose my life straight away, I must see disciples; found them all gently resting therefore He called to where they take Jesus. Jesus them anxiously: Aria – Peter You will all be offended because of me this night, and Arioso Take me with you, despairing lot, you shall even forsake me. Jesus here stands Peter, without a sword. Ch orus Awake! Do to me We should all sooner, Peter that which they do to Jesus. yet will not deny thee with such faithlessness. Who calls? John Recitative Recitative – Jesus Yes, my Lord! Evangelist It is certain, for thus it is written: James And Jesus was to the place of Caiaphas, where the council of high priests assembled, dragged rather than Air – Jesus Yes, my Lord! Jesus led, and Peter, moved now by rage and now by fear, Because I will smite the shepherd, followed Him at a distance. But the council sought in the whole flock shall be scattered. Awake, could you not, in this horrible night, when I sank into the throat of death, watch one hour with vain through false witness to lay a trap for Jesus; and Recitative me? Arise! therefore Caiaphas said to Jesus: Peter John, James, Peter Caiaphas To the end I will in spite of all mishaps, yea, even if Yes! Yes! Here we should like of all you have done and of your through the powers of hell the whole world should Jesus doctrine, to have news. crumble, I will always stand beside you. Oh, do get up, he who betrays me is here! Jesus

What I taught happened publicly, there is no need to tell There is no one who can help me tear up my flesh, you only here; you can ask those who heard me. I find no one in this world. crush my bones, An armed servant you monsters of that cave of torments! I call to you, do not reject me Heretic! How dare you spe ak to the high priest in this Push my sacrilege with fire, as I well deserve. manner! Wait, let this blow revenge your sacrilege. tar and brimstone, O God, do not be angry, do not sit in judgment that my damned soul Aria – Daughter of Zion for Your Son has atoned for me. may suffer forever. What bear paws and lion claws dare not do despite their fury, Recitative – Judas do you, cruel human hand, lead into temptation! Inexpressible is my suffering, countless my torments. The air bewails that it has nourished me, the earth, It is a wonder that in great haste I N T E R M I S S I O N which having carried me is worthy of damnation for this the lightning and bolts of wild weathers alone; the stars turn to comets to destroy me, nature’s should not have burnt you yet, servant of the devil. monster; the earth denies me a grave , and heaven Recitative Recitative denies my soul an abode. What will you do now, you in Evangelist Evangelist despair, damned murderer? Before I would suffer Peter saw all this, who out side, near the fire had When Jesus, however hard He was accused, said more unbearably still, I shall go hang myself. stealthily sat down. Then a maid came who as soon as nothing to all that, Caiaphas attacked Him with Aria – Daughter of Zion she saw him said: these words: You who miss God’s mercy, First servant m aid Caiaphas and pile sin upon sin, I swear by all that I hold high and dear that this man Since one cannot get anything out of you and you remember that the punishment already sprouts also was of Jesus’ troupe. answer the testimony of witnesses with stubborn in the ripening fruit of sins. Peter silence, I adjure you by God to confess to us Who? Me? No, truly not, you are mistaken. whether you are Christ, the Son of God. Recitative Evangelist Jesus Evangelist Soon after another said: I am! Hereafter you shall see me coming on the And when Pilate asked Jesus whether He was the King Second servant maid right hand of power and on the throne of the clouds of the Jews, Jesus spoke: As far as I can remember you have often with the man of heaven. Jesus held here w alked in his company. I am surprised that Caiaphas You said it. you dare come here. Blasphemy! What further need have we of Chorus Peter witnesses? Now you yourselves have heard what Punish this malefactor, What chatter! I do not know what you are saying, I truly he dared say. What do you think? the enemy of the emperor, the traitor! do not know him. Evangelist Evangelist Thereupon the whole council immediately said: Recita tive Soon after another told him to his face: Pilate Third servant maid Chorus Can you not hear? Do you not take in how harshly they You are really one of his men, and in vai n do you try to He deserves death! accuse you and will you not say anything to save you? wash yourself clean, you were in the Garden with him, Aria – Tenor Evangelist and your speech betrays you. Ponder well, ponder well, But He said no more.

Arioso – Peter ponder well, enraged serpents’ brood, Duet May I sink, what you do in your rage, Daughter of Zion may heaven’s lightning and thunder strike me driven by rancor! And will you to these charges if I have even once A worm will ruin the Creator, and ironic questions, seen this man elsewhere. a man condemns God! eternal Word, say not a word? You deny life, to life, Recitative Jesus the death of death will die through you! No, I shall now show you Evangelist And immediately the cock crew. And as the hoarse Recitative how I retrieve by my silence Evangelist that which you have lost by gabbling. sound reached Peter’s ears, his heart of rock burst and soon flowed, as Moses’ rock had yielded water, a brook The night had hardly passed, the weary world was Recitative – Evangelist of tears down his cheeks and he cried out inconsolably: still sunk in sleep when Jesus once again Pilate marveled greatly, and as at that feast he was Evangelist restrained by chains, ac companied by a hideous wont of prisoners to release one, he tried his best so What boundless grief attacks my mind! Cold shivers howling, was dragged before Pilate. that of Jesus and B arabbas, who was imprisoned alarm my soul; the wild flames of agony’s dark cave set Daughter of Zion because of a murder, they should choose Jesus. But my seething blood afire; my innards sizzle on glowing Did my Savior have to suffer this? For whom, o the multitude called with dreadful noise: embers. Who will put out this fire, where shall I look to God, for whom? For whose sins does He let for salvation? himself be bound? For what faults and sins must Chorus He endure the sacrilege of the bailiffs? Who has No, not this one, Aria – Peter done for what Jesus atones? I alone am guilty of release Barabbas! Howl, you curse! this. Recitative – Pilate Howl you curse of men! Aria – Daughter of Zion What will I then do with your so - called king? Tremble, w ild servant of sin, tremble, for God who is just, My vices are His ropes Chorus he destroys obdurate sinners. and His chains are my perfidies, Away, away, awa y! my sins have bound him. Let him be crucified!

Recitative – Peter But wait! Shall I perish in despair? No, my oppressed He wears them to save me, Recitative – Pilate heart, my timid soul must address the wondrous to free me What has he done? goodness of my Jesus, and seek mercy. from the chains of Hell. Chorus Aria – Peter Recitative – Judas Away, away, away! Look I fall in strict repentance, O h what have I done, accursed that I am! No Let him be crucified! forgiver of sins at Your feet, stroke of lightning touches me, will not thunder cut Recitative – Evangelist let Your mercy, appear to me me down? Open, depths, open, open for the dark so that the prince of the dark night, path that leads to hell! But oh, even hell is When he saw that he could not calm the multitude, he astonished by my deeds. Even the devils are finally said yes and delivered Jesus to their will. who laughed as I did wrong, may weep now, seeing my tears. ashamed! I am a do g, who betrayed my God.

Chorus Arioso – Daughter of Zion O God and Lord, how great and heavy Aria – Judas Think, Pilate, be solent, restraint! are the sins I hav e committed. Leave not this deed unavenged, Avoid hell’s brimstone fire!

Will you condemn the Son of God? Rash thorn, barbarian points! Unweeded After they had mocked, abused and tormented Him Accursed man, will you curse God? murderous corpse, enough! Should the invory of sufficiently, they tore off the purples which He wore, Will you with impudent cruelty deliver this head be completely cut by your rough thorns? and put His own clothes on Him, and finally led Him to the life of dead world Turn rather into steel and blades, that ye may crucify to the Place of the Skull. the joy of angels penetrate the hearts of these murderers, who are Solo and Chorus and the Lord of glory to i nfamous bailiffs? tigers and not men. But the damned bush is deaf, Daughter of Zion Your heart is like a bear’s and hard as rock listen h ow with scraping noises its leaves like Hasten, you corrupted souls, to pass such sentence. dragon’s teeth, pierce the tendons, veins and flesh! leave the murderous cav es of Achsaph. Shall God die? Aria – Daughter of Zion Come. I marvel, you dragon’s brood, Let this bitter pain shameful sinner, Chorus that in your damned throat may pass through your heart, Where to? your tongue has not gone black or rigid. marrow and soul! Daughter of Zion Recitative – Evangelist Nature itself feels grief an horror, indeed she feels Come. Then the soldiers dragged Jesus in and gathered to stir each stab throbs, Chorus up their rage still more all the multitude. They tied since the thorns’ hard points Where to? Jesus to a stone and scourged His tender back with pierce so woefully Daughter of Zion ropes full of nails. the brow of their Creator. To Golgotha. Hasten, on the wings of faith fly. Arioso – Faithful Soul Recitative – Daughter of Zion Chorus I see the Cornerstone The tender temples are to the brain holed and Where to? tied to the stone pierced. Look, soul, look, how from the divinely Daughter of Zion who appears to be the flint beautiful brow runs like purple dew that flows from Fly. of eternal Love; the starry sky a clear brook of bloody purple flows. Chorus from his gaping wounds Aria – Daughter of Zion Where to? because carried the fire within His breast, Jesus! Jesus, to wed our souls, Daughter of Zion I see each time He is beaten, Your compassionate heart melts with love; To the Hill of the Skull, each time the bailiffs yes, you pour into the coals your welfa re blooms there! smite down upon Him instead of oil, for ardent instincts, Come. with ropes of steel, sparks of love your blood bubbling with love. Chorus leap from each drop of blood. Where to? Recitative – Evangelist Recitative – Faithful Soul Daughter of Zion Then they mockingly bowed the knee before Him, Therefore, Soul, look with timid joy, bitter pleasure and To Golgotha. and began to laugh and shout: abashed heart at your heaven in His pain! How on the Come. thorns which wound Him heaven’s primroses blossom. Chorus Recitative – Mary You can pick the fruit of joy from the tree of His Let every one be subject to him! Ah, my God, my God! They drag my son away, they bitterness. Look, how His murderers plow His back, Hail, King of the Jews! tear Him from me! Where to you take Him, infamous how deep, how cruelly deep, they cut their furrows Recitative – Evangelist murderers? To death, as I notice. Must I experience which He waters with His blood. From which sprouts His death, afflicted mother that I am? How great is my for the dead world the harvest of life. Yes, yes from And indeed, they did not shrink from spitting in His woe! A sword pierces my heart, my Child, my Lord, my Jesus’ weals springs forth balm who wondrous power face. God is perishing! Is the cross the sole reward for so possesses so rare a quality that it h eals not its own Aria – Daughter of Zion many miracles? My God, my God, my Son! wounds, but those of others, to us it gives life, joy and You foam, foam of the world, solace, to Him, death. does your basilisk’s throat spit Duet phlegm and slobber Mary Aria – Faithful Soul you blood of dragons, Must my Son, my Life die, His back is painted in colors like the sky, in the face of Him who keeps all on this earth and will my Son sh ed his blood? which as a sigh of mercy, and hell does not swallow you. Jesus is adorned with countless rainbows, Yes, I die for you, dries up the flood of our sins , Recitative – Evangelist to win you Heaven. and the sunbeam of gracious love And then they took the reed that He had in His shines even through the clouds of His blood. hand and smote His blood - stained head. Recitative Evangelist Recitative – Evangelist Aria – Daughter of Zion And He bore His cross himself. And when His blood flowed like rivers, they put on Him Sinner, in consternation, take note Daughter of Zion a scarlet robe, and to mock Him still more, they of the pains of the Savior! Ah, bitter plagues, ah, tortures that cannot be told! crowned Him with a crown of thorns. Come, consider Must you, my savior, carry the wood yourself which will how the strength of the blows Aria – Dau ghter of Zion soon carry you? Yes, you carry it and nobody hears thunder on the crown of his head you complain! Elsewhere the prickly thorns and see how they smas h his holy brow, are crowned with roses, how His dove’s eyes are swollen! Aria – Tenor how can it be that here Look at His tangled hair It seems, as the lacerated back the Rose of Sharon is crowned with thorns? which once was anointed with dew, and curly is pressed down by the weight of the cross Otherwise roses and how it is wet with pus, and the unbridled vigor of the bailiffs, water with the pearls of Aurora, not tears, and sticky with thick blood! that on bended knees here from the rose itself All this He suffers only for your good. and He thanks the great Father sweats rubies of blood, for granting Him the long - desired cross. yes, pitiful rubies, Aria – Daughter of Zion which spring from the blood Savior of the w orld, Recitative – Evangelist congealed on Jesus’ brow. Your painful suffering And when they came to the place called Golgotha, they I know, you shall serve me frightens the soul gave Him gall and wine to drink and finally they hanged as one adornments of my soul, and brings it joy; Him on the cross. you are pitifully beautiful to it; and yet I cannot Aria – Faithful Soul through the torments which press on you look upon you without alarm. My heart and blood are numbed, she will be eternally revived, my soul and mind amazed! and she dreads to look at you. Great heavens, what will you do? Do you know what you are doing murderers? How dare you, hounds and devils, Recitative – Daughter of Zion Recitative – Evangelist nail the Son of God to the cross?

Recitative – Faithful Soul Recitative – Evangelist Oh this sight, this terrible vision! How dreadfully the And a soldier ran to Him, who filled a sponge with Recitative bridegroom of my soul is treated b y the executioners! full of vinegar, and put it on a reed, and held it for Faithful Soul No, they tear apart the innocent Lamb like savage Him to drink. Then Jesus cried aloud, with all his Yes, yes there is a howling in underground vaults; and tigers. Ah look! Now they start, with ugly gestures, strength: It is done! the depths of the earth quake; the black throat of the pitifully stretching His hands and feet, His arms and dark depths fills the air with the stench of brimstone. Trio – Soprano, Alto, Baritone tendons. They jerk Him with ropes, nail Him with nails, Centurion Oh thunde ring voice! Oh dreadful cry! so that almost ever y bone can be counted! O God, I Help, heavens, what is this? You gods, give me Oh voice, which death and hell fear, almost die of terror, my soul almost leaves me just courage! Black darkness envelops the world, covering which puts shame to their power! owing to what I merely see. it with vapors and mist. Oh grief, the depths crack, Oh cry, which rent the stones and rocks, which and spew steam and evals, the clouds send forth Chorus makes the devil tremble and scream, lightning, the a ir bears flames, the rock splits in twain, O man, for your sins alone from which the dark depths thunder! hills and stones crack! Can the death of Jesus be the did all this come to pass, It is done! It is done! cause of all this? Yes, I can read the miracles: the since for your sins Oh holy word! Oh healing cry! dying man was truly the Son of God! you were already destroyed. Sinner, thou needst Aria – Faithful Soul Recitative – Evangelist fear no longer How can it be that Having c rucified Him, the soldiers cast lots over His the power of the devil and hell. when the sky weeps robe, and over His head there was written: the King of Oh cry which heals our loss, when the abyss reveals the Jews; and they that passed by reviled and mocked grants us salvation, the throat of blind depths, Him, likewise those who were hanging next to Him. which God had long intended for us! when the hills crack It is done! It is done! Chorus and the cliffs split in twain, Fie, fie, fie! Recitative my hard heart will not soften? Fie, look at the new king! Faithful Soul Yes, yes, it thumps and breaks: If you are such a miracle - worker Oh blessed are they who bel ieve this, and who His death tears my soul descend from the cross; when their need is greatest take comfort in these out of destruction. help yourself and us, words. Accompagnato – Faithful Soul and we shall know for sure! Evangelist Jesus’ death and suffe ring makes heaven and the And He bowed His head. Recitative – Evangelist whole world suffer; the moon, dressed in mourning, And from the sixth hour pitch darkness covered the Aria bears witness that its creator falls, it seems that the whole land. Daughter of Zion blood of Jesus had extinguished the glow of the fire Hast Thou dressed the deep wounds of my soul and the sun. His breast split. The cold rocks burst as Aria – Faithful Soul with your words? a sign that t hey too saw the Creator go cold. My heart, Is it surprising that the splendor of the sun, Can I now through your suffering and death what will you do? Be stifles, to the glory of God in a the moon and the stars no longer sparkle gain Paradise? flood of bitter tears! when the pale night of death seeks Is the redemption of the world close at hand? Chorus to overshadow the brightness of the sun. Faithful Soul My sins shall greatly distress me, These are the questions of the daughter of Zion. Recitative – Evangelist thy conscience will gnaw at me, Since Jesus cannot now speak It happened at the ninth hour! And soon after Jesus because you are many as sands of the seashore, in His great pain, cried out saying: Eli, Eli, lamma sabachtani ? Which is, and yet I do not despair, being interpreted in our tongue: My God, my God, why He bends His head and beckons: yes. I shall think of death; have you forsaken me? After this, knowing that Recitative Lord Jesus, of your wounds so red, everything was over, He called with parched clamor: I Daughter of Zion they will sustain me. thirst! Oh greatness of spirit! Oh spirit of forgiveness! Aria – Daughter of Zion Evangelist Arioso – Faithful Soul Wipe away the caustic lye of the tears, My Savior, Lord and Prince! And He passed away. stay, happy soul, rest at last! When whips and rods cut your flesh, Aria – Faithful Soul His locked arms and closed eyes w hen thorns and nails pierce you, Break, howling depth, open the gates of heaven to you you said not a word. collapse, be rent in twain! Now one hears you and close hell. Fall to pieces, split apart, universe! asking for a drink, Chorus Quiver you stars and heavenly circles, as the hind cries for water. I am a member of your body, shake and hinder the eternal journey! For what can the Prince of Heaven, that consoles me with all my heart; Bright sun be extinguished cool down, the spring of Life, thirst? I shall remain undivided from you For the salvation of souls. your Light is extinguished even in my fear of death and pain. and your Supporting Pillar fails. Though I may die now, I shall die for you,

You have obtained everlasting life for me

Rough translation of text by Maria Steiner through your death.

 Upcoming Performances

Seattle Young Artists Festival Handel: May 3, 3:00 PM, Nathan Eckstein Middle School June 7, 7:00 PM, University Christian Church

O S  S C S 1305 Fourth Avenue, Suite 402 Seattle, Washington 98101 (206) 682 - 5208 osscs @ osscs.org  http: // www.osscs.org