Classics

Mendelssohn Susan Gritton soprano Jean Rigby mezzo-soprano Barry Banks tenor Peter Coleman-Wright bass CHAN 10516(2) X

BBC National Chorus of Wales RichardBBC National Orchestra Hickox of Wales

40 41 Felix Mendelssohn

Mary Evans Picture Library

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9 8 7 6 5 4 3 2 1 ihn’ steinigten ‘Und sie Chorale: and Recitative ein’ ihn auf stürmten aber ‘Sie Chorus: and Recitative Propheten’ die dutödtest die Jerusalem, ‘Jerusalem! Aria: Alle’ ihn auf sahen ‘Und sie Chorus: and Recitative reden’ zu auf nicht hört Mensch ‘Dieser Chorus: Gläubigen’ der Menge ‘Die Recitative: Ehr’ sei Höh’ der in Gott ‘Allein Chorale: Gott’ der bist Du Der ‘Herr! Chorus: Overture Solo tenor, Chorus tenor, Solo Chorus tenor, Solo soprano Solo Chorus Stephen, soprano, Solo I&II Basses soprano, Solo I Part ONE DISC COMPACT the Holy WordsWrit after oratorio An (StPaulus Paul), 36 Op. Mendelssohn Felix 10 –1847) (1809 3 Time 3:01 2:04 3:08 4:20 1:44 1:04 1:56 4:11 6:15

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10 10 Recitative: ‘Und die Zeugen legten ab’ 0:49 p.22 21 21 Recitative: ‘Und Ananias ging hin’ 1:44 p.27 Solo soprano Solo soprano, Solo tenor 11 11 Chorus: ‘Siehe, wir preisen selig’ 3:40 p.22 22 22 Chorus: ‘O welch’ eine Tiefe des Reichthums’ 4:42 p.28 12 12 Recitative and Aria: ‘Saulus aber zerstörte die Gemeinde’ 2:13 p.23 TT 64:23 Solo tenor, Saul 13 13 Recitative and Arioso: ‘Und zog mit einer Schaar gen Damaskus’ 2:40 p.23 COMPACT DISC TWO Solo contralto Part II 14 14 Recitative with Chorus: ‘Und als er auf dem Wege war’ 2:07 p.24 1 23 Chorus: ‘Der Erdkreis ist nun des Herrn’ 4:10 p.28 Solo tenor, Chorus, Saul 2 24 Recitative: ‘Und Paulus kam zu der Gemeinde’ 0:48 p.29 15 15 Chorus: ‘Mache dich auf, werde Licht!’ 4:28 p.25 Solo soprano 16 16 Chorale: ‘Wachet auf! ruft uns die Stimme’ 1:59 p.25 3 25 Duettino: ‘So sind wir nun Botschafter’ 1:37 p.29 17 17 Recitative: ‘Die Männer aber die seine Gefährten waren’ 1:08 p.25 Barnabas, Paul Solo tenor 4 26 Chorus: ‘Wie lieblich sind die Boten’ 3:00 p.29 18 18 Aria: ‘Gott sei mir gnädig’ 5:06 p.26 5 27 Recitative and Arioso: ‘Und wie sie ausgesandt’ 2:13 p.30 Paul Solo soprano 19 19 Recitative: ‘Es war aber ein Jünger zu Damaskus’ 1:36 p.26 6 28 Recitative with Chorus: ‘Da aber die Juden das Volk sah’n’ 1:29 p.30 Solo tenor, Solo soprano Solo tenor, Chorus 20 20 Aria with Chorus: ‘Ich danke Dir, Herr mein Gott’ 4:29 p.27 7 29 Chorus and Chorale: ‘Ist das nicht, der zu Jerusalem’ 5:12 p.31 Paul, Chorus Chorus, Quartet

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8 30 Recitative: ‘Paulus aber und Barnabas sprachen’ 0:39 p.31 19 41 Recitative: ‘Paulus sandte hin, und ließ fordern’ 1:27 p.36 Solo tenor, Paul Solo soprano, Paul 9 31 Duet: ‘Denn also hat uns der Herr geboten’ 2:21 p.32 20 42 Chorus and Recitative: ‘Schone doch deiner selbst!’ 3:04 p.36 Paul, Barnabas Quartet, Chorus, Paul, Solo tenor 10 32 Recitative: ‘Und es war ein Mann zu Lystra’ 0:55 p.32 21 43 Chorus: ‘Sehet, welch’ eine Liebe’ 2:34 p.37 Solo soprano 22 44 Recitative: ‘Und wenn er gleich geopfert wird’ 0:58 p.37 11 33 Chorus: ‘Die Götter sind den Menschen gleich geworden’ 1:09 p.33 Solo soprano 12 34 Recitative: ‘Und nannten Barnabas Jupiter’ 0:33 p.33 23 45 Chorus: ‘Nicht aber ihm allein’ 3:49 p.38 Solo soprano TT 50:50 13 35 Chorus: ‘Seid uns gnädig, hohe Götter!’ 2:27 p.33 14 36 Recitative, Air and Chorus: ‘Da das die Apostel hörten’ 6:40 p.33 Susan Gritton soprano Solo tenor, Paul, Chorus, Second soprano Jean Rigby mezzo‑soprano 15 37 Recitative: ‘Da ward das Volk erreget wider sie’ 0:15 p.35 Barry Banks tenor Solo soprano Peter Coleman‑Wright bass 16 38 Chorus: ‘Hier ist des Herren Tempel!’ 1:44 p.35 BBC National Chorus of Wales 17 39 Recitative: ‘Und sie alle verfolgten Paulus’ 0:32 p.35 Adrian Partington artistic director Solo soprano BBC National Orchestra of Wales 18 40 Cavatina: ‘Sei getreu bis in den Tod’ 3:15 p.35 Nicholas Whiting leader Solo tenor Richard Hickox

6 7 no such grand designs. He liked to quote conversion directly from the New Testament Mendelssohn: St Paul the old tag ‘Nulla dies sine linea’ (No and refused to include any narrative elements day without a line) and saw himself as a he did not find there. In particular this master-craftsman following humbly in the denied him St Paul’s martyrdom which, ‘The chorus “Thou shalt not commit adultery” death would be around a quarter of an hour: footsteps of his beloved J.S. Bach. Inevitably, as has often been observed, Handel would sounded excellent. The girls don’t understand in fact, it lasts around ten minutes. And as the ground‑breaking performances of the surely have treated as a culminatory scena, in what they’re singing about, and the married with Elijah ten years later, Mendelssohn St Matthew Passion he had put on in Berlin the manner of Samson’s destruction of the women don’t care.” Thus said Mendelssohn went on cutting and reshaping after the first in 1829 fed into the new oratorio, not least temple. Instead, St Paul’s death is implicit, of a performance of Neukomm’s oratorio performance. in the inclusion of chorales; his earliest in the powerful tenor cavatina ‘Sei getreu bis The Ten Commandments in September Mendelssohn’s father Abraham had urged collaborator on the text, Adolf Marx, in den Tod’ (Be thou faithful unto death, 1832. St Paul had been gestating for a couple him to write an oratorio partly to get his son withdrew because he could not reconcile these No. 40) in which the intensity is heightened of years already and we may be sure that, away from what he saw as an obsession with with the story, but Mendelssohn held firm. by the plangent solo cello countermelody, a whatever else, Mendelssohn was determined sprites and goblins. It was a source of lasting Handel, too, was an undoubted influence. device Mendelssohn developed in Elijah’s that in his oratorio the performers would sadness for Felix that his father died before Whereas in Bach’s Passions the action is aria ‘It is enough’. This distancing can also both care and understand. St Paul could be performed, and the related by the narrator, in Handel’s oratorios be observed in his setting of God’s question, In preparation for his task he read dutifulness he felt towards his much the action is in general carried by the ‘Saul! Was verfolgst du mich?’ (Saul, why voluminously in theological tracts and revered parent expressed itself in what one characters themselves and, in this sense, the persecuteth thou me?, No. 14). Although discussed at length with his main librettist, can only call the work’s ‘high moral tone’. form approaches more closely that of opera. some of his contemporaries, including Spohr, the pastor Julius Schubring. The result might Understandably this has attracted criticism. Mendelssohn, as usual, was clearheaded about felt Mendelssohn should have used a male easily have been a text weighed down by Wagner, after enthusing initially over a the problems. In a letter of January 1835, chorus here, his setting for female chorus abstruse philosophising but, happily, both performance in 1843, later condemned it as when St Paul was well on its way, he wrote: removes any feeling of direct description men were at one on the need to keep things as one of the type of ‘sexless opera-embryos’, For an oratorio, one principal theme must (perhaps in obedience to the command short as possible. Mendelssohn later confided while the Wagnerian George Bernard Shaw be adopted, the progressive history of ‘Thou shalt not take unto thyself any graven to a friend that St Paul originally contained railed against Mendelssohn’s ‘kid‑glove particular persons, otherwise the object image’); at the same time the use of wind a third more numbers than ever saw the light gentility, his conventional sentimentality, and would seem too vague; for if it is all to be instruments, in a work where the strings of day. In answer to his father’s concern that his despicable oratorio mongering’. only contemplative…, then this task has have the lion’s share, marks out the passage as Stephen’s recitative (No. 6) looked too long, Wagner, of course, had reasons that already been more grandly and beautifully exceptional. the composer assured him, correctly, that precluded balanced criticism, notably his accomplished in Handel’s Messiah. The first performance in Düsseldorf on it would last only between two and three desire to promote the music of the future As for the story that is told, Mendelssohn 22 May 1836, with an orchestra of 172 and minutes and that the whole passage until his (i.e. his own). Mendelssohn aspired to took the events of Stephen’s stoning and Saul’s an amateur chorus of 364, was a complete

8 9 success. Performances followed in sixty-one up a Christian, the story of St Paul had an fury of the Heathen. Stephen is accused of Part II German cities, and over the next two years the obvious relevance. In the saint’s words: blasphemy by the incensed people and is Saul, who after his conversion takes the name work was heard in England, Holland, Sweden, Therefore if any man be in Christ, he is a brought before the Council. Being questioned of Paul, preaches before the congregation. Poland, Russia and the USA. This is all the new creature – old things are passed away. by the High Priest, he reproves his judges Paul and Barnabas are selected by the Holy more remarkable if we agree, as we may, with for the obstinacy with which they and their Ghost and sent as ambassadors to spread 2 Corinthians v17 the statement of one of Mendelssohn’s English fathers have rejected the true faith, and resisted knowledge of Christianity abroad. The biographers that throughout the work This oratorio was intended as the beginning the Holy Ghost. They refuse to hear him and multitude acknowledges them as messengers the aria is subordinated to the recitative, of a new path which would lead not only to insist upon putting him to death. Heeding who preach the gospel of peace. The Jews, and the composer never swerves from understanding of its text (unlike Neukomm’s not the reproof that Jerusalem had ever killed not believing in the Saviour, are envious, and his high purpose in order to conciliate Ten Commandments), but to a new dignity the Prophets which had been sent to her, they consult on how to kill Paul. But Paul and popular taste. and position for the oratorio genre and for shout, ‘Stone him to death!’, and Stephen Barnabas, telling them that they have rejected Mendelssohn’s friend William Horsley music in general. The American scholar Leon suffers martyrdom, praying for mercy upon his the truth, although they were chosen first to recognised the frequent contrapuntal Botstein has written: persecutors. Devout men carry him back to have the word of the Lord set before them, textures as serving the composer’s need ‘to …Few works were as influential on the his burial, with much lamentation, and utter turn from them to preach to the Gentiles. give his music a stern, uncompromising, dramatic sound and rhetorical scale of words of peace and hope over his grave. Saul, Paul miraculously cures a cripple at Lystra; early Christian colouring’. This, rather than early Wagner as St Paul. who is present at the martyrdom, resolves to and the Gentiles, believing that the gods Shaw’s ‘kid-glove gentility’, is probably what One more reason for Wagner to disown it… continue his persecutions of the Christian have come down from heaven as mortals, strikes us today, although of course there are And one more reason for us to lament with Church, and for this purpose journeys toward call them Jupiter and Mercurius and desire the gentle moments, such as the chorus ‘Wie Mendelssohn that his father never heard Damascus. A sudden light shines around him to offer sacrifices to them. But the Apostles lieblich sind die Boten’ (How lovely are the a work which would, the old man trusted, and he is struck with blindness. A voice from refuse such vain homage; and Paul endeavours messengers, No. 26) which the composer ‘solve the problem of combining ancient Heaven calls upon him to proclaim the glory to divert the minds of the people from the played to Queen Victoria and her husband at conceptions with modern means’. of the Lord to the benighted people, and worship of false idols to that of the one living Buckingham Palace in 1842, and the soprano his companions lead him by the hand into God. This excites the anger of the multitude; © Roger Nichols solo ‘Jerusalem!’ (No. 7), the first eight notes Damascus. There he prays, in bitter repentance, and both Jews and Gentiles accuse him of of which haunt the memory. Complaints that until the Lord sends to him Ananias, who having spoken against Jehovah’s temple and this music fails to evoke the violence of the Synopsis restores his sight and confers upon him his the holy law, and raise a cry of ‘Stone him!’ slaying of prophets are surely beside the point: divine commission as a Christian preacher. He But the Lord, whose help is ever nigh unto Mendelssohn is not out to express anger here, Part 1 is baptised and preaches in the Synagogues, the faithful, saves him from persecution. Paul but sorrow and regret. The persecuted Christian Church in Jerusalem and the congregation praises the wisdom and convokes the elders of Ephesus, telling them For Mendelssohn, born a Jew and brought prays to the Lord for power to resist the knowledge of God. that he is bound in the spirit to go forth to

10 11 Jerusalem, and that they will see his face no Wigmore Hall and the Lincoln Center, New San Diego, Dryade (Ariadne auf Naxos) at the (Le Coq d’or), Don Ottavio (Don Giovanni) more. They weep and pray; but Paul expresses York. Her concert experience is extensive Royal Opera House, the title roles in Carmen, and Uberto (La donna del lago). his readiness to die for the Lord and takes and includes performances at the Wiener La Cenerentola, and The Rape of Lucretia, As a concert artist Barry Banks has sung his leave, the elders accompanying him to Konzerthaus and the Berlin Philharmonie, as Charlotte (Werther) in Seattle, and Idamante Rossini’s Petite Messe solennelle with Royal the ship. It is their comfort now to be God’s well as at the BBC Proms, Edinburgh Festival (Idomeneo) for Garsington Opera. She Philharmonic Orchestra under Daniele own children. To him who has fought a good and Salzburg Mozartwoche with conductors sings regularly with all the major orchestras Gatti, Jaquino (Fidelio) with the City of fight, and kept well the faith, a crown of such as Rattle, Mackerras, Norrington and and conductors and at the BBC Proms. Birmingham Symphony Orchestra under righteousness shall he given – and not only Harding. Her latest recordings for Chandos Recordings include Elgar’s The Music Makers Walter Weller, Bruckner’s Requiem with unto him, the believers sing, but to all them include the role of Marˇenka (The Bartered with Andrew Davis, The Rape of Lucretia the Scottish Chamber Orchestra under Sir that love His appearing. So they bless the Bride), nominated for a Grammy Award, and under Richard Hickox, and Mahler’s Das Charles Mackerras, and Rossini’s Armida at Lord, and praise His holy name for ever. The Hummel Mass Edition, the first volume Lied von der Erde with Mark Wigglesworth. the Edinburgh Festival under Carlo Rizzi. of which won a Gramophone Award in 2003. Other highlights have included Britten’s War Susan Gritton was the winner of the A graduate of The Royal Northern College of Requiem with the Orchestre Philharmonique 1994 Kathleen Ferrier Memorial Prize. Jean Rigby studied at the Birmingham Music where he was a Peter Moores Scholar, de Strasbourg under Jan Latham-Koenig, On the operatic stage she has appeared as School of Music and at the Royal Academy Barry Banks has established himself as one Rossini’s Ermione in concert at Carnegie Liù (Turandot) and Micaela (Carmen) at of Music with Patricia Clarke, with of today’s finest interpreters of the Italian bel Hall and Donizetti’s I puritani and Linda di The Royal Opera, Covent Garden; in the whom she continues to work. She made canto repertoire. He is much in demand on Chamonix at Caramoor Festival. title role of Theodora at the Glyndebourne her Glynebourne Festival Opera debut as the international opera platform, performing Barry Banks’ discography includes, for Festival; as Konstanze (Die Entführung aus Hippolyta (A Midsummer Night’s Dream), at the Royal Opera House Covent Garden, Chandos’ Opera in English series, Nemorino dem Serail) and Cleopatra (Giulio Cesare) followed by Mercedes (Carmen), Nancy The Metropolitan Opera, Opéra National (The Elixir of Love), Ernesto (Don Pasquale), at Bayerische Staatsoper, Munich; Donna (Albert Herring), Irene (Theodora), Genevieve de Paris, English National Opera, Théâtre Don Ottavio (Don Giovanni), Giannetto Anna (Don Giovanni) at Opéra de Montréal, (Pelleas et Mélisande), Eduige (Rodelinda) and du Châtelet, the Salzburg Festival, La (The Thieving Magpie) and Tamino (The Magic and Marzelline (Fidelio) at Rome Opera. Emila (Otello). Other roles include Penelope Monnaie, The Santa Fe Opera and Teatro Flute) as well as a disc of Great Operatic Arias. A favourite at the English National Opera, (The Return of Ulysees), Jocasta (Oedipus Communale di Bologna amongst others. Other recordings include La Bohème, Un ballo her roles there include Countess (Le nozze Rex), Rosina (The Barber of Seville), Helen of His roles include Lindoro (L’italiana in in maschera and Trial by Jury. di Figaro), Pamina (Die Zauberflöte) and Troy (King Priam), Maddalena (Rigoletto), Algeri), Nemorino (The Elixir of Love), Don the Vixen in The Cunning Little Vixen. Amastris (Xerxes), Meg Page (Falstaff ), Ramiro (La Cenerentola), Oreste (Ermione), Widely considered one of the most versatile She appears regularly in recital throughout Ruth (The Pirates of Penzance), Suzuki Tom Rakewell, Tamino (The Magic Flute), singers in the world today, the baritone Britain and worldwide, at venues such as (Madame Butterfly), Nicklausse (Les Contes Don Narciso (Il turco in Italia), Belfiore and Peter Coleman-Wright is equally at home the Amsterdam Concertgebouw, London’s d’Hoffmann) at the Royal Opera House and Libenskof (Il viaggio a Reims), L’Astrologue in the opera house, concert and recital halls.

12 13 He made his debut with the Glyndebourne Opera, Count Almaviva in Vancouver, broadcasting orchestra, with a current At the time of his untimely death at the age Festival as Guglielmo, returning for Sharpless in Santa Fe and Rodrigue (Don conducting team of Thierry Fischer as of sixty in November 2008, Richard Hickox Demetrius (A Midsummer Night’s Dream), Carlos) in Houston. Principal Conductor, Jac van Steen as CBE, one of the most gifted and versatile Sid (Albert Herring) and Don Pizarro. At Principal Guest Conductor, Tadaaki Otaka as British conductors of his generation, was English National Opera he has sung Figaro Founded in 1983, the BBC National Chorus Conductor Laureate and Grant Llewellyn as Music Director of Opera Australia, having (The Barber of Seville), the Forrester, Scarpia of Wales is widely recognised as one of the Associate Guest Conductor. Complementing served as Principal Conductor of the BBC and the title roles in Don Giovanni, Eugene leading mixed choirs in the United Kingdom. its existing relationship with Michael National Orchestra of Wales from 2000 until Onegin, Billy Budd, Henze’s The Prince of Directed by Adrian Partington, the Chorus Berkeley, its Associate Composer, and 2006 when he became Conductor Emeritus. Homburg and Dallapiccola’s The Prisoner, as consists of 120 voluntary singers from all consolidating its commitment to performing He founded the City of London Sinfonia, of well as creating the roles of John (Jonathan walks of life, who possess a love of music contemporary music and developing the which he was Music Director, in 1971. He Harvey’s Inquest of Love) and Colin (David and enthusiasm for singing. The Chorus talent of new composers, the Orchestra was also Associate Guest Conductor of the Blake’s The Plumbers’ Gift). He made his maintains a close relationship with the appointed Guto Puw as Resident Composer London Symphony Orchestra, Conductor debut at The Royal Opera, Covent Garden as BBC National Orchestra of Wales with in February 2006 and commissioned him Emeritus of the Northern Sinfonia, and Dandini (La Cenerentola), returning to sing which it has performed works such as to write three new works. Orchestra-in- co-founder of Collegium Musicum 90. Papageno, Don Alvaro (Il viaggio a Reims), Britten’s Spring Symphony at the BBC Proms Residence at St David’s Hall, Cardiff, the He regularly conducted the major Marcello, Ping, the Ballad Singer (Paul with Richard Hickox, and Brahms’s Alto BBC National Orchestra of Wales also orchestras in the UK and appeared many Bunyan) and Gunther (Götterdämmerung). Rhapsody and Martinů’s Field Mass (Polní presents a concert series at the Brangwyn times at the BBC Proms and at the Aldeburgh, A native of Australia, he is a frequent m ˇs e ) at St David’s Hall, Cardiff. The Chorus Hall, Swansea and tours throughout Wales Bath and Cheltenham festivals among others. guest with Opera Australia, with whom he has also performed Britten’s War Requiem and abroad. Its concerts broadcast on BBC With the London Symphony Orchestra at has sung Chorèbe (Les Troyens), Orestes with Leonard Slatkin and the BBC Symphony Radio 3, BBC Cymru Wales radio and the Barbican Centre he conducted a number (Iphigénie en Tauride), Wolfram, Golaud, Orchestra and Chorus, Tippett’s A Child of television, and BBC 4, the Orchestra has of semi-staged operas, including Billy Budd, Germont, Sweeney Todd and Mandryka. On Our Time, Holst’s Hymn of Jesus, Elgar’s recorded a diverse range of works for CD, Hänsel und Gretel and Salome. With the the European continent he has appeared in The Music Makers and a concert for including a complete cycle of the symphonies Bournemouth Symphony Orchestra he gave the opera houses of Amsterdam, Bordeaux, ‘Choirworks’ on BBC Radio 3. of Edmund Rubbra and orchestral music the first ever complete cycle of Vaughan Geneva, Munich, Paris and Venice, and at by Frank Bridge and by Sir Lennox and Williams’s symphonies in London. In the the Flanders, Aix-en-Provence and Bregenz Renowned not only for the quality of its Michael Berkeley. Its dynamic Education and course of an ongoing relationship with the festivals. In North America he has sung performances but also for its importance Community Department extends the work Philharmonia Orchestra he conducted Elgar, Dr Falke, Belcore, Fieramosca (Benvenuto within its own community, the BBC of the Orchestra beyond the confines of the Walton and Britten festivals at the South Cellini) and Marcello at The Metropolitan National Orchestra of Wales occupies concert hall into schools, workplaces and Bank and a semi-staged performance of Opera, Don Giovanni at New York City a very special role as both a national and communities. Gloriana at the Aldeburgh Festival.

14 15 Apart from his activities at the Sydney and Frank Bridge with the BBC National Opera House, he enjoyed recent engagements Orchestra of Wales, the symphonies by

with The Royal Opera, Covent Garden, Vaughan Williams with the London Barrett Greg English National Opera, Vienna State Opera Symphony Orchestra, and a series of operas and Washington Opera among others. He by Britten with the City of London Sinfonia. guest conducted such world-renowned He received a Grammy (for Peter Grimes) and orchestras as the Pittsburgh Symphony fiveGramophone Awards. Richard Hickox Orchestra, Orchestre de Paris, Bavarian was awarded a CBE in the Queen’s Jubilee Radio Symphony Orchestra and New York Honours List in 2002, and was the recipient Philharmonic. of many other awards, including two Music His phenomenal success in the recording Awards of the Royal Philharmonic Society, studio resulted in more than 280 recordings, the first ever Sir Charles Groves Award, the including most recently cycles of orchestral Evening Standard Opera Award, and the works by Sir Lennox and Michael Berkeley Award of the Association of British Orchestras.

Richard Hickox 16 COMPACT DISC ONE COMPACT DISC ONE welchem er redete; da richteten sie zu etliche Then they suborned men who were false Männer, die da sprachen: witnesses, which said: Erster Teil Part 1 Apostelgeschichte IV. 32; VI. 8, 10, 11 Acts IV. v 32; VI. vv 8, 10, 11 1 Nr. 1 Ouvertüre No. 1 Overture Bässe I & II Basses I & II 2 Nr. 2 Chor No. 2 Chorus Wir haben ihn gehört Lästerworte reden wider We verily have heard him blaspheme against Herr! Der Du bist der Gott, der Himmel und Lord Thou alone art God, and Thine are the diese heil’ge Stätte und das Gesetz. these holy places, and against the law. Erde und das Meer gemacht hat. Heaven, the earth, and the mighty waters. Apostelgeschichte VI. 13 Acts VI. v13 Die Heiden lehnen sich auf, Herr, wider Dich The Heathen furiously rage, Lord, against Thee, und Deinen Christ. and against Thy Christ. Und nun, Herr, siehe an ihr Droh’n und gieb Now behold, lest our foes prevail, and grant to Sopran‑solo Solo soprano Deinen Knechten, mit aller Freudigkeit zu Thy servants all strength and joyfulness, that Und bewegten das Volk, und die Ältesten, und And they stirred up the people and the elders, reden Dein Wort. they may preach Thy word. traten hinzu, und rissen ihn hin, und führten ihn and came upon him, and caught hold of him, and Apostelgeschichte IV. 24, 26, 29 Acts IV. vv 24, 26, 29 vor den Rath und sprachen: brought him to the Council, and spake: Apostelgeschichte VI. 12 Acts VI. v 12 3 Nr. 3 Choral No. 3 Chorale Allein Gott in der Höh’ sei Ehr To God on high be thanks and praise, 5 Nr. 5 Chor No. 5 Chorus Und Dank für seine Gnade; Who deigns our bonds to sever, Dieser Mensch hört nicht auf zu reden Now this man ceaseth not to utter blasphemous Darum, daß nun und nimmermehr His cares our drooping souls upraise, Lästerworte wider Mose und wider Gott. words against the law of Moses, and also God. Uns rühren kann kein Schade. And harm shall reach us never. Haben wir euch nicht mit Ernst geboten, daß ihr Did we not enjoin and straitly command you, Ganz unermess’n ist seine Macht, On Him we rest, with faith assur’d, nicht solltet lehren in diesem Namen? Und sehet, that you should not teach in the Name ye follow? Nur das geschieht, was er bedacht. Of all that live the mighty Lord, ihr habt Jerusalem erfüllt mit eurer Lehre. And lo! ye have filled Jerusalem throughout with Wohl uns, wohl uns des Herren! For ever and for ever. Denn wir haben ihn hören sagen: Jesus von your unlawful doctrine! He hath said, and our Nazareth wird diese Stätte zerstören, und ändern ears have heard him: Jesus of Nazareth, He shall 4 Nr. 4 Rezitativ No. 4 Recitative die Sitten, die uns Mose gegeben hat. destroy all these our holy places, and change all Sopran‑solo Solo soprano the customs which Moses delivered us. Apostelgeschichte VI. 11; V. 28; VI. 14 Die Menge der Gläubigen war ein Herz und And the many that believed were of one heart, and Acts VI. v 11; V. v 28; VI. v 14 eine Seele. Stephanus aber, voll Glauben of one soul. And Stephen, full of faith and full of und Kräfte, tat Wunder vor dem Volk, und power, did great wonders among the people. die Schriftgelehrten vermochten nicht zu And they of the Synagogue were not able to resist widersteh’n der Weisheit und dem Geist, aus the wisdom and the Spirit by which he spake.

18 19 6 Nr. 6 Rezitativ und Chor No. 6 Recitative and Chorus Chor Chorus Sopran‑Solo Solo soprano Weg mit Dem! Er lästert Gott, und wer Gott Take him away! For now the holy Name of God Und sie sahen auf ihn Alle, die im Rathe saßen, And all that sat in the council looked steadfastly lästert der soll sterben. he bath blasphemed, and who blasphemes Him, und sahen sein Angesicht wie eines Engels on him, and saw his face as it had been the face he shall perish! Apostelgeschichte XXI. 36; Angesicht. Da sprach der Hohepriester: “Ist dem of an angel. Then said the High Priest: ‘Are these Drittes Buch Mose XXIV. 16 Acts XXI. v36; Lev. XXIV. v16 also?” Stephanus sprach: things so?’ And Stephen said: Apostelgeschichte VI. 15; VII. 1 Acts VI. v15; VII. v 1 Stephanus Stephen Siehe, ich sehe den Himmel offen, und des Lo! I see the Heavens opened, and the Son of Stephanus Stephen Menschen Sohn zur Rechten Gottes steh’n. Man standing at the right hand of God! Lieben Brüder und Väter, höret zü: Gott der Men, brethren, and fathers, hearken to me. The Apostelgeschichte VII. 56 Acts VII. v56 Herrlichkeit erschien unser’n Vätern, errettete God of glory appeared unto our fathers, delivered das Volk aus aller Trübsal und gab ihnen Heil. the people out of their afflictions, and gave them Aber sie vernahmen es nicht. favour. But they understood it not. 7 Nr. 7 Arie No. 7 Aria Er sandte Mosen in Ägypten, da er ihr Leiden He sent Moses into Egypt, for He saw their Sopran‑solo Solo soprano sah und hörete ihr Seufzen. Aber sie verläugneten afflictions and heard their groaning. But they Jerusalem! Jerusalem, die du tödtest die Jerusalem, Jerusalem, thou that killest the ihn, und wollten ihm nicht gehorsam werden, refused him, and would not obey his word, but Propheten, die du steinigest die zu dir gesandt. Prophets, thou that stonest them which are sent und stießen ihn von sich und opferten den thrust him from them, and sacrificed to senseless Wie oft hab’ ich nicht deine Kinder versammeln unto thee; how often would I have gathered unto Götzen Opfer. idols. wollen, und ihr habt nicht gewollt! me thy children, and ye would not! Salomo baute ihm ein Haus, aber der Solomon built Him a house; albeit the Most Matthäus XXIII. 37 Matt. XXIII. v37 Allerhöchste wohnt nicht in Tempeln, die mit High God dwelleth not in temples which are Händen gemacht sind; der Himmel ist sein made with hands; for Heaven is His throne, and Stuhl, und die Erde seiner Füße Schemel; hat earth is but His footstool. Hath not His hand 8 Nr. 8 Rezitativ und Chor No. 8 Recitative and Chorus nicht seine Hand das Alles gemacht? made all these things? Tenor‑solo Solo tenor Ihr Halsstarrigen! Ihr widerstrebt allezeit Ye hard of heart, ye always do resist the Holy Sie aber stürmten auf ihn ein, und stießen ihn Then they ran upon him with one accord, and dem heil’gen Geist, wie eure Väter, also auch Ghost. As did your fathers, ev’n so do ye. Which zur Stadt hinaus, und steinigten ihn und schrieen cast him out of the city, and stoned him, and ihr. Welche Propheten haben eure Väter nicht of the Prophets have not your fathers persecuted? laut: cried aloud: verfolgt, die da zuvor verkündigten die Zukunft And they have slain them which shewed before Apostelgeschichte VII. 57, 58 Acts VII. vv57, 58 dieses Gerechten, dessen Mörder ihr geworden the coming of Him, the Just One, with whose seid! murder ye have here been stained. Ihr habt das Gesetz empfangen durch der Ye have received the Law, received it by the Chor Chorus Engel Geschäfte, und habt es nicht gehalten. disposition of angels, and ye have not obeyed it! Steiniget ihn! Er lästert Gott, und wer Gott Stone him to death! He blasphemes God: and lästert, der soll sterben. who does so shall surely perish. Apostelgeschichte VII. 2, 10, 47-50, 51-53 Acts VII. vv2, 10, 47-50, 51-53 Drittes Buch Mose XXIV. 16 Lev. XXIV. v16 20 21 9 Nr. 9 Rezitativ und Choral No. 9 Recitative and Chorale 12 Nr. 12 Rezitativ und Arie No. 12 Recitative and Aria Tenor‑solo Solo tenor Tenor‑solo Solo tenor Und sie steinigten ihn; er kniete nieder und And they stoned him: and he kneeled down, and Saulus aber zerstörte die Gemeinde und wüthete And Saul made havoc of the Church; and schrie laut: “Herr, behalte ihnen diese Sünde cried aloud: ‘Lord, lay not this sin to their charge. mit Drohen und Morden wider die Jünger, und breathing out threatenings and slaughter against nicht! Herr Jesu, nimm meinen Geist auf.” Lord Jesus, receive my Spirit.’ lästerte sie, und sprach: the disciples, he spake of them much evil, and said: Und als er das gesagt, entschlief er. And when he had said this, he fell asleep. Apostelgeschichte VIII. 3; IX 1 Acts VIII. v3; IX. v1 Apostelgeschichte VII. 59, 60 Acts VII. vv59, 60

Saulus Saul Chor Chorus Vertilge sie, Herr Zebaoth, wie Stoppeln vor dem Consume them all, Lord Sabaoth, consume all Dir Herr, Dir will ich mich ergeben, To Thee, O Lord, I yield my spirit, Feuer! Sie wollen nicht erkennen, daß Du mit these Thine enemies. Behold, they will not know Dir, dessen Eigenthum ich bin. Who break’st, in love, this mortal chain. Deinem Namen heißest Herr allein, der Höchste Thee, that Thou, our great Jehovah, art the Lord Du nur allein, Du bist mein Leben, My life I but from Thee inherit, in aller Welt. alone, the Highest over all the world. Und sterben wird mir dann Gewinn. And death becomes my chiefest gain. Laß Deinen Zorn sie treffen, verstummen Pour out Thine indignation, and let them feel Ich lebe Dir, ich sterbe Dir: In Thee I live, in Thee I die, müssen sie! Thy power. Sei Du nur mein, so g’nügt es mir. Content, for Thou art ever nigh. Psalm LIX. 13; LXXXIII. 18; LXIX. 24 Psalms LIX. v13; LXXXIII. v18; LXIX. v24 10 Nr. 10 Rezitativ No. 10 Recitative Sopran‑solo Solo soprano 13 Nr. 13 Rezitativ und Arioso No. 13 Recitative and Arioso Und die Zeugen legten ab ihre kleider zu den And the witnesses had laid down their clothes Alt‑solo Solo contralto Füßen eines Jünglings, der hieß Saulus; der hatte at the feet of a young man whose name was Saul, Und zog mit einer Schaar gen Damaskus, And he journeyed with companions towards Wohlgefallen an seinem Tode. who was consenting unto his death. und hatte Macht und Befehl von den Damascus, and had authority and command Es beschickten aber Stephanum gottesfürchtige And devout men took Stephen and carried him Hohenpriestern, Männer und Weiber gebunden from the High Priest that he should bring them Männer, und hielten eine große Klage über ihn. to his burial, and made great lamentation over zu führen gen Jerusalem. bound, men and women, unto Jerusalem. him. Apostelgeschichte VII. 58; VIII. 1, 2 Apostelgeschichte IX. 2 Acts IX. v2 Acts VII. v58; VIII. vv1, 2 Doch der Herr vergißt der Seinen nicht, er But the Lord is mindful of His own, He 11 Nr. 11 Chor No. 11 Chorus gedenkt seiner Kinder. remembers His children. Siehe, wir preisen selig die erduldet haben. Happy and blest are they who have endured. Fallt vor ihm nieder, ihr Stolzen! Denn der Herr Bow down before Him, ye mighty, for the Lord Denn ob der Leib gleich stirbt, doch wird die For though the body dies, the soul shall live for ist nahe! is near us. Seele leben. ever. Psalm CXV. 12; 2. Timotheus II. 19; Philipper IV. 5 Psalm CXV. v12; 2 Tim. II. v19; Philipp. IV. v5 Jacobus 1. 12 James I. v12

22 23 14 Nr. 14 Rezitativ mit Chor No. 14 Recitative with Chorus Chor Chorus Tenor‑solo Solo tenor Stehe auf und gehe in die Stadt, da wird man dir Arise, and go into the city; and there thou shalt Und als er auf dem Wege war und nahe zu And as he journeyed he came unto Damascus; sagen was du thun sollst. be told what thou must do. Damaskus kam, umleuchtete ihn plötzlich ein when suddenly there shone around him a light Apostelgeschichte IX. 3-6 Acts IX. vv3-6 Licht vom Himmel, und er fiel auf die Erde, und from Heaven: and he fell to the earth; and he hörte eine Stimme, die sprach zu ihm: heard a voice saying unto him: 15 Nr. 15 Chor No. 15 Chorus Chor Chorus Mache dich auf, werde Licht! Denn dein Licht Rise! Up! Arise! Rise, and shine! For thy light Saul! Saul! Was verfolgst du mich? Saul, Saul, why persecutest thou me? kommt und die Herrlichkeit des Herrn gehet comes, and the glory of the Lord doth appear auf über dir. upon thee. Tenor‑solo Solo tenor Denn siehe, Finsterniß bedeckt das Erdreich und Behold, now, total darkness covereth the Er aber sprach: And he said: Dunkel die Völker aber über dir gehet auf der kingdoms, gross darkness the people. But upon Herr, und seine Herrlichkeit erscheinet thee riseth the mighty Lord; the glory of the Lord Saulus Saul über dir. appeareth upon thee. Herr, wer bist du? Lord, who art thou? Jesaja LX. 1, 2 Isaiah LX. vv1, 2

Tenor‑solo Solo tenor Der Herr sprach zu ihm: And the Lord said to him: 16 Nr. 16 Choral No. 16 Chorale Wachet auf! ruft uns die Stimme: Sleepers, wake, a voice is calling; Chor Chorus Der Wächter sehr hoch auf der Zinne, It is the watchman on the walls, Ich bin Jesus von Nazareth, den du verfolgst! I am Jesus of Nazareth, whom thou persecutest. Wach’ auf, du Stadt Jerusalem! Thou city of Jerusalem. Wacht auf! der Bräut’gam kommt, For lo, the Bridegroom comes! Tenor‑solo Solo tenor Steht auf! die Lampen nehmt. Arise, and take your lamps. Und er sprach mit Zittern und Zagen: And he said, trembling and astonished: Halleluja! Hallelujah! Macht euch bereit zur Ewigkeit! Awake! His kingdom is at hand. Saulus Saul Ihr müsset ihm entgegengeh’n. Go forth to meet your Lord. Herr, was willst Du daß ich thun soll? Lord what wilt Thou have me do? Matthäus XXV. 1, 6 Matt. XXV. vv1, 6

Tenor‑solo Solo tenor Der Herr sprach zu ihm: The Lord said to him: 17 Nr. 17 Rezitativ No. 17 Recitative Tenor solo Solo tenor Die Männer aber die seine Gefährten waren, And his companions which journeyed with him standen und waren erstarrt, denn sie hörten eine stood, and they were afraid, hearing a voice but Stimme und sahen niemand. Saulus aber richtete seeing no man. And Saul arose from the earth, 24 25 sich auf von der Erde, und da er seine Augen and when his eyes were opened, he saw no man: Sopran‑solo Solo soprano auftat, sah er niemand. Sie nahmen ihn aber bei but they led him by the hand, and brought him Ananias! Stehe auf, und frage nach Saul von Ananias, arise, and enquire thou for Saul of der Hand und führten ihn gen Damaskus, und war into Damascus, and he was three days without Tarse, denn siehe, er betet. Dieser ist mir ein Tarsus; for behold, he prayeth. He is a chosen drei Tage nicht sehend, und aß nicht, und trank sight, and did neither eat nor drink. auserwähltes Rüstzeug; ich will ihm zeigen, wie vessel unto me, the Lord; and I will shew unto nicht. viel er leiden muß um meines Namens willen. him how great things he must suffer for my Acts IX. vv7-9 name’s sake. Apostelgeschichte IX. 7-9 Apostelgeschichte IX. 11, 15, 16 Acts IX. vv11, 15, 16 18 Nr. 18 Arie No. 18 Aria Paulus Paul 20 Nr. 20 Aria mit Chor No. 20 Aria with Chorus Gott sei mir gnädig nach Deiner Güte, und O God, have mercy upon me, and blot out my Paulus Paul tilge meine Sünden nach Deiner großen transgressions according to Thy loving kindness, Ich danke Dir, Herr mein Gott, von ganzem I praise Thee, O Lord my God, with all my heart Barmherzigkeit. Verwirf mich nicht von Deinem yea, even for Thy mercy’s sake. Deny me not, O Herzen ewiglich; denn Deine Güte ist groß über for evermore. For great is Thy mercy toward Angesicht und nimm Deinen heiligen Geist cast me not away from Thy presence, and take mich, und hast meine Seele errettet aus der tiefen me, and Thou hast delivered my soul from the nicht von mir. not Thy Spirit from me, O Lord. Hölle. Herr, mein Gott, ich danke Dir. lowest hell. Ein geängstetes und zerschlagenes Herz wirst Du Lord, a broken heart and a contrite heart is Psalm LXXXVI. 12, 13 Psalm LXXXVI. vv12, 13 Gott nicht verachten. offered before Thee. Denn ich will die Übertreter Deine Wege lehren, I will speak of Thy salvation, I will teach daß sich die Sünder zu Dir bekehren. Herr, thue transgressors, and all the sinners shall be Chor Chorus meine Lippen auf, daß mein Mund Deinen converted unto Thee. Then open Thou my lips, Der Herr wird die Tränen von allen Angesichtern The Lord, He is good: He will dry your tears, Ruhm verkündige. O Lord, and my mouth shall shew forth Thy abwischen. Denn der Herr hat es gesagt. and heal all your sorrows. For His word shall glorious praise. not decay. Psalm LI. 1, 11, 17, 13, 15 Jesaja XXV. 8; Offenbarung XXI. 4; Psalm LI. vv1, 11, 17, 13, 15 Matthäus XXIV. 35 Isaiah XXV. v8; Rev. XXI. v4; Matt. XXIV. v35

19 Nr. 19 Rezitativ No. 19 Recitative 21 Nr. 21 Rezitativ No. 21 Recitative Tenor‑solo Solo tenor Sopran‑solo Solo soprano Es war aber ein Jünger zu Damaskus mit Namen And there was a disciple at Damascus, named Und Ananias ging hin und kam in das Haus, und And Ananias went his way, and entered into the Ananias, zu dem sprach der Herr: Ananias; to him said the Lord: legte die Hände auf ihn und sprach: house, and laying his hands upon him, said: Apostelgeschichte IX. 10, 11 Acts IX. vv10, 11 Tenor‑solo Solo tenor Lieber Bruder Saul, der Herr hat mich gesandt, Hear thou, brother Saul! The Lord hath sent me der dir erschienen ist auf dem Wege da du hither, even Jesus, that appeared unto thee as

26 27 herkamst, daß du wieder sehend und mit dem thou camest, that thou might’st receive thy sight, Denn alle Heiden werden kommen und anbeten For all the Gentiles come before Thee, and shall heil’gen Geist erfüllet werdest. and be likewise filled with the Holy Ghost. vor dir, denn deine Herrlichkeit ist offenbar worship Thy Name. Now are made manifest Thy geworden. glorious law and judgments. Apostelgeschichte IX. 17 Acts IX. v17 Offenbarung Xl. 15; XV 4 Rev. XI. v15; XV. v4

Sopran‑solo Solo soprano Und alsbald fiel es wie Schuppen von seinen And there fell from his eyes like as though it were 2 Nr. 24 Rezitativ No. 24 Recitative Augen, und er ward wieder sehend, und stand scales; and he received sight forthwith, and arose, Sopran‑solo Solo soprano auf, und ließ sich taufen, und alsbald predigte er and was baptised. And straightway he preached Und Paulus kam zu der Gemeinde und predigte And Paul came to the congregation, and Christum in den Schulen, und bewährte es daß Jesus in the synagogues, and said: ‘I thank God, den Namen des Herrn Jesu frei. Da sprach der preached freely the Name of Jesus Christ our dieser ist der Christ. who hath made me free thro’ Christ’. heil’ge Geist: “sendet mir aus Barnabas und Lord. Then spake the Holy Ghost: ‘Set ye apart Paulus zu dem Werk, dazu ich sie berufen habe.” Barnabas and Paul for the work whereunto I Apostelgeschichte IX. 18, 20; Römer VII. 25 Acts IX. vv18, 20; Rom. VII. v 25 Da fasteten sie und beteten, und legten die have called them.’ And when they had fasted and Hände auf sie und ließen sie gehen. prayed, and laid their hands on them, they sent 22 Nr. 22 Chor No. 22 Chorus them away. Apostelgeschichte IX. 29; XIII. 2, 3 O welch’ eine Tiefe des Reichthums, der O great is the depth of the riches of wisdom Acts IX. v29; XIII. vv2, 3 Weisheit und Erkenntniß Gottes! Wie and knowledge of the Father! How deep and gar unbegreiflich sind seine Gerichte, und unerring is He in His judgments! His ways unerforschlich seine Wege! Ihm sei Ehre in are past our understanding. Sing His glory for 3 Nr. 25 Duettino No. 25 Duettino Ewigkeit! Amen! evermore. Amen. Barnabas und Paulus Barnabas and Paul So sind wir nun Botschafter an Christi Statt, Now we are ambassadors in the Name of Christ, Römer Xl. 33 Rom. XI. v33 denn Gott vermahnet durch uns. and God beseecheth you by us. 2. Korinther V. 20 2 Cor. V. v20

COMPACT DISC TWO COMPACT DISC TWO 4 Nr. 26 Chor No. 26 Chorus Zweiter Teil Part II Wie lieblich sind die Boten, die den Frieden How lovely are the messengers that preach us the verkündigen. In alle Lande ist ausgegangen ihr gospel of peace! To all the nations is gone forth 1 Nr. 23 Chor No. 23 Chorus Schall, und in alle Welt ihre Worte. the sound of their words, throughout all the Der Erdkreis ist nun des Herrn und seines The nations are now the Lord’s, they are His lands their glad tidings. Römer X. 15, 18 Christ. Christ’s. Rom. X. vv15, 18

28 29 5 Nr. 27 Rezitativ und Arioso No. 27 Recitative and Arioso Tenor‑solo Solo tenor Sopran‑solo Solo soprano Und sie stellten Paulus nach, und hielten einen And they laid wait for Paul, and consulted Und wie sie ausgesandt von dem heil’gen Geist, So they, being filled with the Holy Ghost, Rath zusammen, daß sie ihn töteten, und together that they might kill him, and spake one so schifften sie von dannen, und verkündigten das departing thence delayed not, and preached the sprachen zu einander: to another: Wort Gottes mit Freudigkeit. word of God with joyfulness. Apostelgeschichte IX. 23, 24 Acts IX. vv23, 24 Apostelgeschichte XIII. 4, 5 Acts XIII. vv4, 5 7 Nr. 29 Chor und Choral No. 29 Chorus and Chorale Laßt uns singen von der Gnade des Herrn I will sing of Thy great mercies, O Lord, my Ist das nicht, der zu Jerusalem verstörte Alle, die Is this he, who in Jerusalem destroyed all calling ewiglich! Laßt uns singen von der Gnade des Saviour, and of Thy faithfulness evermore. diesen Namen anrufen? on that Name which here he preacheth? Herrn, und seine Wahrheit verkündigen! Verstummen müssen alle, alle Lügner! Weg mit May all deceivers ever be confounded! Force Psalm LXXXIX. v1 ihm! him away! Psalm LXXXIX. 1 Apostelgeschichte IX. 21 Acts IX. v21 6 Nr. 28 Rezitativ mit Chor No. 28 Recitative with Chorus Tenor‑solo Solo tenor Quartett Quartet Da aber die Juden das Volk sah’n, wie es But when the Jews saw the multitudes, how O Jesu Christe, wahres Licht, O Thou, the true and only Light, zusammenkam um Paulus zu hören, wurden sie they assembled to hear what Paul delivered Erleuchte die dich kennen nicht, Direct the souls that walk in night; voll Neid und widersprachen dem das von Paulus unto them, they were filled with envy, and spake Und bringe sie zu deiner Heerd’, And bring them ’neath Thy shelt’ring care, gesagt ward, und lästerten und sprachen: against those things which were spoken by Paul, Daß ihre Seel’ auch selig werd’. To find their blest redemption there. contradicting and blaspheming. Apostelgeschichte XIII. 45 Acts XIII. v45 Chor Chorus Erleuchte die da sind verblend’t, Illumine those who blindly roam; Bring’ her die sich von uns getrennt, And call the wand’rer kindly home: Chor Chorus Versammle die zerstreuet geh’n, The hearts astray that union crave, So spricht der Herr: “Ich bin der Herr, und ist Thus saith the Lord: ‘I am the Lord, and beside Mach’ fester die im Zweifel steh’n! And those in doubt, confirm and save. außer mir kein Heiland.” me is no Saviour.’ 8 Nr. 30 Rezitativ No. 30 Recitative Jesaja XLIII. 11 Isaiah XLIII. v11 Tenor‑solo Solo tenor Paulus aber und Barnabas sprachen frei und But Paul and Barnabas spake freely and publicly öffentlich: unto the people: Apostelgeschichte XIII. 46 Acts XIII. v46

30 31 Paulus Paul 11 Nr. 33 Chor No. 33 Chorus Euch mußte zuerst das Wort Gottes gepredigt Ye were chosen first to have the word of the Lord Die Götter sind den Menschen gleich geworden The gods themselves as mortals have descended. werden; nun ihr es aber von euch stoßet, und set before you; but seeing that ye put it from und sind zu uns hernieder gekommen. Acts XIV. v11 achtet euch selbst nicht werth des ewigen Lebens, you, and judge yourselves unworthy of the life Apostelgeschichte XIV. 11 siehe, so wenden wir uns zu den Heiden. everlasting, behold ye, we turn, even now, unto the Gentiles. Apostelgeschichte XIII. 46 12 Nr. 34 Rezitativ No. 34 Recitative Acts XIII. v46 Sopran‑solo Solo soprano Und nannten Barnabas Jupiter, und Paulus And they called Barnabas, Jupiter; and Paul, 9 Nr. 31 Duett No. 31 Duet Mercurius. Der Priester aber Jupiters, der vor Mercurius. Then the priest of Jupiter, which was Paulus und Barnabas Paul and Barnabas ihrer Stadt war, brachte Rinder und Kränze vor before the city, brought oxen and garlands to the Denn also hat uns der Herr geboten: For so hath the Lord Himself commanded: das Thor, und wollte opfern sammt dem Volk, gates, and would have sacrificed with the people, Ich habe dich den Heiden zum Licht gesetzet, Behold, I have made thee a light to the Gentiles, und beteten sie an. and adored them. daß du das Heil seist bis an das Ende der Erde. and for salvation unto all the earth. Apostelgeschichte XIV. 12, 13 Acts XIV. vv12, 13 Denn wer den Namen des Herrn wird anrufen, For those who call on the Lord, He will hear der soll selig werden. them, and they shall be blessed. 13 Nr. 35 Chor No. 35 Chorus Apostelgeschichte XIII. 47; II. 21 Acts XIII. V47; II. v21 Seid uns gnädig, hohe Götter! Seht herab auf O be gracious, ye immortals! unser Opfer! Heed our sacrifice with favour! 10 Nr. 32 Rezitativ No. 32 Recitative Sopran‑solo Solo soprano 14 Nr. 36 Rezitativ, Arie und Chor No. 36 Recitative, Air and Chorus Und es war ein Mann zu Lystra, der war lahm And there was a man at Lystra, impotent in his Tenor‑solo Solo tenor und hatte noch nie gewandelt, der hörte Paulus feet. And who had never walked: and the same Da das die Apostel hörten, zerrissen sie ihre Now when the Apostles heard the same, they reden, und als er ihn ansah, sprach er mit lauter heard Paul speak; who, steadfastly beholding Kleider, und sprangen unter das Volk, schrieen rent their garments, and ran in among the people, Stimme: “Stehe auf, auf deine Füße!” Und er him, said with a loud voice: ‘Stand upright on thy und sprachen: crying out, and saying: sprang auf und wandelte und lobete Gott. Da feet’. And he leaped up and walked, and praised Apostelgeschichte XIV. 14 Acts XIV. v14 aber die Heiden sah’n, was Paulus gethan, hoben God. But when the Gentiles saw what Paul had sie ihre Stimmen auf und sprachen zu einander: done, they lifted up their voices, saying one to another: Apostelgeschichte XIV. 8-11 Paulus Paul Ihr Männer, was macht ihr da? Wir sind auch O wherefore do ye these things? We also are men, Acts XIV. vv8-11 sterbliche Menschen gleich wie ihr, und predigen of like passions with yourselves, who preach unto euch das Evangelium, daß ihr euch bekehren sollt you, in peace and earnestness, that ye should turn von diesem falschen zu dem lebendigen Gott, away from all these vanities unto the ever‑living

32 33 welcher gemacht hat Himmel und Erde und God, who made the out‑stretched heavens, the 15 Nr. 37 Rezitativ No. 37 Recitative das Meer. earth, and the sea. Sopran‑solo Solo soprano Wie der Prophet spricht: “All eure Götzen As saith the prophet: ‘All your idols are but Da ward das Volk erreget wider sie, und es erhob Then the multitude was stirred up against them, sind Trügerei, sind eitel Nichts und haben kein falsehood, and there is no breath in them: they sich ein Sturm der Juden und der Heiden, und and there was an assault of the Jews and of the Leben; sie müssen fallen, wenn sie heimgesuchet are vanity, and the work of errors: in the time of wurden voller Zorn, und riefen gegen ihn: Gentiles; they were full of anger, and cried out werden.” their trouble they shall perish’. against them: Apostelgeschichte XIV. 2, 5 Gott wohnet nicht in Tempeln mit God dwelleth not in temples made with hands. Acts XIV. vv2, 5 Menschenhänden gemacht. Acts XIV. v15; Jer. X. vv14, 15; Acts XVII. v24 Apostelgeschichte XIV. 15; Jeremias X. 14, 15; 16 Nr. 38 Chor No. 38 Chorus Apostelgeschichte XVII. 24 Hier ist des Herren Tempel! Ihr Männer von This is Jehovah’s temple. Ye children of Israel, Israel, helfet! Dies ist der Mensch, der alle help us! For this is the man who teacheth all Wisset ihr nicht, daß ihr Gottes Tempel seid, For know ye not that ye are His temple, and Menschen an allen Enden lehret wider dies Volk, men, against the people, against this place, and und daß der Geist Gottes in euch wohnet? So that the Spirit of God dwelleth within you? And wider das Gesetz und wider diese heil’ge Stätte. also our holy law. jemand den Tempel Gottes verderben wird, den whosoe’er God’s temple defileth, God shall sure Steiniget ihn, er lästert Gott! Stone him to death! He blasphemes God! wird Gott verderben. destroy him? Apostelgeschichte XXI. 28; Drittes Buch Mose XXIV. 16 Acts XXI. v28; Lev. XXIV. v16 Denn der Tempel Gottes ist heilig, der seid ihr. For the temple of God is holy, which temple ye Aber unser Gott ist im Himmel, er schaffet Alles are. But our God abideth high in heaven, His will was er will. directeth all the world. 17 Nr. 39 Rezitativ No. 39 Recitative 1. Korinther III. 16, 17; Psalm CXV. 3 1 Cor. III. vv16, 17; Psalm CXV. v3 Sopran solo Solo soprano Und sie alle verfolgten Paulus auf seinem Wege, And they all persecuted Paul on his way; but the aber der Herr stand ihm bei und stärkte ihn, auf Lord stood with him, and strengthened him, that Chor Chorus daß durch ihn die Predigt bestätigt würde, und the word might be fully known, and that all the Aber unser Gott ist im Himmel, er schaffet Alles But our God abideth high in Heaven, His will alle Heiden höreten. Gentiles might hear. was er will. directeth all the world. 2. Timotheus IV. 17 2 Tim. IV v17

Soprane II Second sopranos Wir glauben All’ an einen Gott, His will directeth all the world. 18 Nr. 40 Kavatine No. 40 Cavatina Schöpfer Himmels und der Erden, We bow to only His decree, Tenor‑solo Solo tenor Der sich zum Vater geben hat, Who made the skies, the earth, the sea, Sei getreu bis in den Tod, so will ich dir die Be thou faithful unto death, and I will give to Daß wir seine Kinder werden. But our God abideth in Heaven. Krone des Lebens geben. thee a crown of life. Fürchte dich nicht, ich bin bei dir! Be not afraid, my help is nigh. Offenbarung II. 10; Jeremias I. 8 Rev. II. v10; Jer. I. v8

34 35 19 Nr. 41 Rezitativ No. 41 Recitative Chor Chorus Sopran‑solo Solo soprano Schone doch deiner selbst! Das widerfahre dir Far be it from thy path, these things shall not be Paulus sandte hin, und ließ fordern die Ältesten And Paul sent and called the elders of the nur nicht! unto thee. von der Gemeinde zu Ephesus, und sprach zu Church at Ephesus, and said to them: ihnen: Acts XX. v17 Paulus Paul Was machet ihr, daß ihr weinet und brechet mir What mean ye thus to weep, and thus to break Apostelgeschichte XX. 17 mein Herz? Denn ich bin bereit, nicht allein my heart? For I am prepared, not only to be mich binden zu lassen, sondern auch zu sterben bound, but also to die at Jerusalem, for the Name Paulus Paul zu Jerusalem, um des Namens willen des Herren of the Lord our Saviour Jesus Christ. Ihr wisset, wie ich allezeit bin bei euch gewesen, Ye know how at all seasons I have been with Jesu. Acts XXI. v13 und dem Herrn gedien’t mit aller Demuth und you, serving the Lord with all humility, and Apostelgeschichte XXI. 13 mit vielen Thränen, und habe bezeuget den with many tears; testifying the faith towards Glauben an unsern Herrn Jesum Christum. Und our Lord Jesus Christ. And now, behold ye, I, Solo tenor nun siehe, ich, im Geist’ gebunden, fahre hin bound in spirit, go my way to Jerusalem. Bonds Tenor‑solo And when he had thus spoken, he kneeled down, gen Jerusalern; Trübsal und Bande harren mein and affliction abide me there; and ye shall see my Und als er das gesagt, kniete er nieder und betete and prayed with them all. And they accompanied daselbst, ihr werdet nie mein Angesicht wieder face no more. mit ihnen Allen, und sie geleiteten ihn in das him unto the ship, and saw his face no more. sehen. Schiff, und sahen sein Angesicht nicht mehr. Acts XX. vv18, 19, 21-23, 25 Acts XX. vv36, 38 Apostelgeschichte XX. 18, 19, 21-23, 25 Apostelgeschichte XX. 36, 38 No. 43 Chorus Sopran‑solo Solo soprano 21 Nr. 43 Chor See what love hath the Father bestowed on us Sie weineten und sprachen: And they all wept sore and prayed. Sehet, welch’ eine Liebe hat uns der Vater in His goodness, that we should be called God’s erzeiget, daß wir sollen Gottes Kinder heißen. own children. Apostelgeschichte XX. 37 Acts XX. v37 I. Johannes III. 1 1 John III. v1 20 Nr. 42 Chor und Rezitativ No. 42 Chorus and Recitative Quartett Quartet 22 Nr. 44 Rezitativ No. 44 Recitative Schone doch deiner selbst! Das widerfahre dir Far be it from thy path, these things shall not be Sopran-solo Solo soprano nur nicht! unto thee. Und wenn er gleich geopfert wird über dem And tho’ he be offered upon the sacrifice of our Opfer unsers Glaubens, so hat er einen guten faith, yet he hath fought a good fight; he hath Matthäus XVI. 22 Matt. XVI. v22 Kampf gekämpft; er hat den Lauf vollendet, er finished his course; he hath kept well the faith.

36 37 hat Glauben gehalten; hinfort ist ihm beigelegt Henceforth there is laid up for him a crown of die Krone der Gerechtigkeit, die ihm der Herr an righteousness, which the Lord, the righteous You can now purchase Chandos CDs or download MP3s online at our website: www.chandos.net jenem Tage, der gerechte Richter, geben wird. Judge, shall give him at the last great day. 2. Timotheus IV. 6-8 2 Tim. IV. vv6-8 For requests to license tracks from this CD or any other Chandos discs please find application forms on the Chandos website or contact the Finance Director, Chandos Records Ltd, direct at 23 Nr. 45 Chor No. 45 Chorus the address below or via e-mail at [email protected]. Nicht aber ihm allein, sondern Allen, die seine Not only unto him, but to all them that love Erscheinung lieben. Der Herr denket an uns und truly His appearing. The Lord careth for us, and Chandos Records Ltd, Chandos House, 1 Commerce Park, Commerce Way, Colchester, segnet uns. blesseth us. Essex CO2 8HX, UK. E-mail: [email protected] Lobe den Herrn, meine Seele, und was in mir Bless thou the Lord, O my soul, and all within Telephone: + 44 (0)1206 225 200 Fax: + 44 (0)1206 225 201 ist, seinen heiligen Namen. Ihr seine Engel, lobet me, bless His most holy Name. All ye His angels, den Herrn! praise ye the Lord.

2. Timotheus IV. 8; Psalm CIII. 1, 20 2 Tim. IV. v8; Psalm CIII. vv1, 20 Chandos 24-bit recording The Chandos policy of being at the forefront of technology is now further advanced by the use of 24-bit recording. 24-bit has a dynamic range that is up to 48 dB greater and up to 256 times the resolution of standard 16-bit recordings. These improvements now let you the listener enjoy more of the natural clarity and ambience of the ‘Chandos sound’.

Recording producers Ralph Couzens and Tim Thorne (BBC) Sound engineer Ralph Couzens Assistant engineers Jonathan Cooper and Paul Jenkins (BBC) Editor Jonathan Cooper Recording venue Live at St David’s Hall, Cardiff; 5 May 2000 Front cover ‘Old stained glass window from historical church, circa 1837’ photograph C Leah-Anne Thompson/iStockphoto Design and typesetting Cassidy Rayne Creative P 2001 Chandos Records Ltd C 2009 Chandos Records Ltd Chandos Records Ltd, Colchester, Essex CO2 8HX, England Printed in the EU

38 39 MENDELSSOHN: PAULUS – BBCNCW/BBCNOW/Hickox MENDELSSOHN: PAULUS – BBCNCW/BBCNOW/Hickox MENDELSSOHN: PAULUS – BBCNCW/BBCNOW/Hickox CHANDOS Classics CHAN 10516(2) X

Felix Mendelssohn (1809 –1847)

(St Paul), Op. 36 An oratorio Words after the Holy Writ

COMPACT DISC ONE

1 22 - Part One...... TT 64:23

COMPACT DISC TWO

1 23 - Part Two...... TT 50:50

Susan Gritton soprano Jean Rigby mezzo‑soprano Barry Banks tenor Peter Coleman‑Wright bass BBC National Chorus of Wales Adrian Partington artistic director BBC National Orchestra of Wales CHAN 10516(2)X Nicholas Whiting leader CHAN 10516(2)X Richard Hickox

42 P 2001 Chandos Records Ltd C 2009 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England 43