MIHO SAEGUSA iolinist Miho Saegusa, a versatile chamber musician and orchestral leader, has built a multifaceted career that allows her to cherish the spirit of collaboration. She is a founding member of the Grammy-nominated V The New York Times Aizuri Quartet, branded by as “genuinely exciting” and “imaginative” for its engaging and thought-provoking programs. Ms. Saegusa also loves the energy and intimacy of chamber orchestras. She is a member and Wednesday • May 12 • 6:00 pm currently one of the three Artistic Directors of the celebrated Orpheus Chamber Benjamin Franklin Hall Orchestra, and previously served as Concertmaster of the Chamber Orchestra American Philosophical Society of Philadelphia. Her passion for chamber ensembles was ignited and nurtured through memorable summers at the Marlboro Music Festival, Ravinia Steans Institute, and Aspen Music Festival and School. Born in Kitakyushu, Japan, Ms. Saegusa has played the violin since the age of five. She is very grateful to her principal teachers Masao Kawasaki and Dorothy DeLay. She received her Bachelor of Arts degree from Yale University, and completed graduate work at EVENING OF CHURCH The Juilliard School, earning her Master of Music and Artist Diploma. When not playing the violin, Ms. Saegusa can be found exploring farmers markets and CANTATA MOVEMENTS experimenting in the kitchen. Johann Sebastian Bach [1685-1750]

NATHANIEL WEST athaniel West joined the Philadelphia Orchestra bass section in September 2017, and has served as Acting Assistant Principal Bass since October Nof 2019. He is a recent graduate of the Curtis Institute of Music, where GAMUT BACH ENSEMBLE he studied with Harold Robinson and Edgar Meyer. Mr. West is also a former member of the Kennedy Center Opera House Orchestra in Washington, DC. As KOJI OTSUKI, director a chamber musician, Mr. West has performed with the Jupiter Chamber Players in New York, the Chamber Music Society of Lincoln Center during its annual Jessica Beebe, soprano residency in Saratoga Springs, NY, and at summer festivals such as Twickenham Daniel Moody, countertenor Fest in Huntsville, AL; Caroga Lake Music Festival in Caroga Lake, NY, Luzerne Music Festival in Lake Luzerne, NY, the the Marlboro Music Festival in Vermont, Daniel McGrew, tenor and the VIVO Music Festival in his hometown of Columbus, OH. Elijah Blaisdell, baritone

PAUL WIANCKO oboe/oboe d’amore/English horn aul Wiancko has led an exceptionally multifaceted musical life as a cellist, Ryan Roberts, composer, and collaborator. As a student, Mr. Wiancko simultaneously Emilie-Anne Gendron, violin Pwon international cello competitions and recorded strings for local punk Miho Saegusa, violin bands in his dorm room. That duality constitutes the core of Mr. Wiancko’s viola artistic DNA and has resulted in close collaborations with Chick Corea, Jóhann Ayane Kozasa, Jóhannsson, Max Richter, Yo-Yo Ma, and members of Arcade Fire, the National, Paul Wiancko, cello Pennywise, and the Guarneri and Juilliard Quartets. An avid chamber musician Nathaniel West, double bass and winner of the S&R Foundation’s Washington Award for Composition, Mr. organ Wiancko’s own music has been described as “dazzling” and “compelling” (Star Jonathan Oddie, Tribune). He has been commissioned by the Aizuri, Parker, St. Lawrence, and Attacca Quartets, yMusic, soprano Susanna Phillips, violinist Alexi Kenney, violist Ayane Kozasa, and the Raleigh Civic Symphony—and has been composer-in- residence at the Caramoor, Spoleto, Twickenham, Newburyport, Portland, and Methow Valley Festivals. PROGRAM JONATHAN ODDIE 1. Sinfonia to Ich steh mit einem Fuß im Grabe, BWV 156 ew Zealand-born keyboardist Jonathan Oddie enjoys a varied performing career on harpsichord, fortepiano and chamber organ. Currently based —Alto Arias— in the Seattle area, he has performed as a featured harpsichord soloist Ein ungefärbt Gemüte N 2. with the Northwest Sinfonietta and Saratoga Orchestra of Whidbey Island, and (No. 1, Ein ungefärbt Gemüte, BWV 24 [1723]) as a chamber musician on harpsichord and fortepiano for Gallery Concerts 3. Ein unbarmherziges Gerichte Seattle, the Whidbey Island Music Festival and the Salish Sea Early Music (No. 3, Was soll ich aus dir machem, Ephraim, BWV 89 [1723]) Festival. As an orchestral harpsichordist he performs regularly with ensembles 4. Vergnügte Ruh, beliebte Seelenlust including the Portland Baroque Orchestra, Seattle Symphony, and North Corner Chamber Orchestra. Mr. Oddie studied piano and harpsichord performance at (No. 1, Vergnügte Ruh, beliebte Seelenlust, BWV 170 [1726]) Indiana University, where his teachers included Elisabeth Wright, Jean-Louis —Tenor Arias— Haguenauer and Edmund Battersby. He also holds a doctorate in musicology 5. Stürmt nur, stürmt, ihr Trübsalswetter from the University of Oxford, where he researched the music of the English (No. 6, Schau, lieber Gott, wie meine Feind, BWV 153 [1724]) composer Orlando Gibbons in relation to 17th-century theories of composition. He has published articles and reviews in the journals,Early Music and Historical 6. Seufzer, Tränen, Kummer, Not Performance, and is the recipient of awards including a Performer’s Certificate (No. 3, Ich hatte viel Bekümmernis, BWV 21 [1713, ver. 1714]) from Indiana University and a Frank Huntington Beebe Fellowship. 7. Ich traue seiner Gnaden (No. 4, In allen meinen Taten, BWV 97 [1734]) RYAN ROBERTS 8. Sinfonia to Der Herr denket an uns, BWV 196 [1708] ecognized for his “beautiful”, “eloquent” and “exquisite” playing by the New York Times, Ryan Roberts is the newly appointed English horn/Oboe —Bass Arias— of the New York Philharmonic and a member of the oboe faculty at the 9. Ich habe genung R Bard College Conservatory of Music. Mr. Roberts has performed as guest prin- (No. 1, Ich habe genung, BWV 82 [1727]) cipal oboe and English horn with many of the country’s leading orchestras, in- 10. Hier, in meines Vaters Stätte cluding the Chicago Symphony, the Philadelphia Orchestra, the San Francisco (No. 3, Liebster Jesu, mein Verlangen, BWV 32 [1726]) Symphony, the Metropolitan Opera Orchestra, and the Ft. Worth Symphony. A 11. Sinfonia to the Second Part, passionate teacher, Ryan has worked with students in the US and abroad at The Die Himmel erzählen die Ehre Gottes, BWV 76 [1723] Juilliard School, the San Francisco Conservatory of Music, and the music schools 12. Sinfonia to the Second Part, of Montclair State University, Cal State Long Beach, UC Irvine, and Chapman University. An award-winning oboist, Ryan received first prize at the Interna- Die Elenden sollen essen, BWV 75 [1723] tional Double Reed Society’s 2018 Young Artist Competition and the National —Soprano Movements— Society of Arts and Letters’ 2018 Woodwind Competition. Before joining the 13. Komm, komm, mein Herze steht dir offen New York Philharmonic, Mr. Roberts spent one season as a member of the New (No. 2, Wer mich liebet, der wird mein Wort halten, BWV 74 [1725]) World Symphony under the direction of Michael Tilson-Thomas. In 2018, Ryan premiered Michael Torke’s Oboe Concertino with the Albany Symphony and re- 14. From Mein Herze schwimmt im Blut, BWV 199 [1713, ver. 1723] corded the work for Albany Records. An avid chamber musician, Ryan performs 3. Recitative: Doch Gott muß mir genädig sein at the Marlboro Music Festival during the summer under artistic directors -Mit 4. Aria: Tief gebückt und voller Reue * suko Uchida and Jonathan Biss; he has also collaborated in recitals with the 8. Aria: Wie freudig ist mein Herz Pacifica Quartet and Emanuel Ax. www.ryanrobertsoboe.com * This movement is dedicated to the memory of Arlene Wartenberg.

Please note: For everyone’s safety, we require that you wear your mask at all times and that it fully covers your mouth and nose. If you should test positive for the coronavirus after attending this event, please notify us at 215-569-8080 immediately. We thank you for your attendance and cooperation!

1 10 DANIEL McGREW raised for his “lovely, nuanced tenor” (Boston Musical Intelligencer), Daniel ABOUT GAMUT BACH ENSEMBLE amut, in music, is the complete range of pitches in a musical sys- McGrew is an active performer of a broad range of repertoires spanning opera, musical theatre, early, and new musics. He has recently appeared tem, and the word derives from “ Γ (Gamma) Ut”—the lowest P tone recognized in medieval music theory. Paying respects to the in recital with Brooklyn Art Song Society, Five Boroughs Music Festival, Mirror G Visions Ensemble, New York Festival of Song, and the University Musical root of so much of what classical music is today, the Gamut Bach En- Society, where he joined Martin Katz and three other singers for performances semble (GBE) is on a mission to bring you Bach’s cantatas—a relatively comprising the complete Mörike Songs of Hugo Wolf. In 2019, Mr. McGrew spent under-explored vocal genre that makes up a large part of the composer’s his inaugural summer at the Marlboro Music Festival. Before that, at Tanglewood oeuvre. The original GBE was conceived by director Koji Otsuki in 2005 as he performed the role of François in Bernstein’s A Quiet Place and participated a period instrument ensemble in Tokyo, Japan, consisting of internation- in the annual Festival of Contemporary Music with a performance of Kurtág’s ally recognized baroque specialists. A decade later, here in the US, the Three Ancient Inscriptions the Boston Globe called “viciously beautiful.” An early Marlboro Music Festival sprouted the Philadelphia version of GBE which music specialist, Mr. McGrew has performed Bach with conductors including Matthew Halls, John Harbison, David Hill, and Masaaki Suzuki, and toured India is a unique collaboration between a historically informed Bach specialist and the Baltic region with Juilliard415 and Yale University’s Schola Cantorum. and young, exceptional, modern chamber musicians. Already in its very Beyond the classical repertory, he has participated in concerts including the young existence, the Ensemble has drawn attention from both chamber symphonic premier of James Lapine’s Sondheim on Sondheim with the Boston and early music audiences. With a reputation for meticulous and sensi- Pops Orchestra and David Loud’s Sondheim revue, A Good Thing Going. Mr. ble music making, the group also prides itself on stylistically sensitive, McGrew holds degrees from Oberlin Conservatory and Yale University; he earnest, and insightful Bach performances. recently completed his doctoral work at the University of Michigan.

DANIEL MOODY KOJI OTSUKI ountertenor Daniel Moody has garnered widespread acclaim for ersatile conductor, educator, and cello da spalla player, Koji Otsuki his commanding yet expressive vocal timbre and his breathtaking specializes in the historically informed performance of the music musicianship. Praised as having a “vocal resonance, [which] makes a of J.S. Bach. After receiving a master’s degree in choral conducting profoundlyC startling impression” (The New York Times) and for his “vivid and V from Temple University, he immersed himself in Bach studies at the Tokyo powerful” voice (The Boston Musical Intelligencer), Mr. Moody is equally known University of the Arts as a Japanese government research scholar under for his “sweet and melancholy sound” (The Washington Post) and ability to “pierce hearts” and “utterly silence a room” (The Boston Musical Intelligencer). Masaaki Suzuki, director of the Bach Collegium Japan. While in Tokyo, he Opera appearances include the title roles in Handel’s Giulio Cesare and also studied the baroque violin, flauto traverso, baroque voice, and early Rinaldo, Arsamene in Xerxes, Lichas in Hercules, Didymus in Theodora, Oberon music ensemble with foremost experts of our time. After returning from in Britten’s A Midsummer Night’s Dream, L’Enfant in Ravel’s L’enfant etles Japan, he continued his study of baroque violin and early music ensemble sortileges and most recently, Nerone in Monteverdi’s L’incoronazione di Poppea direction with Stanley Ritchie et al. in a doctoral program in historical with Cincinnati Opera alongside Anthony Roth Costanzo. Mr. Moody has soloed performance at Indiana University Bloomington. Mr. Otsuki is currently with acclaimed orchestras across the country and abroad including, Atlanta head music librarian and Bach coach at the Marlboro Music Festival. Symphony, Les Violons du Roy in Québec City, Apollo’s Fire, The Cleveland There he collaborates with world-class chamber musicians to bring Baroque Orchestra, Portland Baroque Orchestra, Illinois Symphony, Charleston Bach’s music to life in an intimate and profound manner. His experience Symphony, Winston-Salem Symphony, and gave the American premiere of George Benjamin’s Dream of the Song at the Festival of Contemporary Music at Marlboro eventually inspired him to found the Philadelphia-based at Tanglewood Festival. Recent debuts and upcoming seasons include Messiah Gamut Bach Ensemble in which he partners with young, exceptional, with Minnesota Orchestra, a tour of St. Matthew Passion with Apollo’s modern chamber musicians. After two separate stints as a conducting Fire, a duet concert with famed mezzo- soprano Anne Sofie von Otter with instructor at Temple University, he has been steadily gaining international Philharmonia Baroque Orchestra (Nicholas McGegan), Carnegie Hall debuts attention as a Bach educator. His recent academic engagements include with Oratorio Society of New York and Musica Sacra (Kent Tritle), concerts with Shanghai Conservatory of Music in China, National Taiwan Normal Opera Lafayette, and commissioned operas by composers Hannah Lash (Desire) University in Taiwan, and the Aichi University of the Arts in Japan. and Elena Ruehr (Cosmic Cowboy).

9 2 EMILIE-ANNE GENDRON TEXT AND TRANSLATIONS iolinist Emilie-Anne Gendron enjoys an active freelance career based in New York. She appears on the rosters of the Marlboro Music Festival and 1. Sinfonia to Ich steh mit einem Fuß im Grabe, BWV 156 Vthe touring Musicians From Marlboro, as well as acclaimed groups such as A Far Cry, Ensemble Échappé, IRIS Orchestra, Orpheus Chamber Orchestra, 2. Ein ungefärbt Gemüte Talea Ensemble, and Sejong Soloists. A deeply committed chamber musician, from Ein ungefärbt Gemüte, BWV 24 Ms. Gendron is a longtime member of the Momenta Quartet, whose vision Text: Erdmann Neumeister (1671-1756) encompasses contemporary music of all backgrounds alongside great music from the past, and who have most recently served as Bates College’s Artists- Ein ungefärbt Gemüte An unfeigned spirit in-Residence in Music. Her extensively varied international appearances have An deutscher Treu und Güte Of German fidelity and goodness included recitals in Sweden and at the Louvre in Paris; festivals in Russia, Finland, Macht uns vor Makes us fine before and Jordan; and recently, major venues in China, South Korea, Argentina, Chile, Gott und Menschen schön. God and man. and Colombia, in collaboration with such artists as Bruno Canino, Leon Fleisher, Der Christen Tun und Handel, Christians’ deeds and business, Richard Goode, Edgar Meyer, and Gil Shaham, among many others. A dual Ihr ganzer Lebenswandel Their entire lifestyle citizen of the U.S. and Canada, Ms. Gendron was trained at the Juilliard School Soll auf dergleichen Fuße stehn. Should be on such a footing. where her teachers were Won Bin Yim, Dorothy DeLay, David Chan, and Hyo Kang. She holds the distinction of being the first person in Juilliard’s history to be accepted simultaneously to its two most selective courses of study, the Doctor of Musical Arts and the Artist Diploma. She holds a B.A. in Classics from 3. Ein unbarmherziges Gerichte Columbia University (magna cum laude and with Phi Beta Kappa honors), and from Was soll ich aus dir machen, Ephraim, BWV 89 a Master of Music degree and the coveted Artist Diploma from Juilliard. www. Text: unknown emilieannegendron.com

Ein unbarmherziges Gerichte A merciless judgement AYANE KOZASA Wird über dich gewiß ergehn. Will surely fall upon you. ailed for her “magnetic, wide-ranging tone” and her “rock solid technique” Die Rache fängt bei denen an, Vengeance begins with those (Philadelphia Inquirer), violist Ayane Kozasa’s solo and chamber music Die nicht Barmherzigkeit getan, Who have shown no mercy Hcareer took off when she won the 2011 Primrose International Viola Und machet sie wie Sodom And brings them, like Sodom, Competition, where she also captured awards for best chamber music and ganz zunichte. to nothing. commissioned work performances. An advocate for pushing the viola repertoire forward, she has commissioned several viola chamber music works such as New York composer Paul Wiancko’s American Haiku. Ms. Kozasa has performed at numerous festivals including the Marlboro Music Festival, the Caramoor Center 4. Vergnügte Ruh, beliebte Seelenlust for Music and the Arts, the Olympic Music Festival, and the Ravinia Festival. from Vergnügte Ruh, beliebte Seelenlust, BWV 170 She is a founding member of the Aizuri Quartet, the 2017-18 Quartet-in- Text: Georg Christian Lehms (1684-1717) Residence at the Metropolitan Museum of Art and grand prize winner of the 2018 MPrize Chamber Arts Competition. Their GRAMMY nominated debut Vergnügte Ruh! beliebte Contented rest! beloved pleasure album Blueprinting was released on New Amsterdam Records in 2018, a record Seelenlust! of the soul! featuring five young American composers. In September 2020, the quartet Dich kann man nicht bei Höllensünden, One cannot find you in the sins of hell, launched “AizuriKids,” an interactive web series for children that explores Wohl aber Himmelseintracht finden; But rather in heaven’s harmony; music from Beethoven to Eleanor Alberga. Their passion for teaching has led Du stärkst allein die schwache Brust, You alone strengthen the weak breast, to student composer workshops at a number of institutions including the Vergnügte Ruh! beliebte Contented rest! beloved pleasure University of Southern California, Princeton University, and New York Youth Seelenlust! of the soul! Symphony. Ms. Kozasa also performs in the duo Ayane & Paul with composer Drum sollen lauter Tugendgaben Hence the pure gifts of virtue and cellist Paul Wiancko, and most recently they collaborated on singer Norah In meinem Herzen Wohnung haben. Shall have their dwelling in my heart. Jones’ latest album Pick Me Up Off the Floor. This summer, Ayane & Paul will be performing at Spoleto Festival USA, Salastina, Denver Chamber Music Festival, and Music from Angel Fire.

3 8 ARTIST BIOGRAPHIES 5. Stürmt nur, stürmt, ihr Trübsalwetter from Schau, lieber Gott, wie meine Feind, BWV 153 JESSICA BEEBE Text: unknown oprano Jessica Beebe is thrilled to be a returning artist with The Gamut Bach Ensemble and The Philadelphia Chamber Music Society. Lauded Stürmt nur, stürmt, ihr Storm then, storm, you whirlwind of as having a “honey-colored tone” and “the most radiant solo singing” Trübsalswetter, tribulation! S Opera News Wallt, ihr Fluten, auf mich los! Seethe, you floods, down upon me! from , Ms. Beebe is steadily gaining international attention as an affecting interpreter of repertoire from the Renaissance to contemporary Schlagt, ihr Unglücksflammen, Strike, you flames of misfortune, American opera. Ms. Beebe has performed as a guest soloist with several major Über mich zusammen, Upon me altogether, orchestras and ensembles across the country including The New York Chamber Stört, ihr Feinde, meine Ruh, Disturb, you enemies, my repose, Orchestra at Carnegie Hall, The English Concert with Harry Bicket, The Los Spricht mir doch Gott tröstlich zu: For God says to me consolingly: Angeles Philharmonic, The Indianapolis Symphony Orchestra with Raymond Ich bin dein Hort und Erretter. I am your refuge and deliverer. Leppard, The Indianapolis Baroque Orchestra, The Folger Consort, Piffaro, The Princeton Festival Orchestra, The Philadelphia Orchestra and more. Ms. Beebe’s operatic highlights include covering the East Coast premiere of Jennifer Higdon’s 6. Seufzer, Tränen, Kummer, Not Cold Mountain with Opera Philadelphia, covering in Norway’s Bergen National Opera in Messiah, and in 2017 debuting the role of Luna in David Hertzberg’s from Ich hatte viel Bekümmernis, BWV 21 The Wake World. Ms. Beebe also covered the role of Winnie in Lembit Beecher’s Text: ? Salomo Franck (1659-1725) Sky on Swings with Opera Philadelphia in 2018. In 2019, Ms. Beebe covered the title role in Handel’s Semele with Harry Bicket and the English Concert, Seufzer, Tränen, Kummer, Not, Sighs, tears, anguish, distress, in an international tour ending in Carnegie Hall. Most recently she made her Ängstlichs Sehnen, Furcht und Tod Anxious yearning, fear and death Los Angeles Philharmonic solo debut in Meredith Monk’s opera, Atlas. During Nagen mein beklemmtes Herz, Gnaw at my oppressed heart, the 2019-20 season, Ms. Beebe had solo debuts with Cathedral Choral Society Ich empfinde Jammer, Schmerz. I feel misery, sorrow. and The Washington Bach Consort at the Washington National Cathedral, Gamut Bach ensemble, and more. Ms. Beebe is a member of the Grammy winning ensemble The Crossing, Grammy nominated ensemble Clarion Society, 7. Ich traue seiner Gnaden Variant 6, Trio Eos and Choral Arts Philadelphia. Ms. Beebe is a graduate of the University of Delaware, Indiana University and The Royal College of Music. She from In allen meinen Taten, BWV 97 is a professor of Music in Voice at Franklin and Marshall College in Lancaster PA, Text: Choral In allen meinen Taten (vs. 4), Paul Fleming and Muhlenberg College in Allentown PA. For more information on Ms. Beebe please visit www.jessicabeebesoprano.com. Ich traue seiner Gnaden, I trust in His grace, Die mich vor allem Schaden, Which protects me from all harm, ELIJAH BLAISDELL Vor allem Übel schützt. From all evil. n early and new music specialist, baritone Elijah Blaisdell performs with Leb ich nach seinen Gesetzen, If I live according to His commandments, ensembles across the country as both a soloist and chorister. Mr. Blaisdell So wird mich nichts verletzen, Then nothing will injure me, is the featured soloist on the 2019 Grammy Award winning album Zealot Nichts fehlen, was mir nützt. Nor will I lack anything beneficial to me. ACanticles with The Crossing. Additional highlights include performances of the new choral-theater work Aniara with The Crossing in Philadelphia, at the Haarlem Choral Biennale, and at The Helsinki National Opera, St. John Passion with Bach Society of St. Louis, The Adams Fellowship with The Carmel Bach Festival, Milhaud’s Service Sacré with St. George’s Choral Society, and Coffee Cantata and Dido and Aeneas with Madison Bach Musicians. He also performs with The Gamut Bach Ensemble, The Sante Fe Desert Chorale, Grammy- nominated Ensemble True Concord, and the Grammy Award-winning Seraphic Fire, and is a member of the St. Thomas Choir of Men & Boys. Mr. Blaisdell holds a Master of Music in Vocal Performance from New England Conservatory and lives in New York City.

7 Please turn pages quietly during the brief pause between songs. 4 8. Sinfonia to Der Herr denket an uns, BWV 196 13. Komm, komm, mein Herze steht dir offen from Wer mich liebet, der wird mein Wort halten, BWV 74 9. Ich habe genung Text: Christiane Mariane von Ziegler (1695-1760) from Ich habe genung, BWV 82 Text: unknown Komm, komm, mein Herze Come, come, my heart steht dir offen, stands open to You, Ich habe genung, I have enough, Ach, laß es deine Wohnung sein! Ah, let it be Your dwelling! Ich habe den Heiland, I have taken the savior, Ich liebe dich, so muß ich hoffen: I love You, so I must hope that das Hoffen der Frommen, the hope of the devout, Dein Wort trifft itzo bei mir ein; Your Word will now be fulfilled in me; Auf meine begierigen Arme genommen; Upon mine ardent arms; Denn wer dich sucht, fürcht’, For whoever seeks, fears, Ich habe genung! I have enough! liebt und ehret, loves, and honors You, Ich hab ihn erblickt, I have beheld him, Dem ist der Vater zugetan. To him the Father is attached. Mein Glaube hat Jesum My faith has pressed Jesus Ich zweifle nicht, ich bin erhöret, I doubt not, I have been heard, ans Herze gedrückt; to my heart; Daß ich mich dein getrösten kann. That I can comfort myself in You. Nun wünsch ich, noch heute mit Freuden Now I wish, yet today with joy Von hinnen zu scheiden. To depart from here. Ich habe genung! I have enough! 14. Recitative: Doch Gott muß mir gnädig sein 15. Aria: Tief gebückt und voller Reue 16. Aria: Wie freudig ist mein Herz from Mein Herze schwimmt im Blut, BWV 199 (Nos. 3-4, 8) 10. Hier in meines Vaters Stätte Text: G.C. Lehms from Liebster Jesu, mein Verlangen, BWV 32 Text: G.C. Lehms [Recitativo] [Recitative] Hier in meines Vaters Stätte, Here in my Father’s place, Findt mich ein betrübter Geist. A troubled spirit finds me. Doch Gott muß mir genädig sein, Yet God must be gracious to me, Da kannst du mich sicher finden Here you can surely find me Weil ich das Haupt mit Asche, For I bathe my head in ashes, Und dein Herz mit mir verbinden, And unite your heart with me, Das Angesicht mit Tränen wasche, My face in tears, Weil dies meine Wohnung heißt. For this is called my dwelling. Mein Herz in Reu und Leid zerschlage Batter my heart with remorse and sorrow, Und voller Wehmut sage: And, full of melancholy, say: ‘Gott sei mir Sünder gnädig!’ ‘God be gracious to me, a sinner!’ Ach ja! sein Herze bricht, Ah yes! His heart breaks, 11. Sinfonia to the Second Part, Und meine Seele spricht: And my soul says: Die Himmel erzählen die Ehre Gottes, BWV 76 [Aria] [Aria] Tief gebückt und voller Reue Bent low and full of remorse 12. Sinfonia to the Second Part, Die Elenden sollen essen, BWV 75 Lieg ich, liebster Gott, vor dir. I lie, dearest God, before You. Ich bekenne meine Schuld, I confess my guilt, Aber habe doch Geduld, But yet have patience, Habe doch Geduld mit mir! Have patience yet with me!

[Aria] [Aria] Wie freudig ist mein Herz, How joyful is my heart, Da Gott versöhnet ist Since God is reconciled Und mir auf Reu und Leid And upon my repentance and suffering Nicht mehr die Seligkeit No longer from blessedness Noch auch sein Herz verschließt. Nor from His heart excludes me.

5 Please turn pages quietly during the brief pause between songs. 6