ST JOHN PASSION REIMAGINED CONTENTS Tap on an item in the list to jump to that section Tap to return to this page

Welcome 4 About the Music 5 …and the Composers 8 Texts and Translations 10 Artist Biographies 26 Sydney Philharmonia Chamber Singers 30 Sydney Philharmonia Baroque Orchestra 31 Our Supporters 32 About Us 34

Sydney Philharmonia Choirs dedicates this performance to the memory of dear friend and artistic colleague Taryn Fiebig(1972–2021) SYDNEY PHILHARMONIA CHOIRS PRESENTS ST JOHN PASSION REIMAGINED

ACKNOWLEDGEMENT OF COUNTRY DEBORAH CHEETHAMand MATTHEW DOYLE Tarimi Nulay – Long time living here†

JOHANN SEBASTIAN BACH St John Passion: Part I with JOSEPH TWIST Heaven, Tear Apart (Himmel reiße)*† INTERVAL St John Passion: Part II with BROOKE SHELLEY Ein Bächlein im Bach*†

.1738). Elizabeth Scott conductor c Richard Butler tenor (Evangelist) Andrew O’Connor bass-baritone (Christ) Celeste Lazarenko soprano Sian Sharp mezzo-soprano Nicholas Jones tenor David Greco baritone Sydney Philharmonia Chamber Singers Sydney Philharmonia Baroque Orchestra Fiona Zieglerconcertmaster

Easter Saturday, 3 April 2021, 1pm The Concourse, Chatswood * Premiere † Commissioned as part of our 100 Minutes of New Australian Music centenary project in 2020. We’re delighted to be performing these works in our 2021 season. This performance will run for approximately 2 hours and 50 minutes including a 20-minute interval THE FIRST PAGE FROM BACH’S HANDWRITTEN SCORE OF THE PASSION ACCORDING TO JOHN ( WELCOME

It is an absolute honour for me to be conducting this awe-inspiring work in a “re-imagination” that was originally designed to celebrate the Sydney Philharmonia Choirs’ Centenary in 2020. During Bach’s life, the St John Passion was an ever-evolving work, with several revisions and changes made by the composer. It’s exciting to maintain this tradition and to be able to incorporate reflections and voices from Australian composers, inspired by the majesty and power of Bach’s writing to reflect on events in their own lives. My first real encounter with this great work was during my studies in Hungary, when I was invited by a fellow student to be the soprano soloist in her father’s church choir’s Good Friday performance of the St John Passion in Haugesund, Norway. For a young Australian, so far from home, the experience was life changing – I was so moved by the power of the music, the collaboration of the choir and orchestra and, of course, the opportunity to perform it in a country of such beauty and such extremes. I was lucky enough to perform the soprano solos again in Oberstdorf, Germany and, since returning to Australia, I have prepared choirs for this work several times, as well as (hopefully) converting hundreds of high-school students to its power by conducting excerpts at a NSW Public Schools State Music Camp. For me, the St John Passion – from its opening chorus of restless foreboding to its final chorus of acceptance and peace – is a journey of discovery of the human condition experienced through unfathomably exquisite music. Thank you for joining us! Elizabeth Scott Music Director VOX

Acknowledgement of Country

Tarimi Nulay – Long time living here was the beginning of 2020 and we hope that this commissioned for our Centenary year as a special piece will be part of our performances choral Acknowledgement of Country to for many years to come. Deborah Cheetham commence all concerts in the season. It was and Matthew Doyle have created a work that premiered at the Dawn Chorus performance explores a profound cultural and spiritual on the steps of the Sydney Opera House at reflection of the land on which we sing.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 4 DRAMA AND REFLECTION St John Passion Reimagined

Imagine you’re a Leipzig Lutheran, it’s Good Friday in This performance of 1724, and you’re attending Vespers at the St Nicholas Bach’s St John Passion Church. It will be a long service: in addition to the cantor incorporates two specially Bach’s brand new setting of the Passion, there will be a commissioned musical sermon of half an hour or more in the middle, an old Latin motet at the end and congregational chorale singing. But ‘reflections’. Joseph Bach’s music will occupy the lion’s share of the time and Twist’s fiercely dramatic there will be instruments in church again, following the Heaven, Tear Apart will be aural austerity of Lent. In many ways, this first heard after the chorale performance of the Passion according to St John will take ‘Wer hat dich so on the character of a concert and it’s telling that the flyer geschlagen’ (No.11) in Bach prepared announcing the venue (St Nicholas rather Part I and Brooke than the St Thomas Church) addresses its readers as ‘Auditoribus’ – the audience of listeners rather than the Shelley’s more reflective congregation of worshippers. Perhaps your imagination Ein Bächlein im Bach will doesn’t need to stretch very far after all as you sit here in be heard after the chorale the Concourse for a concert on Easter Saturday, although ‘In meines Herzens the seats today will be more comfortable. Grunde’ (No.26) in Part II. In the century before Bach, the Good Friday recitation of the Passion, or story of the Crucifixion, had been relatively simple: the clergy chanting the parts of the Evangelist and Christ, the choir providing the voice of the people and minor characters, the congregation responding with chorales or hymns. But by the end of the 17th century, the Passion tradition had collided with the new genre of the sacred oratorio – essentially biblical operas without costumes, sets or staging that neatly sidestepped the prohibition of opera during Lent. The Passion-oratorio injected an exceptional level of drama and musical complexity into the Good Friday liturgy and it was still a relatively new phenomenon when Bach took on the role of cantor in Leipzig in 1723. Perhaps this is why his wary employers had made him agree to write works ‘which would not be of an operatic nature, but would rather excite the listener to greater piety’.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 5 THE MUSIC A traditional opera features recitatives musical palette. Nowhere is this more (speech-like singing) for the dialogue that apparent than in the arias with obbligato solo moves the plot along, arias with more poetic lines for instruments such as the pair of violas texts for the expression of emotion, and d’amore in the sensuous tenor aria ‘Erwäge’ choruses for scene-setting atmosphere and (Part II, No.20) or the viola da gamba, which context. A Bach Passion-oratorio turns these matches the expressive power of the human theatrical conventions to spiritual purpose. voice in the alto aria ‘Es ist vollbracht’ (Part II, The Evangelist or Gospel author, in this case No.30). At the same time, the idea of personal John, is the eyewitness and his narration is reflection that permeates Bach’s music has written exclusively as recitative. The voice of been extended with two modern musical Christ – a bass – is also written as recitative. reflections, commissioned for this program. The remaining soloists take on small roles in These commissions were originally intended the narrative (Peter, Pilate, a maid, and so on) for Sydney Philharmonia’s Centenary year. but, more significantly, they sing arias that And, during the course of the long delay, the meditate on the drama of the story, as if placement of the new works within the offering personal responses and prayers. The structure of Bach’s work has been given much chorus divides its time between the role of the thought. Joseph Twist’s piece, in using a text crowd – its often savage music bringing that Bach cut from his final libretto and a visceral realism to the enactment of the quoting directly from its musical material, Crucifixion story and making it a real almost demands to be placed in the same protagonist in the drama – and the singing of location in Part I. Meanwhile, Brooke Shelley contemplative chorales. alludes to motifs from throughout Bach’s work Embracing both the immediacy of storytelling in a reflective way; for this reason, it has been and more lyrical reflection, the St John placed – like a reminiscence – towards the Passion emerges as a bold and exhilarating end of the performance. fusion of drama and reflection, in which the Joseph Twist composedHeaven, Tear Apart participants – soloists and chorus alike – while visiting his family in Australia over appear as if contemporary witnesses.No one Christmas 2019, as bushfires consumed so could have argued against the spiritual intent much of the country. The anger, frustration, of this ‘sermon in sound’ or its fidelity to devastation and chaos led him to the text of an John’s gospel account, but such dramatic aria (‘Himmel, reiße’) that Bach added to the intensity – unprecedented in Leipzig St John Passion for its second performance, in churches – must have been shocking.This 1725, and then removed. Just as Bach had afternoon we hear the St John Passion in a done, Twist set the text for baritone soloist and concert with a ‘congregation’ comprising chorus; he also followed Bach’s lead in using people of many faiths or perhaps none, the the joyful serenity of a chorale (‘Jesu, deine liturgical origin of the music abandoned. We Passion’, sung by the chorus) as a foil for the won’t be shocked and we may not be ‘excited explosive drama of the solo line, with its to greater piety’ but the directness of Bach’s dramatic imagery of earthquakes and torment, music, that sensation of contemporary descending into fear and anguish before an immediacy, remains as enthralling as ever. ultimate expression of faith. The musical Today’s performance harnesses the original motifs also echo Bach – there’s a sombre sound world of the St John Passion through repeated ten-note ground bass in the the use of a relatively small chorus of 37 orchestra,f or example – although the style is singers and period instruments that highlight contemporary, with distinct minimalistic the richness and expressive power of Bach’s influences.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 6 THE MUSIC InEin Bächlein im Bach, Brooke Shelley ‘O comfort for the ailing soul!’ cries the oboe reflects on Bach’s musical legacy, ‘treading oh as the choir introduces Handl’s chorale. Later, so carefully’ in the shadow of Bach’s mastery. as the choir sings of flying to the Hill of the (The title is a pun on names –Bach in German Cross, the woodwinds interrupt with their own means ‘brook’, aBächlein is a little brook – chorus: ‘Where to? Where to? Where to?’ The and the water imagery is a literal take on the music ends with a premonition of the viola da idea of ‘reflection’.) Her starting point was the gamba’s line in the aria ‘Es ist vollbracht!’ text and music of the Latin motet ‘Ecce, These new works do not sound like Bach, but quomodo moritur’ by the 16th-century they pay tribute to the St John Passion, Slovenian composer Jacob Handl, which reflecting on the liturgical context in which it traditionally followed the Passion in Bach’s would have been heard, its musical gestures Leipzig, together with the relentless eddies of and its drama and poetry. And in the spirit of sound heard in the strings at the very Bach’s contemporary witnesses to the beginning of the St John Passion. Crucifixion, they offer responses to the world On a personal level, the music is a reflection and events, both public and private, on the grief and loss Shelley witnessed when contemporary and yet timeless. the son of a dear friend ended his life. This Yvonne Frindle © 2021 drew her to the text of the Passion itself – fragments that spoke of ‘pain and suffering’ and ‘light and rest’ and which, in the music, represent ‘little stabs of pain and flickers of light’. Not all of these textual fragments are sung, however. Throughout the score, instrumental phrases have been composed to the rhythms of words you won’t hear.

Bach’s Orchestra

TheVIOLA D’AMORE is held under the chin like that’s played ‘on the leg’). Although the viola a violin but is characterised by an extra-long da gamba frequently plays with the peg box, which accommodates six or seven harpsichord, organ and lute as part of the strings together with an equal number of basso continuo group, Bach gives it an resonance strings that aren’t touched by the important solo in the alto aria ‘Es ist bow but which vibrate in sympathy. Listen for vollbracht!’ (No.30 in Part II), capitalising on the pair of violas d’amore in the bass arioso its mournful, almost vocal sound. ‘Betrachte, meine Seel’ and tenor aria AnOBOE DA CACCIA is literally a ‘hunting ‘Erwäge’ (Nos.19 and 20 in Part II). oboe’ – it has a lower voice, the tenor of the TheVIOLA DA GAMBA is similar in appearance oboe family, and is curved with an obviously to its younger cousin the cello but has some flared bell. Listen for the oboe da caccia in the key differences: its shoulders slope away from soprano aria ‘Zerfließe’ (No.35 in Part II). The the neck of the instrument, it has six or seven OBOE D’AMORE could be considered the alto of strings instead of four, and the fingerboard has the oboe family and has a pear-shaped bell. frets, like a guitar. The viola da gamba is held The oboe d’amore is heard in several choruses between the knees (‘da gamba’ indicates a viol in Part II.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 7 THE MUSIC The Composers

Johann Sebastian Bach (1675–1750) Johann Sebastian Bach was born in 1685 to a

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P Kapellmeister in his own court where, supported by a music-loving prince and a very fine orchestra, Bach composed many of his virtuoso instrumental works, including the Brandenburg concertos. In 1722 he applied for the post of cantor at the school attached to

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A series of church cantatas, his two passion settings and other major choral works.

Deborah Cheetham(born 1964) Deborah CheethamAO – Yorta Yorta woman, soprano, composer and educator – has been a

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SYDNEY PHILHARMONIA CHOIRS 2021 ///// 8 THE MUSIC

Indigenous artists, and to innovation in (Evening of the Sky). She is currently working performance’. In 2009 she established Short with Nick on an unnamed project, as well as a Black Opera as a national not-for-profit opera number of commissions for other choirs. company devoted to the development of Joseph Twist(born 1982) Indigenous singers. The following year she produced her first opera,Pecan Summer. Composer-arranger Joseph Twist straddles film This landmark work was Australia’s first music and concert music arenas. He works extensively as a composer and arranger of music Indigenous opera and has been a vehicle for for film and television, including the the development of a new generation of internationally successful children’s animated Indigenous opera singers. In 2015 she was series Bluey. He has worked as an arranger and inducted onto the Honour Roll of Women in orchestrator for many renowned international Victoria and in 2018 received an honorary artists and ensembles, including singer/ doctorate from the University of South songwriters Moby, Guy Sebastian, Missy Higgins, Australia. In 2019 she received the Merlyn Josh Pyke, Megan Washington and Kate Miller- Myer Prize to create a new work for the Heidke, bands like Eskimo Joe and The Wiggles, Melbourne ensemble Syzygy. Her growing list jazz and cabaret artists like Sally Cameron, of commissions includes works for the The Idea of North and Lady Sings it Better, and Adelaide and Melbourne symphony orchestras, opera singers David Hobson and Teddy Tahu the Australian String Quartet, West Australian Rhodes. His orchestrations have been performed and recorded by the world’s greatest orchestras, Symphony Orchestra String Quartet, Rubiks including collaborations with the Los Angeles Collective, Plexus Ensemble, Flinders Quartet Philharmonic, the Colorado Symphony and the and the Goldner Quartet. Hollywood Scoring Orchestra, as well as the Brooke Shelley(born 1975) Australian symphony orchestras. He continues to work as an orchestrator for major Hollywood After formal training in piano, harpsichord and studio films in Los Angeles, including the composition, and after completing a master’s upcoming new releaseTom and Jerry. degree majoring in Historical Musicology (London), Brooke Shelley turned her attention His concert music is widely programmed, to popular music, fusing Scandinavian metal particularly his choral works, with performances by the Choir of Trinity College Cambridge, with sacred Renaissance music for the band Chanticleer, VOCES8, The Idea of North, The Resonaxis – possibly the only band in the Young New Yorkers’ Chorus, L.A. Choral Lab, world with a classical organist (David Drury). Gondwana Voices, Sydney Children’s Choir, Following the release of two CDs and an EP, National Youth Choir of Australia, Brisbane she returned to composing sacred choral Chamber Choir, Sydney Chamber Choir, The music, having sung with a number of church Australian Voices, Adelaide Chamber Singers and choirs in Australia and the UK. Her choral many others. His work also appears on numerous works have been performed by groups such as commercial recordings, including his own the Choir of Trinity College at Melbourne album,Dancing With Somebody. University, the Choir of St James’, the Choirs of St John’s Cathedral in Brisbane, Adelaide Chamber Singers, Sydney Antiphony and the District Eight in Washington DC. She has also provided improvised vocals for Nick Littlemore (Pnau, Empire of the Sun) on projects such as Elton John vs Pnau andWhite Shadows, and they collaborated onThe Two Leaves Project

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 9 TEXTS AND TRANSLATIONS

TARIMI NULAY – Long time living here by Deborah Cheetham and Matthew Doyle Tarimi nulay ngalawa yura Long time here live the people garrabarra baraya yagu barrabugu dancing and singing today and tomorrow ngyiningi ngara your way of knowing ngyiningi berong your way of belonging Deborah Cheetham Translated from Gadigal by Matthew Doyle

ST JOHN PASSION by J.S. Bach PART I 1. CHORUS Herr, unser Herrscher, Lord, our sovereign, dessen Ruhm in allen Landen herrlich ist! whose fame is glorious in all lands! Zeig uns durch deine Passion, Show us through your passion daß du, der wahre Gottessohn, that you, the true son of God, zu aller Zeit, in every age, auch in der größten Niedrigkeit, even in the deepest humiliation, verherrlicht worden bist! have been glorified! 2. EVANGELIST (TENOR) Jesus ging mit seinen Jüngern über den Jesus went with his disciples across the Bach Kidron, da war ein Garten, darein ging Kedron brook. There was a garden there, and Jesus und seine Jünger. Judas aber, Jesus and his disciples went in. Now Judas, der ihn verriet, wußte den Ort auch, denn who betrayed him, also knew the place, as Jesus versammlete sich oft daselbst mit Jesus often met with his disciples in that very seinen Jüngern. Da nun Judas zu sich hatte place. Judas, having gathered together a genommen die Schar und der Hohenpriester detachment of soldiers and the servants of und Pharisäer Diener, kommt er dahin mit the chief priests and the Pharisees, came to Fackeln, Lampen und mit Waffen. Als nun the place bearing torches, lanterns and Jesus wußte alles, was ihm begegnen sollte, weapons. Since Jesus knew everything that ging er hinaus und sprach zu ihnen: was to happen to him, he went out and said to them: CHRIST (BASS) Wen suchet ihr? Who are you looking for? EVANGELIST Sie antworteten ihm: They answered: CHORUS Jesum von Nazareth. Jesus of Nazareth! EVANGELIST Jesus spricht zu ihnen: Jesus said to them:

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 10 THE WORDS CHRIST Ich bin’s. I am he. EVANGELIST Judas aber, der ihn verriet, stund’ auch bei Now Judas, who betrayed him, was also ihnen. Als nun Jesus zu ihnen sprach: Ich standing with them. When Jesus said to bins, wichen sie zurücke und fielen zu Boden. them, “I am he,” they drew back and fell to Da fragete er sie abermal: the ground. Then he asked them again: CHRIST Wen suchet ihr? Who are you looking for? EVANGELIST Sie aber sprachen: They answered: CHORUS Jesum von Nazareth. Jesus of Nazareth! EVANGELIST Jesus antwortete: Jesus answered: CHRIST Ich habs euch gesagt, daß ichs sei, suchet ihr I have told you that I am he; if it is me you denn mich, so lasset diese gehen! are looking for, then let these others go! 3. CHORALE O große Lieb, o Lieb ohn alle Maße, O great love, o love beyond all measure, die dich gebracht auf diese Marterstraße! that brought you to this martyr’s road! Ich lebte mit der Welt in Lust und Freuden, I lived in the world in pleasure and joy, und du mußt leiden! and you must suffer! 4. EVANGELIST Auf daß das Wort erfüllet würde, welches er This was to fulfil the words that he had sagte: Ich habe der keine verloren, die du mir spoken: ‘I have lost none of those you gave gegeben hast. Da hatte Simon Petrus ein me.’ Now Simon Peter had a sword, and he Schwert und zog es aus und schlug nach des drew it and struck at the High Priest’s Hohenpriesters Knecht und hieb ihm sein servant, and cut off his right ear. The recht Ohr ab; und der Knecht hieß Malchus. servant’s name was Malchus. Then Jesus said Da sprach Jesus zu Petro: to Peter: CHRIST Stecke dein Schwert in die Scheide! Soll ich Put your sword in its sheath; am I not to den Kelch nicht trinken, den mir mein Vater drink the cup my father has given me? gegeben hat? 5. CHORALE Dein Will gescheh, Herr Gott, zugleich Let your will be done, Lord God, both auf Erden wie im Himmelreich. on earth and in heaven; Gib uns Geduld in Leidenszeit, make us patient in the time of suffering, Gehorsam sein in Lieb und Leid, obedient in love and suffering; wehr und steur allem Fleisch und Blut, control and guide all flesh and blood das wider deinen Willen tut! that acts against your will.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 11 THE WORDS 6. EVANGELIST Die Schar aber und der Oberhauptmann und But the soldiers and their commander and die Diener der Jüden nahmen Jesum und the servants of the Jews took Jesus and bunden ihn und führeten ihn aufs erste zu bound him and led him first to Annas, the Hannas, der war Kaiphas Schwäher, welcher father-in-law of Caiaphas, who was the High des Jahres Hohenpriester war. Es war aber Priest that year. Now it was Caiaphas who Kaiphas, der den Juden riet, es wäre gut, daß had advised the Jews that it would be good ein Mensch würde umbracht für das Volk. for one person to be killed for the people. 7. ALTO ARIA Von den Stricken meiner Sünden To set me free from the bonds mich zu entbinden, of my sins, wird mein Heil gebunden. my Saviour is bound. Mich von allen Lasterbeulen To heal me completely völlig zu heilen, from all the ulcers of vice, läßt er sich verwunden. he allows himself to be wounded. 8. EVANGELIST Simon Petrus aber folgete Jesu nach und ein Now Simon Peter and another disciple ander Jünger. followed Jesus. 9. SOPRANO ARIA Ich folge dir gleichfalls mit freudigen I too follow you with joyful Schritten steps, und lasse dich nicht, and will not leave you, mein Leben, mein Licht. my life, my light. Befördre den Lauf Open the way und höre nicht auf, and never cease selbst an mir zu ziehen, zu schieben, to draw me on, to drive me forward, zu bitten! to entreat me. 10. EVANGELIST Derselbige Jünger war dem Hohenpriester This disciple was known to the High Priest, bekannt und ging mit Jesu hinein in des and went with Jesus into the High Priest’s Hohenpriesters Palast. Petrus aber stund palace. Peter stood outside at the door. Then draußen für der Tür. Da ging der andere the other disciple, the one known to the High Jünger der dem Hohenpriester bekannt war, Priest, went out and spoke to the woman who hinaus und redete mit der Türhüterin und was keeping the door, and brought Peter führete Petrum hinein. Da sprach die Magd, inside. Then the maid on duty at the door die Türhüterin, zu Petro: said to Peter: MAID (SOPRANO) Bist du nicht dieses Menschen Jünger einer? Aren’t you one of this man’s disciples? EVANGELIST Er sprach: He said: PETER (TENOR) Ich bins nicht. I am not.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 12 THE WORDS EVANGELIST Es stunden aber die Knechte und Diener und Now there were servants and guards standing hatten ein Kohlfeu’r gemacht (denn es war there, and they had made a charcoal fire, kalt) und wärmeten sich. Petrus aber stund because it was cold, and they were warming bei ihnen und wärmete sich. Aber der themselves. Peter stood near them and Hohepriester fragte Jesum um seine Jünger warmed himself. Now the High Priest asked und um seine Lehre. Jesus about his disciples and his teaching. Jesus antwortete ihm: Jesus answered: CHRIST Ich habe frei, öffentlich geredet für der Welt. I have spoken freely, openly for all the Ich habe allezeit gelehret in der Schule und world to hear. I have always taught in the in dem Tempel, da alle Juden zusammen synagogue and in the temple, where all kommen, und habe nichts im Verborgnen the Jews meet together, and I have said geredt. Was fragest du mich darum? Frage die nothing in secret. Why are you asking me darum, die gehöret haben, was ich zu ihnen about it? Ask the people who heard me geredet habe! Siehe, dieselbigen wissen, what I said to them: they know was ich gesaget habe. what I said! EVANGELIST Als er aber solches redete, gab der Diener When he said this, one of the guards einer, die dabeistunden, Jesu einen standing there slapped Jesus across the face Backenstreich und sprach: and said: GUARD (BASS) Solltest du dem Hohenpriester also Is that how you answer the High Priest? antworten? EVANGELIST Jesus aber antwortete: But Jesus replied: CHRIST Hab ich übel geredt, so beweise es, daß es If there is something wrong with what I said, böse sei, hab ich aber recht geredt, was then show that it is wrong. schlägest du mich? But if what I said is right, why do you hit me? 11. CHORALE Wer hat dich so geschlagen, Who has hit you like this, mein Heil, und dich mit Plagen my Saviour, and treated you so übel zugericht’? so badly? Du bist ja nicht ein Sünder, You are certainly not a sinner, wie wir und unsre Kinder, as we and our children are; von Missetaten weißt du nicht. you know nothing of wrongdoing. Ich, ich und meine Sünden, I, I and my sins, die sich wie Körnlein finden which are like the grains des Sandes an dem Meer, of sand on a beach, die haben dir erreget It is these which have brought down on you das Elend, das dich schläget, the misery that assaults you und das betrübte Marterheer. and the host of torments.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 13 THE WORDS HEAVEN, TEAR APART (Himmel reiße) by Joseph Twist BARITONE AND CHORUS Himmel reiße, Welt erbebe, Heaven, tear apart, world, tremble! Himmel reiße, Welt erbebe, Heaven, tear apart, world, tremble! fallt in meinen Trauerton, Join me in my lament, Sehet meine Qual und Angst, See my agony and fear, was ich, Jesu, mit dir leide! How I suffer with you, Jesus! Ja, ich zähle deine Schmerzen Yes, I count your pains, Jesu, deine Passion Jesus, your passion o zerschlagner Gottessohn, O broken Son of God ist mir lauter Freude, is pure joy to me, Ich erwähle Golgatha I choose Golgotha vor dies schnöde Weltgebäude. before this world’s vile edifice. Werden auf den Kreuzeswegen On the path of the cross deine Dornen ausgesät, your thorns are sown, Weil ich in Zufriedenheit Because I in contentment mich in deine Wunden senke, sink into your wounds, deine Wunden, Kron und Hohn your wounds, crown and scorn meines Herzens Weide. are my heart’s consolation. So erblick ich in dem Sterben, So I will recognise at my death, wenn ein stürmend Wetter weht, when stormy weather blows, Meine Seel auf Rosen geht, My soul walks on roses, wenn ich dran gedenke; when I contemplate it; Diesen Ort, dahin ich mich täglich This place to which I daily durch den Glauben lenke. strive though faith. in dem Himmel eine Stätt Grant me a place in mir deswegen schenke! heaven because of it!

ST JOHN PASSION continued 12. EVANGELIST Und Hannas sandte ihn gebunden zu dem And Annas sent him, bound, to the High Hohenpriester Kaiphas. Simon Petrus stund Priest, Caiaphas. Simon Peter was standing und wärmete sich, da sprachen sie zu ihm: warming himself, when they said to him: CHORUS Bist du nicht seiner Jünger einer? Aren’t you one of his disciples? EVANGELIST Er leugnete aber und sprach: But he denied it, and said: PETER Ich bins nicht. I am not. EVANGELIST Spricht des Hohenpriesters Knecht’ einer, ein One of the High Priest’s servants, a friend of Gefreundter des, dem Petrus das Ohr the one whose ear Peter had cut off, said: abgehauen hatte:

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 14 THE WORDS SERVANT Sahe ich dich nicht im Garten bei ihm? Didn’t I see you in the garden with him? EVANGELIST Da verleugnete Petrus abermal, und alsobald Then Peter denied it again, and straight away krähete der Hahn. Da gedachte Petrus an die the cock crowed. Then Peter remembered the Worte Jesu und ging hinaus und weinete words of Jesus, and went outside and wept bitterlich. bitterly. 13. TENOR ARIA Ach, mein Sinn, Ah, my soul, wo willt du endlich hin, where are you taking me? wo soll ich mich erquicken? where should I find relief? Bleib ich hier, Should I stay here oder wünsch ich mir or wish myself Berg und Hügel auf den Rücken? buried under mountains and hills? Bei der Welt ist gar kein Rat, There is no help on earth, und im Herzen and in my heart stehn die Schmerzen lies the pain meiner Missetat, of my wrongdoing, weil der Knecht den Herrn verleugnet hat. because the slave has disowned his master. 14. CHORALE Petrus, der nicht denkt zurück, Without thinking back, Peter seinen Gott verneinet, denies his God; der doch auf ein’ ernsten Blick yet at one grave glance bitterlichen weinet. he weeps bitterly. Jesu, blicke mich auch an, Look at me as well, Jesus, wenn ich nicht will büßen; when I refuse to atone; wenn ich Böses hab getan, when I have done wrong, rühre mein Gewissen! stir my conscience.

INTERVAL

ST JOHN PASSION PART II 15. CHORALE Christus, der uns selig macht, Christ, who makes us joyful, kein Bös’ hat begangen, committed no evil deed, der ward für uns in der Nacht for our sake he was taken in the night als ein Dieb gefangen, like a thief, geführt für gottlose Leut taken before godless people und fälschlich verklaget, and falsely accused, verlacht, verhöhnt und verspeit, laughed at, mocked and spat upon, wie denn die Schrift saget. as the scripture says.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 15 THE WORDS 16. EVANGELIST Da führeten sie Jesum von Kaipha vor das Then they led Jesus from the house of Richthaus, und es war frühe. Und sie gingen Caiaphas to the Roman courthouse. It was nicht in das Richthaus, auf daß sie nicht early in the morning. And they did not go unrein würden, sondern Ostern essen into the courthouse, so as not to become möchten. Da ging Pilatus zu ihnen heraus unclean, so that they would be able to eat und sprach: the Passover meal. So Pilate went out to them and said: PILATE (BASS) Was bringet ihr für Klage wider What charge do you bring against diesen Menschen? this man? EVANGELIST Sie antworteten und sprachen zu ihm: They replied: CHORUS Wäre dieser nicht ein Übeltäter, wir hätten dir If he were not a criminal, we would not have ihn nicht überantwortet. handed him over to you. EVANGELIST Da sprach Pilatus zu ihnen: Pilate said to them: PILATE So nehmet ihn ihr hin und richtet ihn nach Then take him away and judge him according eurem Gesetze! to your laws. EVANGELIST Da sprachen die Jüden zu ihm: The Jews said to him: CHORUS Wir dürfen niemand töten. We are not allowed to put anyone to death. EVANGELIST Auf daß erfüllet würde das Wort Jesu, This was to fulfil the words Jesus had welches er sagte, da er deutete, welches spoken, indicating the way he was to die. Todes er sterben würde. Da ging Pilatus Then Pilate went back into the courthouse wieder hinein in das Richthaus und rief and called Jesus, and said to him: Jesu und sprach zu ihm: PILATE Bist du der Jüden König? Are you the King of the Jews? EVANGELIST Jesus antwortete: Jesus replied: CHRIST Redest du das von dir selbst, oder habens dir Are you asking this for yourself, or have andere von mir gesagt? others spoken to you about me? EVANGELIST Pilatus antwortete: Pilate answered:

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 16 THE WORDS PILATE Bin ich ein Jüde? Dein Volk und die Am I a Jew? Your people and the chief priests Hohenpriester haben dich mir überantwortet; have handed you over to me; what have you was hast du getan? done? EVANGELIST Jesus antwortete: Jesus answered: CHRIST Mein Reich ist nicht von dieser Welt, wäre My kingdom is not of this world; if it were, mein Reich von dieser Welt, meine Diener my followers would fight to save me from würden darob kämpfen, daß ich den Jüden being handed over to the Jews. But my nicht überantwortet würde; aber nun ist kingdom is not from there now. mein Reich nicht von dannen. 17. CHORALE Ach großer König, groß zu allen Zeiten, Ah, great King, great for all time, wie kann ich gnugsam diese Treu ausbreiten? how can I adequately display my loyalty? Keins Menschen Herze mag indes ausdenken, For no human heart can conceive was dir zu schenken. of a gift fit to offer you. Ich kann’s mit meinen Sinnen nicht erreichen, My mind cannot find anything womit doch dein Erbarmen zu vergleichen. to compare with your mercy. Wie kann ich dir denn deine Liebestaten How can I repay your loving deeds im Werk erstatten? with my own works? 18. EVANGELIST Da sprach Pilatus zu ihm: Then Pilate said to him: PILATE So bist du dennoch ein König? So you are a king? EVANGELIST Jesus antwortete: Jesus replied: CHRIST Du sagst’s, ich bin ein König. Ich bin dazu You say it yourself: I am a king. I was born geboren und in die Welt kommen, daß ich die and came into the world for this: to bear Wahrheit zeugen soll. Wer aus der Wahrheit witness to the truth. Anyone who is of the ist, der höret meine Stimme. truth hears my voice. EVANGELIST Spricht Pilatus zu ihm: Pilate said to him: PILATE Was ist Wahrheit? What is truth? EVANGELIST Und da er das gesaget, ging er wieder hinaus And with those words he went back out to the zu den Jüden und spricht zu ihnen: Jews and said to them: PILATE Ich finde keine Schuld an ihm. Ihr habt I find no case against him. But you have a aber eine Gewohnheit, daß ich euch einen custom that I release one prisoner to you; do losgebe; wollt ihr nun, daß ich euch der you want me to release the king of the Jews? Jüden König losgebe? SYDNEY PHILHARMONIA CHOIRS 2021 ///// 17 THE WORDS EVANGELIST Da schrieen sie wieder allesamt und Again they all shouted out together: sprachen: CHORUS Nicht diesen, sondern Barrabam! Not this one, but Barabbas! EVANGELIST Barrabas aber war ein Mörder. Da nahm Now Barabbas was a murderer. Then Pilate Pilatus Jesum und geißelte ihn. had Jesus taken and flogged. 19. BASS ARIOSO Betrachte, meine Seel, Contemplate, my soul, mit ängstlichem Vergnügen, with fearful pleasure, mit bittrer Lust und halb beklemmten Herzen with bitter joy and heart heavy-laden, dein höchstes Gut in Jesu Schmerzen, your greatest good in the sufferings of Jesus: wie dir auf Dornen, how on the thorns so ihn stechen, which pierce him die Himmelschlüsselblumen blühn! the flowers of heaven blossom for you! Du kannst viel süße Frucht You can pick many a sweet fruit von seiner Wermut brechen, from his wormwood, drum sieh ohn Unterlaß auf ihn! therefore do not cease to gaze on him! 20. TENOR ARIA Erwäge, wie sein blutgefärbter Rücken Consider how his back stained with blood in allen Stücken in every way dem Himmel gleiche geht, resembles heaven: daran, nachdem die Wasserwogen when the rolling flood von unsrer Sündflut sich verzogen, of our sins subsides, der allerschönste Regenbogen the fairest of rainbows als Gottes Gnadenzeichen steht! stands as a sign of God’s grace! 21. EVANGELIST Und die Kriegsknechte flochten eine Krone And the soldiers plaited a crown of thorns von Dornen und satzten sie auf sein Haupt and put it on his head, and laid a purple und legten ihm ein Purpurkleid an und robe on him, and said: sprachen: CHORUS Sei gegrüßet, lieber Jüdenkönig! Hail, King of the Jews! EVANGELIST Und gaben ihm Backenstreiche. Da ging And they slapped him across the face. Then Pilatus wieder heraus und sprach zu ihnen: Pilate went back out and said to them: PILATE Sehet, ich führe ihn heraus zu euch, daß ihr Look, I am bringing him out to you to let you erkennet, daß ich keine Schuld an ihm finde. know that I find no case against him. EVANGELIST Also ging Jesus heraus, und trug eine Then Jesus came out wearing a crown of Dornenkrone und Purpurkleid. Und er sprach thorns and a purple robe. And he said to zu ihnen: them:

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 18 THE WORDS PILATE Sehet, welch ein Mensch! Behold the man! EVANGELIST Da ihn die Hohenpriester und die Diener When the chief priests and the guards saw sahen, schrieen sie und sprachen: him, they screamed out: CHORUS Kreuzige! Crucify! EVANGELIST Pilatus sprach zu ihnen: Pilate said to them: PILATE Nehmet ihr ihn hin und kreuziget ihn; denn You take him and crucify him, for I find no ich finde keine Schuld an ihm! case against him. EVANGELIST Die Jüden antworteten ihm: The Jews answered: CHORUS Wir haben ein Gesetz, und nach dem Gesetz We have a law, and according to that law he soll er sterben, denn er hat sich selbst zu should die, because he has made himself out Gottes Sohn gemacht. to be the Son of God. EVANGELIST Da Pilatus das Wort hörete, fürchtet’ er sich When Pilate heard this, he was more afraid noch mehr und ging wieder hinein in das than ever, and went back into the courthouse Richthaus, und spricht zu Jesu: and said to Jesus: PILATE Von wannen bist du? Where are you from? EVANGELIST Aber Jesus gab ihm keine Antwort. Da sprach But Jesus gave him no answer. Then Pilate Pilatus zu ihm: said to him: PILATE Redest du nicht mit mir? Weißest du nicht, You won’t speak to me? Don’t you know that I daß ich Macht habe, dich zu kreuzigen, und have the power to crucify you, and the power Macht habe, dich loszugeben? to set you free? EVANGELIST Jesus antwortete: Jesus replied: CHRIST Du hättest keine Macht über mich, wenn sie You would have no power over me if it had dir nicht wäre von oben herab gegeben; not been given to you from above. Therefore darum, der mich dir überantwortet hat, der the one who handed me over to you has the hat’s größ’re Sünde. greater sin. EVANGELIST Von dem an trachtete Pilatus, wie er ihn From that moment on, Pilate looked for a way losließe. to release him.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 19 THE WORDS 22. CHORALE Durch dein Gefängnis, Gottes Sohn, Through your captivity, Son of God, muß uns die Freiheit kommen; freedom must come to us. dein Kerker ist der Gnadenthron, Your prison is the throne of grace, die Freistatt aller Frommen; the land of asylum for all godly people. denn gingst du nicht die Knechtschaft ein, For had you not entered into servitude, müßt unsre Knechtschaft ewig sein. our servitude would have to have lasted for ever. 23. EVANGELIST Die Jüden aber schrieen und sprachen: But the Jews shouted out: CHORUS Lässest du diesen los, so bist du des Kaisers If you let this man go, it shows you are no Freund nicht; denn wer sich zum Könige friend to Caesar, for whoever sets himself up machet, der ist wider den Kaiser. as king is defying Caesar. EVANGELIST Da Pilatus das Wort hörete, führete er Jesum When Pilate heard this, he led Jesus out and heraus, und satzte sich auf das Richtstuhl, an took his seat on the tribunal at the place der Stätte, die da heißet: Hochpflaster, auf called The Pavement, which in Hebrew is Ebräisch aber: Gabbatha. Es war aber der Gabbatha. Now it was the day of preparation Rüsttag in Ostern um die sechste Stunde, for the Passover, about the sixth hour. He und er spricht zu den Jüden: said to the Jews: PILATE Sehet, das ist euer König! Look, this is your king. EVANGELIST Sie schrieen aber: But they screamed: CHORUS Weg, weg mit dem, kreuzige ihn! Away with this man. Crucify him! EVANGELIST Spricht Pilatus zu ihnen: Pilate said to them: PILATE Soll ich euren König kreuzigen? Am I supposed to crucify your king? EVANGELIST Die Hohenpriester antworteten: The chief priests answered: CHORUS Wir haben keinen König denn den Kaiser. We have no king but Caesar.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 20 THE WORDS

Then he handed him over to be crucified. EVANGELIST Now they took Jesus and led him away. And Da überantwortete er ihn, daß er gekreuziget he carried his cross, and went out to the würde. Sie nahmen aber Jesum und führeten place called the Place of the Skull, which in ihn hin. Und er trug sein Kreuz, und ging Hebrew is called Golgotha. hinaus zur Stätte, die da heißet Schädelstätt, welche heißet auf Ebräisch: Golgatha. Hurry, you assaulted souls, 24. BASS ARIA WITH CHORUS come out of your dens of misery, Eilt, ihr angefochtnen Seelen, hurry – where? – to Golgotha! geht aus euren Marterhöhlen, Take the wings of faith, Eilt – wohin? – nach Golgatha! fly – where? – to the Hill of the Cross, Nehmet an des Glaubens Flügel, that is where the flower of your happiness flieht – wohin? – zum Kreuzeshügel, is blooming! eure Wohlfahrt blüht allda!

They crucified him there, and with him two 25. EVANGELIST others, one on either side with Jesus in the Allda kreuzigten sie ihn, und mit ihm zween middle. Now Pilate wrote a notice and had it andere zu beiden Seiten, Jesum aber mitten put on the cross, and it read, ‘Jesus of inne. Pilatus aber schrieb eine Überschrift Nazareth, King of the Jews’. Many Jews read und satzte sie auf das Kreuz, und war this notice, because the place where Jesus geschrieben: „Jesus von Nazareth, der Jüden was crucified was near the city. And it was König.“ Diese Überschrift lasen viel Jüden, written in Hebrew, Greek and Latin. Then the denn die Stätte war nahe bei der Stadt, da chief priests said to Pilate: Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohenpriester der Jüden zu Pilato: Don’t write ‘King of the Jews’, but that he CHORUS said ‘I am the King of the Jews.’ Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König. Pilate replied: EVANGELIST Pilatus antwortet: What I have written, I have written. PILATE Was ich geschrieben habe, das habe ich geschrieben. In the depths of my heart, 26. CHORALE your name and cross alone In meines Herzens Grunde, shine always, dein Nam und Kreuz allein therefore I can be joyful. funkelt all Zeit und Stunde, May they appear to me drauf kann ich fröhlich sein. as comfort in my hour of need, Erschein mir in dem Bilde as you, Lord Christ, so mild, zu Trost in meiner Not, poured out your life’s blood. wie du, Herr Christ, so milde dich hast geblut’ zu Tod!

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 21 THE WORDS EIN BÄCHLEIN IM BACH by Brooke Shelley Ecce, quomodo moritur justus Behold how the just man dies et nemo percipit corde. and no one takes it to heart. Nehmet an des Glaubens Flügel, Take the wings of faith, flieht…[Wohin?] zum Kreuzeshügel, fly… [Where?] to the Hill of the Cross, ihr angefochtnen Seelen, eilt! Hurry, you contested souls! Den Leib in seim Schlafkämmerlein My body in its tomb, gar sanft ohn eigne Qual und Pein rest gently without anguish or pain, ruhn bis am jüngsten Tage! until the day of judgement. Et erit in pace memoria ejus. And his memory will be at peace. Ruht wohl und bringt auch mich zur Ruh! Rest well and bring me also to rest! Gib uns Geduld in Leidenszeit. Grant us patience in times of suffering.

ST JOHN PASSION continued 27. EVANGELIST Die Kriegsknechte aber, da sie Jesum Now the soldiers who had crucified Jesus gekreuziget hatten, nahmen seine Kleider und took his clothes and made four piles, one for machten vier Teile, einem jeglichen each soldier. There was also a seamless Kriegesknechte sein Teil, dazu auch den tunic, woven all in one piece. They said to Rock. Der Rock aber war ungenähet von oben each other: an gewürket durch und durch. Da sprachen sie untereinander: CHORUS Lasset uns den nicht zerteilen, sondern Rather than tearing this, let’s cast lots to see darum losen, wes er sein soll. who shall have it. EVANGELIST Auf daß erfüllet würde die Schrift, die da In this way the words of scripture were saget: „Sie haben meine Kleider unter sich fulfilled: They have divided my clothes geteilet und haben über meinen Rock das Los among themselves, and cast lots over my geworfen. “ Solches taten die Kriegesknechte. tunic. That is what the soldiers did. Now Es stund aber bei dem Kreuze Jesu seine standing near the cross of Jesus were his Mutter und seiner Mutter Schwester, Maria, mother and his mother’s sister, Mary, the wife Kleophas Weib, und Maria Magdalena. Da of Cleopas, and Mary Magdalene. When Jesus nun Jesus seine Mutter sahe und den saw his mother and the disciple he loved Jünger dabei stehen, den er lieb hatte, standing near her, he said to his mother: spricht er zu seiner Mutter: CHRIST Weib, siehe, das ist dein Sohn! Woman, see, this is your son! EVANGELIST Darnach spricht er zu dem Jünger: Then he said to the disciple: CHRIST Siehe, das ist deine Mutter! See, this is your mother!

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 22 THE WORDS 28. CHORALE Er nahm alles wohl in acht He paid attention to everything in der letzten Stunde, in the last hour, seine Mutter noch bedacht, he still thought of his mother, setzt ihr ein’ Vormunde. and gave her a guardian. O Mensch, mache Richtigkeit, O mortal, do what is right, Gott und Menschen liebe, love God and other people, stirb darauf ohn alles Leid, so that you die free from suffering und dich nicht betrübe! and grief. 29. EVANGELIST Und von Stund an nahm sie der Jünger zu And from that moment on she took the sich. Darnach, als Jesus wußte, daß schon disciple into her house. After that, when alles vollbracht war, daß die Schrift erfüllet Jesus knew that everything had now been würde, spricht er: completed, so that the scripture might be fulfilled, he said: CHRIST Mich dürstet! I am thirsty. EVANGELIST Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig und legten There was a jar full of vinegar there. They ihn um einen Isopen, und hielten es ihm dar soaked a sponge with vinegar and put it on a zum Munde. Da nun Jesus den Essig stick of hyssop and lifted it up to his mouth. genommen hatte, sprach er: When Jesus had taken the vinegar, he said: CHRIST Es ist vollbracht! It is accomplished. 30. ALTO ARIA Es ist vollbracht, It is accomplished; O Trost vor die gekränkten Seelen! what comfort for suffering souls! Die Trauernacht The last hours of the night of sorrow läßt nun die letzte Stunde zählen. are approaching. Der Held aus Juda siegt mit Macht Judah’s hero triumphs with strength und schließt den Kampf. Es ist vollbracht! and wins the fight. It is accomplished! 31. EVANGELIST Und neiget das Haupt und verschied. And he bowed his head and gave up his spirit. 32. BASS ARIA WITH CHORALE Mein teurer Heiland, laß dich fragen, My dear Saviour, let me ask you, da du nunmehr ans Kreuz geschlagen now that you are nailed to the cross und selbst gesagt: Es ist vollbracht, and have yourself said, ‘It is accomplished’: bin ich vom Sterben frei gemacht? am I set free from death? Kann ich durch deine Pein und Sterben Can I, through your pain and death, das Himmelreich ererben? inherit the kingdom of heaven? Ist aller Welt Erlösung da? Is this the redemption of the whole world? Du kannst vor Schmerzen zwar nichts sagen; You cannot speak for the pain, doch neigest du das Haupt yet you bow your head und sprichst stillschweigend: Ja! and silently say: Yes!

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 23 THE WORDS Jesu, der du warest tot, Jesus, you who were dead lebest nun ohn Ende, now live for ever. in der letzten Todesnot In the last hour of death, nirgend mich hinwende let me turn nowhere als zu dir, der mich versühnt, but to you, who have atoned for me, o du lieber Herre! O my dearest Lord! Gib mir nur, was du verdient, Give me only what you have earned, mehr ich nicht begehre! I desire nothing more. 33. EVANGELIST Und siehe da, der Vorhang im Tempel zerriß And behold, the curtain in the temple was in zwei Stück von oben an bis unten aus. Und torn in two from top to bottom. And the earth die Erde erbebete, und die Felsen zerrissen, quaked, and the rocks were torn apart and und die Gräber täten sich auf, und stunden the graves opened up, and the bodies of auf viele Leiber der Heiligen. many holy people rose from the dead. 34. TENOR ARIOSO Mein Herz, in dem die ganze Welt My heart! while the whole world bei Jesu Leiden gleichfalls leidet, shares in the suffering of Jesus, die Sonne sich in Trauer kleidet, the sun dresses itself in mourning, der Vorhang reißt, der Fels zerfällt, the curtain tears, the rocks fall to pieces, die Erde bebt, die Gräber spalten, the earth quakes, the graves split open, weil sie den Schöpfer sehn erkalten: as they see the Creator growing cold: was willst du deines Ortes tun? what will you do for your part? 35. SOPRANO ARIA Zerfließe, mein Herze, in Fluten der Zähren O my heart, melt in floods of tears dem Höchsten zu Ehren. to honour the Most High. Erzähle der Welt und dem Himmel die Not: Tell heaven and earth the terrible news: Dein Jesus ist tot! your Jesus is dead. 36. EVANGELIST Die Jüden aber, dieweil es der Rüsttag war, Now since it was the day of preparation, so daß nicht die Leichname am Kreuze blieben that the bodies would not remain on the den Sabbath über (denn desselbigen Sabbath cross during the Sabbath (for this Sabbath Tag war sehr groß), baten sie Pilatum, daß was a very important one) the Jews asked ihre Beine gebrochen und sie abgenommen Pilate to have the legs broken and the bodies würden. Da kamen die Kriegsknechte und taken away. So the soldiers came and broke brachen dem ersten die Beine und dem the legs of first one, then the other of the andern, der mit ihm gekreuziget war. Als sie men who had been crucified with him. But aber zu Jesu kamen, da sie sahen, daß er when they came to Jesus and saw that he schon gestorben war, brachen sie ihm die was already dead, they did not break his legs; Beine nicht; sondern der Kriegsknechte einer instead, the soldier opened his side with a eröffnete seine Seite mit einem Speer, und spear, and immediately blood and water alsobald ging Blut und Wasser heraus. Und flowed out. And he who saw this has testified der das gesehen hat, der hat es bezeuget, to it, and his testimony is true, and he knows und sein Zeugnis ist wahr, und derselbige that he is speaking the truth, so that you may weiß, daß er die Wahrheit saget, auf daß ihr believe. For these things happened to fulfil gläubet. Denn solches ist geschehen, auf daß the scripture: You shall not break a single die Schrift erfüllet würde: “Ihr sollet ihm kein one of his bones. And in another place it is Bein zerbrechen.” Und abermal spricht eine written: They will look upon the one whom andere Schrift: “Sie werden sehen, in they have pierced. welchen sie gestochen haben!”

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 24 THE WORDS 37. CHORALE O hilf, Christe, Gottes Sohn, O help us, Christ, Son of God, durch dein bitter Leiden, through your bitter suffering daß wir dir stets untertan so that, always subject to you, all Untugend meiden, we may avoid all evil ways, deinen Tod und sein Ursach meditate fruitfully fruchtbarlich bedenken, on your death and what caused it, dafür, wiewohl arm und schwach, and, though poor and weak, dir Dankopfer schenken! make thank-offerings to you for it. 38. EVANGELIST Darnach bat Pilatum Joseph von Arimathia, After that, Joseph of Arimathaea, who was a der ein Jünger Jesu war (doch heimlich aus disciple of Jesus (but in secret, for fear of the Furcht vor den Jüden), daß er möchte Jews), asked Pilate whether he might take abnehmen den Leichnam Jesu. Und Pilatus away the body of Jesus. And Pilate gave his erlaubete es. Derowegen kam er und nahm permission. So he came and took the body of den Leichnam Jesu herab. Es kam aber auch Jesus away. Nicodemus came as well—the Nikodemus, der vormals bei der Nacht zu one who had earlier come to Jesus in the Jesu kommen war, und brachte Myrrhen und night—and brought a mixture of myrrh and Aloen untereinander bei hundert Pfunden. Da aloes weighing a hundred pounds. They took nahmen sie den Leichnam Jesu und bunden the body of Jesus and wrapped it with spices ihn in leinen Tücher mit Spezereien, wie die in linen cloths, according to the Jewish burial Jüden pflegen zu begraben. Es war aber an custom. Now at the place where he had been der Stätte, da er gekreuziget ward, ein crucified, there was a garden, and in the Garten, und im Garten ein neu Grab, in garden a new tomb, in which no-one had yet welches niemand je geleget war. Da selbst hin been buried. There they lay Jesus, because of legten sie Jesum, um des Rüsttags willen der the Jewish day of preparation, since the tomb Jüden, dieweil das Grab nahe war. was close at hand. 39. CHORUS Ruht wohl, ihr heiligen Gebeine, Rest in peace, O holy limbs, die ich nun weiter nicht beweine, over which I no longer weep: ruht wohl, und bringt auch mich zur Ruh! rest in peace, and bring me to peace also. Das Grab, so euch bestimmet ist The tomb that has been set aside for you und ferner keine Not umschließt, and contains no further distress macht mir den Himmel auf, opens the heavens to me, und schließt die Hölle zu. and closes hell. 40. CHORALE Ach Herr, laß dein lieb Engelein O Lord, let your dear little angel am letzten End die Seele mein carry my soul at the last in Abrahams Schoß tragen, into the lap of Abraham; den Leib in seim Schlafkämmerlein let my body in its little bedchamber gar sanft ohn einge Qual und Pein rest gently, free from any pain or suffering, ruhn bis am jüngsten Tage! until the day of judgement! Alsdenn vom Tod erwecke mich, Then awaken me from death daß meine Augen sehen dich that my eyes may see you in aller Freud, o Gottes Sohn, with utter joy, O son of God, mein Heiland und Genadenthron! my saviour and throne of grace! Herr Jesu Christ, erhöre mich, Lord Jesus Christ, hear my prayer, ich will dich preisen ewiglich! I would praise you for all eternity! English translation (Bach) by Natalie Shea© 2000

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THE ARTISTS

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ELIZABETH SCOTT Conductor & Music Director VOX Elizabeth Scott graduated from the Sydney She is active in music education and is currently Conservatorium of Music in 1995 as a flute major, the Music Performance Projects Officer having earned the prestigious Student of the Year (Secondary Choral Music/Instrumental Music) Award and the Reuben F Scarf Scholarship for for the Arts Unit, a specialist branch of the NSW academic and musical excellence. Holding Department of Education, and regularly scholarships from the Hungarian Ministry of conducts for State Music Camps, Choral and Education, she then completed postgraduate Instrumental Music Festivals, and the NSW studies in choral conducting, vocal performance Public Schools Singers. She has been the Choral and aural training in Hungary and Germany before Conductor for the Schools Spectacular since returning to Australia in 2004. She is a graduate 2009, and was also Director of Vocal and Choral of Symphony Australia’s Conductor Development Studies at the Conservatorium High School Program, participating in workshops with the (2012–2013). Queensland, Adelaide and Melbourne symphony orchestras and Orchestra Victoria, among others. Elizabeth Scott is the conductor of the Sydney She was also awarded the Sydney Choral Conservatorium of Music Choir, where she is also Symposium Foundation Choral Conducting currently completing a Doctorate of Musical Arts. Scholarship in 2008. She works regularly with Cantillation and has performed and recorded with Pinchgut Opera She has been the music director of Sydney and The Song Company. Philharmonia’s VOX since 2008, building the ensemble into one of Australia’s leading young adult choirs. She was Assistant Chorus Master to Sydney Philharmonia Choirs from 2006 to 2008 and Acting Music Director for the first half of 2013. She also regularly works as a chorus master for the Sydney Symphony Orchestra, preparing choirs for conductors such as Simone Young, David Robertson and Charles Dutoit. In 2017 she was the first Australian woman to conduct the Sydney Philharmonia Choirs’ annual performance ofMessiah at the Sydney Opera House. She is regularly invited as a guest conductor for ensembles such as Canberra Choral Society, Coro Innominata, Macquarie University Singers and Orpheus Choral Music.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 26 THE ARTISTS

RICHARD BUTLER ANDREW O’CONNOR Tenor (Evangelist) Bass-baritone (Christ) English tenor Richard Butler recently celebrated As a performer and educator, Perth-born Andrew his tenth year in Australia, during which time he O’Connor is versed in a wide variety of styles and has appeared for organisations such as the genres. He is a lay clerk with St Mary’s Cathedral Melbourne, West Australian and Tasmanian Choir, was an Associate Artist with Pacific Opera symphony orchestras, Canberra International in 2019, and was the winner of the 2020 Royal Festival, Adelaide Festival, Sydney Festival, Melbourne Philharmonic Aria Competition. Australian Brandenburg Orchestra, Pinchgut Opera, Adelaide Chamber Singers, Sydney From 2015 to 2019 he was a core member of Chamber Choir, Perth Symphonic Chorus and The Song Company and he has developed a busy Royal Melbourne Philharmonic, as well as freelance portfolio career – singing with virtually Sydney Philharmonia Choirs. all of Sydney’s leading music organisations in both an ensemble context and increasingly as a Born and raised in England, he was head soloist. chorister at Durham Cathedral and choral scholar at King’s College, Cambridge. He was then a lay This year his major engagements include clerk at Westminster Cathedral and sang in performing in the entirety of Pinchgut Opera’s professional ensembles such as Tenebrae, the 20th Anniversary Season with three roles in Gabrieli Consort, Gallicantus and the English The Loves of Apollo and Dafne (Cavalli), as Concert, performing globally in ensemble and as soloist in their Purcell and Charpentier concert a soloist. program, and with Cantillation in Monteverdi’s Vespers and Rameau’sPlatée ; as well as A life-long professional church musician, he Handel’s Dixit Dominus with Australian specialises in the works of Bach and his peers Brandenburg Orchestra, projects with Bach and has appeared as Evangelist many times in Akademie Australia, a Musica Viva Sessions the St Matthew and St John Passions as well as concert at the Royal Botanic Gardens with Vocal aria soloist, most recently for the WASO in 2019 Detour, the premiere of Katy Abbott’s Hidden and for the TSO in 2016 for the late Richard Gill. Thoughts: Do I Matter? (Canberra International Recent highlights include projects for Bach Music Festival) and – pandemic permitting – Akademie Australia, Bach and Telemann for three weeks at the American Bach Soloists Pinchgut Opera’s inaugural concert series in Academy in San Francisco. 2019,Messiah (RMP), Monteverdi Vespers (Joseph Nolan and St George’s Cathedral, Perth) and Britten’sSt Nicolas (Sydney Chamber Choir). Richard Butler is also the principal lay clerk at St Mary’s Cathedral, Sydney.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 27 THE ARTISTS

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CELESTE LAZARENKO SIAN SHARP Soprano Mezzo-soprano A graduate of both London’s Guildhall and the Since joining Opera Australia as a member of the Sydney Conservatorium and a recipient of Moffatt Oxenbould Young Artists’ Development numerous prizes and awards, while based in the Program, Sian Sharp has sung many of the major UK, Celeste Lazarenko worked with Opera North, mezzo-soprano roles for the company including Glyndebourne, English National Opera and Angers the title role inCarmen , Amneris (Aida), Nantes Opéra. Marchese Melibea (Il viaggio a Reims), La belle Dulcinée (Don Quichotte), Waltraute, Rossweisse In Australia her roles have included the title role and Siegrune (Ring Cycle), Olga (Eugene inThe Cunning Little Vixen for Victorian Opera, Onegin), Maddalena (Rigoletto), Suzuki Female Chorus (The Rape of Lucretia) for Sydney (Madama Butterfly), Dorabella (Così fan tutte), Chamber Opera, and Télaïre (Castor et Pollux), Rosina (The Barber of Seville), Second Lady (Die Medea (Giasone) and Léonore (L’amant jaloux) Zauberflöte), Cherubino (Le nozze di Figaro), for Pinchgut Opera. In 2020 she would have Hansel (Hansel and Gretel), Stéphano (Roméo et made her debut with New Zealand Opera singing Juliette), Nancy (Albert Herring) and Hermia (A the title role of Handel’sSemele and have Midsummer Night’s Dream). She has also appeared in Haydn’sCreation with the Australian appeared with Opera Australia in concert as Bersi Romantic & Classical Orchestra . (Andrea Chénier) and Albine (Thais), as well as For Opera Australia she has appeared as Donna in The Domain and New Year’s Eve gala concerts Anna (Don Giovanni), Pamina and Second Lady and their Great Opera Hits concerts. (The Magic Flute) and Susanna (The Marriage of On the concert platform, Sian Sharp has Figaro) on tour, and as Sylviane (The Merry performed with the Queensland Symphony Widow), Kate Pinkerton (Madama Butterfly), and Orchestra (Messiah), Sydney Symphony Fiji Woman inWhiteley . Orchestra (Mendelssohn’sA Midsummer Night’s On the concert platform Celeste Lazarenko has Dream) and Melbourne Symphony Orchestra appeared with the Queensland, Sydney and New (Mary inThe Flying Dutchman). For Sydney Zealand symphony orchestras, Australian Haydn Philharmonia Choirs she has sung inElijah anda Ensemble, Sydney Philharmonia Choirs and the series of Bach concerts, and will return to Newcastle University and Sydney University perform Verdi’s Requiem later this year. graduate choirs. THE ARTISTS

NICHOLAS JONES DAVID GRECO Tenor Baritone Brilliant young tenor Nicholas Jones recently won Internationally regarded for his interpretations a Green Room Award for his portrayal of David in of Schubert lieder and the works of J.S. Bach, Die Meistersinger von Nürnberg for Opera baritone David Greco has sung on some of the Australia; he was nominated for a Helpmann finest stages across Europe and has appeared as Award for this same role. a principal in the world’s most exciting opera festivals, including Festival Aix-en Provence and A graduate of the Victorian College of the Arts Glyndebourne Festival Opera. In 2014, he was and a Herald-Sun Aria finalist, his roles for OA the first Australian appointed to a position with include Remendado (Carmen), Marasquin (Two the Sistine Chapel Choir in the Vatican. Weddings, One Bride), Albazar (Il turco in Italia), several roles inThe Nose, and Tamino and He regularly appears as a soloist with leading Almaviva in the touring productions ofThe Magic Australian ensemblessuch as the Australian Flute andThe Barber of Seville. Brandenburg Orchestra, Pinchgut Opera and Australian Chamber Orchestra. Most recently he In 2016 he created the role of Fish Lamb in made his debut in Helpmann Award-winning Cloudstreet (State Opera South Australia). He concerts of music by J.S. Bach with the Sydney has sung Male Chorus inThe Rape of Lucretia Symphony Orchestra. (Victorian Opera), Britten’s Canticles and Stefan Cassomenos’ Art of Thought (Melbourne Recital David Greco is an active researcher into Centre), Soldier inThe Emperor of Atlantis historical performance practice of 19th-century and Barnardo inErwin und Elmire(IOpera), vocal music and he recently received his Britten’s Serenade for tenor, horn and strings doctorate from Melbourne University. Thishas (ANAM) and Haydn’sCreation (Sydney led to the first Australian recordings of Philharmonia). He was also an original cast historically informed performances of Schubert’s member in Deborah Cheetham’s indigenous song cyclesWinterreise andDie schöne Müllerin operaPecan Summer. (ABC Classic), the latter receiving an ARIA nomination for Best Classical Album in 2020. Engagements in 2019 included Tom in Christina’s World (State Opera South Australia) and Michael Driscoll in the premiere ofWhiteley (Opera Australia). This year he appears for Opera Australia and Pinchgut Opera. Nicholas Jones is the current recipient of the Dame Heather Begg Memorial Award.

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 29 THE ARTISTS Sydney Philharmonia Chamber Singers

Claire Howard Race Assistant Chorus Master & Principal Rehearsal Pianist Tim Cunniffe Rehearsal Pianist Tanja BinggeliLanguage Coach

SOPRANOS TENORS Jodie Boehme Langzi Chiu Lucy Bruton Steven Hankey Abbey Carter Boghos Keleshian Liz Fuggle Dimitry Moraitis Grace Leonard Adrien Piron Raphaela Mazzone Rajah Selvarajah Jane Nieminska Alex Walter Jayne Oishi Nathalie O’Toole BASSES Katherine Thompson Andy Clare Callum Close ALTOS Nicholas Davison Kate Clowes Benoit Deney Claire Duffy Simon Harris Jessica Farrell Selwyn Lemos Vesna Hatezic Robert Mitchell Tracey Jordan Eric Nelson Judith Pickering Ian Pettener Beverley Price Isaias Sirur Flores Elizabeth Scott Bruce Watson Megan Solomon

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 30 THE ARTISTS Sydney Philharmonia Baroque Orchestra

FIRST VIOLINS FLUTES Fiona Ziegler Concertmaster Melissa Farrow Michele O’Young Ruth Crosby Stephen Freeman Matthew Bruce OBOES & OBOES DA CACCIA Meg Cohen Kirsten Barry James Armstrong Neil Simpson

SECOND VIOLINS OBOE D’AMORE Léone Ziegler Neil Simpson Julia Russoniello Narine Melconian BASSOON Kiseok Kim Simon Rickard James Tarbotton ORGAN VIOLAS D’AMORE David Drury Nicole Divall Stephen Freeman HARPSICHORD Nathan Cox VIOLAS Nicole Divall LUTE Nicole Forsyth Tommie Andersson Heather Lloyd James Eccles Continuo organ by Henk Klop, Garderen, VIOLA DA GAMBA The Netherlands (2004); Ruckers double Anthea Cottee harpsichord by Carey Beebe, Sydney (2003). Supplied and prepared by Carey Beebe CELLOS Harpsichords. Anthea Cottee Rosemary Quinn Nicole Divall is playing a viola d’amore Anita Gluyas courtesy of Cath Shugg.

DOUBLE BASSES Dorit Herskovits Hamish Gullick

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 31 OUR SUPPORTERS

Sydney Philharmonia Choirs gratefully acknowledges the vision, commitment and generosity of our supporters.

$10,000+ CENTENARY CIRCLE 100 MINUTES OF NEW Robert AlbertAO and Robert AlbertAO and AUSTRALIAN MUSIC Libby Albert Libby Albert Louise Bain John CunninghamAM Prof. the Hon. Dame Marie Sheena Boughen Anonymous (1) BashirAD CVO John CunninghamAM Ian and Claire Bennett June Cunningham $5,000 – $9,999 Christine Bishop Ian Davies Jennifer Cook David and Halina Brett Jannie van Deventer Eric Hansen Brian and Nathalie Deeson Phillipa Duflou Iphygenia Kallinikos Ruth Edenborough In memory of Rinaldo U John LambleAO Prof. Jenny Edwards Fabbro Jacqueline Rowlands David and Sue Ellyard Prof. Jenny Edwards Anonymous (1) Kate Foot Denys and Jenny Gillespie Denys and Jenny Gillespie Robert Green Eric Hansen Vesna Hatezic David and Sarah Howell David and Sarah Howell Ruth Lambert Debra and Michael Langford Yvette and Peter Leonard Penny Le Couteur Dr Carolyn LowryOAM and Lynne McEachern Peter LowryOAM Jolanta Masojada Peter and Lisa Macqueen Margaret Millard Dr John O’Brien Bernadette Mitchell Rosalind StrongAM and Louise Nicholas Antony Strong Anna Pender Catrin Thomas and Philip Earl Ian and Christine Pendleton Judge Robyn Tupman Beverley Price Kay Vernon Georgia Rivers Sara Watts Peter Roberts Anthony and Annie Whealy Regula Scheidegger Jacqui Wilkins and Arno Franz Martin Stebbings Cathy and Jon Williamson Virginia Tame Anonymous (2) Nicholas Tong Kay Vernon Erna de Vries Sara Watts Jacqui Wilkins Amanda Wilson Anonymous (1)

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SYDNEY PHILHARMONIA CHOIRS 2021 ///// 32 OUR SUPPORTERS

$2,500 – $4,999 Mary Mortimer James Devenish James and Ariella Cox National Australia Bank Lynne Frolich Katie Blake Ross Nicholas Jane Fry John Bevan Susan Nicholas Diana Gray Warren Green In memory of Helen Pedersen Paul Green Mr JDO Burns RD & JM Perry Shirley Hofman Lisa & Peter Macqueen Felicité Ross Bruce Lane Ruth Edenborough Elizabeth Scott Mark Leeming Cathy Williamson Aveen Stephenson Heather Lees-Smith Anonymous (4) Elizabeth Talbert E. Macdonald Anthony and Annie Whealy Margaret McKelvey $1,000 – $2,499 Sue Whyte Robert Mitchell Jock Baird Kay Vernon Ruth Mitchell S. Barrett Mark Wong Bill Napier Sue Bowring Marianna Wong Kelvin Olive Patricia Bradley Ben Yi Anna Pender Ian Campbell Anonymous (1) Robyn Phillips Phil and Liz Crenigan Kathryn Richardson Julie and Bill Dowsley $500 – $999 Felicity Saunders Berenice Gardiner-Hill Paul Andrews Marlyn Sciberras Leonard Storlien in memory Lillian Armitage Petrina Slaytor of Sue Hatherly Julie Bangura Erna de Vries Kellie Hewitt-Taylor Tony Bartley Ross Webb Derek Hodgkins Robyn Blainey Gillian Wood David and Sarah Howell Peter Callaghan David and Jenny Jacobs Colleen and Michael Fiona Joneshart Chesterman Lilly Krienbuhl Olivier Chretien Dr Veronica Lambert and Kate Clowes Trevor DanosAM Julian Coghlan and Anthony Maiden Andrea Beattie Rachel Maiden Daryl Colquhoun Jolanta Masojada Ian Connelly Helen Meddings Patricia Curotta Jeffrey Mellefont Nicholas Davison John Moore Donald Denoon

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SYDNEY PHILHARMONIA CHOIRS 2021 ///// 33 ABOUT US SYDNEY PHILHARMONIA CHOIRS

Sydney Philharmonia Choirs presents the art of returning again in 2010 to celebrate its 90th choral singing at the highest standard, and anniversary. The choirs perform in the Sydney develops the talents of those with a passion for Symphony Orchestra’s subscription series every singing, in Sydney and beyond. Founded in year as they have done for more than 80 years. 1920, it has become Australia’s finest choral Sydney Philharmonia Choirs also presents a organisation and is a Resident Company of the series of community singing events throughout Sydney Opera House. the year – Chorus Oz (our annual big sing), PopUp Sing and singing workshops throughout Led by Music Director Brett Weymark since Sydney and regional NSW. 2003, SPC comprises three auditioned and three community choirs that perform repertoire In 2020, Sydney Philharmonia Choirs from choral classics to musical theatre and celebrated 100 years. Despite the restrictions commissions by Australian composers. Sydney on live performances, it pressed ahead with a Philharmonia Choirs presents its own annual commissioning project that includes 100 concert season and collaborates with leading minutes of new Australian music featuring conductors, soloists and orchestras in Australia composers Brett Dean, Elena Kats-Chernin and and overseas. In 2002, SPC was the first Deborah Cheetham, among others. The 2021 Australian choir to sing at the BBC Proms season sees a cautious but bold return to live (Mahler’s Symphony No.8 under Simon Rattle), choral performances.

VICE-REGAL PATRONS STAFF The Hon. Margaret BeazleyAO QC, Governor of Hannah MasonGeneral Manager New South Wales and Mr Dennis Wilson Brett WeymarkArtistic and Music Director Elizabeth ScottMusic DirectorV OX VICE PATRONS Claire Howard RaceAssistant Chorus Master & Prof. the Hon. Dame Marie BashirAD CVO Principal Rehearsal Pianist Lauris ElmsAM OBE DMus (Syd) Mark RobinsonArtistic Operations Manager Eva TilleyChoirs Manager AMBASSADOR FOR SINGING Meagan FitzpatrickChoirs Manager Yvonne KennyAM Simon Crossley-MeatesMarketing Manager Rebecca SawyerOffice & Box Office BOARD Administrator Jacqui WilkinsChair & President Susan GandyOrchestra Coordinator Andrea HooleTreasurer John Liebmann Finance Manager Ian Bennett, Tracey Jordan, John Moore Bill Napier, Georgia Rivers, Ben Yi PROGRAM CREDITS Yvonne FrindleEditor and Design Jason JaramBrand Concept ImmijPrinter

Wharf 4/5, 15 Hickson Road, Dawes Point (02) 8274 6200 |[email protected] sydneyphilharmonia.com.au /sydneyphilharmonia /sydneyphilharmonia1 /sydney.philharmonia

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 34 CARMINA BURANA Carl Orff’s exhilarating ‘Profane Songs’ arranged for chorus, piano duo and percussion with SCULTHORPE Sun Music for voices and percussion PETERSON The earth that fire touches

One performance only! Saturday 22 May at 3pm Sydney Town Hall

Tickets on sale 12 April sydneyphilharmonia.com.au

SYDNEY PHILHARMONIA CHOIRS 2021 ///// 35