CCome and Sing Mozart Coronation Mass K 317 Saturday May 17th 10.00am-3.00pm Winchester College Music School Elgar The Dream of Gerontius Francis Pott Sentinel (fi rst performance) Thursday November 20th 7.30pm Winchester Cathedral Bach St John Passion Saturday April 5th St Swithun’s School P.A.C.

Statue of Bach outside Thomaskirche Leipzig Janette Lloyd

Winchester Music Club Bach St John Passion Saturday April 5th St Swithun’s School P.A.C.

Jeremy Budd Evangelist Jonathan Brown Christus Marie Macklin soprano Sarah Denbee mezzo soprano Jonathan McGovern bass

Winchester Music Club Choir and Orchestra Brian Howells Leader Nicholas Wilks Conductor

Please ensure that your mobile phone is switched off for the duration of the concert. The use of any kind of recording, photographic or video equipment is strictly prohibited.

Winchester Music Club is registered charity no.1095619 Bach commemorative window Thomaskirche Leipzig Janette Lloyd Welcome Winchester Music Club welcomes you to tonight’s concert: Bach’s sacred oratorio, St John Passion. This magnificent work has been performed 8 times by the Club since it was founded by Sir George Dyson in 1925, but it is over 20 years since our last performance in 1990 and so we are delighted to have the opportunity to perform it this evening, particularly in the excellent acoustic of The Harvey Hall at St Swithun’s School. We would like to thank the Headmistress, Mrs Jane Gandee, for giving Winchester Music Club permission to use the school’s Performing Arts Centre. Tonight’s conductor, our Musical Director, Nicholas Wilks, continues to be a huge inspiration to the choir. We are grateful to him for his dedication and cheerful enthusiasm helping us to strive for better and better performances. I would also like to record our thanks to Jamal Sutton and Oliver Tarney, who assist him at our rehearsals as répétiteurs. Later in the programme you will find details of our future concerts, may I draw your attention to the annual Come and Sing on May 17th. This year we will be rehearsing and then, after lunch, performing Mozart: Coronation Mass under the direction of Nicholas Wilks. It promises to be an enjoyable day and we would be delighted if you could join us either as a singer or audience.

Angela Ryde-Weller, Chairman

On the face of it, this evening’s performance of Bach’s St John Passion is completely inauthentic. We are singing it at higher than Baroque pitch, we are using modern instruments (with the exception of the viola da gamba and the oboe d’amore), we are not presenting the work liturgically, and we have a much larger choir than Bach envisaged with sopranos instead of trebles. But we do Bach a disservice to imagine that his music can only be performed by specialist groups. While it is true that historically-informed performances by such luminaries as John Butt, Andrew Parrott and have transformed our understanding of this marvellous work it is equally true that Bach’s music is at heart community music – it comes alive when it is performed by a group of committed musicians to their audience, and the fact that so many of our players and singers will have family and friends listening to them gives performances such as this a special dimension. We should not feel constrained by over-stepping the mark – something Bach himself seems to have been happy to do when he ignored the instruction by the church authorities in Leipzig to write a passion which was neither long nor operatic! Bach’s religious conviction is self- evident, but conducting the St John Passion for the first time I have been struck by its sheer humanity – Peter’s anguish at his betrayal of Christ, the portrayal of Pilate as a scrupulously fair man finding himself out of his depth in the vicious religious politics of the high priests, and the exquisite tenderness of the final chorus, Ruht wohl, perhaps the greatest lullaby ever written.

Nicholas Wilks, Conductor dSccc

The origin of the Passion In mediaeval times the practice of singing the gospel in church services was well established. It was found to be more effective acoustically than using mere speech. By the 14th century there were different voices playing different parts: a tenor voice played the Evangelist with a bass voice playing Jesus. An alto voice played the crowd. Later this latter part was taken by a group of singers; a chorus. Some two centuries later, Luther’s translation of the Bible from Latin meant that the Reformation congregation could now understand what was being sung. The development of instruments such as the violin and the oboe and the influence of Italian opera in the 17th century led to even more elaborate compositions. The recitative, where narrative was sung with natural speech inflections, made for a much richer commentary. However, the congregation in 1720s Leipzig was very traditional. Bach was Cantor of the school at Thomaskirche and also Director of Music there and at Nikolaikirche ( see images opposite). He was specifically enjoined not to make ‘theatrical compositions’. In nearby Halle, which was severely orthodox at this time, simple hymns were preferred. Despite these strictures, the reason for performing a Passion on Good Friday was not merely to tell the story of Jesus’s betrayal and death but also to teach its meaning. The arias and chorales, with their more complicated musical settings, offered deeper reflections and interpretations of this story. Bach was in effect preaching sermons in music. Bach’s Passions Bach may have written a passion in 1714 (before he came to Leipzig) but it is now lost. He wrote the St John Passion in 1724. The St Matthew followed in 1729. There is evidence that he wrote wrote a St Luke Passion in 1730, with a St Mark Passion following in 1731. There is no music left of the St Luke Passion. The St Mark score has not been seen since 1764. The St John Passion in Performance? This is a description of Bach leading an ensemble around 1730, written by Johann Matthias Gesner, Rector of the school at Thomaskirche in Leipzig. We could well assume that he is directing a rehearsal of the St John Passion:

“... If you could see Bach running over the keys of the organ with both hands and, at the utmost speed, with his feet producing by himself the most various and at the same time agreeable combinations of sound in orderly procession .... If you could see him not only singing with one voice and playing his own part, but watching over everything and bringing back to the rhythm and the beat, out of 30 or even 40 musicians, the one with a nod, another by tapping with his foot, the third with a warning finger, giving the right notes to one from the top of his voice, to another from the greatest din made by all the participants, and although he is executing the most difficult parts himself, noticing at once whenever and wherever a mistake occurs, holding everyone together, taking precautions everywhere, and a repairing any unsteadiness, full of rhythm in every part of his body- this one man taking in all these harmonies with his keen ear and emitting with his voice alone the tone of all the voices.... The accomplishments of our Bach appear to me to effect what not many Orpheuses could achieve.” It is clear that Gesner knew that he was in the presence of a genius!

© Janette Lloyd 2014 dSccc J.S. Bach St John Passion PART ONE PART ONE 1 Chorus 1 Chorus Lord, our master, whose glory fills the whole earth, Herr, unser Herrscher, dessen Ruhm in allen Landen show us by your Passion that you, the true Son of herrlich ist! Zeig uns durch deine Passion, dass du, der God, triumph even in the deepest humiliation. wahre Gottessohn, zu aller Zeit, auch in der grössten Niedrigkeit, verherrlicht worden bist. 2 Recitative 2 Recitative Evangelist Evangelist Jesus went out with his disciples, and crossed the Jesus ging mit seinen Jüngern über den Bach Kidron, Cedron ravine. There was a garden there, and he and da war ein Garten, darein ging Jesus und seine Jünger. his disciples went into it. The place was known to Judas aber, der ihn verriet, wusste den Ort auch, denn Judas, his betrayer, because Jesus had often met Jesus versammlete sich oft daselbst mit seinen Jüngern. there with his disciples. So Judas took a detachment Da nun Judas zu sich hatte genommen die Schar und der of soldiers, and police provided by the chief priests Hohenpriester und Pharisäer Diener, kommt er dahin and the Pharisees, equipped with lanterns and mit Fackeln, Lampen, und mit Waffen. Als nun Jesus weapons, and made his way to the garden. Jesus, wusste alles, was ihm begegnen sollte, ging er hinaus knowing all that was coming upon him, went out to und sprach zu ihnen: them and asked, Jesus Jesus Wen suchet ihr? Whom is it you want? Evangelist Evangelist Sie antworteten ihm: They answered, Chorus Chorus Jesum von Nazareth! Jesus of Nazareth! Evangelist Evangelist Jesus spricht zu ihnen: Jesus said Jesus Jesus Ich bin’s! I am he! Evangelist Evangelist Judas aber, der ihn verriet, stund auch bei ihnen. Als And there stood Judas the traitor with them. When nun Jesus zu ihnen sprach: Ich bin’s! Wichen sie zurücke Jesus said ‘I am he’, they drew back and fell to the und fielen zu Boden. Da fragete er sie abermal: ground. Again Jesus asked, Jesus Jesus Wen suchet ihr? Whom is it you want? Evangelist Evangelist Sie aber sprachen: They answered, Chorus Chorus Jesum von Nazareth! Jesus of Nazareth! Evangelist Evangelist Jesus antwortete: Jesus said, Jesus Jesus Ich hab’s euch gesagt, dass ich’s sei, suchet ihr denn I have told you that I am he. If I am the man you mich, so lasset diese gehen! want, let these others go. 3 Chorale 3 Chorale O grosse Lieb’, o Lieb’ ohn’ alle Masse, Die dich ge- O measureless Love, to have brought you to this way bracht auf diese Marterstrasse! Ich lebte mit der Welt in of the cross, to suffer while I lived heedless in the Lust und Freuden, Und du musst leiden! world of pleasure. 4 Recitative 4 Recitative Evangelist Evangelist Auf dass das Wort erfüllet würde, welches er sagte: Ich This was to make good his words, ‘I have not lost one habe der keine verloren, die du mir gegeben hast. Da of those whom thou gavest me.’ Thereupon Simon hatte Simon Petrus ein Schwert, und zog es aus, und Peter drew the sword he was wearing and struck at schlug nach des Hohenpriesters Knecht, und hieb ihm the High Priest’s servant, cutting off his right ear. sein recht Ohr ab, und der Knecht hiess Malchus. Da The servant’s name was Malchus. sprach Jesus zu Petro: Jesus said to Peter, Jesus Jesus Stekke dein Schwert in die Scheide! Soll ich den Kelch Sheathe your sword. This is the cup my Father has nicht trinken, den mir mein Vater gegeben hat? given me; shall I not drink it? 5 Chorale 5 Chorale Dein Will gescheh, Herr Gott, zugleich auf Erden wie im May your will be done on earth as in Heaven, Lord Himmelreich. Gib uns Geduld in Leidenszeit, Gehorsam- God; make us patient in suffering, obedient in every sein in Lieb und Leid; wehr und steur allem Fleisch und thing, guide and protect all rebellious flesh and blood. Blut, Das wider deinen Willen tut. 6 Recitative 6 Recitative Evangelist Evangelist Die Schar aber und der Oberhauptmann, und die Diener The troops with their commander, and the Jewish der Jüden nahmen Jesum und bunden ihn, und führeten police, now arrested Jesus and secured him. They took ihn aufs erste zu Hannas, der war Kaiphas Schwäher, him first to Annas. Annas was father-in-law of Caia- welcher des Jahres Hoherpriester war. Es war aber phas, the High Priest for that year – the same Caiaphas Kaiphas, der den Jüden riet, es wäre gut, dass ein who had advised the Jews that it would be in their Mensch würde umbracht für das Volk. interest if one man died for the whole people. 7 Aria (obbligato: two oboes) 7 Aria (obbligato: two oboes) Alto Alto Von den Stricken meiner Sünden Mich zu entbinden, To free me from the bond of my sin my Saviour is Wird mein Heil gebunden; Mich von allen Lasterbeulen bound. He gives his body to be wounded to heal the Völlig zu heilen, Lässt er sich verwunden. infection of my wickedness. 8 Recitative 8 Recitative Evangelist Evangelist Simon Petrus aber folgete Jesu nach, und ein ander Jesus was followed by Simon Peter and another Jünger. disciple. 9 Aria (obbligato: two flutes) 9.Aria Soprano Soprano Ich folge dir gleichfalls Mit freudigen Schritten, I follow you with eager steps and will not forsake you, Und lasse dich nicht, Mein Leben, mein Licht. my light and my life. Show me the way, urge me on, Befördre den Lauf Und höre nicht auf ask me to go with you always. Selbst an mir zu ziehen, zu schieben, zu bitten. 10 Recitative 10 Recitative Evangelist Evangelist Derselbige Jünger war dem Hohenpriester bekannt, und The disciple acquainted with the High Priest, went ging mit Jesu hinein in des Hohenpriesters Palast. Petrus with Jesus into the High Priest’s courtyard, but Peter aber stund draussen vor der Tür. Da ging der andere halted at the door outside. So the other disciple, the Jünger, der dem Hohenpriester bekannt war, hinaus, und High Priest’s acquaintance, went out again and spoke redete mit der Türhüterin und führete Petrum hinein. to the woman at the door, and brought Peter in. The Da sprach die Magd, die Türhüterin, zu Petro: maid on duty at the door said to Peter: Maid Maid Bist du nicht dieses Menschen Jünger einer? Are you another of this man’s disciples? Evangelist Evangelist Er sprach: He said, Peter Peter Ich bin’s nicht! I am not. Evangelist Evangelist Es stunden aber die Knechte und Diener, und hatten ein The servants and the police had made a charcoal fire, Kohlfeu’r gemacht (denn es war kalt) und wärmeten because it was cold, and were standing round it warm- sich; Petrus aber stund bei ihnen, und wärmete sich. ing themselves. And Peter was standing with them, Aber der Hohepriester fragte Jesum um seine Jünger sharing the warmth. The High Priest questioned Jesus und um seine Lehre. about his disciples and about what he taught. Jesus Jesus antwortete ihm: replied, Jesus Jesus Ich habe frei, öffentlich geredet für der Welt. Ich habe I have spoken openly to all the world; I have always allezeit gelehret in der Schule und in dem Tempel, da taught in the synagogue and in the temple, where all alle Juden zusammen kommen, und habe nichts im Jews congregate; I have said nothing in secret. Why Verborgnen geredt. Was fragest du mich darum? Frage question me? Ask my listeners what I told them; they die darum, die gehöret haben, was ich zu ihnen geredet know what I said. habe; Siehe, dieselbigen wissen, was ich gesaget habe. Evangelist Evangelist Als er aber solches redete, gab der Diener einer, die When he said this, one of the police struck him on the dabei stunden, Jesu einen Backenstreich, und sprach face, exclaiming, Servant Servant Solltest du dem Hohenpriester also antworten? Is that the way to answer the High Priest? Jesus aber antwortete: Jesus replied, Jesus Jesus Hab ich übel geredt, so beweise es, dass es böse sei; hab If I spoke amiss, state it in evidence; if I spoke well, ich aber recht geredt, was schlägest du mich? why strike me? 11 Chorale 11 Chorale Wer hat dich so geschlagen, Who has hit you like that, my Saviour, and ill-treated Mein Heil, und dich mit Plagen you? After all, you are not a sinner like us and our So übel zugericht? children; you have never done anything wrong. It Du bist ja nicht ein Sünder, is I, with my sins countless as grains of sand, who Wie wir und unsre Kinder, have brought down on you this host of sorrows and Von Missetaten weisst du nicht. torments. Ich, ich und meine Sünden, Die sich wie Körnlein finden Des Sandes an dem Meer, Die haben dir erreget Das Elend, das dich schläget, Und das betrübte Marterheer. 12 Recitative 12 Recitative Evangelist Evangelist Und Hannas sandte ihn gebunden zu dem Hohenpriester So Annas sent him bound to Caiaphas the High Priest. Kaiphas. Simon Petrus stund und wärmete sich; da sprachen Meanwhile Peter stood warming himself. The others sie zu ihm: asked, Chorus Chorus Bist du nicht seiner Jünger einer? Are you another of his disciples? Evangelist Evangelist Er leugnete aber und sprach: But he denied it and said, Peter Peter Ich bins nicht! I am not. Evangelist Evangelist Spricht des Hohenpriesters Knecht’einer, ein Gefreundter One of the High Priest’s servants, a relation of the des, dem Petrus das Ohr abgehauen hatte: man whose ear Peter had cut off, insisted, Servant Servant Sahe ich dich nicht im Garten bei ihm? Did I not see you with him in the garden? Evangelist Evangelist Da verleugnete Petrus abermal und alsobald krähete der Peter denied again; and just then a cock crew. Peter Hahn. Da gedachte Petrus an die Worte Jesu, und ging remembered what Jesus had said and he went away hinaus und weinete bitterlich. and wept bitterly. 13 Aria 13 Aria Tenor Tenor Ach, mein Sinn, Wo willt du endlich hin, Wo soll ich mich O my troubled mind, where are you leading me, erquiken? Wo willt du endlich hin, wohin? where shall I find relief? Shall I stay here, or hide Bleib ich hier, Oder wünsch ich mir Berg und Hügel auf den beyond the hills and mountains? Nothing in the world Rücken? Bei der Welt ist gar kein Rat, und im Herzen can help me, and my heart aches with the pain of my stehn die Schmerzen meiner Missetat, weil der Knecht den shameful deed: I have broken faith with my Lord. Herrn verleugnet hat. 14 Chorale 14 Chorale Petrus, der nicht denkt zurück, Without thinking, Peter denies his God, but weeps Seinen Gott verneinet, bitterly at a reproachful look. If I am unrepentant, Der doch auf ein’ ernsten Blick look at me, Jesus, touch my conscience whenever I Bitterlichen weinet. do wrong. Jesu, blicke mich auch an, Wenn ich nicht will büssen; Wenn ich Böses hab getan, Rühre mein Gewissen!

INTERVAL OF TWENTY MINUTES

Licensed Bar

PART TWO PART TWO 15 Chorale 15 Chorale Christus, der uns selig macht, Kein Bös’s hat Christ, who brings us joy and has done no wrong, was for begangen, Der ward für uns in der Nacht oursake seized like a thief in the night, taken before un- Als ein Dieb gefangen, Geführt vor gottlose Leut, believers and falsely accused. He was derided, spat upon, Und fälschlich verklaget, Verlacht, verhöhnt und vilely mocked, as the scripture tells. verspeit, Wie denn die Schrift saget. 16 Recitative 16 Recitative Evangelist Evangelist Da führeten sie Jesum von Kaiphas vor das From Caiaphas Jesus was led into the Governor’s Richthaus, und es war frühe. Und sie gingen headquarters. It was now early morning, and the Jews nicht in das Richthaus, auf dass sie nicht unrein themselves stayed outside the headquarters to avoid würden, sondern Ostern essen möchten. Da ging defilement, so that they could eat the Passover meal. Pilatus zu ihnen hinaus und sprach Pilate Pilate Was bringet ihr für Klage wider diesen Menschen? What charge do you bring against this man? Evangelist Evangelist Sie antworteten und sprachen zu ihm: They replied Chorus Chorus, Wäre dieser nicht ein Übeltäter, wir hätten dir If he were not a criminal we should not have brought him ihn nicht überantwortet. before you. Evangelist Evangelist Da sprach Pilatus zu ihnen: Pilate said, Pilate Pliate So nehmet ihr ihn hin und richtet ihn nach eurem Then take him away and try him by your own law! Gesetze! Evangelist Evangelist Da sprachen die Jüden zu ihm: The Jews answered, Chorus Chorus Wir dürfen niemand töten. We are not allowed to put any man to death. Evangelist Evangelist Auf dass erfüllet würde das Wort Jesu, welches Thus they ensured the fulfilment of the words by which er sagte, da er deutete, welches Todes er sterben Jesus had indicated the manner of his death. Pilate then würde. Da ging Pilatus wieder hinein in das went back into his headquarters and summoned Jesus, and Richthaus, und rief Jesu, und sprach zu ihm: asked, Pilate Pilate Bist du der Jüden König? Are you the King of the Jews? Evangelist Evangelist Jesus antwortete: Jesus said, Jesus Jesus Redest du das von dir selbst, oder haben’s dir Is that your own idea, or have others suggested it to you? andere von mir gesagt? Evangelist Evangelist Pilatus antwortete Pilate said, Pilate Pilate Bin ich ein Jüde? Dein Volk und die Hohenpriester What! Am I a Jew? Your own nation and their chief priests haben dich mir überantwortet; was hast du have brought you before me. What have you done? getan? Evangelist Evangelist Jesus antwortete: Jesus replied, Jesus Jesus Mein Reich ist nicht von dieser Welt; wäre mein My kingdom does not belong to this world. If it did, my Reich von dieser Welt, meine Diener würden followers would be fighting to save me from arrest by the darob kämpfen, dass ich den Jüden nicht Jews. My kingly authority comes from elsewhere. überantwortet würde! Aber, nun ist mein Reich nicht von dannen. 17 Chorale 17 Chorale Ach, grosser König, gross zu allen Zeiten, O mighty king, great for ever, how can I ever express my Wie kann ich g’nugsam diese Treu’ ausbreiten? allegiance? No human heart can think of a gift fit to offer Keins Menschen Herze mag indess ausdenken, you, nor can I find anything to compare with your merciful Was dir zu schenken. Ich kann’s mit meinen goodness. What then can I do to be worthy of your loving Sinnen nicht erreichen, Womit doch dein deeds? Erbarmen zu vergleichen.Wie kann ich dir denn deine Liebestaten im Werk erstatten? 18 Recitative 18 Recitative Evangelist Evangelist Da sprach Pilatus zu ihm: Pilate said, Pilate Pilate So bist du dennoch ein König? You are a king, then? Evangelist Evangelist Jesus antwortete: Jesus answered, Jesus Jesus Du sagst’s, ich bin ein König. Ich bin dazu geboren und in ‘King’ is your word. My task is to bear witness to die Welt kommen, dass ich die Wahrheit zeugen soll. Wer the truth. For this was I born; for this I came into aus der Wahrheit ist, der höret meine Stimme. the world, and all who are not deaf to truth listen to my voice Evangelist Evangelist Spricht Pilatus zu ihm: Pilate said, Pilate Pilate Was ist Wahrheit? What is truth? Evangelist Evangelist Und da er das gesaget, ging er wieder hinaus zu den Jüden And with those words went out again to the Jews, und spricht zu ihnen: and said, Pilate Pilate Ich finde keine Schuld an ihm. Ihr habt aber eine For my part, I find no case against him. But you Gewohnheit,dass ich euch einen losgebe: wollt ihr nun, have a custom that I release one prisoner for you at dass ich euch der Jüden König losgebe? Passover. Would you like me to release the King of the Jews? Evangelist Evangelist Da schrieen sie wieder allesamt und sprachen: Again the clamour rose: Chorus Chorus Nicht diesen, diesen nicht, sondern Barrabam! Not him; we want Barabbas! Evangelist Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und Barabbas was a bandit. Pilate now took Jesus and geisselte ihn. had him flogged.

19 Arioso (obbligato: two violas d’amore) 19 Arioso (obbligato: two violas d’amore) Bass Bass Betrachte, meine Seel’, mit ängstlichem Vergnügen, My soul, think how a heavenward-guiding flower Mit bittern Lasten hart beklemmt von Herzen, springs from the thorns that pierce the Saviour’s Dein höchstes Gut in Jesu Schmerzen, head. Consider in anxious relief, in bitter joy, with Wie dir auf Dornen, so ihn stechen, a heart torn between grief and consolation, how his Die Himmelsschlüsselblume blüht! suffering is your most precious treasure. Du kannst viel süsse Frucht What is wormwood to him is for you the sweetest Von seiner Wermut brechen, fruit, so fix your gaze always on him. Drum sieh’ ohn’ Unterlass auf ihn!

20 Aria (obbligato: two violas d’amore) 20 Aria (obbligato: two violas d’amore) Tenor Tenor Erwäge, wie sein blutgefärbter Rücken Look how his back, stained with blood, is just like In allen Stücken Dem Himmel gleiche geht. the sky; after the clouds of our sins have poured Daran, nachdem die Wasserwogen down, a lovely rainbow appears as sign of Heaven’s Von unsrer Sündflut sich verzogen, Der allerschönste blessing. Regenbogen Als Gottes Gnadenzeichen steht.

21 Recitative 21 Recitative Evangelist Evangelist Und die Kriegsknechte flochten eine Krone von Dornen, und And the soldiers plaited a crown of thorns and setzten sie auf sein Haupt, und legten ihm ein Purpurkleid placed it on his head, and robed him in a purple an, und sprachen: cloak. Then time after time they came up to him, crying,

Chorus Chorus Sei gegrüsset, lieber Jüdenkönig! Hail, King of the Jews! Evangelist Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus And they struck him on the face. Once more Pilate came wieder heraus und sprach zu ihnen: out and said to the Jews, Pilate Pilate Sehet, ich führe ihn heraus zu euch, dass ihr Here he is; I am bringing him out to let you know that I erkennet, dass ich keine Schuld an ihm finde. find no case against him. Evangelist Evangelist Also ging Jesus heraus, und trug eine Dornenkrone And Jesus came out, wearing the crown of thorns and the und Purpurkleid. purple cloak. Und er sprach zu ihnen: And Pilate said, Pilate Pilate Sehet, welch ein Mensch! Behold the Man! Evangelist Evangelist Da ihn die Hohenpriester und die Diener sahen, The chief priests and their henchman saw him and schrieen sie und sprachen: shouted

Chorus Chorus Kreuzige! Crucify! Evangelist Evangelist Pilatus sprach zu ihnen: Pilate said, Pilate Pilate Nehmet ihr ihn hin und kreuziget ihn; denn ich Take him and crucify him yourselves; for my part I find no finde keine Schuld an ihm! case against him. Evangelist Evangelist Die Jüden antworteten ihm: The Jews answered, Chorus Chorus Wir haben ein Gesetz, und nach dem Gesetz soll We have a law; and by that law he ought to die, because er sterben, Denn er hat sich selbst zu Gottes Sohn he has claimed to be the Son of God. gemacht, Evangelist Evangelist Da Pilatus das Wort hörete, fürchtet’ er sich noch When Pilate heard that, he was more afraid than ever, mehr und ging wieder hinein in das Richthaus, und and going back into his headquarters he asked Jesus, spricht zu Jesu: Pilate Pilate Von wannen bist du? Where have you come from? Evangelist Evangelist Aber Jesus gab ihm keine Antwort. Da sprach But Jesus gave him no answer. Pilatus zu ihm: Pilate said, Pilate Pilate Redest du nicht mit mir? Weissest du nicht, da ich Do you refuse to speak to me? Surely you know that I have Macht habe, dich zu kreuzigen, und Macht habe, authority to release you, and I have authority to crucify dich loszugeben? you? Evangelist Evangelist Jesus antwortete: Jesus replied, Jesus Jesus Du hättest keine Macht über mich, wenn sie dir You would have no authority at all over me if it had not nicht wäre von oben herab gegeben; darum, been granted you from above; and therefore the deeper dermich dir überantwortet hat der hat’s gröss’re guilt lies with the man who handed me over to to you. Sünde. Evangelist Evangelist Von dem an trachtete Pilatus, wie er ihn losliesse. From that moment Pilate tried hard to release him. 22 Chorale 22 Chorale Durch dein Gefängnis, Gottes Sohn, Your imprisonment, Son of God, brings us liberty, Ist uns die Freiheit kommen; for if you had not accepted serfdom we would never Dein Kerker ist der Gnadenthron, become free. Die Freistatt aller Frommen; Denn gingst du nicht die Knechtschaft ein, Müsst unsre Knechtschaft ewig sein.

23 Recitative 23 Recitative Evangelist Evangelist Die Jüden aber schrieen und sprachen: But the Jews kept shouting, Chorus Chorus Lässest du diesen los, so bist du des Kaisers Freund If you let this man go, you are no friend to Caesar; nicht; Denn wer sich zum Könige machet, der ist any man who claims to be a king is defying Caesar. wider den Kaiser. Evangelist Evangelist Da Pilatus das Wort hörete, führete er Jesum heraus, When Pilate heard what they were saying, he brought und setzte sich auf den Richtstuhl, an der Stätte, die Jesus out and took his seat on the tribunal at the da heisset: Hochpflaster, auf Ebräisch aber: Gabbatha. place known as ‘The Pavement’ (‘Gabbatha’ in the Es war aber der Rüsttag in Ostern, um die sechste language of the Jews). It was the eve of Passover, Stunde, und er spricht zu den Jüden: about noon. Pilate said to the Jews, Pilate Pilate Sehet, das ist euer König! Here is your king. Evangelist Evangelist Sie schrieen aber: They shouted, Chorus Chorus Weg, weg mit dem, kreuzige ihn! Away with him! Crucify him! Evangelist Evangelist Spricht Pilatus zu ihnen: Pilate said to them, Pilate Pilate Soll ich euren König kreuzigen? Crucify your king? Evangelist Evangelist Die Hohenpriester antworteten: The chief priests answered, Chorus Chorus Wir haben keinen König denn den Kaiser. We have no king but Caesar. Evangelist Evangelist Da überantwortete er ihn, dass er gekreuziget würde. Then at last, to satisfy them, he handed Jesus over Sie nahmen aber Jesum und führeten ihn hin. Und to be crucified. Jesus was now taken in charge er trug sein Kreuz und ging hinaus zur Stätte, die da and, carrying his own cross, went out to the heisset Schädelstätt, welche heisset auf Ebräisch: Place of the Skull, as it is called (or, in the Jews’ Golgatha. language,‘Golgotha’). 24 Aria 24 Aria Bass Bass Eilt, ihr angefocht’nen Seelen,geht aus euren Hurry, you tormented souls, leave your dens of Marterhöhlen.Eilt … misery. (Wohin?) (Where to?) … nach Golgatha! Hurry to Golgotha! ( Wohin?) (Where to?) Nehmet an des Glaubens Flügel,Flieht … Take the wings of faith and fly to the hill of the … zum Kreuzes Hügel, Eure Wohlfahrt blüht allda. Cross; that is where your powers will be revived. 25 Recitative 25 Recitative Evangelist Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu There they crucified him, and with him two beiden Seiten, Jesum aber mitten inne. Pilatus aber others, one on the right, one on the left, and schrieb eine Überschrift, und setzte sie auf das Kreuz, Jesus between them. And Pilate wrote und war geschrieben: an inscription to be fastened to the cross; it read, ‘Jesus von Nazareth, der Jüden König!’ Diese Überschrift ‘Jesus of Nazareth, King of the Jews’. This lasen viel Jüden, denn die Stätte war nahe bei der inscription was read by many Jews, because the Stadt, da Jesus gekreuziget ist. Und es war geschrieben place where Jesus was crucified was not far auf ebräische, griechische und lateinische Sprache. Da from the city, and the inscription was in Hebrew, sprachen die Hohenpriester der Jüden zu Pilato: Latin, and Greek. Then the Jewish chief priests said to Pilate, Chorus Chorus Schreibe nicht: ‘der Jüden König’, sondern dass ‘Er You should not write ‘King of the Jews’; write, gesaget habe: “Ich bin der Jüden König”’! ‘He claimed to be King of the Jews’. Evangelist Evangelist Pilatus antwortet: Pilate replied, Pilate Pilate Was ich geschrieben habe, das habe ich geschrieben. What I have written, I have written.

26 Chorale 26 Chorale In meines Herzens Grunde, May your name and cross alone be written on my Dein Nam und Kreuz allein heart, shining there always to make me rejoice. Funkelt allzeit und Stunde, When I am in need, console me with the picture Drauf kann ich fröhlich sein. of you so patiently enduring death. Erschein’ mir in dem Bilde Zu Trost in meiner Not, Wie du, Herr Christ, so milde, Dich hast geblut’ zu Tod.

27 Recitative 27 Recitative Evangelist Evangelist Die Kriegsknechte aber, da sie Jesum gekreuziget The soldiers, having crucified Jesus, took hatten, nahmen seine Kleider und machten vier possession of his clothes, and divided them into Teile, einem jeglichen Kriegesknechte sein Teil, dazu four parts, one for each soldier, leaving out the auch den Rock. Der Rock aber war ungenähet, von tunic. The tunic was seamless, woven in one oben an gewürket durch und durch. Da sprachen sie piece throughout; so they said to one another, untereinander: Chorus Chorus Lasset uns den nicht zerteilen, Sondern darum losen, We must not tear this; let us toss for it, Wes er sein soll. Evangelist Evangelist Auf dass erfüllet würde die Schrift, die da saget: ‘Sie And thus the text of Scripture came true: ‘They haben meine Kleider unter sich geteilet, und haben shared my garments among them, and cast lots über meinen Rock das Los geworfen.’ Solches taten for my clothing.’ That is what the soldiers did. die Kriegesknechte. Es stund aber bei dem Kreuze But meanwhile near the cross where Jesus hung Jesu seine Mutter und seiner Mutter Schwester, Maria, stood his mother, with her sister, Mary wife of Cleophas Weib, und Maria Magdalena. Da nun Cleophas, and Mary Magdalene. Jesus saw his Jesus seine Mutter sahe, und den Jünger dabei stehen, mother, with the disciple whom he loved standing den er lieb hatte, spricht er zu seiner Mutter: beside her. He said to her, Jesus Jesus Weib! Siehe, das ist dein Sohn. Mother, there is your son; Evangelist Evangelist Darnach spricht er zu dem Jünger: And to the disciple, Jesus Jesus Siehe, das ist deine Mutter! There is your mother. 28 Chorale 28 Chorale Er nahm alles wohl in acht In der letzten Stunde, He thought of everything in his last hour, and gave his Seine Mutter noch bedacht, Setzt ihr ein’ Vormunde. mother someone to protect her. O Mensch, mache Richtigkeit, You too should act rightly, loving God and man, so Gott und Menschen liebe, Stirb darauf ohn’ alles that you may die untroubled, without anxiety. Leid, Und dich nicht betrübe.

29 Recitative 29 Recitative Evangelist Evangelist Und von Stund’ an nahm sie der Jünger zu sich. And from that moment the disciple took her into his Darnach, als Jesus wusste, dass schon alles vollbracht home.After that, Jesus, aware that all had now come war, dass die Schrift to its appointedend, said in fulfilment of Scripture, erfüllet würde, spricht er: Jesus Jesus Mich dürstet! I thirst. Evangelist Evangelist Da stund ein Gefässe voll Essigs. Sie fülleten aber A jar stood there full of sour wine, so they soaked a einen Schwamm mit Essig und legten ihn um einen sponge with the wine, fixed it on a javelin, and held Isoppen und hielten es ihm dar zum Munde. Da nun it up to his lips. Jesus den Essig genommen hatte, sprach er: Having received the wine, he said, Jesus Jesus Es ist vollbracht! It is accomplished!

30 Aria (obbligato: viola da gamba) 30 Aria (obbligato: viola da gamba) Alto Alto Es ist vollbracht! O Trost für die gekränkten Seelen! It is accomplished; what comfort for suffering Die Trauernacht lässt mich die letzte Stunde human souls! I can see the end of the night of sorrow szählen.Der Held aus Juda siegt mit Macht und The hero from Judah ends his victorious fight. It is schliesst den Kampf. Es ist vollbracht! accomplished!

31 Recitative 31 Recitative Evangelist Evangelist Und neigte das Haupt und verschied. He bowed his head and gave up his spirit.

32 Aria 32 Aria Bass Bass Mein teurer Heiland, lass dich fragen, Da du nunmehr My dearest Saviour, let me ask you, as you are nailed an’s Kreuz geschlagen Und selbst gesagt: es ist to the cross and have yourself said it is accomplished, vollbracht, Bin ich vom Sterben freigemacht? am I released from death? Can I gain the heavenly Kann ich durch deine Pein und Sterben Das kingdom through your suffering and death? Is it that Himmelreich ererben? Ist aller Welt Erlösung da? the whole world is redeemed. Du kannst vor Schmerzen zwar nichts sagen; You cannot speak for agony, but incline your head to Doch neigest du das Haupt und sprichst give a speechless ‘Yes!’ stillschweigend: Ja! Chorus Chorus Jesu, der du warest tot, Lebest nun ohn’ Ende, In der Jesus, you who were dead and now live for ever, letzten Todesnot Nirgend mich hinwende bring me, in death’s extremity, nowhere but to you Als zu dir, der mich versühnt! O du lieber Herre! who have paid the debt I owe to God, my true and Gib mir nur, was duverdient, Mehr ich nicht begehre! faithful master. Give me only what you have won, for how could there be anything more to wish for?

33 Recitative 33 Recitative Evangelist Evangelist Und siehe da, der Vorhang im Tempel zerriss in zwei At that moment, the curtain of the temple was torn Stück, von oben an bis unten aus. Und die Erde in two from top to bottom. There was an earthquake, erbebete, und die Felsen zerrissen, und die Gräber the rocks split, and the graves opened and many of täten sich auf, und stunden auf viele God’s people arose from sleep. Leiber der Heiligen. 34 Arioso 34 Arioso Tenor Tenor Mein Herz! In dem die ganze Welt Bei Jesu Leiden My heart, while the whole world shares Jesus’s gleichfalls leidet, Die Sonne sich in Trauer kleidet, suffering, the sun in mourning, the veil rent, the rocks Der Vorhang reisst, der Fels zerfällt, Die Erde bebt, die split, the earth quaking, the graves opening, because Gräber spalten,Weil sie den Schöpfer sehn erkalten: they see the creator himself grow cold in death, what Was willst du deines Ortes tun? will you do for your part?

35 Aria (obbligato: flute and oboe da caccia) 35 Aria (obbligato: flute and oboe da caccia) Soprano Soprano Zerfliesse, mein Herze, in Fluten der Zähren Dissolve then, heart, in floods of tears as your tribute Dem Höchsten zu Ehren.Erzähle der Welt und dem to our God. Tell earth and Heaven the grievous news, Himmel die Not: Dein Jesus ist tot! your Jesus is dead!

36 Recitative 36 Recitative Evangelist Evangelist Die Jüden aber, dieweil es der Rüsttag war, dass Because it was the eve of Passover, the Jews were nicht die Leichname am Kreuze blieben den Sabbath anxious that the bodies should not remain on the über (denn desselbigen Sabathtags war sehr gross), cross for the coming Sabbath, since that Sabbath was baten sie Pilatum, dass ihre Beine gebrochen, und sie a day of great solemnity; so they requested Pilate to abgenommen würden. Da kamen die Kriegsknechte und have the legs broken and the bodies taken down. The brachen dem ersten die Beine, und dem andern, der soldiers accordingly came to the first of his fellow mit ihm gekreuziget war. Als sie aber zu Jesu kamen, victims and to the second, and broke their legs; but da sie sahen, dass er schon gestorben war, brachen sie when they came to Jesus, they found that he was ihm die Beine nicht; sondern der Kriegsknechte einer already dead, so they did not break his legs. But one eröffnete seine Seite mit einem Speer, und alsobald of the soldiers stabbed his side with a lance, and ging Blut und Wasser heraus. Und der das gesehen at once there was a flow of blood and water. This is hat, der hat es bezeuget, und sein Zeugnis ist wahr, vouched for by an eye-witness, whose evidence is und derselbige weiss, dass er die Wahrheitsaget, auf to be trusted. He knows that he speaks the truth, dass ihr glaubet. Denn solches ist geschehen, auf dass so that you too may believe; for this happened in die Schrift erfüllet würde: ‘Ihr sollet ihm kein Bein fulfilment of the text of Scripture: ‘No bone of his zerbrechen’. Und abermal spricht eine andere Schrift: shall be broken.’ And another text says, ‘They shall Sie werden sehen, in welchen sie gestochen haben.’ look on whom they pierced.’

37 Chorale 37 Chorale O hilf, Christe, Gottes Sohn, Durch dein bittres ’Help us, Christ, the son of God, as your loyal Leiden,Dass wir, dir stets untertan, All Untugend followers, to avoid wrong-doing and, with the thought meiden,Deinen Tod und sein Ursach’Furchtbarlich of your death and its cause, to bring you thank bedenken,Dafür, wiewohl arm und schwach, offerings for all that you have done, poor and weak Dir Dankopfer schenken though we may be.

38 Recitative 38 Recitative Evangelist Evangelist Darnach bat Pilatum Joseph von Arimathia, der ein After that, Pilate was approached by Joseph of Jünger Jesu war (doch heimlich, aus Furcht vor den Arimathea, a disciple of Jesus (but a secret disciple Jüden), dass er möchte abnehmen den Leichnam for fear of the Jews) who asked to be allowed to Jesu. Und Pilatus erlaubete es. Derowegen kam er und remove the body of Jesus. Pilate gave the permission; nahm den Leichnam Jesu herab. Es kam aber auch so Joseph came and took the body away. He was Nicodemus, der vormals in der Nacht zu Jesu kommen joined by Nicodemus (the man who had first visited war, und brachte Myrrhen und Aloen unter einander, Jesus by night), who brought with him a mixture of bei hundert Pfunden. Da nahmen sie den Leichnam myrrh and aloes, more than half a hundredweight. Jesu, und bunden ihn in leinen Tücher mit Spezereien, They took the body of Jesus and wrapped it, with the wie die Jüden pflegen zu begraben. Es war aber an der spices, in strips of linen cloth according to Jewish Stätte, da er gekreuziget ward, ein Garten, und im burial customs. Now at the place where he had been Garten ein neu Grab, in welches niemand je gelegen crucified there was a garden, and in the garden a war. Daselbst hinlegten sie Jesum, um des Rüsttag new tomb, not yet used for burial. There, because willen der Jüden, dieweil das Grab nahe war. the tomb was near at hand and it was the eve of the Jewish Sabbath, they laid Jesus. 39 Chorus 39 Chorus Ruht wohl, ihr heiligen Gebeine, Rest in peace, sacred body, for which I weep no longer, Die ich nun weiter nicht beweine, and bring me also to my rest. The grave that is yours Ruht wohl, und bringt auch mich zur Ruh! and holds no further suffering, for me opens Heaven and Das Grab, so euch bestimmet ist, closes Hell. Und ferner keine Not umschliesst, Macht mir den Himmel auf und schliesst Die Hölle zu.

40 Chorale 40 Chorale Ach Herr, lass dein lieb Engelein Am letzten End die O Lord, send your cherubs in my last hour to bear my soul Seele mein In Abrahams Schoss tragen! away to Abraham’s bosom; let it rest there untouched by Den Leib in sein’m Schlafkämmerlein Gar sanft, ohn any pain until the last day. Wake me then from death’s einge Qual und Pein, sleep, so that my joyful eyes may see you, the Son of Ruhn bis am jüngsten Tage! God, my Saviour; grant me this and I will glorify you Alsdann vom Tod erwecke mich, throughout eternity. Dass meine Augen sehen dich In aller Freud, o Gottes Sohn, Mein Heiland und Genadenthron! Herr Jesu Christ, erhöre mich, Ich will dich preisen ewiglich! Marie Macklin soprano

Marie was a choral scholar at King’s College, London where she studied French. She is currently studying with Julie Kennard, a Professor at the . Marie’s love of music was largely inspired by the years she spent as a girl chorister in Wells Cathedral Choir. During this time she won the title of BBC Radio 2 Choirgirl of the Year, an award that gave Marie numerous solo television and radio performances. One of the highlights was performing the Lord’s Prayer from David Fanshawe’s African Sanctus before the Queen and millions of TV viewers live on BBC1 for the Royal Festival of Remembrance at the . Marie is now much in demand as a consort singer and performs regularly with Tenebrae, with whom she has toured the USA extensively and features on a growing number of the choir’s recording. As a soloist she appears regularly with choral societies in the UK. Her recordings include the solos in Britten’s A Boy Was Born and the high Cs in Allegri’s Miserere.

Sarah Denbee mezzo soprano

Sarah grew up in Somerset and fi rst realised her passion for singing when she joined the National Youth Choir of Great Britain. She subsequently studied Music and Italian at Bristol,gaining a fi rst class honours degree and spending a year at the University of Bologna. After passing the Fellowship of the Royal Schools of Music diploma she gained a Masters in vocal performance, with distinction, from Trinity Laban. Sarah enjoys balancing a mixture of popular oratorio recital and consort singing and appears regularly with John Eliot Gardiner and the Monteverdi choir. Other highlights include performing as soloist at Cadogan Hall, the Millennium Centre in Cardiff, St John’s Smith Square and St Martin-in-the-Fields and her participation in a mentor scheme with the . Jeremy Budd Evangelist

Jeremy Budd graduated from the Royal Academy of Music and since then has become much in demand on the concert platform, working with many well known conductors and ensembles. Oratorio performances include Haydn Seasons with Harry Christophers in Madrid, Purcell Ode on St Cecilia’s Day, Handel Messiah, Haydn Creation, Mendelssohn Elijah all for Paul McCreesh, Mozart Requiem and Mass in C Minor in San Francisco and New York with Sir John Eliot Gardiner, and the Roasting Swan in Carmina Burana for the Birmingham Royal Ballet.

Jeremy has made a speciality of the Bach Passions and he made his solo BBC Proms debut live on BBC4 with the arias in the St. John Passion, a role also performed with the Gurzenich Orchestra in Cologne. He was the Evangelist recently in the St Matthew Passion Jeremy Buddfor Jeffrey Evangelist Skidmore and in Birmingham Symphony Hall while future Bach outings include the St John Passion arias for Jeremy graduatedthe from Britten the Royal Sinfonia, Academy the St ofMatthew Music and Passion since arias for the Dunedin then has become muchConsort in demandand the Evangeliston the concert in the platform,Christmas Oratorio with the working with manyAustralian well known Chamber conductors Orchestra and ensembles.in Sydney, Melbourne and Canberra. Oratorio performancesJeremy’s include operatic Haydn engagements Seasons with include Harry a fully-staged St. John Christophers in Madrid,Passion Purcell in Paris Ode and on Orfeo St Cecilia’s in Lille Day,with HandelEmmanuelle Haim, Pilade Messiah, Haydn Creation,in Handel’s Mendelssohn Oreste at theElijah Linbury all for Studio Paul Theatre, Damon in Handel McCreesh, Mozart AcisRequiem and Galatea, and Mass Chabrier in C Minor L’Etoile in San at Francisco the Opera Comique in Paris and New York withwith Sir John Sir John Eliot Eliot Gardiner, Gardiner and and the Der Roasting Fliegender Swan Hollander, Acis and in Carmina Burana Galatea,for the Birmingham Aida, Manon Royal and La Ballet. Traviata Jeremy with thehas Royal Opera House made a speciality ofChorus. the Bach Passions and he made his solo BBC Proms debut live on BBC4 with the arias in the St. John Passion, a role also performedHis solowith recordings the Gurzenich include Orchestra Bernstein in Chichester Cologne. Psalms with He has recently evangelisedBournemouth the Symphony St Matthew Orchestra, Passion forHandel Jeffrey Saul with The Sixteen, Skidmore and Ex CathedraBach St Matthew in Birmingham Passion Symphony with Ex Cathedra, Hall while Bach St John Passion future Bach outingswith include Arion theBaroque St John and Passion numerous arias others for the with groups such as , theCardinall’s St Matthew Musick, Passion Monteverdi arias for Choir, the Dunedin Gabrieli Consort, Tenebrae and Consort and the EvangelistThe Sixteen. in the Christmas Oratorio with the Australian Chamber Orchestra in Sydney, Melbourne and Canberra. Jeremy’s operatic engagements include a fully-staged St. John Passion in Paris and Orfeo in Lille with Emmanuelle Haim, Pilade in Handel s Oreste at the Linbury Studio Theatre, Damon in Handel Acis and Galatea, Chabrier L’Etoile at the Opera Comique in Paris with Sir John Eliot Gardiner and Der Fliegender Hollander, Acis and Galatea, Aida, Manon and La Traviata with the Royal Opera House Chorus. His solo recordings include Bernstein Chichester Psalms with Bournemouth Symphony Orchestra, Handel Saul with The Sixteen, Bach St Matthew Passion with Ex Cathedra, Bach St John Passion with Arion Baroque and numerous others with groups such as Cardinall’s Musick, Monteverdi Choir, Gabrieli Consort, Tenebrae and The Sixteen. Jonathan Brown Christus

Jonathan Brown was born and raised in Toronto. Coming over to England to study at Clare College, Cambridge, he now lives in London where he studies with Nicolas Powell. His opera credits are wide and include Marcello in La Boheme at the Royal Albert Hall, Trojan in Idomeneo with Sir and the Berlin Philharmonic Orchestra at the Salzburg Easter Festival and Pastore in Orfeo on a European tour with Emmanuelle Haim and Le Concert d’Astree.

On the concert platform he appears regularly with many of the UK’s foremost choral societies in repertoire ranging from Handel to Elgar. He made his debut with Sir John Eliot Gardiner singing Bach Cantatas as part of their Pilgrimage of 2000 and became a regular soloist with them throughout the year appearing on numerous recordings. Recent work has included a tour of St Matthew Passion and Magnifi cat conducted by Sir Roger Norrington and the role of Christus in St John Passion with Philippe Herreweghe. His recordings include the baritone solo in Faure Requiem for BMG and Purcell Dido and Aeneas and Blow Venus and Adonis for Rene Jacobs. Jonathan McGovern bass

A graduate of King’s College London and the Royal Academy of Music (DipRAM), Jonathan is the recipient of the Second Prize at the 2011 Kathleen Ferrier Awards, the Gold Medal and First Prize at the Royal Over-Seas League Annual Music Competition in 2010, the Karaviotis Prize at the 2011 Les Azuriales Competition and the Jean Meikle Duo Prize at the 2011 /Kohn Foundation International Song Competition, where he was also a fi nalist. Jonathan is a former Britten-Pears Young Artist and an Associate Artist with Classical Opera.

A regular guest at ENO, his roles to date have included Jake in the world premiere of Two Boys by Nico Muhly, and Restaurant Waiter in Deborah Warner’s acclaimed production of Death in Venice. Elsewhere, he sang Sid for the Britten Festival in Aldeburgh in a new production of Albert Herring and Pokayne in the premiere of Sir Peter Maxwell Davies’ opera Kommilitonen!, An outstandingly gifted recitalist, Jonathan has performed with pianists Malcolm Martineau, Julius Drake, Simon Lepper, James Baillieu, Timothy End and James Cheung. He is a member of the Royal Academy of Music Song Circle, with whom he has appeared at the Wigmore Hall and at the King’s Place Festival. Concert work includes The Yeoman of the Guard with Jane Glover and the BBC Philharmonic at the 2011 BBC Proms, and Mahler’s Songs of a Wayfarer with the Orchestra of the City at St James’s Piccadilly. Nicholas Wilks conductor

Nicholas Wilks has been Musical Director of Winchester Music Club since 2003, making his debut with a performance of Elgar’s The Kingdom. Now Master of Music at Winchester College, from 1996-2004 Nicholas was Musical Director of the Hampshire County Youth Orchestra.

His musical education began as a Quirister at the Pilgrims’ School, Winchester and continued as a music scholar at Cranleigh School. While reading English at Christ Church, Oxford, Nicholas founded and conducted the Oxford Philharmonia (now the Oxford University Philharmonia). He subsequently spent three years studying conducting and clarinet at the Royal Academy of Music, London, where he was supported by generous funding from the Drapers’ Company. Nicholas was elected an Associate of the Royal Academy of Music for professional distinction in 2001.

After leaving the Academy, he specialised in working with young musicians as Musical Director of the Finchley Children’s Music Group, conducting youth orchestras in London and the Channel Islands, and as Musical Director of New Youth Opera. He has conducted in Europe, South Africa (leading the fi rst tour by a British youth orchestra since the fall of apartheid), Colombia and Chile, and has broadcast on BBC2, 3 and 4, Classic FM and the BBC World Service. His opera credits include Eugene Onegin, Noye’s Fludde, Der Freischütz, La Belle Hélène and The Bartered Bride.

His concerto work has included such distinguished soloists as Joanna MacGregor (the premiere of Alec Roth’s “Earth and Sky” with Ensemble Bash and the Finchley Children’s Music Group at the BBC Proms in 2000), Alison Balsom, David Campbell, Ivana Gavrić, Alexander Sitkovetsky, Julian Poore, Roger Owens, Lionel Handy and Adrian Adlam. As chorus master he has collaborated with Sir (the premiere of Piers Hellawell’s “Do not disturb”), Sir Andrew Davis and Neeme Jarvi (Nielsen’s Springtime on Funen at the 1999 BBC Proms).

His recordings for Somm of Britten’s Noye’s Fludde and A Ceremony of Carols was a Sunday Telegraph Critic’s Choice, and his Naxos recording of music by Charles Davidson is currently on release as part of the Milken Archive series of American Jewish music. Nicholas is also Musical Director of the Winchester Symphony Orchestra.

Future plans include the premiere of Francis Pott’s Sentinel and Elgar’s Dream of Gerontius at Winchester Cathedral, and Mahler’s Fifth Symphony with the Winchester Symphony Orchestra. Winchester Music Club Singers

Altos Tenor Sopranos Patricia Carruthers Michael Collett Emma Bracey-Davis Madeleine de Lorme George Czaykowski Jacky Chalcraft Sarah Ede Michael Elton Joanna Crosse Isobel Elton John Parry-Jones Ursula Goez Jan Gwynne-Howell Brian Purkiss Elizabeth Hake Lea Holmes David Rees Sarah Hard, Grace Honeysett Jim Sampson Mary Jackson Maureen Jackson Jennifer Jenkins Pamela Jones William Gubbins Rosaleen Little Nicola Keene Julian Harvey Janette Lloyd Carol Leighton-Davis David Innes Elizabeth Lynn Elizabeth Lowe Andrew Thomson Katie Mydlarz Rosemary Merchant Jack Walters Miranda Passey Sian Morphet Deidre Russell Angela Ryde-Weller Helen Webb Barbara Shaw Bass Liz Slinn David Anderson Maggie Clark Lucia Taylor Geoff Bennetts Anna Dale-Harris Henrietta Wentworth-Stanley David Clarke Gillian Harris Stuart Cowan Francesca Harvey Anna Bennetts Steve Hynard Ann Johns Sue Clark Bob Jones Gabi McKeown Jill Curtis Robert Little Elizabeth Newport Alison Deveson James Martin-Jones Lydia Parry Naoe Foley David Morgan Jan Royston-Smith Claire Foster Arnold Renwick Natalie Shaw Angela Garrett Bruce Ryde-Weller Jane Webber Welly Green Roy Weller Janet Rowland-White Christine Targett Peter Albertini Francine Weller John Carpenter Andrew Carruthers Jeremy Daniel David Firth Ian Lowe The role of Alan Matheson Paul Newman The Servant will be Hugh Peers sung by John Satchell John Stanning Oliver Tarney Guy Stephenson Ian Taylor Winchester Music Club Orchestra

First Violins Flute Cello Continuo Brian Howells Jo Kidman Nikki Heinrich Julia Flint Karen Wills David Amos Viola da Gamba Chris Lightfoot Oboe/Cor Anglais Asako Morikawa Paul Jeffery Rebecca Kozam Peter Marsh Harpsichord Claire Mitchell Oboe/d’Amore Jamal Sutton Melinda Samms Andrew Knights

Bassoon Second violins Anna Meadows Emily Corbett Patricia Elkington Andy Henderson Ursula Payne John Sargent Philly Sargent Joanna Selborne Vince Wyre

Violas Tim Griffiths Gill Collymore Richard Daniel Margy Jeffery Libby Merriman Amanda Wilson Louise Woods

Celli Spike Wilson Jane Austin Steve Clarke Angie Janssen Catherine Mitchell Beccy Read

Double Bass Phillip Batten Joining Winchester Music Club...

We are a choir of some 100 members and an associated orchestra. The Club was founded in 1925 by Sir George Dyson, then Master of Music at Winchester College.

For more information about us please see our website: www.winchestermusicclub.org.uk ...as a Singer We are always pleased to audition competent singers although vacancies are limited. We’re also keen to attract younger singers; there is an under 25 subscription rate of only £25 a year. ...as a Friend Winchester Music Club has a strong base of singers and orchestral players. WMC also benefits from the support of non-performing, music loving members-our Friends. In addition to the knowledge that they are helping to support the artistic activity of the Club, which provides a major contribution to the programme of music available in the Winchester area, Friends receive the additional benefits of: • Preferential booking for the WMC concerts • Complimentary programme for each concert • Regular newsletter covering WMC activities • Invitation to all WMC social events The Friends annual subscription is currently £25. For two Friends living at the same address, it is £45.

For further information please contact the Secretary: Mrs Janette Lloyd, 6 Oliver’s Battery Gardens, Winchester, SO22 4HF 01962 851915 [email protected] ...as an Orchestral Player Winchester Music Club Orchestra is composed of a regular set of amateur string players with professionals brought in for the other sections as each work demands.The regular string players, although amateur, play at a very high standard. If you would like to considered for the string orchestra, or are a professonal non-string player and would like to be put on the players’ list, please apply for an audition by emailing our conductor: Nicholas Wilks [email protected] uk

Winchester Music Club Vice Presidents Chairman Committee The Dean of Winchester: Angela Ryde-Weller The Very Reverend Gillian Harris James Atwell Gabi McKeown Secretary Bruce Ryde-Weller The Headmaster of Janette Lloyd Barbara Shaw Winchester College: Natalie Shaw Dr Ralph Townsend Treasurer Arden Tulip Andrew Carruthers The Right Worshipful, the Mayor of Winchester: Cllr Ernie Jeffs

Bach manuscript paper bust Bach Museum Leipzig Janette Lloyd