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PC-St-John-Passion-Program.Pdf 2017–2018 Season Inspiration... out loud Gold Season Sponsor Artistic Director Robert Istad Phillip N. and Mary A. Lyons Concert Sponsor Charles and Ling Zhang J.S. BACH’S ST. JOHN PASSION Saturday, March 10, 2018 at 8:00 p.m. Our Lady Queen of Angels Catholic Church, Newport Beach Featuring: Members of Pacific Chorale Musica Angelica Baroque Orchestra David Clemensen, organ Jon Lee Keenan, Evangelist John Buffett, Jesus Paul Max Tipton, Pilate Ryan Thomas Antal, Peter John S. St. Marie, Servant Maria Cristina Navarro, Maid Joslyn Sarshad, soprano Andrea Zomorodian, soprano Jane Hyunjung Shim, mezzo-soprano I-Chin Lee, mezzo-soprano Nicholas Preston, tenor Nate Brown, tenor Nate Widelitz, tenor Stephen Salts, bass Yannick Lambrecht, bass Community Partners: Robert Istad, conducting Branding and PacificChorale.org website by 1 Program J.S. Bach (1685–1750) St. John Passion, BWV 245 (1724) Part I Part II 1. Chorus: Herr, unser Herrscher (Lord, thou 15. Chorale: Christus, der uns selig macht (Christ, who our master) hath made us blessed) 2. Recitative and Chorus 16. Recitative and Chorus 3. Chorale: O große Lieb (O mighty love) 17. Chorale: Ach großer König (Ah King so mighty) 4. Recitative 18. Recitative and Chorus 5. Chorale: Dein Will gescheh (Thy will be done) 19. Arioso: Betrachte, meine Seel (Observe now, 6. Recitative O my soul) 7. Aria: Von den Stricken (My Savior is fettered) Stephen Salts, bass Jane Hyunjung Shim, mezzo-soprano 20. Aria: Erwäge, wie sein blutgefärbter Rücken 8. Recitative (Consider how his back so stained with bleeding) 9. Aria: Ich folge dir (I’ll follow thee) Nate Brown, tenor Joslyn Sarshad, soprano 21. Recitative and Chorus 10. Recitative 22. Chorale: Durch dein Gefängnis (Through this 11. Chorale: Wer hat dich so geschlangen (Who hath thy prison) thee now so stricken) 23. Recitative and Chorus 12. Recitative and Chorus 24. Aria: Eilt, ihr angefochtnen Seelen (Haste, ye, O 13. Aria: Ach, mein Sinn (Ah, my mind) sorely tempted spirits) Nicholas Preston, tenor Paul Max Tipton, bass 14. Chorale: Petrus, der nicht denkt zurück (Peter, 25. Recitative and Chorus when he fails to think) 26. Chorale: In meines Herzens Grunde (Within my heart’s foundation) —INTERMISSION— 27. Recitative and Chorus 28. Chorale: Er nahm alles wohl (He did well take heed) 29. Recitative 30. Aria: Es ist vollbracht! (It is fulfilled!) I-Chin Lee, mezzo-soprano 31. Recitative 32. Aria and Chorus: Mein teurer Heiland (My precious Savior) Yannick Lambrecht, bass 33. Recitative 34. Arioso: Mein Herz, in dem die ganze Welt (My heart, since thus doth all the world) Nate Widelitz, tenor 35. Aria: Zerfließe, mein Herze (O melt now, my bosom) Andrea Zomorodian, soprano 36. Recitative 37. Chorale: O hilf, Christe, Gottes Sohn (O help, Christ, O Son of God) 38. Recitative 39. Chorus: Rught wohl, ihr heiligen Gebeine (Rest well, ye holy bones and members) 40. Chorale: Ach Herr, laß dein lieb Engelein (Ah Lord, let thine own angels dear) 2 About the Program By Dr. John Koegel oon after Johann Sebastian Bach (1685-1750) arrived in Leipzig, Saxony in May 1723, to take Sup the post of Cantor of the Thomasschule (St. Thomas’s School) and director of civic music for the city, he began the composition of five annual cycles of church cantatas (60 in each cycle). And in the next year he would complete the St. John Passion, the first large-scale choral work he composed for Leipzig. The Leipzig city council hired Bach to direct and compose music for the four principal churches in the city: the Thomaskirche (St. Thomas), Nikolaikirche (St. Nicholas), Matthäekirche (St. Matthew), and Petrikirche (St. Peter). He also served as Music Director for Leipzig University, the leading German university of the time. From 1729 he was director of the Collegium Musicum concerts (founded earlier by Georg Philipp Telemann). Although his position was not that of a Kapellmeister (Chapelmaster), as it had been in his previous post at the princely court in Cöthen, he held the most important musical position in Leipzig. Bach (or his deputies) taught daily singing lessons to the boys at the Thomasschule, and the 50-60 singers were split in four groups, performing in the four city churches, according to their musical ability. The Thomaskirche and Nicolaikirche featured the most sophisticated music, and Bach used the best group of 12-16 of his St. Thomas’s School singers, as well as some or all of the eight instrumentalists employed by the Leipzig city council, and musicians from Leipzig University to perform his most elaborate music in these two churches, on an alternating basis. Bach’s main compositional duties included providing music for Sunday services and special feast days, especially sacred cantatas, in addition to teaching. The composition of the St. John Passion in 1724 and the St. Matthew Passion in 1727 represented the high point of church music in Leipzig, and most of Bach’s greatest works were composed and performed in that city, up to his death there in 1750. Bach also directed and composed music for events at the university. In Bach’s time, Leipzig with its population of about 30,000 was larger than Dresden, the capital of Saxony. Because of its sophistication, Leipzig was known as a kleiner Paris (little Paris), with spacious parks and pleasure gardens, where music was performed regularly. Despite its cosmopolitan aspect, Leipzig’s city fathers did not always understand Bach or his music. A conservative musical and theological attitude was prevalent among some members of the city council, causing periodic disagreements with Bach. Despite his magnificent compositional accomplishment in Leipzig, Bach felt a lack of support there, such that in 1730 he wrote to his former schoolmate Georg Erdmann about his employers, saying: they were “odd, and little interested in music, with the result that I must live in almost constant vexation, envy, and harassment.” As a result of this experience, Bach set down his now- famous ideas for a “well-regulated church music,” in his Entwurff (draft or sketch), which he directed to a new 3 About the Program, continued city council with the hope that positive musical changes choice of certain unusual obbligato (accompanying) could occur. instruments such as the viola d’amore, viola da Bach’s St. John Passion is part of the tradition gamba, oboe da caccia, and oboe d’amore in some existing since the Middle Ages of retelling Christ’s arias reinforces the evocative instrumental shading Passion story with music during Holy Week. The and coloring that directly relates to the contemplative biblical Passion texts taken from the Gospels of the four meaning of the aria texts. The obbligato instruments evangelists Matthew, Mark, Luke, and John recount almost seem to speak in dialogue with the solo voice. Christ’s suffering, betrayal, trial, death, and burial. The The Lutheran chorales (hymns) included throughout accounts in the three synoptic Gospels of Matthew, are also meditative and reflective and signify the Mark, and Luke give similar synopses or accounts Christian congregation’s reaction to Christ’s Passion. of the Passion narrative, whereas the Gospel of John Bach’s congregation saw themselves in these very differs from the rest. John omits sections that appear familiar chorales, especially since they sang them in the synoptic Gospels, and includes parts that are regularly, although they probably did not join in singing not included there. According to Bach scholar John in the St. John Passion. The large, contrapuntal choruses Butt, “John’s foremost intention is to provide a cosmic provide commentary on the Passion story and illustrate explanation for the phenomenon of Christ.” In the various aspects of the narrative. The chorus also serves St. John Passion Bach musically sets Christ’s betrayal as the crowd (turba) of Jews, disciples, or high priests. and capture, Peter’s denial, Christ’s interrogation by Grand choruses frame the St. John Passion, beginning Pontius Pilate and his flagellation, condemnation and with “Herr, unser Herrscher” (Lord, Our Master) that crucifixion, death, and burial. vividly evokes Christ’s humiliation and agony. The work According to Bach’s obituary, published four years ends with the consolatory chorus “Ruht woll” (Lie in after his death by his son Carl Philipp Emanuel, Bach Peace), a farewell to Christ in his earthly appearance. composed “five Passions, of which one is for double Unlike many of his other large-scale compositions, chorus.” The two surviving Passion settings are the the St. John Passion underwent extensive changes and “double-chorus” St. Matthew Passion (1727) and the there are four versions of the work (1724, 1725, circa St. John Passion (1724). Bach copied the score of the 1730, 1749), not all complete. It was last performed in anonymous St. Luke Passion and probably performed it Bach’s lifetime on Good Friday 1749, the year before his in 1730; it was formerly attributed to him. The St. Mark death. Previously, the St. John Passion took second place Passion (1731) is a parody work, with music reused in importance to the St. Matthew Passion. However, from earlier works by Bach; although the libretto was recently it has been performed much more frequently published and survives, the musical score is lost. and performers and audiences increasingly have The St. John Passion was first performed at Vespers understood its importance and its direct appeal to the on Good Friday, April 7, 1724, in the Nikolaikirche. emotions and sensibilities in its presentation of the (Performances of Passion settings alternated each year Passion story. between the Thomaskirche and Nikolaikirche.) The libretto was not written by one author, but rather is a compilation of various poetic and biblical sources. The main narrative text is taken from John, Chapters 18 and 19 (the story of Christ’s Passion), with two interpolated sections from Matthew, Chapters 26 and 27 (Peter’s weeping after he hears the cock crow, and the veil of the temple torn after Christ’s death).
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