2 CD ST. MATTHEW PASSION [20] Recitativo (Soprano 1): Wiewohl mein Herz in Tränen schwimmt [1.20] Passion unseres Herrn Jesu Christi [21] Aria (Soprano 1): Ich will dir mein Herze schenken [3.24] nach dem Evangelisten Matthäus [22] Evangelista, Jesus: Und da sie den Lobgesang gesprochen hatten [0.58] J.S. BACH [23] Choral: Erkenne mich, mein Hüter [0.43] [24] Evangelista, Petrus, Jesus: Petrus aber antwortete und sprach zu ihm [1.00] CD1 [25] Choral: Es dient zu meinen Freuden [0.44] ERSTER TEIL PART ONE [26] Evangelista, Jesus: Da kam Jesus mit ihnen zu einem Hofe [1.34] [1] Coro I & [II] & Choral: Kommt, ihr Töchter, helft mir klagen [7.00] [27] Recitativo (Tenore 1) & [Choral]: O Schmerz! Hier zittert das gequälte Her [1.46] [2] Evangelista, Jesus: Da Jesus diese Rede vollendet hatte [0.37] [28] Aria (Tenore 1) & [Coro II]: Ich will bei meinem Jesu wachen [4.54] [3] Choral: Herzliebster Jesu, was hast du verbrochen [0.35] [29] Evangelista, Jesus: Und ging hin ein wenig [0.38] [4] Evangelista: Da versammleten sich die Hohenpriester [0.27] [30] Recitativo (Basso 2): Der Heiland fällt vor seinem Vater nieder [0.52] [5] Coro I & II: Ja nicht auf das Fest [0.16] [31] Aria (Basso 2): Gerne will ich mich bequemen [4.15] [6] Evangelista: Da nun Jesus war zu Bethanien [0.31] [32] Evangelista, Jesus: Und er kam zu seinen Jüngern [1.12] [7] Coro I: Wozu dienet dieser Unrat? [0.31] [33] Choral: Was mein Gott will [0.48] [8] Evangelista, Jesus: Da das Jesus merkete, sprach er zu ihnen [1.20] [34] Evangelista, Jesus, Judas: Und er kam und fand sie aber schlafend [2.28] [9] Recitativo (Alto 1): Du lieber Heiland du [0.56] [35] Aria (Soprano 1, Alto 1) & [Coro II]: So ist mein Jesus nun gefangen [3.27] [10] Aria (Alto 1): Buß und Reu [4.19] [36] Coro I & II: Sind Blitze, sind Donner in Wolken verschwunden? [1.09] [11] Evangelista, Judas: Da ging hin der Zwölfen einer [0.38] [37] Evangelista, Jesus: Und siehe, einer aus denen [2.08] [12] Aria (Soprano 2): Blute nur, du liebes Herz! [4.43] [38] Choral: Jesum laß ich nicht von mir [0.49] [13] Evangelista: Aber am ersten Tage der süßen Brot [0.12] [14] Coro I: Wo willst du, daß wir dir bereiten [0.25] PARS 2da PART TWO [15] Evangelista, Jesus: Er sprach: Gehet hin in die Stadt [1.10] [39] Aria (Basso 1) & [Coro II]: Ach, nun ist mein Jesus hin! [3.41] [16] Evangelista: Und sie wurden sehr betrübt [0.10] [40] Evangelista: Die aber Jesum gegriffen hatten [1.05] [17] Coro I: Herr, bin ichs? [0.12] [41] Choral: Mir hat die Welt trüglich gericht’ [0.34] [18] Choral: Ich bins, ich sollte büßen [0.35] [42] Evangelista, Zeugen, Hohepriester: Und wiewohl viel falsche ... [1.12] [19] Evangelista, Jesus, Judas: Er antwortete und sprach [2.55] [43] Recitativo (Tenore 2): Mein Jesus schweigt zu falschen Lügen stille [0.58] [44] Aria (Tenore 2): Geduld! [3.14] [17] Aria (Soprano 1): Aus Liebe will mein Heiland sterben [4.54] [45] Evangelista, Hohepriester, Jesus: Und der Hohepriester antwortete [1.16] [18] Evangelista: Sie schrieen aber noch mehr und sprachen [0.04] [46] Coro I & II: Er ist des Todes schuldig! [0.13] [19] Coro I & II: Laß ihn kreuzigen! [0.21] [47] Evangelista: Da speieten sie aus in sein Angesicht [0.14] [20] Evangelista, Pilatus: Da aber Pilatus sahe [0.31] [48] Coro I & II: Weissage uns, Christe [0.21] [21] Coro I & II: Sein Blut komme über uns und unsre Kinder [0.45] [49] Choral: Wer hat dich so geschlagen [0.38] [22] Evangelista: Da gab er ihnen Barrabam los [0.23] [23] Recitativo (Alto 2): Erbarm es, Gott! [0.54] Total timings CD1 [75.13] [24] Aria (Alto 2): Können Tränen meiner Wangen [7.15] [25] Evangelista: Da nahmen die Kriegsknechte [0.37] CD 2 [26] Coro I & II: Gegrüßet seist du, Jüdenkönig! [0.16] [1] Evangelista, Magd I/II, Petrus: Petrus aber saß draußen im Palast [0.57] [27] Evangelista: Und speieten ihn an [0.13] [2] Coro II: Wahrlich, du bist auch einer von denen [0.14] [28] Choral: O Haupt, voll Blut und Wunden [0.51] [3] Evangelista, Petrus: Da hub er an sich zu verfluchen [1.15] [29] Evangelista: Und da sie ihn verspottet hatten [0.52] [4] Aria (Alto 1): Erbarme dich, mein Gott [6.04] [30] Recitativo (Basso 1): Ja, freilich will in uns das Fleisch und Blut [0.38] [5] Choral: Bin ich gleich von dir gewichen [0.46] [31] Aria (Basso 1): Komm, süßes Kreuz [5.44] [6] Evangelista, Judas: Des Morgens aber hielten alle Hohepriester [0.58] [32] Evangelista: Und da sie an die Stätte kamen mit Namen Golgatha [1.50] [7] Coro I & II: Was gehet uns das an? [0.11] [33] Coro I & II: Der du den Tempel Gottes zerbrichst [0.32] [8] Evangelista, Hohenpriester: Und er warf die Silberlinge in den Tempel [0.43] [34] Evangelista: Desgleichen auch die Hohenpriester [0.10] [9] Aria (Basso 2): Gebt mir meinen Jesum wieder! [2.44] [35] Coro I & II: Andern hat er geholfen [0.58] [10] Evangelista, Pilatus, Jesus: Sie hielten aber einen Rat [2.12] [36] Evangelista: Desgleichen schmäheten ihn auch die Mörder [0.16] [11] Choral: Befiehl du deine Wege [0.45] [37] Recitativo (Alto 1): Ach Golgatha, unselges Golgatha! [1.11] [12] Evangelista, Pilatus, Pilati Weib, Chor I & II: Auf das Fest aber [2.07] [38] Aria (Alto 1) & [Coro II]: Sehet, Jesus hat die Hand [3.25] [13] Coro I & II: Laß ihn kreuzigen! [0.21] [39] Evangelista, Jesus: Und von der sechsten Stunde an [1.32] [14] Choral: Wie wunderbarlich ist doch diese Strafe! [0.37] Coro I: Der rufet dem Elias! [15] Evangelista, Pilatus: Der Landpfleger sagte [0.16] [40] Evangelista: Und bald lief einer unter ihnen [0.21] [16] Recitativo (Soprano 1): Er hat uns allen wohlgetan [1.06] [41] Coro II: Halt! Laß sehen [0.08] St Matthew Passion, BWV 244b edition used for this performance. We can only J. S. Bach presume that Altnickol’s manuscript is a copy of Bach’s own manuscript version – though [42] Evangelista: Aber Jesus schriee abermal laut und verschied [0.27] It seems likely that Bach began work on his it is unclear why it was made when Bach [43] Choral: Wenn ich einmal soll scheiden [1.09] second Passion early in 1725, perhaps for had himself produced a beautifully laid-out Und siehe da, der Vorhang im Tempel zerriß (63a) [1.10] [44] Evangelista: performance on Good Friday that year. He manuscript of a revised version, which provides [45] Coro I & II: Wahrlich, dieser ist Gottes Sohn gewesen (63b) [0.17] had performed Johannes-Passion in 1724 copious performing information, when he had [46] Evangelista: Und es waren viel Weiber da (63c) [1.17] and, in the end, had to repeat it in 1725 with more time to do so in 1736. There is no doubt [47] Recitativo (Basso 1): Am Abend, da es kühle war [1.47] some changes from the earlier performance; that Bach’s later version includes new [48] Aria (Basso 1): Mache dich, mein Herze, rein [6.37] he also had to resort to performing Reinhard information with, for example, a considerable [49] Evangelista: Und Joseph nahm den Leib (66a) [1.13] Keiser’s St. Mark Passion in 1726. However, number of basso continuo figures and some [50] Coro I & II: Herr, wir haben gedacht (66b) [1.02] the long labours eventually bore fruit. This wonderfully vivid composer’s ornamentation – for [51] Evangelista, Pilatus: Pilatus sprach zu ihnen (66c) [0.33] performance is based on a new edition of example, in the soprano aria ‘Blute nur’ where Bach’s first version of Matthäus-Passion which Bach’s decoration of the vocal line on the words [52] Recitativo (Basso 1,Tenore 1, Alto 1, Soprano 1) & [Coro II] [1.44] was probably first performed on Good Friday 1727. “ermorden” and “schlanger” brilliantly clarifies Nun ist der Herr zur Ruh gebracht the meaning and emotion of the words which is, Wir setzen uns mit Tränen nieder [4.58] [53] Coro I & II: Until the issue of the 2004 Bärenreiter of course, the primary purpose of ornamentation. Total timings CD2 [78.20] publication edited by Andreas Glöckner our access to this early version (BWV 244b) was Altnickol’s manuscript is almost devoid of bass Total timings: [153.33] limited to a 1740s manuscript made by Johann figures and instrumental articulations and the Christoph Altnickol, a student and son-in-law resultant implied bowing-patterns and wind of the composer and to an incomplete score tonguings; Bach’s original performing parts may copied sometime after 1741 by J. F. Agricola, have had more information or some may have another Bach pupil. There is also a libretto by been added during rehearsal. The same may CHARLES DANIELS EVANGELIST Picander, the pseudonym used by Bach’s librettist well be true of the copious essential ornaments PETER HARVEY CHRISTUS Christian Freidrich Henrici, which was published – cadential trills, appoggiaturas in recitative, YORKSHIRE BAROQUE SOLOISTS in 1729. There are, however, clear errors in arias and choruses, ornamental signs and so PETER SEYMOUR director the Altnickol manuscript which may well also on. In such instances, the later version may be unfinished. All these sources informed the well inform us in indicating what additional www.signumrecords.com - 7 - stylistic matters Bach expected of his performers standard proportional notation for a masculine sterben” (“He has done good to us all ... Apart taken this as an opportunity for performers’ in 1727 alongside what they would have (single syllable) phrase end. The employment from that, my Jesus has done nothing ... My decisions and performed some with voices expected to do anyway; stylistic expectations of an appoggiatura at the end of phrases Saviour is willing to die for love.”) Bach, both by and organ only, allowing a more vivid of bowing and tonguing patterns were well varied from composer to composer but it seems his ornamentation and very special (and communication of the text. established by 1727. Similarly, the various quite clear that Bach followed the convention surprising) orchestration clarifies the central ornamentation conventions were also in place of not expecting an appoggiatura at masculine message of this Passion. The essential structure of the Passion is that as we can see from Bach’s own teaching and phrase ends but giving the performers the with which we are familiar from later versions. manuscripts; these would have included the option of doing so for feminine (strong-weak) For this recording we have presumed Bach “The most noticeable difference is the chorale at essential ornaments mentioned above but also endings. This means that on the occasions would have encouraged and expected these the end of Part One which was subsequently the composer’s ornamentation, some of which where he indicates one at a masculine ending and other conventions and we have employed replaced by the large-scale chorale-chorus would have been in the manuscript and some then it sent a visual signal to the performer them accordingly. A specific instance worth ‘O Mensch, bewein dein Sünder gross”. There of which Bach or his performers may have and an aural one to the listener. An example of mentioning is with the appoggiaturas in the are other less immediately noticeable changes suggested in rehearsal. We can’t know what this practice occurs in number 38c (CD 2, vocal and wind lines in the number 27a – a variant text for the chorale number 17 performers’ ornamentation was added though track 3) with Peter’s third denial of being a (CD 1, track 35) (“So ist mein Jesus gefangen”); (CD 1, track 25) “Es dient zu meinen Freuden” it is not impossible that some of this was member of Jesus’ followers with the text “Ich these are not indicated in Altnickol’s manuscript – and matters of orchestration for some approved and admired by Bach and incorporated kenne des Menschen nicht” (“I do not know but we have inserted them according to the choruses such as the wind doublings in the into his later manuscript. Various stylistic the man!”). The ‘false’ ornament draws stylistic conventions in the 1720s. The same is openings chorus. More obvious and significant conventions and the resultant articulations attention to Peter’s false statement. The same true of the length of bass notes in the differences include the allocation of the solo and rhythmic alterations would have been device is used also in Johannes-Passion. A recitatives. It was the practice in recitative to line in the opening movement of Part Two familiar or would have become familiar to similarly important moment occurs at the end of write long notes in the continuo part – it is less to the first choir bass rather than to the Bach’s performers. number 47 (CD 2, track 15) where Pilate’s time-consuming for the composer (and uses alto and the absence of a gamba from the final syllable (which wouldn’t normally expect an less ink) and the players would be aware of the orchestral line-up. In this version a lute An interesting element of this version is that appoggiatura on “Was hat er denn Übels conventions of the day. If there was any doubt obbligato in the bass aria “Komm, süsses it shows Bach using ‘false’ ornamentation in getan?” [“Why, what evil has he done?”] the composer/director could very quickly clarify Kreuz”’ gives a still greater intimacy to the recitatives in the same manner that he had and certainly not one from above for a his expectations in rehearsal. An interesting moment; with the vocal performing forces employed in the earlier Johannes-Passion question) introduces and draws our attention feature of the manuscript is the lack of full texts Bach would have used (and employed here and which he retained for the later version of to the content of the subsequent text: “Er hat for the chorales – only the opening, identifying also) this has still greater poignancy in Matthäus-Passion. This involves indicating an uns allen wohlgetan ... Sonst hat mein Jesus line is given. Also missing in the chorales that it is sung by the same singer (Bass, appoggiatura either by an ornamental sign or in nichts getan ... Aus Liebe will mein Heiland is any indication of orchestration; we have Choir I) who sang the role of Christus.

- 8 - - 9 - The basso continuo line in this aria is very the opening chorus, the bass-line chromaticism nowadays more usual to hear double choirs and Whatever the differences between this early and similar to the later version but the gamba in number 8 (CD 1, track 12) (“Blute nur”) orchestras with independent solo teams. Bach his later versions Bach’s structure and dramatic obbligato would have allowed a string and the tempo change for the second chorus had a team of four concertato (SATB) singers purposes shine through. One of the most moving accompaniment (possibly both cello and violone) in number 19 (CD 1, track 27) (“O Schmerz!”). and a similar number of ripienists; these made products of recent scholarship has been the alongside organ. The exquisite baroque lute up the two choirs in this Passion with the Tenor realisation that a large chunk of this work, in would have been difficult to hear in a building The use of the harpsichord not only here but and Bass in Choir I singing not only choruses common with Johannes-Passion and several the size of the Thomaskirche (hence its also in the secco recitatives might also surprise but also the relevant arias and the roles of other vocal works from this period, is constructed replacement in Bach’s later version); there some, but commentators such as Laurence Evangelist and Jesus. (For logistical reasons in a large–scale palindrome which, to those are no such problems in recorded performance. Dreyfus have made a convincing case for the we didn’t quite manage to achieve this!) All trained in baroque Rhetoric, would suggest We have taken further advantage of this availability, indeed the requirement by Bach, the other chorus singers have arias also; the a chiasmus or structural cross figure. The medium by using harpsichord as the sole of a harpsichord in the organ lofts at the ripieno chorale “O Lamm Gottes unschuldig” numbering of the score unhappily obscures continuo instrument for this movement. Thomaskirche as well as the Nicolaikirche. It in the opening chorus was possibly sung by a the precise nature of Bach’s ground plan, The absence of a gamba from Bach’s scoring seems likely that Bach used the harpsichord small number of singers, probably as few as but essentially the second part centres on an also affects the second tenor aria, number as a director’s communication aid rather than three (as here), or might perhaps even have extraordinary celestial piece, scored for soprano, 35 ‘Geduld’, where the manuscript indicates an essential harmonic element, but it offers been played only on the organ. The minor roles flute and two oboes da caccia without the merely a bass line, presumably a cello but an attractive element to the continuo group in of the two maids and Pilate’s wife were sung usually ever-present basso continuo; that is perhaps also a violone either doubling or recitative in which we again take advantage by just one of these ripienists; of the two other the very obvious aural signal for Bach’s mapping out the harmonic structure. of Dreyfus’ information that Bach had not male singers, one sang Judas and Priest I, audience indicating something very special Otherwise, we might notice notation differences only the now more fashionable cello and organ the other Peter, Priest II and Pilate; the two in the text. Working outwards from this not only in the choruses but also in some but also violone and bassoon, forming a group false witnesses were sung by Choir II alto and point (No 49 - CD 2, track 17) we find a solo vocal lines. This is most obvious of five instruments and allowing considerable tenor. Current scholarship suggests that the strict mirror arrangement of movements, in numbers 8 (CD 1, track 12) (“Blute variety of texture, dynamic and articulation to orchestral parts were similarly all performed representing a huge architectural cross built nur”) and 35 (CD 1, track 44) (“Geduld”); be used at the performers’ discretion. one to a part for this early version, meaning into the fabric of the work. This exists alongside there are also minor differences in the word that balance between woodwind and strings other chiasmus figures: some visual/aural setting in such as number 13 (CD 1, track 21) It seems quite clear that Bach was able to as well as between voices and orchestra was melodic figures in the shape of a cross such (“Ich will dir”) and others. There are employ what for him were relatively large-scale rarely an issue. as the melodic (‘Z’ as in ‘Kreuz’) cross shape further other surprising moments, at least forces for his 1727 performance and although for the opening melodic material in “Blute to modern ears more familiar with Bach’s we occasionally now hear performances and nur” – similar to Bach’s own name: Bb–A–C–B later settings, including some accidentals in recordings using these small numbers it is still (B=H in terms of German nomenclature); the

- 10 - - 11 - superimposed tonic/dominant harmonies at the two categories, the Gospel text, and the PERFORMERS start of the opening chorus; and some purely interpolated texts taken from Picander’s visual – the horizontal, contrapuntal lines of Erbauliche Gedancken of 1725, which again Charles Daniels Evangelist Choir I set against the vertical interruptions follow Luther’s dictum, aiming to elucidate the Peter Harvey Christus of Choir II in the opening chorus tell us the Gospel, and deliberately applying the historical Peter Seymour Director purpose of this monumental piece. The story to the man in the pew. For example, the palindrome-structure chiasmus set around episode dealing with Peter’s denial splits into Bethany Seymour Soprano 1 numbers 46 to 49 (CD 2, tracks 14-17) three basic units: the historical story retold Sally Bruce Payne Alto 1 helps us to now identify the structural centre. by the Evangelist, an aria sung, as it were, by Joseph Cornwell Tenor 1, Judas, High Priest The discovery of this structural chiasmus, an the personification of Peter, and a chorale Peter Harvey Bass 1, Christus obviously private symbol, in the work is giving the congregational response to the Helen Neeves Soprano 2 perhaps made all the more moving by its story; the whole procedure moves gradually Nancy Cole Alto 2, False Witness hidden nature. The original listeners couldn’t from a statement of “He did this” to a Julian Podger Tenor 2, False Witness have been aware of it. Clearly it represents a response of “I do it daily, Father forgive me” Matthew Brook Bass 2 private act of devotion; equally clearly it (CD 2, tracks 3-4) (see nos 38–39 in the presents musical and dramatic difficulties text/translation). It seems unlikely that the Johnny Herford Peter, High Priest, Pilate, to the composer for no apparent technical chorales were in fact sung by the congregation Bethan Thomas Maid I, II, Wife of Pilate end other than as an act of particular but by the two choirs on behalf of the Bethan Thomas, Eleanor Thompson, Elissa Edwards Soprani in ripieno personal dedication. The discovery of the listener, but the sentiments expressed are chiasmus contributes immeasurably to our always the response of the faithful Christian, Orchestra 1 picture of Bach as a composer whose private experiencing Christ in his own situation. sincerity often outweighed his public exterior. Lucy Russell, Iona Davies violins © 2015 Peter Seymour Alan George viola It has been said, in a life of Martin Luther, that Rachel Gray cello “Bach was, by any sensible definition, the most Kate Aldridge violone influential evangelical of his age”, and the Edwina Smith, Sarah McNulty flutes composer’s intention here was a clear, direct Anthony Robson, Cherry Forbes oboes, oboes d’amore, oboes da caccia reading of the Gospel story elevated to sublime Alastair Mitchell bassoon expression. The texts themselves divide into Elizabeth Kenny lute

- 12 - - 13 - Orchestra 2 ERSTER TEIL Part One CD1 CD1 Daniel Edgar, Nia Lewis violins 1. Coro I & [II] & Choral 1. Chorus 1 & [2] & Chorale Duncan Druce viola Kommt, ihr Töchter, helft mir klagen, Come, daughters, help me mourn ... Tim Smedley cello Sehet! – [Wen?] - den Bräutigam! see! – [Whom?] – the bridegroom, William Hunt violone Seht ihn! – [Wie?] - als wie ein Lamm. see him – [How?] – as a lamb, Graham O’Sullivan, Mary Tyers flutes Sehet! – [Was?] - seht die Geduld, see! – [What?] – his patience. Rachel Chaplin, Hilary Stock oboes Seht! – [Wohin?] - auf unsre Schuld. Look! – [Where?] – at our guilt. Sehet ihn aus Lieb und Huld See him, out of love and grace, Robert Patterson organ Holz zum Kreuze selber tragen. carry the wood of the Cross himself. Peter Seymour harpsichord O Lamm Gottes unschuldig, O spotless Lamb of God, Mark Rowlinson producer Am Stamm des Kreuzes geschlachtet, slaughtered on the Cross, Richard Jackson language coach Allzeit erfundn geduldig, Patient at all times, Guy Tudor production assistant Wiewohl du warest verachtet. although you were despised All Sünd hast du getragen, You have carried all our sin, Sonst müßten wir verzagen. otherwise we’d have had to despair. Erbarm dich unser, o Jesu. Have mercy on us, O Jesus!

2. Evangelista 2. Evangelist Da Jesus diese Rede vollendet hatte, When Jesus had finished saying all sprach er zu seinen Jüngern: these sayings, he said to his disciples: Jesus Jesus Ihr wissest daß nach zween Tagen As you know, the Passover is two days Ostern wird, und des Menschen Sohn away - and the Son of Man will be wird überantwortet werden, daß er handed over to be crucified. gekreuziget werde.

- 14 - - 15 - 3. Choral 3. Chorale 7. Coro I 7. Chorus 1 Herzliebster Jesu, was hast du verbrochen, Dearest Jesus, what have you done, Wozu dienet dieser Unrat? Dieses What’s the purpose of this foolishness? Daß man ein solch scharf Urteil hat that they can pronounce so harsh a sentence on Wasser hätte mögen teuer verkauft und The perfume could have been sold at a gesprochen? you? den Armen gegeben werden. high price and the money given to the Was ist die Schuld, in was vor Missetaten What is your guilt, into what misdeeds poor. Bist du geraten? have you fallen? 8. Evangelista 8. Evangelist 4. Evangelista 4. Evangelist Da das Jesus merkete, sprach er zu ihnen: Aware of this, Jesus said to them: Da versammleten sich die Then the chief priests and the elders of Jesus: Jesus: Hohenpriester und Schriftgelehrten the people assembled in the palace of Was bekümmert ihr das Weib? Sie hat Why are you bothering the woman? und die Ältesten im Volk in den Palast the high priest, whose name was ein gut Werk an mir getan. Ihr habet She has done a beautiful thing for me. des Hohenpriesters, der da hieß Caiaphas, and they plotted to arrest allezeit Armen bei euch, mich aber You will always have the poor with Kaiphas, und hielten Rat, wie sie Jesus in some devious way habt ihr nicht allezeit. Daß sie dies you, but you will not always have me. Jesum mit Listen griffen und töteten. and kill him. Wasser hat auf meinen Leib gegossen, When she poured this perfume on my Sie sprachen aber: But they said: hat sie getan, daß man mich begraben body, she did it to prepare me for my wird. Wahrlich, ich sage euch: Wo dies burial. I tell you the truth, wherever 5. Coro I & II 5. Chorus 1 & 2 Evangelium geprediget wird in der this Gospel is preached throughout the Ja nicht auf das Fest, auf daß nicht ein Not during the feast, or there may be a ganzen Welt, da wird man auch sagen world, what she has done will be told Aufruhr werde im Volk. riot among the people. zu ihrem Gedächtnis, was sie getan hat. in memory of her.

6. Evangelista 6. Evangelist: 9. Recitativo (Alto 1) 9. Recitative (Alto 1) Da nun Jesus war zu Bethanien, im While Jesus was in Bethany at the Du lieber Heiland du, wenn deine O, dear Saviour, while your disciples Hause Simonis des Aussätzigen, trat zu home of a man known as Simon the Jünger töricht streiten, daß dieses foolishly argue because this gentle ihm ein Weib, das hatte ein Glas mit leper, a woman came to him with an fromme Weib mit Salben deinen Leib woman prepares your body with köstlichem Wasser und goß es auf sein alabaster jar of very expensive zum Grabe will bereiten, so lasse mir ointment for the grave, so let me Haupt, da er zu Tische saß. Da das perfume, which she poured on his head inzwischen zu, von meiner Augen meanwhile pour an unction of tears seine Jünger sahen, wurden sie as he sat at the table. But when the Tränenflüssen ein Wasser auf dein upon your head. unwillig und sprachen: disciples saw this they were indignant Haupt zu gießen! and said:

- 16 - - 17 - 10. Aria (Alto 1) 10. Aria (Alto 1) 13. Evangelista 13. Evangelist Buß und Reu knirscht das Sündenherz Penitence and remorse grind the sinful Aber am ersten Tage der süßen Brot On the first day of the feast of entzwei, daß die Tropfen meiner heart apart. May my tears be sweet traten die Jünger zu Jesu und sprachen Unleavened Bread, the disciples came Zähren angenehme Spezerei, treuer spices to you, faithful Jesus. zu ihm: to Jesus and asked: Jesu, dir gebären. Buß und Reu... Penitence and remorse... 14. Coro I 14. Chorus I Wo willst du, daß wir dir bereiten das Where do you want us to make 11. Evangelista 11. Evangelist Osterlamm zu essen? preparations for you to eat the Da ging hin der Zwölfen einer mit Then one of the Twelve, the one called Passover lamb? Namen Judas Ischarioth zu den Judas Iscariot, went to the chief priests Hohenpriestern und sprach: and asked: 15. Evangelista 15. Evangelist Judas Judas Er sprach: He said: Was wollt ihr mir geben? Ich will ihn euch What will you give me if I hand him Jesus Jesus verraten. over to you? Gehet hin in die Stadt zu einem und Go into the city to a certain man and Evangelista Evangelist sprecht zu ihm: Der Meister läßt dir tell him, The Master says: My Und sie boten ihm dreißig Silberlinge. They offered him thirty silver coins. sagen: Meine Zeit ist hie, ich will bei appointed time is at hand. I am going Und von dem an suchte er Gelegenheit, From then on Judas watched for an dir die Ostern halten mit meinen to celebrate the Passover at your house daß er ihn verriete. opportunity to betray him. Jüngern. with my disciples. Evangelista Evangelist 12. Aria (Soprano 2) 12. Aria (Soprano 2) Und die Jünger täten, wie ihnen Jesus So the disciples did as Jesus had Blute nur, du liebes Herz! Bleed on, dear heart. befohlen hatte, und bereiteten das commanded and prepared the Ach! ein Kind, das du erzogen, A child that you raised, that you nursed Osterlamm. Und am Abend satzte er Passover. And in the evening Jesus sat das aus deiner Brust gesogen, at your breast, threatens his nurse with sich zu Tische mit den Zwölfen. Und down at the table with the Twelve. droht den Pfleger zu ermorden, murder because he has become a da sie aßen, sprach er: While they were eating, he said: denn es ist zur Schlange worden. serpent. Jesus Jesus Blute nur... Bleed on ... Wahrlich, ich sage euch: Einer unter I tell you the truth, one of you will euch wird mich verraten. betray me.

- 18 - - 19 - 16. Evangelista 16. Evangelist Evangelista Evangelist Und sie wurden sehr betrübt und huben They were very troubled and began to Da antwortete Judas, der ihn verriet, Then Judas, the one who would betray an, ein jeglicher unter ihnen, und say to him one after the other: und sprach: him, said: sagten zu ihm: Judas Judas Bin ichs, Rabbi? Rabbi, is it I? 17. Coro I 17. Chorus 1 Evangelista Evangelist Herr, bin ichs? Lord, is it I? Er sprach zu ihm: Jesus answered: Jesus Jesus 18. Choral 18. Chorale Du sagests. Yes,it is you. Ich bins, ich sollte büßen, It is I. I ought to pay the price, Evangelista Evangelist An Händen und an Füßen hand and foot Da sie aber aßen, nahm Jesus das Brot, While they were eating, Jesus took Gebunden in der Höll. bound in hell. dankete und brachs und gabs den bread, gave thanks, and broke it, and Die Geißeln und die Banden The scourge and the bonds, Jüngern und sprach: gave it to his disciples, saying: Und was du ausgestanden, and all that you endured, I earned Jesus Jesus Das hat verdienet meine Seel. myself. Nehmet, esset, das ist mein Leib. Take, eat, this is my body. Evangelista Evangelist 19. Evangelista 19. Evangelist Und er nahm den Kelch und dankete, Then he took the cup, gave thanks, and Er antwortete und sprach Jesus answered: gab ihnen den und sprach: offered it to them, saying: Jesus Jesus Jesus Jesus Der mit der Hand mit mir in die The one who dips his hand into the Trinket alle daraus; das ist mein Blut Drink from it, all of you. This is my Schüssel tauchet, der wird mich bowl with me will betray me. des neuen Testaments, welches blood of the new covenant, which is verraten. Des Menschen Sohn gehet The Son of Man will go, just as it is vergossen wird für viele zur being poured out for many, zwar dahin, wie von ihm geschrieben written about him in the Scriptures. Vergebung der Sünden. Ich sage euch: for the forgiveness of sins. I tell you, stehet; doch wehe dem Menschen, But woe to the man who betrays the Ich werde hinfort nicht mehr von I will not again drink of this fruit of the durch welchen des Menschen Sohn Son of Man! It would be better for him diesem Gewächs des Weinstocks vine until I drink it anew with you in verraten wird! Es wäre ihm besser, daß if he had not been born. trinken bis an den Tag, da ichs neu my father’s kingdom. derselbige Mensch noch nie geboren trinken werde mit euch in meines wäre. Vaters Reich.

- 20 - - 21 - 20. Recitativo (Soprano 1) 20. Recitative (Soprano 1) aber auferstehe, will ich vor euch go ahead of you into Galilee. Wiewohl mein Herz in Tränen Although my heart is full of tears hingehen in Galiläam. schwimmt, daß Jesus von mir because Jesus is taking leave of me, I Abschied nimmt, so macht mich doch rejoice at his covenant. He gives his 23. Choral: 23. Chorale: sein Testament erfreut: Sein Fleisch precious flesh and blood into my Erkenne mich, mein Hüter, Acknowledge me, my guardian, my und Blut, o Kostbarkeit, vermacht er hands. Mein Hirte, nimm mich an! shepherd, accept me. Source of all mir in meine Hände. Wie er es auf der Just as he could never think evil of his Von dir, Quell aller Güter, goodness, through you much good has Welt mit denen Seinen nicht böse people while he was in the world, in Ist mir viel Guts getan. been done to me. können meinen, so liebt er sie bis an the same way, he loves them to the Dein Mund hat mich gelabet Your mouth has revived me with milk das Ende. end. Mit Milch und süßer Kost, and sweet food. Your spirit has Dein Geist hat mich begabet endowed me with many a longing for 21. Aria (Soprano 1) 21. Aria (Soprano 1) Mit mancher Himmelslust. Heaven. Ich will dir mein Herze schenken, I wish to give you my heart, sink into senke dich, mein Heil, hinein! Ich will it, my Salvation. I wish to sink myself 24. Evangelista 24. Evangelist mich in dir versenken; ist dir gleich die in you. Even if the world is too small Petrus aber antwortete und sprach zu ihm: Peter replied: Welt zu klein, ei, so sollst du mir allein for you, oh, to me alone you are worth Petrus Peter mehr als Welt und Himmel sein. more than earth and heaven together. Wenn sie auch alle sich an dir ärgerten, Even if all the rest lose faith in you, I Ich will dir mein Herze ... I wish to give you my heart ... so will ich doch mich nimmermehr never will. ärgern. 22. Evangelista 22. Evangelist Evangelista Evangelist Und da sie den Lobgesang gesprochen When they had said the hymn of praise Jesus sprach zu ihm: Jesus said to him: hatten, gingen sie hinaus an den together they went out to the Mount of Jesus Jesus Ölberg. Da sprach Jesus zu ihnen: Olives. Then Jesus told them: Wahrlich, ich sage dir: in dieser Nacht, I tell you the truth, this very night Jesus Jesus ehe der Hahn krähet, wirst du mich before the cock crows, you will disown In dieser Nacht werdet ihr euch alle This very night you will all lose faith dreimal verleugnen. me three times. ärgern an mir. Denn es stehet in my integrity and abandon me, for it Evangelista Evangelist geschrieben: “Ich werde den Hirten is written ‘I will strike the shepherd and Petrus sprach zu ihm: But Peter declared: schlagen, und die Schafe der Herde the sheep of the flock will be Petrus Peter werden sich zerstreuen.” Wenn ich scattered’. But after I have risen I will Und wenn ich mit dir sterben müßte, Even if I have to die with you, I will

- 22 - - 23 - so will ich dich nicht verleugnen. never disown you. 27. Recitativo (Tenore 1) & [Choral] 27. Recitative (Tenor 1) & [Chorale] Evangelista Evangelist O Schmerz! Hier zittert das gequälte O grief! Here the troubled heart is Desgleichen sagten auch alle Jünger. And all the other disciples said the same. Herz; wie sinkt es hin, wie bleicht sein trembling. How it is sinking! How pale Angesicht! his face is becoming! 25. Choral: 25. Chorale [Was ist die Ursach aller solcher [What is the cause of all such Es dient zu meinen Freuden, It will bring me joy and will make me Plagen?] torments?] Und kömmt mir herzlich wohl, whole and happy if I can find myself in Der Richter führt ihn vor Gericht. The judge is leading him before the Wenn ich in deinem Leiden, your suffering, my redeemer. Da ist kein Trost, kein Helfer nicht. court; there is no-one to help or Mein Heil, mich finden soll. comfort him there. Ach möcht ich, o mein Leben, Ah, if I might, oh my life, give my life [Ach! meine Sünden haben dich [Oh, my sins have beaten you;] An deinem Kreuze hier, away here on your cross, how much geschlagen;] Mein Leben von mir geben, good that would do me! Er leidet alle Höllenqualen, He is suffering all the agonies of hell; Wie wohl geschähe mir! er soll vor fremden Raub bezahlen. he has to pay for criminals he does not even know. 26. Evangelista 26. Evangelist [Ich, ach, Herr Jesu, habe dies [O Lord Jesus, I deserved all this that Da kam Jesus mit ihnen zu einem Then Jesus went with his disciples to a verschuldet, was du erduldet.] you are enduring.] Hofe, der hieß Gethsemane, und sprach place called Gethsemane, and said to Ach, könnte meine Liebe dir, Oh, if only my love could help, zu seinen Jüngern: them: mein Heil, dein Zittern und dein Zagen or lessen your fear and trembling, Jesus Jesus vermindern oder helfen tragen, my Lord, Setzet euch hie, bis daß ich dort Sit here while I go over there and pray. wie gerne blieb ich hier! how gladly I would stay here! hingehe und bete. Evangelista Evangelist 28. Aria (Tenore 1) & [Coro II] 28. Aria (Tenor 1) & [Chorus II] Und nahm zu sich Petrum und die He took Peter and the two sons of Ich will bei meinem Jesu wachen, I shall keep watch with my Jesus. zween Söhne Zebedäi und fing an zu Zebedee along with him, and he [So schlafen unsre Sünden ein.] [Thus our sins will fall asleep.] trauern und zu zagen. Da sprach Jesus became sorrowful and troubled. Then Meinen Tod büßet seine Seelennot; His soul’s distress atones for my death, zu ihnen: Jesus said to them: sein Trauren machet mich voll Freuden. his sorrows fill me with joy. Jesus Jesus [Drum muß uns sein verdienstlich [Therefore his laudable suffering must Meine Seele ist betrübt bis an den Tod, My soul is overwhelmed with sorrow Leiden be to us both truly bitter and yet bleibet hie und wachet mit mir! to the point of death. Stay here and recht bitter und doch süße sein.] sweet.] keep watch with me. - 24 - - 25 - Ich will bei meinem Jesu wachen ... I shall keep watch with my Jesus... 32. Evangelista 32. Evangelist Und er kam zu seinen Jüngern und Then he returned to his disciples and 29. Evangelista: 29. Evangelist: fand sie schlafend und sprach zu Petro: found them sleeping. He said to them: Und ging hin ein wenig, fiel nieder auf Moving a little further away he fell Jesus Jesus sein Angesicht und betete und sprach: with his face to the ground and prayed: Könnet ihr denn nicht eine Stunde mit Why could you not keep watch with me for Jesus Jesus mir wachen? Wachet, und betet, daß one hour? Watch and pray so that you Mein Vater, ist’s möglich, so gehe My father, if it is possible, may this ihr nicht in Anfechtung fallet! Der will not fall into temptation. The spirit dieser Kelch von mir; doch nicht wie cup be taken from me. Yet not as I will Geist ist willig, aber das Fleisch ist schwach. is willing, but the flesh is weak. ich will, sondern wie du willt. but as you will. Evangelista Evangelist Zum andernmal ging er hin, betete und sprach: He went away a second time and prayed. 30. Recitativo (Basso 2) 30. Recitative (Bass 2) Jesus Jesus Der Heiland fällt vor seinem Vater The Saviour falls down before his Mein Vater, ists nicht möglich, daß My Father, if it is not possible for this nieder; dadurch erhebt er mich und alle Father, and thus raises up me and all dieser Kelch von mir gehe, ich trinke cup to be taken away, then I shall drink von unserm Falle hinauf zu Gottes men from our Fall to God’s grace ihn denn, so geschehe dein Wille. it. Your will be done. Gnade wieder. Er ist bereit, den Kelch, again. He is ready to drink the cup of des Todes Bitterkeit zu trinken, in death’s bitterness, in which all the foul- 33. Choral: 33. Chorale: welchen Sünden dieser Welt gegossen smelling sins of this world are poured, Was mein Gott will, das gscheh allzeit, May what my God wills ever come to sind und häßlich stinken, weil es dem because it pleases dear God Sein Will, der ist der beste, pass; his will is the best. lieben Gott gefällt. Zu helfen den’ er ist bereit, He is ready to help those who firmly Die an ihn gläuben feste. believe in him. 31. Aria (Basso 2) 31. Aria (Bass 2) Er hilft aus Not, der fromme Gott, God in his goodness helps in time or Gerne will ich mich bequemen, Kreuz Gladly will I submit myself to take up Und züchtiget mit Maßen. need and disciplines sparingly. und Becher anzunehmen, trink ich the cross and cup and drink as my Wer Gott vertraut, fest auf ihn baut, Whoever trusts in God builds firmly on doch dem Heiland nach. Denn sein Saviour did. Because his mouth flows Den will er nicht verlassen. Him. He will not leave Him. Mund, der mit Milch und Honig with milk and honey, and his first sip fließet, hat den Grund und des Leidens turned the bitter taste of suffering to 34. Evangelista 34. Evangelist herbe Schmach durch den ersten Trunk sweetness. Und er kam und fand sie aber When he came back he again found versüßet. schlafend, und ihre Augen waren voll them sleeping and their eyes were Gerne will ich mich bequemen ... Gladly will I submit myself ... Schlafs. Und er ließ sie und ging heavy. So he left them and went away

- 26 - - 27 - abermal hin und betete zum drittenmal once more, and prayed the third time, an Jesum und griffen ihn. their hands on him and held him fast. und redete dieselbigen Worte. Da kam saying the same thing. Then he er zu seinen Jüngern und sprach zu returned to his disciples and said to 35. Aria (Soprano 1, Alto 1) & [Coro II] 35. Aria (Soprano 1, Alto 1) & [Chorus 2] ihnen: them: So ist mein Jesus nun gefangen. So now my Jesus is captured. Jesus Jesus [Laßt ihn, haltet, bindet nicht!] [Let him go! Stop! Do not bind him!] Ach! Wollt ihr nun schlafen und Are you still sleeping and resting? Mond und Licht The moon and sun have sunk out of ruhen? Siehe, die Stunde ist hie, daß Look, the hour is near when the Son of Ist vor Schmerzen untergangen, sight in sorrow, because my Jesus has des Menschen Sohn in der Sünder Man is to be handed over into the Weil mein Jesus ist gefangen. been captured. [Let him go! Stop! Do not bind Hände überantwortet werde. hands of sinners [Laßt ihn, haltet, bindet nicht!] him!] They are leading him Stehet auf, lasset uns gehen; siehe, er Rise, let us go! See, my betrayer Sie führen ihn, er ist gebunden. away; he is bound. ist da der mich verrät. is here! Evangelista Evangelist 36. Coro I & II 36. Chorus 1 & 2 Und als er noch redete, siehe, da kam While he was speaking, Judas, one of Sind Blitze, sind Donner in Wolken Have the lightning and thunder Judas, der Zwölfen einer, und mit ihm the Twelve, arrived. With him came a verschwunden? Eröffne den feurigen disappeared into the clouds? Open eine große Schar mit Schwerten und large crowd, armed with swords and Abgrund, o Hölle, Zertrümmre, your fiery pit, O hell, shatter, destroy, mit Stangen von den Hohenpriestern clubs, sent from the chief priests and verderbe, verschlinge, zerschelle mit devour, smash the evil traitor and his und Ältesten des Volks. Und der the elders of the people. Now the plötzlicher Wut den falschen Verräter, murderous blood. Verräter hatte ihnen ein Zeichen betrayer had arranged a signal with das mördrische Blut! gegeben und gesagt: “Welchen ich them - ‘The one I’ll kiss is the man; küssen werde, der ists, den greifet!” seize him!’ Going at once to Jesus, 37. Evangelista: 37. Evangelist: Und alsbald trat er zu Jesu und sprach: Judas said: Und siehe, einer aus denen, die mit With that, one of Jesus’ companions Judas Judas Jesu waren, reckete die Hand aus, und reached for his sword, drew it out and Gegrüßet seist du, Rabbi! Greetings, Rabbi! schlug des Hohenpriesters Knecht und struck the servant of the high priest, Evangelista Evangelist hieb ihm ein Ohr ab. Da sprach Jesus cutting off his ear. Jesus said to him: Und küssete ihn, Jesus aber sprach zu ihm: And kissed him. But Jesus said to him: zu ihm: Jesus Jesus Jesus Jesus Mein Freund, warum bist du kommen? Friend, why have you come? Stecke dein Schwert an seinen Ort; Put your sword back in its place, for all Evangelista Evangelist denn wer das Schwert nimmt, der soll who draw the sword will die by the Da traten sie hinzu und legte die Hände Then the men stepped forward, laid durchs Schwert umkommen. Oder sword. Do you not think that I can call

- 28 - - 29 - meinest du, daß ich nicht könnte on my father, and he will at once put at ZWEITER TEIL PART TWO meinen Vater bitten, daß er mir my disposal more than twelve legions 39. Aria (Basso 1) & [Coro II] 39. Aria (Bass 1) & [Chorus 2] zuschickte mehr denn zwölf Legion of angels? But how then would the Ach, nun ist mein Jesus hin! Ah! My Jesus has gone now. Engel? Wie würde aber die Schrift Scriptures be fulfilled that say it must [Wo ist denn dein Freund [Where has your friend gone, O you erfüllet? Es muß also gehen. happen in this way? hingegangen, O du Schönste unter den most beautiful among women?] Evangelista Evangelist Weibern?] Zu der Stund sprach Jesus zu den Scharen: Then Jesus said to the crowd: Ist es möglich, kann ich schauen? Can I bear to look for him? Jesus Jesus [Wo hat sich dein Freund [Where has your friend gone?] Ihr seid ausgegangen als zu einem You’ve come out here with swords and hingewandt?] Mörder, mit Schwerten und mit clubs to capture me as if I were a Ach! mein Lamm in Tigerklauen, Ah! My lamb in tiger’s claws! Ah! Stangen, mich zufahen; bin ich doch murderer. Yet every day I sat in the Ach! wo ist mein Jesus hin? where has my Jesus gone? täglich bei euch gesessen und habe temple teaching, and you did not arrest [So wollen wir mit dir ihn suchen.] [We will search with You.] gelehret im Tempel, und ihr habt mich me. But this has all taken place, so that Ach! was soll ich der Seele sagen, Ah! What will I tell my soul when it nicht gegriffen. Aber das ist alles the writing of the prophets might be Wenn sie mich wird ängstlich fragen: anxiously asks me? Ah! Where has my geschehen, daß erfüllet würden die fulfilled. Ach! wo ist mein Jesus hin? Jesus gone? Schriften der Propheten. Evangelista Evangelist 40. Evangelista 40. Evangelist Da verließen ihn alle Jünger und flohen. Then all the disciples deserted him and fled. Die aber Jesum gegriffen hatten, Those who had arrested Jesus took him führeten ihn zu dem Hohenpriester to Caiaphas, the high priest, where the 38. Choral 38. Chorale Kaiphas, dahin die Schriftgelehrten teachers of the law and the elders had Jesum laß ich nicht von mir, I’ll not let Jesus go from me, und Ältesten sich versammlet hatten. assembled. But Peter followed him at a Geh ihm ewig an der Seiten; I’ll go everywhere at his side. Christ Petrus aber folgete ihm nach von ferne distance, right up to the courtyard of Christus läßt mich für and für leads me step by step to the bis in den Palast des Hohenpriesters the high priest. He entered and sat Zu dem Lebensbächlein leiten. stream/source/fountain of life. Blessed und ging hinein und satzte sich bei die down with the servants to see the Selig, wer mit mir so spricht: is he who can say with me “I’ll not Knechte, auf daß er sähe, wo es hinaus outcome. The Chief Priest, the elders, Meinen Jesum laß ich nicht. forsake my Jesus”. wollte. Die Hohenpriester aber und and the whole council were looking for Ältesten und der ganze Rat suchten false evidence against Jesus, so that falsche Zeugnis wider Jesum, auf daß they could put him to death. But they sie ihn töteten, und funden keines. found none.

- 30 - - 31 - 41. Choral 41. Chorale daß sein erbarmensvoller Wille vor uns his merciful will is bent on suffering Mir hat die Welt trüglich gericht’ The world has judged me falsely, with zum Leiden sei geneigt, und daß wir in for us, and so that we should be like Mit Lügen und mit falschem Gdicht, lies and false tales, many traps and dergleichen Pein ihm sollen ähnlich him when we are in the same agony, Viel Netz und heimlich Stricke. underhand conspiracies. sein und in Verfolgung stille and keep our peace when we are being Herr, nimm mein wahr Lord, keep me safe in this danger; schweigen. persecuted. In dieser Gfahr, protect me from malicious plots. Bhüt mich für falschen Tücken! 44. Aria (Tenore 2) 44. Aria (Tenor 2) Geduld! Wenn mich falsche Zungen Patience! Even when false tongues 42. Evangelista 42. Evangelist stechen. Leid ich wider meine Schuld sting me. Contrary to what I deserve I Und wiewohl viel falsche Zeugen And, though many false witnesses Schimpf und Spott, ei, so mag der liebe suffer disgrace and ridicule. Ah! so herzutraten, funden sie doch keins. came forward, they brought no Gott meines Herzens Unschuld rächen. may dear God avenge my heart’s Zuletzt traten herzu zween falsche evidence. Initially, two came forward innocence. Zeugen und sprachen: and declared: Zeugen Witnesses 45. Evangelista 45. Evangelist Er hat gesagt: Ich kann den Tempel This fellow said ‘I am able to destroy Und der Hohepriester antwortete und The High Priest said to him: Gottes abbrechen und in dreien Tagen the temple of God and rebuild it in sprach zu ihm: denselben bauen. three days.’ Hohepriester High Priest Evangelista Evangelist Ich beschwöre dich bei dem I charge you under oath by the living Und der Hohepriester stund auf und Then the High Priest stood up and said lebendigen Gott, daß du uns sagest, ob God: tell us if you are the Christ, the sprach zu ihm: to Jesus: du seiest Christus, der Sohn Gottes? Son of God. Hohepriester High Priest Evangelista Evangelist Antwortest du nichts zu dem, das diese Don’t you answer this testimony that Jesus sprach zu ihm: Jesus replied: wider dich zeugen? these men are bringing against you? Jesus Jesus Evangelista Evangelist Du sagests. Doch sage ich euch: von Yes, it is as you say. But I say to all of Aber Jesus schwieg stille. But Jesus remained silent. nun an wirds geschehen, daß ihr sehen you: from now on you will see the Son werdet des Menschen Sohn sitzen zur of Man sitting at the right hand of the 43. Recitativo (Tenore 2) 43. Recitative (Tenor 2) Rechten der Kraft und kommen in den Mighty One and coming in the clouds Mein Jesus schweigt zu falschen My Jesus keeps his peace throughout Wolken des Himmels. of Heaven. Lügen stille, um uns damit zu zeigen, the evil lies, in order to show us that Evangelista Evangelist

- 32 - - 33 - Da zerriß der Hohepriester seine Then the High Priest tore his clothes CD2 CD2 Kleider und sprach: and said: 1. Evangelista 1. Evangelist Hohepriester High Priest Petrus aber saß draußen im Palast; und Now Peter was sitting out in the Er hat Gott gelästert; was dürfen wir He has insulted God! Why do we need es trat zu ihm eine Magd und sprach: courtyard, and a servant girl came to weiter Zeugnis? Siehe, itzt habt ihr any more witnesses? Look, now you him and said: seine Gotteslästerung gehöret. Was have heard the blasphemy. What do Magd I 1st Maid: dünket euch? you think? Und du warest auch mit dem Jesus aus You also were with Jesus of Galilee. Evangelista Evangelist Galiläa. Sie antworteten und sprachen: They answered: Evangelista Evangelist: But he denied it before them all Er leugnete aber vor ihnen allen und saying: 46. Coro I & II 46. Choirs 1 & 2 sprach: Er ist des Todes schuldig! He deserves the death sentence. Petrus Peter: Ich weiß nicht, was du sagest. I don’t know what you are talking about. 47. 47. : Evangelista Evangelist Evangelista Evangelist: Da speieten sie aus in sein Angesicht Then they spat in his face and struck Als er aber zur Tür hinausging, sahe As he went out through the gateway, und schlugen ihn mit Fäusten. Etliche him with their fists. Others slapped ihn eine andere und sprach zu denen, another girl saw him, and said to the aber schlugen ihn ins Angesicht und him and said: die da waren: people there: sprachen: Magd II 2nd Maid: Dieser war auch mit dem Jesu von This fellow was also with Jesus of 48. Coro I & II 48. Choirs 1 & 2 Nazareth. Nazareth. Weissage uns, Christe, wer ists, der Prophecy to us, Christ. Who hit you? : dich schlug? Evangelista Evangelist Und er leugnete abermal und schwur dazu: And He denied again, and swore to it: 49. Choral 49. Chorale Petrus Peter: Wer hat dich so geschlagen, Who hit you like that, Ich kenne des Menschen nicht. I do not know the man. Mein Heil, und dich mit Plagen my Salvation, and treated you with Evangelista Evangelist: So übel zugericht’? such cruel torments? Und über eine kleine Weile traten After a little while, those standing Du bist ja nicht ein Sünder You are not a sinner like us and our hinzu, die da stunden, und sprachen zu there went up to Peter and said: Wie wir und unsre Kinder, children, Petro: Von Missetaten weißt du nicht. you know nothing of wickedness.

- 34 - - 35 - 2. Coro II 2. Chorus 2 Aber deine Gnad und Huld and clemency are far greater than the Wahrlich, du bist auch einer von Surely you are one of them for your Ist viel größer als die Sünde, sin that I am constantly finding in denen; denn deine Sprache verrät dich. accent gives you away Die ich stets bei mir befinde. myself.

3. Evangelista 3. Evangelist 6. Evangelista: 6. Evangelist: Da hub er an sich zu verfluchen und zu Then he began to call down curses on Des Morgens aber hielten alle Early in the morning, all the chief schwören: himself and he swore to them: Hohepriester und die Ältesten des priests and the elders of the people had Petrus Peter: Volks einen Rat über Jesum, daß sie a meeting about Jesus and decided to Ich kenne des Menschen nicht. I do not know the man! ihn töteten. Und bunden ihn, führeten put him to death. They bound him, led Evangelista Evangelist ihn hin und überantworteten ihn dem him away and turned him over to Und alsbald krähete der Hahn. Da Immediately a cock crowed. Then Landpfleger Pontio Pilato. Da das sahe Pilate, the Governor. When Judas, who dachte Petrus an die Worte Jesu, da er Peter remembered the words Jesus had Judas, der ihn verraten hatte, daß er had betrayed him, saw that Jesus was zu ihm sagte: “Ehe der Hahn krähen spoken. ‘Before the cock crows, you verdammt war zum Tode, gereuete es condemned, he was seized with wird, wirst du mich dreimal will disown me three times’. And he ihn, und brachte herwieder die dreißig remorse and returned that thirty silver verleugnen.” Und ging heraus und went outside and wept bitterly. Silberlinge den Hohenpriestern und coins to the chief priests and the elders, weinete bitterlich. Ältesten und sprach: and said: Judas: Judas: 4. Aria (Alto 1) 4. Aria (Alto 1) Ich habe übel getan, daß ich I have sinned, for I have betrayed Erbarme dich, mein Gott, um meiner Have mercy, my God, for the sake of unschuldig Blut verraten habe. innocent blood. Zähren willen! Schaue hier, Herz und my tears. See how my heart and eyes Evangelista: Evangelist: Auge weint vor dir bitterlich. are weeping bitterly before you. Have Sie sprachen: They said: Erbarme dich, mein Gott ... mercy, my God ... 7. Coro I & II: 7. Choirs 1 & 2: 5. Choral 5. Chorale Was gehet uns das an? Da siehe du zu! What is that to us? That is your responsibility. Bin ich gleich von dir gewichen, Although I turned away from you Stell ich mich doch wieder ein; I have returned. 8. Evangelista: 8. Evangelist: Hat uns doch dein Sohn verglichen Your Son has reconciled us through his Und er warf die Silberlinge in den And he threw the money into the Durch sein Angst und Todespein. anguish and the agony of death. Tempel, hub sich davon, ging hin und temple and left. Then he went away Ich verleugne nicht die Schuld, I do not deny my guilt, but your grace erhängete sich selbst. Aber die and hung himself. But the chief priests

- 36 - - 37 - Hohenpriester nahmen die Silberlinge picked up the coins and said: Pilatus Pilate und sprachen: Bist du der Jüden König? Are you the King of the Jews? Hohenpriester Priests 1 & 2 Evangelista Evangelist Es taugt nicht, daß wir sie in den It is against the law to put this into the Jesus aber sprach zu ihm: Jesus replied: Gotteskasten legen, denn es ist treasury, since it is blood money. Jesus Jesus Blutgeld. Du sagests. Yes, it is as you say. Evangelista Evangelist 9. Aria (Basso 2) 9. Aria (Bass 2): Und da er verklagt war von den When he was accused by the chief Gebt mir meinen Jesum wieder! Give me back my Jesus! See the Hohenpriestern und Ältesten, priests and the elders he gave no Seht das Geld, den Mörderlohn, money, the wages of murder, that the antwortete er nichts. Da sprach Pilatus answer. Then Pilate asked him. Wirft euch der verlorne Sohn lost son throws down at your feet. Give zu ihm: Zu den Füßen nieder! me back my Jesus! Pilatus Pilate: Do you not hear how many Hörest du nicht, wie sie dich things they are accusing you of? 10. Evangelista 10. Evangelist verklagen? Sie hielten aber einen Rat und kauften So they decided to use the money to Evangelista Evangelist: einen Töpfersacker darum zum buy the potter’s field as a burial place Und er antwortete ihm nicht auf sein But Jesus made no reply, not even to a Begräbnis der Pilger. Daher ist for strangers. That is why, to this day, Wort, also, daß sich auch der single charge - to the great amazement derselbige Acker genennet der it is called the Field of Blood. Landpfleger sehr verwunderte. of the Governor. Blutacker bis auf den heutigen Tag. Da In this way, the words of the prophet ist erfüllet, das gesaget ist durch den Jeremiah were fulfilled: ‘They took the 11. Choral 11. Chorale Propheten Jeremias, da er spricht: “Sie thirty silver coins, the price paid for Befiehl du deine Wege, Commit your way haben genommen dreißig Silberlinge, the one who was sold out to them, and und was dein Herze kränkt, and whatever troubles you to the most damit bezahlet ward der Verkaufte, used them to buy the potter’s field, as Der allertreusten Pflege, devoted care of Him who controls the welchen sie kauften von den Kindern the Lord commanded me.’ Des, der den Himmel lenkt, heavens, Israel, und haben sie gegeben um einen Der Wolken, Luft und Winden he who gives the clouds, air and winds Töpfersacker, als mir der Herr Gibt Wege, Lauf, und Bahn, their courses, paths and ways, befohlen hat.” Jesus aber stund vor Meanwhile Jesus stood before the Der wird auch Wege finden and He will also find paths dem Landpfleger; und der Landpfleger Governor, and the Governor asked Da dein Fuß gehen kann. for your feet to tread. fragte ihn und sprach: him:

- 38 - - 39 - 12. Evangelista 12. Evangelist Pilatus Pilate Auf das Fest aber hatte der Now it was the Governor’s custom at Welchen wollt ihr unter diesen Which of the two do you want me to release Landpfleger Gewohnheit, dem Volk the feast to release a prisoner chosen Zweien, den ich euch soll losgeben? to you? einen Gefangenen loszugeben, by the crowd. At that time they had a Evangelista Evangelist welchen sie wollten. Er hatte aber zu notorious prisoner called Barabbas. So Sie sprachen: They answered: der Zeit einen Gefangenen, einen when the crowd was gathered, Pilate Chor I & II Choirs 1 & 2 sonderlichen von andern, der hieß asked them: Barrabam! Barabbas! Barrabas. Und da sie versammlet Evangelista: Evangelist waren, sprach Pilatus zu ihnen: Pilatus sprach zu ihnen: Pilate asked: Pilatus Pilate Pilatus Pilate Welchen wollet ihr, daß ich euch Which one do you want me to release Was soll ich denn machen mit Jesu, What shall I do then, with Jesus, who losgebe? Barrabam oder Jesum, von to you. Barabbas, or Jesus, who is von dem gesagt wird, er sei Christus? is called Christ? dem gesaget wird, er sei Christus? called Christ? Evangelista Evangelist Evangelista Evangelist Sie sprachen alle: They all answered: Denn er wußte wohl, daß sie ihn aus For he knew that it was out of envy Neid überantwortet hatten. Und da er that they had handed Jesus over to him. 13. Coro I & II 13. Choirs 1 & 2 auf dem Richtstuhl saß, schickete sein While he was sitting on the judge’s seat, Laß ihn kreuzigen! Crucify him! Weib zu ihm und ließ ihm sagen: his wife sent him this message: Pilati Weib Pilate’s wife 14. Choral 14. Chorale Habe du nichts zu schaffen mit diesem Do not have anything to do with that Wie wunderbarlich ist doch diese How astounding this sentence is! Gerechten; ich habe heute viel erlitten innocent man, because I have just had Strafe! im Traum von seinetwegen! a very disturbing dream about him. Die gute Hirte leidet für die Schafe, The good shepherd suffers for the Evangelista Evangelist Die Schuld bezahlt der Herre, der sheep; the righteous master pays the Aber die Hohenpriester und die But the chief priests and the elders Gerechte, penalty Ältesten überredeten das Volk, daß sie persuaded the crowd to ask for Für seine Knechte. for his servants. um Barrabas bitten sollten und Jesum Barabbas and to have Jesus executed. umbrächten. Da antwortete nun der Now the Governor asked the crowd: Landpfleger und sprach zu ihnen:

- 40 - - 41 - 15. Evangelista 15. Evangelist 20. Evangelista 20. Evangelist Der Landpfleger sagte: The Governor said: Da aber Pilatus sahe, daß er nichts When Pilate saw that he was getting Pilatus Pilate schaffete, sondern daß ein viel größer nowhere, but that a much bigger uproar Was hat er denn Übels getan? Why, what evil has he done? Getümmel ward, nahm er Wasser und might develop, he took water and wusch die Hände vor dem Volk und washed his hands in front of the crowd 16. Recitativo (Soprano 1) 16. Recitative (Soprano 1) sprach: and said: Er hat uns allen wohlgetan, den He has done good to us all. He gave Pilatus Pilate Blinden gab er das Gesicht, die the blind sight, he made the lame walk, Ich bin unschuldig an dem Blut dieses I am innocent of this man’s blood. It is Lahmen macht’ er gehend, er sagt’ uns he gave us his Father’s message, he Gerechten, sehet ihr zu! your responsibility. seines Vaters Wort, er trieb die Teufel drove devils out, he comforted the Evangelista Evangelist fort, Betrübte hat er aufgericht’, er troubled and he took sinners to Da antwortete das ganze Volk und All the people answered: nahm die Sünder auf und an, himself. Apart from that, my Jesus has sprach: Sonst hat mein Jesus nichts getan. done nothing. 21. Coro I & II: 21. Choirs 1 & 2 17. Aria (Soprano 1) 17. Aria (Soprano 1) Sein Blut komme über uns und unsre Kinder. His blood be on us and on our children! Aus Liebe will mein Heiland sterben, My Saviour is willing to die for love. von einer Sünde weiß er nichts, He has never known sin, 22. Evangelista 22. Evangelist daß das ewiger Verderben He does it so that eternal doom Da gab er ihnen Barrabam los; aber Then he released Barabbas to them. He und die Strafe des Gerichts and the sentence of the court Jesum ließ er geißeln und had Jesus flogged and handed him over nicht auf meiner Seele bliebe. may not rest upon my soul. überantwortete ihn, daß er gekreuziget to be crucified. würde. 18. Evangelista 18. Evangelist Sie schrieen aber noch mehr und sprachen: But they shouted all the louder, saying: 23. Recitativo (Alto 2) 23. Recitative (Alto 2) Erbarm es, Gott! Have mercy, God! 19. Coro I & II 19. Choirs 1 & 2 Hier steht der Heiland angebunden. Here the bound Saviour stands. Laß ihn kreuzigen! Crucify him! O Geißelung, o Schläg, o Wunden! O scourging, O blows, O wounds; you Ihr Henker, haltet ein! executioners, stop! Erweichet euch der Seelen Schmerz, Does the pain in your souls not soften Der Anblick solches Jammers nicht? you as you see such wretchedness?

- 42 - - 43 - Ach ja! ihr habt ein Herz, Oh yes, you have hearts 27. Evangelista 27. Evangelist Das muß der Martersäule gleich that must be even harder than Und speieten ihn an und nahmen das They spat on him, and took the staff Und noch viel härter sein. the whipping post. Rohr und schlugen damit sein Haupt. and used it to strike him about the Erbarmt euch, haltet ein! Have mercy! Stop it! head.

24. Aria (Alto 2) 24. Aria (Alto 2) 28. Choral 28. Chorale Können Tränen meiner Wangen If the tears on my cheeks can achieve O Haupt, voll Blut und Wunden, O head, full of blood and wounds and nichts erlangen, O so nehmt mein Herz nothing, oh then use my heart. And voll Schmerz und voller Hohn! grief and insults! hinein! Aber laßt es bei den Fluten, when the wounds are gently bleeding, O Haupt, zu Spott gebunden O head, securely fastened to mockery wenn die Wunden milde bluten, auch let it also be the chalice for the blood mit einer Dornenkron! by a crown of thorns. die Opferschale sein. to flow into. O Haupt, sonst schön gezieret O head, once beautifully adorned Können Tränen ... If the tears ... mit höchster Ehr und Zier, with the highest honour and glory, Jetzt aber hoch schimpfieret: but now greatly reviled, let me greet 25. Evangelista 25. Evangelist gegrüsset seist du mir! you. Da nahmen die Kriegsknechte des Then the Governor’s soldiers took Landpflegers Jesum zu sich in das Jesus to the Praetorium and gathered 29. Evangelista 29. Evangelist Richthaus und sammleten über ihn the whole company of soldiers around Und da sie ihn verspottet hatten, zogen After they had mocked him, they took die ganze Schar und zogen ihn aus und him. They stripped him and put a sie ihm den Mantel aus und zogen ihm off the robe and dressed him in his legeten ihm einen Purpurmantel an und scarlet robe on him, seine Kleider an und führeten ihn hin, own clothes. Then they led him away flochten eine dornene Krone und then wove a crown of thorns and put it daß sie ihn kreuzigten. Und indem sie to crucify him. As they were going out, satzten sie auf sein Haupt, und ein on his head. They put a staff in his hinausgingen, funden sie einen they met a man from Cyrene, named Rohr in seine rechte Hand, und right hand and knelt in front of him, Menschen von Kyrene mit Namen Simon, and they forced him to carry beugeten die Knie vor ihm und and mocked him, saying: Simon; den zwungen sie, daß er ihm the cross. spotteten ihn und sprachen: sein Kreuz trug.

26. Coro I & II 26. Choirs 1 & 2 30. Recitativo (Basso 1) 30. Recitative (Bass 1) Gegrüßet seist du, Jüdenkönig! Hail, King of the Jews! Ja, freilich will in uns das Fleisch und Yes! the flesh and blood in us are Blut zum Kreuz gezwungen sein; gladly compelled to the cross.

- 44 - - 45 - je mehr es unsrer Seele gut, The more good it does to our souls, Linken. Die aber vorübergingen, by hurled insults at him, shaking their je herber geht es ein. the more it hurts. lästerten ihn und schüttelten ihre Köpfe heads and saying: und sprachen: 31. Aria (Basso 1) 31. Aria (Bass 1) Komm, süßes Kreuz, so will ich sagen, Come, sweet cross, give it always to 33. Coro I & II 33. Choirs 1 & 2 mein Jesu, gib es immer her! me, my Jesus! If my anguish becomes Der du den Tempel Gottes zerbrichst You who are going to destroy the Wird mir mein Leiden einst zu schwer, too severe, then help me to carry it. und bauest ihn in dreien Tagen, hilf dir temple and build it in three days, save so hilfst du mir es selber tragen. selber! Bist du Gottes Sohn, so steig yourself! Come down from the cross if herab vom Kreuz! you are the Son of God 32. Evangelista 32. Evangelist: Und da sie an die Stätte kamen mit When they got to the placed called 34. Evangelista 34. Evangelist Namen Golgatha, das ist verdeutschet Golgotha (which means The Place of Desgleichen auch die Hohenpriester In the same way the chief priests, the Schädelstätt, gaben sie ihm Essig zu the Skull), they offered him vinegar to spotteten sein samt den Schriftge- teachers of the law and the elders trinken mit Gallen vermischet; und da drink, mixed with gall; but after tasting lehrten und Ältesten und sprachen: mocked him. They said: ers schmeckete, wollte ers nicht it he refused to drink it. When they had trinken. Da sie ihn aber gekreuziget crucified him they divided up his 35. Coro I & II 35. Choirs 1 & 2 hatten, teilten sie seine Kleider und clothing by casting lots, that the words Andern hat er geholfen und kann ihm He saved others, but he cannot save wurfen das Los darum, auf das erfüllet spoken by the prophet might be selber nicht helfen. Ist er der König himself! He is the king of Israel! Let würde, das gesaget ist durch den fulfilled: “They divided my garments Israel, so steige er nun vom Kreuz, so him now come down from the cross if Propheten: “Sie haben meine Kleider among them, and cast lots for my wollen wir ihm glauben. Er hat Gott he wants him, He has trusted in God to unter sich geteilet, und über mein clothing.” And sitting down, they kept vertrauet, der erlöse ihn nun, lüstets rescue Him; He lied, because he said: Gewand haben sie das Los geworfen.” watch over him there. ihn; denn er hat gesagt: “Ich bin Gottes “I am the Son of God.” Und sie saßen allda und hüteten sein. Sohn.” Und oben zu seinen Häupten hefteten Above his head they placed a written sie die Ursach seines Todes description of the reason for his 36. Evangelista 36. Evangelist geschrieben, nämlich: “Dies ist Jesus, execution: “This is Jesus. the King of Desgleichen schmäheten ihn auch die In the same way the murderers who der Jüdenkönig.” Und da wurden the Jews.” There were two murderers Mörder, die mit ihm gekreuziget were crucified with him also hurled zween Mörder mit ihm gekreuziget, crucified with him, one on his right, waren. insults on him einer zur Rechten und einer zur and one on his left. Those who passed

- 46 - - 47 - 37. Recitativo (Alto 1) 37. Recitative (Alto 1) Jesus Jesus Ach Golgatha, unselges Golgatha! Ah, Golgotha, accursed Golgotha! Eli, Eli, lama asabthani? Eli, Eli, lama asabthani? Der Herr der Herrlichkeit Here the Lord of Glory must be Evangelista Evangelist muß schimpflich hier verderben, outrageously destroyed; the Blessing Das ist: “Mein Gott, mein Gott, warum That means ‘My God, my God, why der Segen und das Heil der Welt and Salvation of the world is put on the hast du mich verlassen?” Etliche aber, have you forsaken me?’ When some of wird als ein Fluch ans Kreuz gestellt. cross like a curse. The creator of die da stunden, da sie das höreten, those standing there heard this, they Der Schöpfer Himmels und der Erden Heaven and earth will have earth and sprachen sie: said: soll Erd und Luft entzogen werden. air taken from him; the innocent must Die Unschuld muß hier schuldig die here guilty. Coro I Chorus 1 sterben, That thought pierces deep into my Der rufet dem Elias! He is calling Elijah. das gehet meiner Seele nah. soul. Ah, Golgotha, accursed Ach Golgatha, unselges Golgatha! Golgotha! 40. Evangelista 40. Evangelist Und bald lief einer unter ihnen, nahm Immediately one of them ran and got a 38. Aria (Alto 1) & [Coro II] 38. Aria (Alto 1) & [Chorus 2) einen Schwamm und füllete ihn mit sponge. He filled it with wine vinegar, Sehet, Jesus hat die Hand See, Jesus has stretched out his hand to Essig, und steckete ihn auf ein Rohr put it on a stick, and offered it to Jesus uns zu fassen ausgespannt, grasp us; come! [Where?] und tränkete ihn. Die andern aber to drink. But the rest said: Kommt! [Wohin?] In Jesu Armen Seek salvation and accept mercy in sprachen: sucht Erlösung, nehmt Erbarmen, Jesus’ arms, seek! [Where?] suchet! [Wo?] In Jesu Armen. In Jesus’ arms. 41. Coro II 41. Chorus 2 Lebet, sterbet, ruhet hier, Live, die, rest here, you abandoned Halt! Laß sehen, ob Elias komme und Stop! Leave him alone. Let us see if ihr verlassnen Küchlein ihr. chicks. Stay. [Where?] ihm helfe. Elijah comes to save him. Bleibet! [Wo?] In Jesu Armen. In Jesus’ arms. 42. Evangelista 42. Evangelist 39. Evangelista 39. Evangelist Aber Jesus schriee abermal laut und But Jesus cried out again in a loud Und von der sechsten Stunde an war From the sixth hour until the ninth verschied. voice and died. eine Finsternis über das ganze Land bis hour darkness came over all the land. zu der neunten Stunde. Und um die About the ninth hour Jesus cried in a 43. Choral 43. Chorale neunte Stunde schriee Jesus laut und loud voice: Wenn ich einmal soll scheiden, When someday I must die, sprach: So scheide nicht von mir, do not leave me!

- 48 - - 49 - Wenn ich den Tod soll leiden, When I must suffer death, 46. Evangelista 46. Evangelist: So tritt alsdenn herfür! then make your appearance! Und es waren viel Weiber da, die von Many women were there, watching Wenn mir am allerbängsten When my heart is at its fullest ferne zusahen, die da waren from a distance. They had followed Wird um das Herze sein, with dread, then snatch me from those nachgefolget aus Galiläa, und hatten Jesus from Galilee to care for his So reiß mich aus den Ängsten fears by the power of your own pain and ihm gedienet, unter welchen war Maria needs. Among them were Mary Kraft deiner Angst und Pein. anguish. Magdalena, und Maria die Mutter Magdalene, Mary the mother of James Jacobi und Joses, und die Mutter der and Joseph, and the mother of 44. Evangelista 44. Evangelist Kinder Zebedäi. Am Abend aber kam Zebedee’s sons. As evening Und siehe da, der Vorhang im Tempel And look at this! The curtain of the ein reicher Mann von Arimathia, der approached, there came a rich man zerriß in zwei Stück von obenan bis temple tore in two from top to bottom. hieß Joseph, welcher auch ein Jünger from Arimathea named Joseph, who untenaus. Und die Erde erbebete, und The earth shook and the rocks split. Jesu war, der ging zu Pilato und bat ihn had also been a disciple of Jesus. die Felsen zerrissen, und die Gräber The tombs broke open, and the bodies um den Leichnam Jesu. Da befahl Going to Pilate, he asked for Jesus’ täten sich auf, und stunden auf viel of many holy people were raised to Pilatus, man sollte ihm ihn geben. body, and Pilate ordered that it be Leiber der Heiligen, die da schliefen, life. They came out of the tombs, and given to him. und gingen aus den Gräbern nach after Jesus’ resurrection they went into seiner Auferstehung und kamen in die the holy city and appeared to many 47. Recitativo (Basso 1) 47. Recitative (Bass 1) heilige Stadt und erschienen vielen. people. Am Abend, da es kühle war, ward It was in the evening when it was cool, Aber der Hauptmann und die bei ihm When the centurion and those with him Adams Fallen offenbar; am Abend that Adam’s sin was discovered. And it waren und bewahreten Jesum, da sie who were guarding Jesus saw the drücket ihn der Heiland nieder. is in the evening that the Saviour sahen das Erdbeben und was da earthquake and all that had happened, Am Abend kam die Taube wieder, conquers that sin. It was in the evening geschah, erschraken sie sehr und they were terrified, and said: und trug ein Ölblatt in dem Munde. that the dove returned carrying an olive sprachen: O schöne Zeit! O Abendstunde! leaf in its beak. O lovely time! O Der Friedensschluß ist nun mit Gott evening hour! Peace is now made with 45. Coro I & II 45. Choirs 1 & 2 gemacht, denn Jesus hat sein Kreuz God, because Jesus has endured the Wahrlich, dieser ist Gottes Sohn Surely he was the Son of God after all. vollbracht. Sein Leichnam kömmt zur Cross. His body comes to rest. Ah, gewesen. Ruh, ach! liebe Seele, bitte du, geh, dear soul, go and ask them to give you lasse dir den toten Jesum schenken, the dead Jesus. O holy, precious O heilsames, o köstlichs Angedenken! keepsake!

- 50 - - 51 - 48. Aria (Basso 1) 48. Aria (Bass 1) kommen und stehlen ihn, und sagen zu steal the body and tell the people that Mache dich, mein Herze, rein, Purify yourself, my heart, because I dem Volk: “Er ist auferstanden von he has been raised from the dead. This Ich will Jesum selbst begraben. wish to bury Jesus myself. For now he den Toten,” und werde der letzte last deception will be worse than the Denn er soll nunmehr in mir für und shall have his sweet rest in me for ever Betrug ärger denn der erste! first. für seine süße Ruhe haben. Welt, geh and ever. Leave me, world, let Jesus aus, laß Jesum ein! Mache dich ... in! Purify yourself ... 51. Evangelista 51. Evangelist Pilatus sprach zu ihnen: Pilate said to them: 49. Evangelista 49. Evangelist Pilatus Pilate Und Joseph nahm den Leib und And Joseph took the body, wrapped it Da habt ihr die Hüter; gehet hin und Take a guard and go, make the tomb as wickelte ihn in ein rein Leinwand, und in a clean linen cloth, and placed it in verwahrets, wie ihrs wisset! secure as you know how. legte ihn in sein eigen neu Grab, his own new tomb, which he had cut out Evangelista Evangelist welches er hatte lassen in einen Fels of the rock. He rolled a large stone in Sie gingen hin und verwahreten das So they went and made the tomb hauen, und wälzete einen großen Stein front of the entrance and went away. Grab mit Hütern und versiegelten den secure by putting a seal on the tomb, vor die Tür des Grabes, und ging Mary Magdalene and the other Mary Stein. and posting the guard. davon. Es war aber allda Maria were sitting there, next to the tomb. Magdalena und die andere Maria, die The next day, the one after Preparation 52. Recitativo (Basso 1,Tenore 1, 52. Recitative (Bass 1,Tenor 1, satzten sich gegen das Grab. Des Day, the chief priests and the Pharisees Alto 1, Soprano 1) & [Coro II] Alto 1, Soprano 1) & [Chorus 2] andern Tages, der da folget nach dem went to Pilate and said: Nun ist der Herr zur Ruh gebracht. Now the Lord is brought to rest. Rüsttage, kamen die Hohenpriester und [Mein Jesu, gute Nacht!] [My Jesus, good night!] Pharisäer sämtlich zu Pilato und Die Müh ist aus, die unsre Sünden ihm gemacht. The pain that our sin gave him is over. sprachen: [Mein Jesu, gute Nacht!] [My Jesus, good night!] O selige Gebeine, seht, wie ich euch O blessed limbs, see how I mourn you 50. Coro I & II 50. Choirs 1& 2 mit Buß und Reu beweine, daß euch with penitence and remorse, that my Herr, wir haben gedacht, daß dieser Sir, we remember that while that mein Fall in solche Not gebracht! fall brought you such distress. Verführer sprach, da er noch lebete: deceiver was still alive he said: ‘After [Mein Jesu, gute Nacht!] [My Jesus, good night! “Ich will nach dreien Tagen wieder three days I will rise again’. So give the Habt lebenslang vor euer Leiden While life lasts, take a thousand thanks auferstehen.” Darum befiehl, daß man order for the tomb to be made secure tausend Dank, daß ihr mein Seelenheil for your Passion, because you prized das Grab verwahre bis an den dritten until the third day. so wert geacht’. my salvation so dearly. Tag, auf daß nicht seine Jünger Otherwise his disciples may come and [Mein Jesu, gute Nacht!] [My Jesus, good night!]

- 52 - - 53 - 53. Coro I & II 53. Choirs 1 & 2 CHARLES DANIELS Wir setzen uns mit Tränen nieder We sit down in tears, und rufen dir im Grabe zu: and call to you in the tomb. Charles Daniels’ repertoire extends 1150 years ruhe sanfte, sanfte ruh! Rest softly, softly rest! from the 9th century to the present day. Born Ruht, ihr ausgesognen Glieder! Rest, you exhausted limbs, in Salisbury, he received his musical training Ruhet sanfte, ruhet wohl. rest softly, rest well. at King’s College, Cambridge, and the Royal Euer Grab und Leichenstein Your tomb and tombstone College of Music. soll dem ängstlichen Gewissen shall be a comfortable pillow ein bequemes Ruhekissen for the restless conscience and He performs regularly at the BBC Proms, Montreal und der Seelen Ruhstatt sein. a resting place for the soul. Baroque Festival and with The Sixteen, Academy Ruhet sanfte, sanfte ruh! Rest softly, softly rest. of Ancient Music, Gabrieli Consort, Les Voix Höchst vergnügt There, with highest pleasure Baroques, Les Voix Humaines, Toronto Consort, schlummern da die Augen ein. our eyes are closing into sleep. Early Music Vancouver and De Nederlandse Wir setzen uns ... We sit down… Bechvereniging. Career highlights have included Luigi Nono’s Canti di Vita e Amore (Edinburgh International Festival), Handel’s Esther (sung in

Hebrew) in New York, Monteverdi Vespers with © Hany Chlala the Gabrieli Consort in Venice with Paul of Olaus Petri, Örebro, Christmas Oratorio with McCreesh, Handel’s Belshazzar at the Théâtre the Feinstein Ensemble at St. Martin-in-the- de Champs Elysées in Paris and Messiah at Fields, a tour of Schutz and Gabrieli concerts the Musikverein, Vienna with Harnoncourt. with De Nederlandse Bechvereniging and Bach Es ist das Heil uns kommen her with J.S. Recent engagements include Athalia Bach-Stiftung St. Gallen in Trogen. (Kammerorchester Basel), Gli Amori d’Apollo e di Dafne (Toronto Consort), Biber’s Requiem Charles has made over 90 recordings as a (RIAS Kammerchor), Dido & Aeneas (The soloist including Evangelist St. John Passion King’s Consort), performances of London with Portland Baroque, Handel’s Messiah with and Rome: Music by Purcell & Carissimi with the Gabrieli Consort for Deutsche Grammophon, Tafelmusik in Toronto, Messiah with the Church Dowland Songs for EMI, Handel’s Alexander

- 54 - - 55 - Balus with The King’s Consort for Hyperion, The France, Switzerland and Japan. Other Beggar’s Opera for Hyperion, Schütz’ Christmas conductors he has worked with include Ivan Story for Deutsche Grammophon, Haydn’s St. Fischer, Gustav Leonhardt, Colin Davis, Ton Cecilia Mass with the Gulbenkian Choir and Koopman and Bernard Haitink (with the Boston Orchestra, Bach’s Easter Oratorio with the Symphony Orchestra). Taverner Consort for EMI, Airs de Cour with Catherine King and Jacob Heringman, Handel He founded and directs the Magdalena Consort, Occasional Songs with Emma Kirkby for which focuses on the vocal music of J. S. Bach SOMM records and more than twenty discs of and they have given performances in Spain, Purcell’s music, mostly with The King’s Consort. Germany and the UK.

PETER HARVEY BETHANY SEYMOUR

Peter Harvey arrived at Magdalen College, Oxford Bethany Seymour was born in York and read to study French and German, and though he music at University of Leeds, graduating with soon afterwards changed course to music, a first class honours degree. A year of her his love of languages has always remained studies involved studying at the Musikhochschule © Jim Poyner at the heart of his singing. He went on to Society, Purcell Quartet and London Baroque, in Köln with Barbara Schlick. She now divides Bach’s B minor Mass and this recording of study at the Guildhall School of Music, where as well as appearaning with The Sixteen and her time between a solo career and performing Bach’s St. Matthew Passion. She has also live he won prizes in a number of international Harry Christophers, Orchestra of the Age of in small vocal ensembles including Rheinische appeared on BBC Radio 3 Early Music Show singing competitions. Enlightenment, BBC National Orchestra of Wales Kantorei (conducted by Hermann Max) with and In Tune. and BBC Symphony. whom she has appeared in festivals in He has made around a hundred recordings Knechtsteden, Leipzig, Graz, Concertgebouw, Her concert career has focused on oratorio in repertoire spanning eight centuries, with an A fluent French speaker, he works and records Amsterdam and Santiago de Compostella. In and early opera (staged performances of emphasis on music from the High Baroque. He with La Chapelle Royale/Collegium Vocale the UK Bethany sings with several ensembles Purcell’s King Arthur, Dido & Aeneas, and works regularly with the English Baroque Ghent and Philippe Herreweghe, Les Talens including Yorkshire Bach Choir and Yorkshire Pergolesi’s L’Olympiade) and baroque cantatas by Soloists and Monteverdi Choir, directed by Lyriques and Christophe Rousset and Le Concert Baroque Soloistsm with whom she has sung composers including J.S. Bach, Handel, A. John Eliot Gardiner, Gabrieli Consort and Paul Spirituel and Hervé Niquet. His long association soprano solo on three commercial recordings Scarlatti, Conti and C.P.E. Bach particularly McCreesh, King’s Consort, Netherlands Bach with Michel Corboz, has taken him throughout for Signum records: Bach’s St. John Passion, with trumpet (Bach’s Cantata 51, Jauchzet

- 56 - - 57 - Gott, Scarlatti’s Su le Sponde, Handel’s Eternal music from the esteemed author’s own music Source of Light Divine) and recorder obbligatos. collection. Venues have included Hatchlands Cantatas with strings and wind have included Park, the Turner Simms Concert Hall at Handel’s Gloria, Conti’s Languet Anima Mea Southampton University and Winchester College. and Mozart’s Exsultate jubilate. She frequently performs programmes with continuo in Helen sings regularly with world famous vocal repertoire by Carissimi, Purcell and Handel. groups The Sixteen, Gabrieli Consort, The She also enjoys singing with fortepiano in Clerks Group, I Fagiolini and Britten Sinfonia programmes of early Lieder by C.P.E. Bach, Voices. Helen’s discography includes a collection Mozart, Haydn, Zelter, Reichardt, Schubert, of works by Robert Saxton and Gabriel Jackson Loewe and Schumann. for The Clerks Group, the critically acclaimed recording of Striggio’s Mass in 40 parts with In 2013 Bethany was awarded a BBC Performing I Fagiolini and Dupré’s De Profundis. Helen is Arts Fund Fellowship in connection with the currently a member of the BBC singers and is National Centre for Early Music. relishing the further variety this brings to her singing life. HELEN NEEVES © Hany Chlala © Hany Chlala versatile soprano, Helen’s repertoire includes SALLY BRUCE-PAYNE As a renowned soloist her operatic and concert Helen Neeves began her training in music and Purcell’s Dido and Aeneas and King Arthur, career has taken her all over the world, performance at the University of York followed Blow’s Venus and Adonis, Haydn’s Nelson Mass Sally Bruce-Payne was born in London, living working with such conductors as Sir John Eliot by two years at the Royal College of Music; and Stabat Mater, Mozart’s C Minor Mass, and first in the cloisters of Westminster Abbey, Gardiner, Sir Neville Marriner, Sir David she studies with Julie Kennard. After leaving Exultate Jubilate, Fauré Requiem, Dupré’s De where her father was assistant organist. She Willcocks, Wolfgang Sawallisch, Kurt Masur, York she continued to perform there regularly, Profundis, Handel’s Samson, and Messiah, began her musical studies as a cellist but Nicholas McGegan, Harry Christophers and in particular singing with Yorkshire Baroque Soloists. Charpentier’s Acteon, Bach’s Christmas Oratorio after graduating from Bristol University she Phillipe Herreweghe. and Rutter’s Magnificat. studied singing at the Royal College of Music Helen has many years of experience as a solo where she won numerous prizes including the Her large discography includes Bach, Handel, and consort singer, encompassing concert work, Being a real fan of Jane Austin novels, Helen English Song Prize. During her early career Schubert, Haydn and Boulanger. The most recent recordings and radio broadcasts, particularly has been involved in a series of recitals she sang as a member of The Sixteen and release of Vivaldi arias with La Serenissima in the fields of baroque and classical music. A with pianist Samantha Carrasco, featuring Monteverdi Choir. has won her world wide acclaim.

- 58 - - 59 - She has performed in concerts with most of consort singers and culminating in a of the major UK orchestras and throughout performance of the Messiah in the Barbican, the world including the major Festivals such alongside the Sixteen. As a singer in London, as the Cheltenham Festival and Three Choirs Nancy has given solo recitals at the Handel Festival. Many of her concerts have been House Museum and St. Martin-in-the-Fields. broadcast on radio and television and she is She has performed with such groups as The a regular guest on BBC Radio 3. Sixteen, the Choir of the Enlightenment at the BBC proms, Vocal Futures, the Fieri Consort Her numerous operatic performances have and the St. Martins’ Voices. In September included Handel at the Gottingen Festival, 2014 Nancy began a postgraduate vocal study Halle and Covent Garden Festival, Monteverdi at the Royal College of Music. in Japan and Vivaldi in Venice and Buxton. JOSEPH CORNWELL Recent performances include French Baroque arias with the Academy of Ancient Music, Joseph Cornwell studied music at the University Bach Cantatas with the Orchestra of the Age of York and singing at the Guildhall School of Enlightenment, Bach’s Easter Oratorio at © Brendon Fraser of Music and Drama with a BP scholarship. the Wigmore Hall and a recording of Handel’s travelling to Italy, Poland and Germany. She He is well known for his portrayal of roles Dixit Dominus (Avie). then went to the University of York with an He began his career with The Consort of Musicke, in baroque operas, which have included Mitridate academic scholarship to complete a Masters Tallis Scholars, Taverner Consort, BBC Singers, in Pompeo Magno at the Varazdin Festival, NANCY COLE in Music and performance practise. Whilst at Yorkshire Bach Choir, New London Consort, Polimone in Il Tito, Opéra National du Rhin, York she performed regularly as a soloist at Deller Consort, Gabrieli Consort & London Strasbourg, Il conte in Galuppi’s Nozze di Mezzo Soprano Nancy Cole was brought up the National Centre for early music, in the Voices and then sang as a soloist under Dorina, Potsdam, Achille in Gluck’s Iphigénie in Lancaster and educated at the Lancaster annual Early Music festival and with the conductors such as Andrew Parrott, William en Aulide for Opera Factory QEH, Lurcanio in Girls’ Grammar School. She gained a choral Yorkshire Bach Choir. Christie, Harry Christophers, Sir John Eliot Handel’s Ariodante for St. Gallen Opera, Pilade scholarship to St. Edmund Hall, Oxford Gardiner, Owain Arwel Hughes, Hervé Niquet, in Oreste for the English Bach Festival, University to read Music. At Oxford, Nancy In 2011-2012, Nancy was part of the inaugural Gabriel Garrido, Sir Roger Norrington, Eric Monteverdi’s Orfeo for the Boston Early Music sang and toured regularly with Schola year of The Sixteen’s training course, Genesis Ericson and Peter Seymour. Festival and Oslo Summer Opera, Giove in Il Cantorum and St. Peters’ College Choir, Sixteen, initiated to train the next generation ritorno d’Ulisse at Teatro San Carlo Lisbon &

- 60 - - 61 - Teatro Real Madrid, Eumete in Il ritorno d’Ulisse Mozart operatic arias at the Gdansk Mozartium Il Ritorno d’Ulisse, to London and York as Daniel at the Aix-en-Provence Festival, Thespis / festival, Cavalli’s La Didone with William in the mediaeval Ludus Danielis. A recording Mercure in Rameau’s Platée for TCC Christie in Luxembourg and Paris, Purcell’s of English lutesongs of the late 16th and Productions, Lisbon, and Tamese in Vivaldi’s King Arthur and Fairy Queen with Philip Pickett early 17th centuries has just been released Arsilda, Regina di Ponto at the Barga Festival in Paris and Manchester and Monteverdi’s on DHM/Sony. as well as Snout in Britten’s A Midsummer Vespers 1610 in Malta. Night’s Dream at the Teatro di San Carlo, Naples. Ensemble musicianship is also one of his He lives with his family in Northamptonshire and main pursuits; he is a member of one of the His recordings include St. Matthew Passion teaches singing at Oundle School, Peterborough. world’s leading mediaeval ensembles, Gothic with the Drottningholm Baroque Ensemble, King Voices, and is a regular member of The Arthur with Le Concert Spirituel, Messiah and JULIAN PODGER Harp Consort. Monteverdi’s Vespers 1610 with the Taverner Players, Acis and Galatea and Mozart’s Mass in Julian Podger started singing and directing As a musical director he runs his own ensemble C Minor with Les Arts Florissants, Monteverdi’s whilst still at school in Kassel, Germany, and Trinity Baroque, with whom he has completed Vespers 1610 with the Gabrieli Consort, during his studies at Trinity College, Cambridge a solo voice recording of Bach’s motets Rossini’s Petite Messe Solennelle with Jos where he founded the ensemble Trinity Baroque. (Raumklang), and of other choral works by van Immerseel, Shepherd’s Oedipus Rex with Bach (Decca) in collaboration with The the Philharmonia Orchestra, Tamese in Arsilda, As a soloist he has sung with leading alla Scala. Other concert invitations have English Concert and Berlin Philharmonic Regina di Ponto with Modo Antiquo and conductors including Philippe Herreweghe and included solo recitals at the Händelhaus in oboist Albrecht Maier. He has conducted the Fairest Isle with the Parley of Instruments. Andrew Parrott, and recorded Bach cantatas Halle (broadcast by the Mitteldeutscher ensemble in well-received performances at as part of the Bach cantata pilgrimage with Rundfunk) and in Montevideo; a tour of Bach the Festival de Musica Antigua en Sevilla Recent engagagements include Giove in Il John Eliot Gardiner. He has specialised cantatas in Israel with The Israel Camerata and the Festival Oude Muziek Utrecht; ritorno d’Ulisse for Flanders Opera in Ghent and particularly in the role of evangelist for and a series of Bach’s Matthäus-Passion and guest-conducted the ensemble Florilegium Antwerp, Bach Cantatas Festival, Swidnica, Bach’s passions, with Stephen Stubbs in in Toronto with with Tafelmusik. Operatic in London, Paris and Las Palmas, and the Ugone in Handel’s Flavio for English Touring Bratislava, and with Paul Hillier in Edinburgh, ventures have taken him to Tokyo for the Norsk Barokkorkester in Trondheim. Opera, and Evangelist in St. Matthew Passion Tallinn and Riga and appeared in many lead role in Monteverdi’s Orfeo, frequently to with Paul McCreesh as well as performances wonderful concert venues, including the Royal Berlin for rarely performed operas by Reinhard and recordings of Monteverdi madrigals at the Albert Hall, the Mozarteum, Salzburg, the Keiser, to Melbourne and the Teatro Malibran Spitalfields festival with Harry Christophers, Palau de la Musica, Barcelona, the Teatro (La Fenice), Venice as Ulisse in Monteverdi’s

- 62 - - 63 - MATTHEW BROOK score of Messiah, Bach’s St. Matthew Passion and B Minor Mass, Polyphemus in Handel’s Matthew Brook has appeared as a soloist Acis and Galatea and Haman Esther, all with throughout Europe, Australia, North and South the Dunedin Consort (Linn Records); and Il Re America and the Far East, working extensively di Scozia in Handel’s Ariodante with Il as a recitalist and concert artist with Gardiner, Complesso Barocco and Joyce DiDonato in the Hickox, Mackerras, Christophers, Rousset, title role (EMI/Virgin). McCreesh, Nelson and Elder, and many orchestras and ensembles including the Philharmonia, YORKSHIRE BAROQUE London Symphony and Royal Philharmonic SOLOISTS Orchestras, St. Petersburg Philharmonic, Freiburger Barockorchester, BBC National Yorkshire Baroque Soloists was formed in 1973 Orchestra of Wales, Orchestra of the Age of by Peter Seymour to perform a repertoire from Enlightenment, the Hallé Orchestra, Royal the 17th and 18th centuries for forces ranging Northern Sinfonia, Scottish Chamber Orchestra, from chamber to orchestral size. The group English Baroque Soloists, Collegium Vocale has performed and recorded in most European

Gent, Gabrieli Consort, Sixteen, Melbourne © Richard Shymansky countries and has regularly appeared in © Jim Poyner Symphony Orchestras, Dresden Staatskapelle, Highlights of Matthew’s operatic roles include baroque and classical repertoire in York Early Vespro Della Beata Vergine; Bach Family Motets. Orchestre des Champs-Élysées, Orchestre Seneca L’incoronazione di Poppea at the Maggio Music Festival. In 2011 YBS recordings of Bach’s St. John de Chambre de Paris, Salzburg Mozarteum Musicale Fiorentino and Il Re Ariodante with Passion and B minor Mass were released by Orchester, Orchestre Philharmonique de Il Complesso Barocco and Alan Curtis. Much of the orchestra’s work has been with Signum Records. Strasbourg and Orchestra Nationale de Lille. Yorkshire Bach Choir and recent performances He has performed at festivals such as Matthew’s recordings include Counsel Trial By have included Bach’s St. Matthew Passion, Alongside regular performances over the last Edinburgh, Cheltenham, Utrecht, the BBC Jury and Friar Tuck in Sullivan’s Ivanhoe with Handel’s Dixit Dominus and Monteverdi’s 40 years of Bach’s major choral works and Proms, Ambronay, La Chaise Dieu, Innsbruck, the BBC National Orchestra of Wales (Chandos Vespers 1610. Commercially released recordings cantatas, a particular feature of YBS’ work Bermuda, and the Three Choirs Festival. Records); Bach’s Christmas Oratorio and have included Bach’s Motets (Carlton); A has been their partially-staged performances Rameau’s Anacreon with the Orchestra of the Festal Mass at the Imperial Court in Vienna, of Purcell’s semi-operas including King Arthur Age of Enlightenment; a Gramophone Award- 1648 (Carlton); Mozart’s Requiem; Psalms and and Fairy Queen; they have also recorded winning recording of Handel’s original Dublin motets by Tomás Luis de Victoria; Monteverdi’s Dioclesian complete with the text of the stage

- 64 - - 65 - play for BBC and Dido & Aeneas for WDR. He often makes his own editions of repertoire from the manuscript for this recording of St. They have given semi-staged performances for concert and recording projects; these have Matthew Passion. This recording joins the of Dido at various festivals including Festival included compositions by A. Gabrieli, Victoria, collection of Bach recordings which include St. Mitte Europa (in Germany and Czech Republic), Monteverdi, Grandi, Sweelinck, Purcell, Blow, John Passion and B minor Mass, also for Bachfest Leipzig, Merseburg and York Early Charpentier, the Bach family and Haydn. He Signum Records. Music Festival. They also performed (for particularly enjoyed creating performance material Köthener Herbst) a programme of music by Bach, Torelli and Handel from Bach’s library from his time at Köthen and a programme of Handel cantatas at Festival This recording was sponsored by a very generous This recording was made at the National Alte Musik Knechtsteden. donation from Celia Burgan. Yorkshire Baroque Centre for Early Music, housed within the Soloists wishes to express its thanks to her. converted church of St. Margaret’s, York. PETER SEYMOUR The NCEM offers excellent recording facilities to musicians of all genres – for details, Peter Seymour studied at Huddersfield School please see www.ncem.co.uk/recordings of Music and at University of York, including or ring 01904 632220. post–graduate work researching into the © Jim Poyner performance of baroque music. In July 1994 As a keyboard player he appears playing he was awarded the degree of DMus., at harpsichord, organ or fortepiano. Peter has a University of York for research into performing particular interest in devising and accompanying style. He is director of Yorkshire Baroque song recitals, especially of early Lieder using a Recorded at the National Centre for Early Music, York, from 7-10 September 2013. P 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Soloists, Yorkshire Bach Choir and Corona variety of fortepianos. As a conductor/director Producers – Mark Rowlinson & Peter Seymour © 2015 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd Recording Engineer & Mastering – Mike Cox Coloniensis and has worked and recorded in he directs much the baroque canon focusing Recording Assistant – David Rose Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. Editors – Dave Rowell & Matthew Bennett most European countries. He is also an especially on the works of Monteverdi, Purcell, Licences for public performances or broadcasting may be obtained from Phonographic Performance Bach, Handel, Haydn and Mozart. He also Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, artistic adviser to York Early Music Festival Cover Image – Shutterstock or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or and Professor in Music and Organist at the regularly conducts later choral repertoire Design and Artwork - Woven Design www.wovendesign.co.uk otherwise, without prior permission from Signum Records Ltd.

University of York. He has recorded regularly including Beethoven, Mendelssohn, Verdi, SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, both as conductor and keyboard player for Brahms, Elgar, Britten and Walton. Middx UB6 7JD, UK. +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com WDR–Köln, BBC and other radio stations.

- 66 - - 67 - ALSO AVAILABLE on signumclassics

St John Passion: J.S. Bach Mass in B Minor: J.S. Bach Charles Daniels, Stephen Varcoe, Stephen Loges Yorkshire Bach Choir Yorkshire Baroque Soloists Yorkshire Baroque Soloists Peter Seymour director Peter Seymour director SIGCD209 SIGCD265

“… as dramatically coherent and satisfying as I’ve heard for a “The blending and attack are exemplary … a continuity of tone while … this is a St John which carries open-hearted conviction between chorus and soloists which is utterly beguiling. The and character before it.” baffling simplicity of Bach’s faith yet the dazzling bravura of his Gramophone art have here some very fine advocacy.” HHHHH Choir & Organ

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN MAGENTA Customer SignumClassics YELLOW Catalogue No.SIGCD385 BLACK Job Title: St Matthew Passion

SIGNUM CLASSICS SIGCD385 ST. MATTHEW PASSION J. S. BACH

•

Passion unseres Herrn Jesu Christi nach dem Evangelisten Matthäus

BWV 244b (Early Version) PASSION MATTHEW ST. BACH: S. J.

CD1 [75.13] [1] - [38] Erster Teil Part One [39] - [49] Pars 2da Part Two

CD2 [78.20] [1] - [53] Pars 2da Part Two (continued)

Total timings: [153.33] YORKSHIRE BAROQUE SOLOISTS / SEYMOUR / SOLOISTS BAROQUE YORKSHIRE CHARLES DANIELS EVANGELIST

YORKSHIRE BAROQUE SOLOISTS / SEYMOUR PETER HARVEY CHRISTUS Peter Seymour DIRECTOR

BETHANY SEYMOUR HELEN NEEVES SALLY BRUCE-PAYNE NANCY COLE JOSEPH CORNWELL JULIAN PODGER PETER HARVEY MATTHEW BROOK

Yorkshire Baroque Soloists

J. S. Bach’s St. Matthew Passion is well-known in its later versions. This recording presents a new edition by Peter Seymour of Bach’s first version for Leipzig in 1727, performed by the

J. S. BACH: ST. MATTHEW PASSION Yorkshire Baroque Soloists.

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth Road, SIGCD385

CLASSICS Perivale, Middx UB6 7JD, United Kingdom. P 2015 Signum Records DDD SIGCD385 © 2015 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 03852 9 SIGNUM