J.S. BACH ST. MATTHEW PASSION TENTH ANNIVERSARY SEASON

Johann Sebastian Bach (1685–1750) The Passion according to St. Matthew bwv 244 (1736)

Orchestra I Orchestra II

Transverse flute Evangelist Transverse flute David Ross Aaron Sheehan Immanuel Davis Andrea LeBlanc Mili Chang Jesus

Oboe, Oboe d’amore, Oboe da caccia Tyler Duncan Oboe, Oboe d’amore Gonzalo X. Ruiz Caroline Giassi Kristin Olson Soprano Julie Brye Jolle Greenleaf Violin I Daniel Lee Laura Heimes Violin I Chloe Fedor Nicholas DiEugenio Augusta McKay Lodge Alto Karen Dekker Doug Dodson Dongmyung Ahn Violin II Virginia Warnken Kelsey Beth Wenstrom Violin II Alana Youssefian Tenor Francis Liu Jason McStoots Tatiana Daubek Viola Theresa Salomon Gene Stenger

Stephen Goist Viola Bass Lisa Rautenberg Viola da gamba Charles Wesley Evans Scot Moore Shirley Hunt Sumner Thompson Violoncello and Viola da gamba Violoncello Ripieno chorus Shirley Hunt Ezra Seltzer Martha Cluver

Contrabass Jonathan May Contrabass Nathaniel Chase Donald Meineke Doug Balliett Enrico Lagasca Organ Organ Jeffrey Grossman Michael Beattie Artistic Director Jolle Greenleaf

Music Director Jeffrey Grossman 3 Bach’s wife, Anna Magdalena, referred to it as the complained that there were not enough singers capable “groß Bassion” (the great Passion), and the Passion accord- of performing his complicated music. ing to Saint Matthew certainly lives up to the name. It We have chosen to honor Bach’s double-orchestra has more stylistic variety than most operas—polyphonic conception, but universalize the vocal soloists: for motets, chorales, dance and galant forms, movements example, the “choir 1 tenor” will at times be Jason based on cantus firmi, and more. Bach scholar Christoph McStoots, Aaron Sheehan, or Gene Stenger. However, Wolff declares, “its outsized formal dimensions and per- our layout is true to Bach—you will always see choir 1 on formance requirements, its compositional sophistication your left and choir 2 on your right. Doing this allows us and technical mastery, and its powerful and poignant to more equally distribute Bach’s wealth of solos amongst expressive qualities left behind all that had been custom- our incredible soloists, but we hope it may also reflect ary or even conceivable in sacred music of the time.” the Lutheran belief that all of us are equally fallen in sin For us, presenting this work has been a dream we and dependent on God’s grace for salvation. This sense didn’t know if we would ever realize. We are so grate- of community is reflected in the work itself: in no. 9, the ful for the support from our donors and audiences disciples ask, “Herr, bin ichs?” (Am I the one who will that makes it possible. In the years since our St. John betray Jesus?), and the massed ensemble answers in cho- Passion, TENET Vocal Artists and the Sebastians have rale form, “It is I, I should atone.” Tonight, we also have continued to explore the repertoire of the baroque in the four ripienists who represent one possible element of the conductor-free manner it was conceived, and we have original performances. Bach’s congregation would have discovered that while it is certainly not easier to perform found the chorale tunes so familiar, it’s been suggested this way, the rewards are more than worth the effort. they could have joined in. Our ripienists help us hint at For one, it fosters a laser-like focus between the singers what that experience may have been. and instrumentalists. Also, baroque instruments have a The use of two orchestras is unique among Bach’s much wider range of articulatory possibilities than their works. Was he perhaps drawing on the Italian tradition modern counterparts, and when we are all concentrat- of cori spezzati, “choirs” of instruments or voices some- ing together, the instruments “speak” the consonants times spatially separated from each other? Whatever with the singers. The result, we hope you will agree, is a his inspiration, we can be sure that no part of the work special connection between performers and audience— is accidental. Bach’s relentless precise harmonic and removing the non-performing conductor allows us to structural planning is evident throughout. For instance, make direct contact with you. the repeating “Passion chorale” (nos. 15, 17, 44, 54, and Bach began writing the St. Matthew Passion in 1724, 62) takes the congregation on an inevitable harmonic soon after arriving in Leipzig. For reasons unknown, journey (#### / bbb / ## / b / §), and the harmonizations Bach conceived the piece for two distinct groups of become steadily less “modern” (tonal), until the final, instruments and singers. While it was common to write modal cadence of no. 62. Bach even goes so far as to for solo singers (concertists) with reinforcing singers break his own rules of harmony for dramatic purpose: (ripienists), St. Matthew is much more unusually con- at the first mention of Jesus’ burial, in no. 4, Bach writes ceived than that. Both choir 1 and 11 contain solo arias parallel fifths between the singer and the viola on the (though you’ll notice many more of them are for choir 1). word “begraben” (bury). It seems clear that Bach expected and intended the When Bach made his definitive version of the work, vocal parts of St. Matthew to be performed with one in 1736, he took remarkable care in copying out the singer to a part (with additional chorale ripienists sing- manuscript score—using red ink for the biblical text ing in only the two choruses that bookend Part 1). This and hymn tunes—and when it was later damaged, care- means, for example, the tenor in choir 1 would have also fully pasting in replacement scraps of paper to repair sung the role of the evangelist; the bass in choir 1 would it. Clearly, the St. Matthew Passion was important to have also sung the roles of Jesus, Peter, and Pilate! There Bach. It’s important to us, too—our hope is to draw you are some striking theological implications to this sort of into this magnificent work, to move you with the story, performance—for one, after Jesus’ final words, the next Bach’s craft, and the emotion behind it all. The “groß solo is for that same bass (“Make my heart pure”). It’s Bassion” is larger than us, larger than New York, larger also possible Bach’s unequal distribution of arias and than life. Thank you for sharing the journey with us. characters was a practical matter; Bach had previously — Jeffrey Grossman

4 TEXTS & TRANSLATIONS

Erster Teil Part One 1. Chor I & II und Choral 1. Chorus I & II and Chorale (Töchter Zion und Gläubige Seelen) (Daughters of Zion and Faithful Souls) Kommt, ihr Töchter, helft mir klagen, Come, daughters, help me lament, Sehet! ­— Wen? — den Bräutigam! behold! — whom? — the Bridegroom! Seht ihn! — Wie? — als wie ein Lamm. Behold him! — how? — As a Lamb. Sehet! — Was? — seht die Geduld, Behold! — what? — behold the patience, Seht! — Wohin? — auf unsre Schuld. look! — where? — at our guilt. Sehet ihn aus Lieb und Huld See him, out of love and graciousness Holz zum Kreuze selber tragen. bear the wood for the Cross Himself. O Lamm Gottes unschuldig, O innocent Lamb of God, Am Stamm des Kreuzes geschlachtet, slaughtered on the trunk of the Cross, Allzeit erfunden geduldig, patient at all times, Wiewohl du warest verachtet. however you were scorned. All Sünd hast du getragen, You have borne all sins, Sonst müßten wir verzagen. otherwise we would have to despair. Erbarm dich unser, o Jesu. Have mercy on us, O Jesus. 2. Evangelist 2. Evangelist Da Jesus diese Rede vollendet hatte, sprach er zu When Jesus had finished this speech, he said to His seinen Jüngern: disciples: Jesus Jesus Ihr wisset daß nach zweien Tagen Ostern wird, und des You know that in two days it will be Passover, and the Menschen Sohn wird überantwortet werden, daß er Son of Man will be handed over to be crucified. gekreuziget werde. 3. Choral 3. Chorale Herzliebster Jesu, was hast du verbrochen, Heart’s beloved Jesus, how have you transgressed, Daß man ein solch scharf Urteil hat gesprochen? that such a harsh sentence has been pronounced? Was ist die Schuld, in was für Missetaten What is the crime, of what kind of misdeed Bist du geraten? are you accused? 4. Evangelist 4. Evangelist Da versammleten sich die Hohenpriester und Then the high priests and the scribes and the elders Schriftgelehrten und die Ältesten im Volk in den Palast of the people gathered in the palace of the high des Hohenpriesters, der da hieß Kaiphas, und hielten priest, who was named Caiaphas, and took council Rat, wie sie Jesum mit Listen griffen und töteten. Sie how with deception they could seize Jesus and kill sprachen aber: him. They said, however: Chor I & II Chorus I & II Ja nicht auf das Fest, auf daß nicht ein Aufruhr werde Not, indeed, during the festival, so that there will not im Volk. be an uproar among the people. Evangelist Evangelist Da nun Jesus war zu Bethanien, im Hause Simonis des Now when Jesus was in Bethany, in the house of Aussätzigen, trat zu ihm ein Weib, die hatte ein Glas Simon the leper, a woman came to him with a cup mit köstlichem Wasser und goß es auf sein Haupt, da er filled with valuable water; and she poured it upon his zu Tische saß. Da das seine Jünger sahen, wurden sie head as he sat at the table. When his disciples saw unwillig und sprachen: this, they were against it and said:

5 Chor I Chorus I Wozu dienet dieser Unrat? Dieses Wasser hätte mögen What purpose does this foolishness serve? This water teuer verkauft und den Armen gegeben werden. could have been sold for a high price and given to the poor. Evangelist Evangelist Da das Jesus merkete, sprach er zu ihnen: When Jesus heard this, he said to them: Jesus Jesus Was bekümmert ihr das Weib? Sie hat ein gut Werk Why do you trouble this woman? She has done a an mir getan. Ihr habet allezeit Armen bei euch, mich good deed for me. You will have the poor with you aber habt ihr nicht allezeit. Daß sie dies Wasser hat always, but you will not always have me. She has auf meinen Leib gegossen, hat sie getan, daß man poured this water on my body because I will be mich begraben wird. Wahrlich, ich sage euch: Wo dies buried. Truly I say to you: wherever this Gospel will Evangelium geprediget wird in der ganzen Welt, da wird be preached in the whole world they will tell, in her man auch sagen zu ihrem Gedächtnis, was sie getan hat. memory, what she has done. 5. Rezitativ (Chor I) 5. Recitative (Chorus I) Ms. Kelsey Du lieber Heiland du, O you dear Savior, Wenn deine Jünger töricht streiten, when your disciples foolishly protest Daß dieses fromme Weib that this virtuous woman Mit Salben deinen Leib prepares your body zum Grabe will bereiten, with ointment for the grave, So lasse mir inzwischen zu, in the meantime let me, Von meiner Augen Tränenflüssen with the flowing tears from my eyes, Ein Wasser auf sein Haupt zu gießen! pour a water upon your head! 6. Arie (Chor I) 6. Aria (Chorus I) Ms. Kelsey Buß und Reu, Buß und Reu Repentance and regret, repentance and regret Knirscht das Sündenherz entzwei. rip the sinful heart in two. Daß die Tropfen meiner Zähren Thus the drops of my tears, Angenehme Spezerei, desirable spices, Treuer Jesu, dir gebären. are brought to you, loving Jesus. 7. Evangelist 7. Evangelist Da ging hin der Zwölfen einer mit Namen Judas Then one of the twelve, named Judas Iscariot, went to Ischarioth zu den Hohenpriestern und sprach: the high priests and said: Judas Judas Mr. Thompson Was wollt ihr mir geben? Ich will ihn euch verraten. What will you give me? I will betray him to you. Evangelist Evangelist Und sie boten ihm dreißig Silberlinge. Und von dem an And they offered him thirty silver pieces. And from suchte er Gelegenheit, daß er ihn verriete. then on he sought opportunity to betray him. 8. Arie (Chor II) 8. Aria (Chorus II) Ms. Heimes Blute nur, du liebes Herz! Bleed out, you loving heart! Ach! ein Kind, das du erzogen, Alas! A child that you raised, Das an deiner Brust gesogen, that nursed at your breast, Droht den Pfleger zu ermorden, threatens to murder its caretaker, Denn es ist zur Schlange worden. since it has become a serpent. 9. Evangelist 9. Evangelist Aber am ersten Tage der süßen Brot traten die Jünger zu But on the first day of unleavened bread the disciples Jesu und sprachen zu ihm: came to Jesus and said to him: Chor I Chorus I Wo willst du, daß wir dir bereiten das Osterlamm zu essen? Where do you want us to prepare to eat the Passover lamb? 6 Evangelist Evangelist Er sprach: He said: Jesus Jesus Gehet hin in die Stadt zu einem und sprecht zu ihm: Der Go into the city to a certain person and say to him: Meister läßt dir sagen: Meine Zeit ist hier, ich will bei dir the Master says to you: my time is here, I will hold die Ostern halten mit meinen Jüngern. Passover in your house with my disciples. Evangelist Evangelist Und die Jünger täten, wie ihnen Jesus befohlen hatte, und And the disciples did as Jesus had commanded them, bereiteten das Osterlamm. Und am Abend satzte er sich zu and prepared the Passover lamb. And in the evening he Tische mit den Zwölfen. Und da sie aßen, sprach er: sat at dinner with the twelve. And as they ate, He said: Jesus Jesus Wahrlich, ich sage euch: Einer unter euch wird mich Truly I say to you: one among you will betray me. verraten. Evangelist Evangelist Und sie wurden sehr betrübt und huben an, ein jeglicher And they were very troubled and began, each one unter ihnen, und sagten zu ihm: among them, to say to him: Chor I Chorus I Herr, bin ichs? Lord, is it I? 10. Choral 10. Chorale Ich bins, ich sollte büßen, It is I, I should atone, An Händen und an Füßen bound hand and foot Gebunden in der Höll. in hell. Die Geißeln und die Banden The scourges and the bonds Und was du ausgestanden, and what you endured, Das hat verdienet meine Seel. my soul has earned. 11. Evangelist 11. Evangelist Er antwortete und sprach: He answered and said: Jesus Jesus Der mit der Hand mit mir in die Schüssel tauchet, der He who has dipped his hand in the bowl with me will wird mich verraten. Des Menschen Sohn gehet zwar betray me. The Son of Man will indeed pass away as dahin, wie von ihm geschrieben stehet; doch wehe dem it stands written of him; yet woe to the man through Menschen, durch welchen des Menschen Sohn verraten whom the Son of Man is betrayed! It would be better wird! Es wäre ihm besser, daß derselbige Mensch noch for him if this man had never been born. nie geboren wäre. Evangelist Evangelist Da antwortete Judas, der ihn verriet, und sprach: Then Judas, who betrayed him, answered and said: Judas Judas Mr. Thompson Bin ichs, Rabbi? Is it I, Rabbi? Evangelist Evangelist Er sprach zu ihm: He said to him: Jesus Jesus Du sagests. You say it. Evangelist Evangelist Da sie aber aßen, nahm Jesus das Brot, dankete und While they ate, however, Jesus took the bread, blessed brachs und gabs den Jüngern und sprach: and broke it and gave it to the disciples and said: 7 Jesus Jesus Nehmet, esset, das ist mein Leib. Take, eat, this is my body. Evangelist Evangelist Und er nahm den Kelch und dankete, gab ihnen den And he took the cup and blessed it, gave it to them und sprach: and said: Jesus Jesus Trinket alle daraus; das ist mein Blut des neuen Drink from this, all of you; this is my blood of the Testaments, welches vergossen wird für viele zur new covenant, which is poured out for many for the Vergebung der Sünden. Ich sage euch: Ich werde von forgiveness of sins. I say to you: from now on I will not nun an nicht mehr von diesem Gewächs des Weinstocks drink again from this fruit of the vine until the day trinken bis an den Tag, da ichs neu trinken werde mit when I drink again with you in my Father‘s kingdom. euch in meines Vaters Reich. 12. Rezitativ (Chor I) 12. Recitative (Chorus I) Ms. Heimes Wiewohl mein Herz in Tränen schwimmt, Although my heart is swimming in tears, Daß Jesus von mir Abschied nimmt, since Jesus takes leave of me, so macht mich doch sein Testament erfreut: yet his Testament brings my joy: Sein Fleisch und Blut, o Kostbarkeit, his flesh and blood, O preciousness, Vermacht er mir in meine Hände. he bequeaths to my hands. Wie er es auf er Welt mit denen Seinen Just as in the world, among his own, Nicht böse können meinen, he could not wish them harm, so liebt er sie bis an das Ende. just so he loves them to the end. 13. Arie (Chor I) 13. Aria (Chorus I) Ms. Heimes Ich will dir mein Herze schenken, I will give you my heart; Senke dich, mein Heil, hinein! sink within, my Savior! Ich will mich in dir versenken; I will sink into you; Ist dir gleich die Welt zu klein, although the world is too small for you, Ei, so sollst du mir allein ah, you alone shall be for me Mehr als Welt und Himmel sein. more than heaven and earth. 14. Evangelist 14. Evangelist Und da sie den Lobgesang gesprochen hatten, gingen And when they had spoken the benediction, they went sie hinaus an den Ölberg. Da sprach Jesus zu ihnen: out to the Mount of Olives. Then Jesus said to them: Jesus Jesus In dieser Nacht werdet ihr euch alle ärgern an mir. Denn Tonight you will all be angry at me. For it is written: es stehet geschrieben: „Ich werde den Hirten schlagen, “I will strike the shepherd, and the sheep of the flock und die Schafe der Herde werden sich zerstreuen.“ Wenn will be scattered.” When, however, I rise again, I shall ich aber auferstehe, will ich vor euch hingehen go before you into Galilee. in Galiläam. 15. Choral 15. Chorale Erkenne mich, mein Hüter, Acknowledge me, my Guardian, Mein Hirte, nimm mich an! my Shepherd, take me in! Von dir, Quell aller Güter, From you, source of all goodness, Ist mir viel Guts getan. has much good come to me. Dein Mund hat mich gelabet Your mouth has nourished me Mit Milch und süßer Kost, with milk and sweet sustenance; Dein Geist hat mich begabet your spirit has lavished upon me Mit mancher Himmelslust. much heavenly joy. 16. Evangelist 16. Evangelist Petrus aber antwortete und sprach zu ihm: Peter answered, however, and said to him:

8 Petrus Peter Mr. Evans Wenn sie auch alle sich an dir ärgerten, so will ich doch Even though everyone will be angry at you, yet I will mich nimmermehr ärgern. never be angry. Evangelist Evangelist Jesus sprach zu ihm: Jesus said to him: Jesus Jesus Wahrlich, ich sage dir: in dieser Nacht, ehe der Hahn Truly, I say to you: tonight, before the cock crows, you krähet, wirst du mich dreimal verleugnen. will deny me three times. Evangelist Evangelist Petrus sprach zu ihm: Peter said to him: Petrus Peter Mr. Evans Und wenn ich mit dir sterben müßte, so will ich dich Even if I must die with you, I will not deny you. nicht verleugnen. Evangelist Evangelist Desgleichen sagten auch alle Jünger. All the other disciples also said the same. 17. Choral 17. Chorale Ich will hier bei dir stehen, I will stay here with you, Verachte mich doch nicht! do not scorn me! Von dir will ich nicht gehen, I will not leave you, Wenn dir dein Herze bricht. even as your heart breaks. Wenn dein Herz wird erblassen When your heart grows pale Im letzten Todesstoß, at the last stroke of death, Alsdenn will ich dich fassen, Then I will hold you fast In meinen Arm und Schoß. In my arm and bosom. 18. Evangelist 18. Evangelist Da kam Jesus mit ihnen zu einem Hofe, der hieß Then Jesus came with them to a garden, which was Gethsemane, und sprach zu seinen Jüngern: called Gethsemane, and spoke to his disciples: Jesus Jesus Setzet euch hie, bis daß ich dort hingehe und bete. Sit here while I go over there and pray. Evangelist Evangelist Und nahm zu sich Petrum und die zween Söhne Zebedäi And he took Peter and the two sons of Zebedee with und fing an zu trauern und zu zagen. Da sprach Jesus zu him, and began to mourn and despair. Then Jesus ihnen: said to them: Jesus Jesus Meine Seele ist betrübt bis an den Tod, bleibet hie und My soul is troubled even to death; stay here and wachet mit mir! watch with me! 19. Rezitativ (Chor I) und Chor II 19. Recitative (Chorus I) & Chorus II Mr. Stenger O Schmerz! O pain! Hier zittert das gequälte Herz; Here the tormented heart trembles; wie sinkt es hin, wie bleicht sein Angesicht! how it sinks down, how his face pales! Was ist die Ursach aller solcher Plagen? What is the cause of all this trouble? Der Richter führt ihn vor Gericht. The Judge leads him before judgment. Da ist kein Trost, kein Helfer nicht. No comfort, no helper is there. Ach! meine Sünden haben dich geschlagen; Alas! My sins have struck you down; Er leidet alle Höllenqualen, He suffers all the torments of Hell, Er soll vor fremden Raub bezahlen. he must pay for the crimes of others.

9 Ich, ach, Herr Jesu, habe dies verschuldet, I, alas, Lord Jesus, have earned this, was du erduldet. that you endure. Ach, könnte meine Liebe dir, Ah! Could my love for you, Mein Heil, dein Zittern und dein Zagen my Savior, diminish or bring aid vermindern oder helfen tragen, to your trembling and your despair, Wie gerne blieb ich hier! how gladly would I stay here! 20. Arie (Chor I) und Chor II 20. Aria (Chorus I) and Chorus II Mr. Stenger Ich will bei meinem Jesu wachen, I will watch with my Jesus, So schlafen unsre Sünden ein. So our sins fall asleep. Meinen Tod My death Büßet seine Seelennot; is atoned for by his soul’s anguish; Sein Trauren machet mich voll Freuden. his sorrow makes me full of joy. Drum muß uns sein verdienstlich Leiden Therefore his deserved suffering Recht bitter und doch süße sein. must be truly bitter and yet sweet to us. 21. Evangelist 21. Evangelist Und ging hin ein wenig, fiel nieder auf sein Angesicht And went away a bit, fell down on his face and prayed und betete und sprach: and said: Jesus Jesus Mein Vater, ist‘s möglich, so gehe diese Kelch von mir; My Father, if it is possible, let this Cup pass from me; doch nicht wie ich will, sondern wie du willt. yet not as I will it, rather as you wish. 22. Rezitativ (Chor II) 22. Recitative (Chorus II) Mr. Evans Der Heiland fällt vor seinem Vater nieder; The Savior falls down before his Father; Dadurch erhebt er sich und alle through this he lifts up himself and everyone von unserm Falle from our fall Hinauf zu Gottes Gnade wieder. to God’s grace again. Er ist bereit, He is ready Den Kelch, des Todes Bitterkeit to drink the Cup of zu trinken, death’s bitterness, In welchen Sünden dieser Welt in which the sins of this world Gegossen sind und häßlich stinken, are poured and which stink horribly, Weil es dem lieben Gott gefällt. since it is pleasing to our loving God. 23. Arie (Chor II) 23. Aria (Chorus II) Mr. Evans Gerne will ich mich bequemen, Gladly will I force myself Kreuz und Becher anzunehmen, to take on the Cross and the Chalice, Trink ich doch dem Heiland nach. yet I drink after the Savior. Denn sein Mund, For his mouth, Der mit Milch und Honig fließet, which flows with milk and honey, Hat den Grund has sweetened the grounds und des Leidens herbe Schmach and the bitter taste of sorrow, Durch den ersten Trunk versüßet. through his first sip. 24. Evangelist 24. Evangelist Und er kam zu seinen Jüngern und fand sie schlafend And he came back to his disciples and found them und sprach zu ihnen: sleeping, and said to them: Jesus Jesus Könnet ihr denn nicht eine Stunde mit mir wachen? Couldn’t you then remain awake with me one hour? Wachet, und betet, daß ihr nicht in Anfechtung fallet! Stay awake, and pray, so that you do not fall into Der Geist ist willig, aber das Fleisch ist schwach. temptation! The spirit is willing, but the flesh is weak. Evangelist Evangelist Zum andernmal ging er hin, betete und sprach: For a second time he went away, prayed and said: 10 Jesus Jesus Mein Vater, ists nicht möglich, daß dieser Kelch von mir My Father, if it is not possible that this Cup pass away gehe, ich trinke ihn denn, so geschehe dein Wille. from me, then I will drink it; thus may your will be done. 25. Choral 25. Chorale Was mein Gott will, das g‘scheh allzeit, What my God wills always occurs, Sein Will, der ist der beste, His will is the best; Zu helfen den‘ er ist bereit, he is ready to help those Die an ihn glauben feste. who believe firmly in him. Er hilft aus Not, der fromme Gott, He gives aid in need, this righteous God, Und züchtiget mit Maßen. and punishes with measure. Wer Gott vertraut, fest auf ihn baut, Who trusts in God, rely upon him firmly, Den will er nicht verlassen. God will never abandon. 26. Evangelist 26. Evangelist Und er kam und fand sie aber schlafend, und ihre Augen And he came back and found them sleeping, never- waren voll Schlafs. Und er ließ sie und ging abermal theless, and their eyes were full of sleep. And he left hin und betete zum drittenmal und redete dieselbigen them and went away another time and prayed for the Worte. Da kam er zu seinen Jüngern und sprach zu third time, and spoke the same words. Then he came ihnen: back to his disciples and said to them: Jesus Jesus Ach! Wollt ihr nun schlafen und ruhen? Siehe, die Stunde Alas! Do you wish to sleep and rest now? Behold, the ist hie, daß des Menschen Sohn in der Sünder Hände hour has come, when the Son of Man is to be handed überantwortet wird. Stehet auf, lasset uns gehen; siehe, over into the hands of sinners. Get up, let us go; see, er ist da der mich verrät. he who betrays me is here. Evangelist Evangelist Und als er noch redete, siehe, da kam Judas, der Zwölfen And as he was speaking, behold, there came Judas, einer, und mit ihm einer große Schar mit Schwerten und one of the twelve, and with him a large troop from the m it Stangen von den Hohenpriestern und Ältesten des high priest and the elders of the people with swords Volks. Und der Verräter hatte ihnen ein Zeichen gegeben and spears. And the betrayer had given them a sign und gesagt: „Welchen ich küssen werde, der ists, den and said: “The one that I will kiss is him; seize him!” And greifet!“ Und alsbald trat er zu Jesu und sprach: just then he stepped forward to Jesus and said: Judas Judas Mr. Thompson Gegrüßet seist du, Rabbi! Greetings to you, Rabbi! Evangelist Evangelist Und küssete ihn, Jesus aber sprach zu ihm: And kissed him. However Jesus said to him: Jesus Jesus Mein Freund, warum bist du kommen? My friend, why did you come? Evangelist Evangelist Da traten sie hinzu und legte die Hände an Jesum und Then they stepped forward and laid hands on Jesus griffen ihn. and seized him. 27. Arie (Chor I) und Chor II 27. Aria (Chorus I) and Chorus II Ms. Greenleaf, So ist mein Jesus nun gefangen. Thus my Jesus is now captured. Mr. Dodson Laßt ihn, haltet, bindet nicht! Leave him, stop, don’t bind him! Mond und Licht Moon and light Ist vor Schmerzen untergangen, for sorrow have set, Weil mein Jesus ist gefangen. since my Jesus is captured. Sie führen ihn, er ist gebunden. They take him away, he is bound.

11 Chor I & II Chorus I & II Sind Blitze, sind Donner Are lightning and thunder in Wolken verschwunden? extinguished in the clouds? Eröffne den feurigen Abgrund, o Hölle, Open the fiery abyss, O Hell, Zertrümmre, verderbe, verschlinge, zerschelle crush, destroy, devour, smash Mit plötzlicher Wut with sudden rage Den falschen Verräter, das mördrische Blut! the false betrayer, the murderous blood! 28. Evangelist 28. Evangelist Und siehe, einer aus denen, die mit Jesu waren, reckete And behold, one of those who were with Jesus die Hand aus, und schlug des Hohenpriesters Knecht stretched out his hand and struck a servant of the und hieb ihm ein Ohr ab. Da sprach Jesus zu ihm: high priest, and cut off his ear. Then Jesus said to him: Jesus Jesus Stecke dein Schwert an seinen Ort; denn wer das Schwert Put your sword back in its place; for whoever takes the nimmt, der soll durchs Schwert umkommen. Oder sword will perish through the sword. Or do you think meinest du, daß ich nicht könnte meinen Vater bitten, that I could not ask my Father to send me more than daß er mir zuschickte mehr denn zwölf Legion Engel? twelve legions of angels? How would the scripture be Wie würde aber die Schrift erfüllet? Es muß also gehen. fulfilled then? It must happen thus. Evangelist Evangelist Zu der Stund sprach Jesus zu den Scharen: At the time Jesus said to the crowd: Jesus Jesus Ihr seid ausgegangen als zu einem Mörder, mit Schwerten You have come out as if to a murderer, with swords und mit Stangen, mich zu fahen; bin ich doch täglich bei and spears to take me; yet I have daily sat among you euch gesessen und habe gelehret im Tempel, und ihr and have taught in the Temple, and you did not arrest habt mich nicht gegriffen. Aber das ist alles geschehen, me. However all of this has happened in order to fulfill daß erfüllet würden die Schriften der Propheten. the writings of the prophets. Evangelist Evangelist Da verließen ihn alle Jünger und flohen. Then all the disciples deserted him and fled. 29. Choral 29. Chorale O Mensch, bewein dein Sünde groß, O mankind, mourn your great sins, Darum Christus seins Vaters Schoß for which Christ left his Father’s bosom Äußert und kam auf Erden; and came to earth; Von einer Jungfrau rein und zart from a virgin pure and tender Für uns er hie geboren ward, he was born here for us, Er wollt der Mittler werden, he wished to become our Intercessor, Den Toten er das Leben gab he gave life to the dead Und legt dabei all Krankheit ab and laid aside all sickness Bis sich die Zeit herdrange, until the time approached Daß er für uns geopfert würd, that he would be offered for us, Trüg unser Sünden schwere Bürd bearing the heavy burden of our sins Wohl an dem Kreuze lange. indeed for a long time on the Cross.

Intermission Note: This beautiful historic space unfortunately only has two restrooms, in the rectory next door. If you are not able to return in time for the start of Part Two, please take your seat as quietly as possible upon your return. Thank you!

12 Zweiter Teil Part Two 30. Arie (Chor I) und Chor II 30. Aria (Chorus I) and Chorus II Mr. Dodson Ach, nun ist mein Jesus hin! Alas, now my Jesus is gone! Wo ist denn dein Freund hingegangen, Where, then, has your beloved gone, O du Schönste unter den Weibern? O most beautiful among women? Ist es möglich, kann ich schauen? Is it possible, can I behold it? Wo hat sich dein Freund hingewandt? Which way has your beloved turned? Ach! mein Lamm in Tigerklauen, Alas! my lamb in the claws of a tiger; Ach! wo ist mein Jesus hin? Alas! Where has my Jesus gone? So wollen wir mit dir ihn suchen. We will seek him with you. Ach! was soll ich der Seele sagen, Alas! What shall I say to the soul, Wenn sie mich wird ängstlich fragen: when she asks me anxiously: Ach! wo ist mein Jesus hin? Alas! Where has my Jesus gone? 31. Evangelist 31. Evangelist Die aber Jesum gegriffen hatten, führeten ihn zu dem But after they had arrested Jesus, they brought him Hohenpriester Kaiphas, dahin die Schriftgelehrten und to the High Priest Caiaphas, where the scribes and the Ältesten sich versammlet hatten. Petrus aber folgete ihm elders had gathered. Peter, however, followed him from nach von ferne bis in den Palast des Hohenpriesters und afar to the palace of the high priest, and went inside ging hinein und satzte sich bei die Knechte, auf daß er and sat with the servants, so he could see how it came sähe, wo es hinaus wollte. Die Hohenpriester aber und out. The high priests, however, and the elders, and the Ältesten und der ganze Rat suchten falsche Zeugnis wider entire council sought false witness against Jesus, so that Jesum, auf daß sie ihn töteten, und funden keines. they could put him to death, and found none. 32. Choral 32. Chorale Mir hat die Welt trüglich gericht’ The world has judged me deceitfully, Mit Lügen und mit falschem G‘dicht, with lies and false statements, Viel Netz und heimlich Strikke. many traps and secret snares. Herr, nimm mein wahr Lord, perceive me truthfully In dieser G‘fahr, in this danger; B‘hüt mich für falschen Tükken! protect me from malicious falsehoods! 33. Evangelist 33. Evangelist Und wiewohl viel falsche Zeugen herzutraten, funden And although many false witnesses came forward, sie doch keins. Zuletzt traten herzu zween falsche they found none. Finally two false witnesses came Zeugen und sprachen: forward and said: Zeugen Witnesses Mr. May, Mr. Meineke Er hat gesagt: Ich kann den Tempel Gottes abbrechen He has said: I can destroy the temple of God and in und in dreien Tagen denselben bauen. three days build it up again. Evangelist Evangelist Und der Hohepriester stund auf und sprach zu ihm: And the high priest stood up and said to him: Hohepriester High Priest Mr. Lagasca Antwortest du nichts zu dem, das diese wider dich Do you answer nothing to this, that they say against zeugen? you? Evangelist Evangelist Aber Jesus schwieg stille. But Jesus was silent. 34. Rezitativ (Chor II) 34. Recitative (Chorus II) Mr. McStoots Mein Jesus schweigt My Jesus is silent Zu falschen Lügen stille, at false lies, Um uns damit zu zeigen, in order to show us Daß sein erbarmensvoller Wille that his merciful will vor uns zum Leiden sei geneigt, is bent on suffering for us, Und daß wir in dergleichen Pein and that we, in the same trouble, 13 Ihm sollen ähnlich sein should be like him Und in Verfolgung stille schweigen. and keep silent under persecution. 35. Arie (Chor II) 35. Aria (Chorus II) Mr. McStoots Geduld, Geduld! Patience, patience! Wenn mich falsche Zungen stechen. When false tongues pierce. Leid ich wider meine Schuld Although I suffer, contrary to my due, Schimpf und Spott, shame and scorn, Ei, so mag der liebe Gott indeed, dear God shall Meines Herzens Unschuld rächen. revenge the innocence of my heart. 36. Evangelist 36. Evangelist Und der Hohenpriester antwortete und sprach zu ihm: And the high priest answered and said to him: Hohepriester High Priest Mr. Lagasca Ich beschwöre dich bei dem lebendigen Gott, daß du I abjure you by the living God to tell us whether you uns sagest, ob du seiest Christus, der Sohn Gottes? are the Christ, the Son of God! Evangelist Evangelist Jesus sprach zu ihm: Jesus said to him: Jesus Jesus Du sagests. Doch sage ich euch: von nun an wirds You say it. Yet I say to you: from now on it will come geschehen, daß ihr sehen werdet des Menschen Sohn to pass that you will see the Son of Man sitting at the sitzen zur Rechten der Kraft und kommen in den Wolken right hand of Power, and approaching in the clouds des Himmels. of heaven. Evangelist Evangelist Da zerriß der Hohepriester seine Kleider und sprach: Then the high priest tore his garments and said: Hohepriester High Priest Mr. Lagasca Er hat Gott gelästert; was dürfen wir weiter Zeugnis? He has blasphemed God; what further witness do we Siehe, itzt habt ihr seine Gotteslästerung gehöret. need? Behold, now you have heard his blasphemy. Was dünket euch? What do you think? Evangelist Evangelist Sie antworteten und sprachen: They answered and said: Chor I & II Chorus I & II Er ist des Todes schuldig! He is worthy of death! Evangelist Evangelist Da speieten sie aus in sein Angesicht und schlugen ihn Then they spit in his face and struck him with fists. mit Fäusten. Etliche aber schlugen ihn ins Angesicht und Some of them, however, struck him in the face and sprachen: said: Chor I & II Chorus I & II Weissage uns, Christe, wer ists, der dich schlug? Prophesy to us, Christ, who is it who strikes you? 37. Choral 37. Chorale Wer hat dich so geschlagen, Who has struck you thus, Mein Heil, und dich mit Plagen my Savior, and with torments So übel zugericht’? so evilly used you? Du bist ja nicht ein Sünder You are not at all a sinner Wie wir und unsre Kinder, like us and our children; Von Missetaten weißt du nicht. you know nothing of transgressions. 38. Evangelist 38. Evangelist Petrus aber saß draußen im Palast; und es trat zu ihm Peter, however, sat outside of the palace; and a maid eine Magd und sprach: came up to him and said: 14 Magd I Maid I Ms. Cluver Und du warest auch mit dem Jesus aus Galiläa. And you were also with that Jesus of Galilee. Evangelist Evangelist Er leugnete aber vor ihnen allen und sprach: He denied it however before them all and said: Petrus Peter Mr. Evans Ich weiß nicht, was du sagest. I don’t know what you are saying. Evangelist Evangelist Als er aber zur Tür hinausging, sahe ihn eine andere und As he was going out of the door, however, another sprach zu denen, die da waren: one saw him and said to those who were near: Magd II Maid II Ms. Heimes Dieser war auch mit dem Jesu von Nazareth. This one was also with that Jesus from Nazareth. Evangelist Evangelist Und er leugnete abermal und schwur dazu: And he denied again, and swore to it: Petrus Peter Mr. Evans Ich kenne des Menschen nicht. I don’t know what you are saying. Evangelist Evangelist Und über eine kleine Weile traten hinzu, die da stunden, And after a little while people standing around came und sprachen zu Petro: up and said to Peter: Chor II Chorus II Wahrlich, du bist auch einer von denen; denn deine Truly you are also one of them; your speech gives you Sprache verrät dich. away. Evangelist Evangelist Da hub er an sich zu verfluchen und zu schwören: Then he began to curse and swear: Petrus Peter Mr. Evans Ich kenne des Menschen nicht. I do not know the man. Evangelist Evangelist Und alsbald krähete der Hahn. Da dachte Petrus an die And just then the cock crew. Then Peter remembered Worte Jesu, da er zu ihm sagte: “Ehe der Hahn krähen the words of Jesus, when he said to him: “before the wird, wirst du mich dreimal verleugnen.” Und ging cock crows, you will deny me three times.” And he heraus und weinete bitterlich. went out and wept bitterly. 39. Arie (Chor I) 39. Aria (Chorus I) Ms. Kelsey Erbarme dich, mein Gott, Have mercy, my God, Um meiner Zähren Willen! for the sake of my tears! Schaue hier, Herz und Auge Look here, heart and eyes Weint vor dir bitterlich. weep bitterly before you. Erbarme dich, erbarme dich! Have mercy, have mercy! 40. Choral 40. Chorale Bin ich gleich von dir gewichen, Although I have been separated from you, Stell ich mich doch wieder ein; yet I return again; Hat uns doch dein Sohn verglichen even so your Son set the example for us Durch sein Angst und Todespein. through his anguish and mortal pain. Ich verleugne nicht die Schuld, I do not deny my guilt, Aber deine Gnad und Huld but your grace and mercy Ist viel größer als die Sünde, is much greater than the sin Die ich stets bei mir befinde. that I constantly discover in me.

15 41. Evangelist 41. Evangelist Des Morgens aber hielten alle Hohepriester und die The next day, however, all the high priests and the Ältesten des Volks einen Rat über Jesum, daß sie elders of the people held a council about Jesus so that ihn töteten. Und bunden ihn, führeten ihn hin und they could put him to death. And they bound him, überantworteten ihn dem Landpfleger Pontio Pilato. Da led him out and turned him over to the Governor, das sahe Judas, der ihn verraten hatte, daß er verdammt Pontius Pilate. When Judas, who betrayed him, saw war zum Tode, gereuete es ihn, und brachte herwieder that he was condemned to death, he felt remorse die dreißig Silberlinge den Hohenpriestern und Ältesten and brought back the thirty silver pieces to the high und sprach: priests and the elders and said: Judas Judas Mr. Thompson Ich habe übel getan, daß ich unschuldig Blut verraten habe. I have done evil by betraying innocent blood. Evangelist Evangelist Sie sprachen: They said: Chor I & II Chorus I & II Was gehet uns das an? Da siehe du zu! How does that concern us? See to it yourself! Evangelist Evangelist Und er warf die Silberlinge in den Tempel, hub sich And he threw the silver pieces into the temple and davon, ging hin und erhängete sich selbst. Aber die left, and went away and hanged himself. However the Hohenpriester nahmen die Silberlinge und sprachen: high priests took the silver pieces and said: Hohenpriester High Priests Mr. Evans, Mr. Lagasca Es taugt nicht, daß wir sie in den Gotteskasten legen, It will not do to put them into the coffers of God, since denn es ist Blutgeld. it is blood money. 42. Arie (Chor II) 42. Aria (Chorus II) Mr. Thompson Gebt mir meinen Jesum wieder! Give me my Jesus back! Seht das Geld, den Mörderlohn, See the money, the murderer’s fee, Wirft euch der verlorne Sohn tossed at your feet by the Zu den Füßen nieder! lost son! 43. Evangelist 43. Evangelist Sie hielten aber einen Rat und kauften einen They held a council, however, and bought a potter’s T öpfersakker darum zum Begräbnis der Pilger. Daher field with them for the burial of pilgrims. Therefore ist derselbige Akker genennet der Blutakker bis auf this same field is called the Field of Blood to this very den heutigen Tag. Da ist erfüllet, das gesaget ist durch day. Thus was fulfilled what was spoken through den Propheten Jeremias, da er spricht: “Sie haben the Prophet Jeremiah, who said: “They have taken g enommen dreißig Silberlinge, damit bezahlet ward thirty silver pieces, the price of him who was bought de r Verkaufte, welchen sie kauften von den Kinder from the children of Israel, and have given them for Is rael, und haben sie gegeben um einen Töpfersakker, a potter’s field, as the Lord has commanded me.” als mir der Herr befohlen hat.” Jesus aber stund vor dem Jesus, however, stood before the Governor; and the Landpfleger; und der Landpfleger fragte ihn und sprach: Governor questioned him and said: Pilatus Pilate Mr. Lagasca Bist du der Jüden König? Are you the King of the Jews? Evangelist Evangelist Jesus aber sprach zu ihm: Jesus, however, said to him: Jesus Jesus Du sagests. You say it. Evangelist Evangelist Und da er verklagt war von den Hohenpriestern und And to the accusations from the high priests and the Ältesten, antwortete er nichts. Da sprach Pilatus zu ihm: elders he answered nothing. Then Pilate said to him: Pilatus Pilate Mr. Lagasca Hörest du nicht, wie hart sie dich verklagen? Do you not hear how harshly they accuse you? 16 Evangelist Evangelist Und er antwortete ihm nicht auf ein Wort, also, daß sich And he answered him not even one word thus, to auch der Landpfleger sehr verwunderte. which even the Governor was greatly amazed. 44. Choral 44. Chorale Befiehl du deine Wege, Commit your path, und was dein Herze kränkt, and whatever troubles your heart, Der allertreusten Pflege, to the most faithful caretaker, Des, der den Himmel lenkt, who directs the heavens, Der Wolken, Luft und Winden who to the clouds, air, and winds Gibt Wege, Lauf, und Bahn, gives path, course, and passage; Er will auch Wege finden he will find ways Da dein Fuß gehen kann. for your feet to follow as well. 45. Evangelist 45. Evangelist Auf das Fest aber hatte der Landpfleger Gewohnheit, At the festival, however, the Governor had a custom dem Volk einen Gefangenen loszugeben, welchen sie of releasing a prisoner to the people, whichever they wollten. Er hatte aber zu der Zeit einen Gefangenen, wanted. He had, however, at the time a most unusual einen sonderlichen von andern, der hieß Barrabas. Und prisoner named Barabbas. And as they were gathered da sie versammlet waren, sprach Pilatus zu ihnen: together, Pilate said to them: Pilatus Pilate Mr. Lagasca Welchen wollt ihr, daß ich euch losgebe? Barrabam oder Which one do you want me to release to you? Jesum, von dem gesaget wird, er sei Christus? Barabbas or Jesus, of whom it is said, he is the Christ? Evangelist Evangelist Denn er wußte wohl, daß sie ihn aus Neid überantwortet For he knew well that they had handed him over out hatten. Und da er auf dem Richtstuhl saß, schickete sein of envy. And while he sat upon the judgment seat, his Weib zu ihm und ließ ihm sagen: wife sent to him and her message said: Pilati Weib Pilate’s Wife Ms. Cluver Habe du nichts zu schaffen mit diesem Gerechten; ich Have nothing to do with this righteous man; I have habe heute viel erlitten im Traum von seinetwegen! suffered much in a dream today on his account! Evangelist Evangelist Aber die Hohenpriester und die Ältesten überredeten But the high priests and the elders convinced the das Volk, daß sie um Barrabam bitten sollten und Jesum people that they should ask for Barabbas and convict umbrächten. Da antwortete nun der Landpfleger und Jesus. So when the Governor answered and said to sprach zu ihnen: them: Pilatus Pilate Mr. Lagasca Welchen wollt ihr unter diesen Zweien, den ich euch soll Which one between the two do you want me to losgeben? release to you? Evangelist Evangelist Sie sprachen: They said: Chor I & II Chorus I & II Barrabam! Barabbas! Evangelist Evangelist Pilatus sprach zu ihnen: Pilate said to them: Pilatus Pilate Mr. Lagasca Was soll ich denn machen mit Jesu, von dem gesagt What shall I do then with Jesus, of whom it is said, wird, er sei Christus? he is the Christ? Evangelist Evangelist Sie sprachen alle: They all said: Chor I & II Chorus I & II Laß ihn kreuzigen! Let him be crucified! 17 46. Choral 46. Chorale Wie wunderbarlich ist doch diese Strafe! How strange is this punishment! Die gute Hirte leidet für die Schafe, The Good Shepherd suffers for the sheep. Die Schuld bezahlt der Herre, der Gerechte, The Lord, the Righteous One, atones for the crime Für seine Knechte. on his servant’s behalf. 47. Evangelist 47. Evangelist Der Landpfleger sagte: The Governor said: Pilatus Pilate Mr. Lagasca Was hat er denn Übels getan? What evil has he done then? 48. Rezitativ (Chor I) 48. Recitative (Chorus I) Ms. Greenleaf Er hat uns allen wohlgetan, He has done good things for all of us; den Blinden gab er das Gesicht, he gave sight to the blind, Die Lahmen macht’ er gehend, he made the lame to walk, Er sagt’ uns seines Vaters Wort, he told us his Father’s word, Er trieb die Teufel fort, he drove out the devil, Betrübte hat er aufgericht’, he has strengthened the troubled, Er nahm die Sünder auf und an. he took sinners in and embraced them. Sonst hat mein Jesus nichts getan. Other than that, my Jesus has done nothing! 49. Arie (Chor I) 49. Aria (Chorus I) Ms. Greenleaf Aus Liebe will mein Heiland sterben, Out of love my Savior wants to die. Von einer Sünde weiß er nichts, He knows nothing of a single sin; Daß das ewigen Verderben so that the eternal destruction und die Strafe des Gerichts and the punishment of judgment Nicht auf meiner Seele bliebe. would not remain upon my soul. 50. Evangelist 50. Evangelist Sie schrieen aber noch mehr und sprachen: They screamed even more and said: Chor I & II Chorus I & II Laß ihn kreuzigen! Let him be crucified! Evangelist Evangelist Da aber Pilatus sahe, daß er nichts schaffete, sondern When Pilate saw, however, that he achieved nothing, daß ein viel größer Getümmel ward, nahm er Wasser rather that a much greater riot occurred, he took wa- und wusch die Hände vor dem Volk und sprach: ter and washed his hands before the people and said: Pilatus Pilate Mr. Lagasca Ich bin unschuldig an dem Blut dieses Gerechten, I am innocent of the blood of this righteous man, sehet ihr zu! see to it yourselves! Evangelist Evangelist Da antwortete das ganze Volk und sprach: Then all the people answered and said: Chor I & II Chorus I & II Sein Blut komme über uns und unsre Kinder. Let his blood be on us and on our children. Evangelist Evangelist Da gab er ihnen Barrabam los; aber Jesum ließ er geißeln Then he released Barabbas to them; but he had Jesus und überantwortete ihn, daß er gekreuziget würde. scourged and handed him over to be crucified. 51. Rezitativ (Chor II) 51. Recitative (Chorus II) Ms. Kelsey Erbarm es, Gott! Forgive this, God! Hier steht der Heiland angebunden. Here stands the Savior bound. O Geißelung, o Schläg, o Wunden! O scourging, O blows, O wounds! Ihr Henker, haltet ein! You hangmen, stop! 18 Erweichet euch der Seelen Schmerz, Doesn’t the soul’s anguish, Der Anblick solches Jammers nicht? the sight of such horror soften you? Ach ja! ihr habt ein Herz, Alas indeed! You have such hearts Das muß der Martersäule gleich that are like the whipping posts themselves Und noch viel härter sein. and even much harder. Erbarmt euch, haltet ein! Have mercy, stop! 52. Arie (Chor II) 52. Aria (Chorus II) Ms. Kelsey Können Tränen meiner Wangen If the tears on my cheeks Nichts erlangen, can do nothing, O so nehmt mein Herz hinein! O then take my heart as well! Aber laßt es bei den Fluten, Yet let it be, in the flow, Wenn die Wunden milde bluten, as the wounds gently bleed, Auch die Opferschale sein. the offering-bowl as well. 53. Evangelist 53. Evangelist Da nahmen die Kriegsknechte des Landpflegers Jesum Then the soldiers of the Governor took Jesus with zu sich zu sich in das Richthaus und sammleten über them into the courthouse and gathered around him ihn die ganze Schar und zogen ihn aus und legeten the entire troop; and undressed him and put a purple ihm einen Purpurmantel an und flochten eine dornene mantle on him; and they wove a crown of thorns and Krone und satzten sie auf sein Haupt, und ein Rohr in set it upon his head, and a reed in his right hand, and seine rechte Hand, und beugeten die Knie vor ihm und they bowed before him and mocked him, saying: spotteten ihn und sprachen: Chor I & II Chorus I & II Gegrüßet seist du, Jüdenkönig! Hail to you, King of the Jews! Evangelist Evangelist Und speieten ihn an und nahmen das Rohr und schlu- And they spit on him and took the reed and struck his gen damit sein Haupt. head with it. 54. Choral 54. Chorale O Haupt, voll Blut und Wunden, O Head, full of blood and wounds, voll Schmerz und voller Hohn! full of suffering and shame! O Haupt, zu Spott gebunden O Head, bound in mockery mit einer Dornenkron! with a crown of thorns! O Haupt, sonst schön gezieret O Head, once beautifully adorned Mit höchster Ehr und Zier, with the highest honor and beauty, Jetzt aber hoch schimpfieret: yet now supremely defiled: Gegrüsset seist du mir! be greeted by me! Du edles Angesichte, You noble countenance, Dafür sonst schrickt und scheut before which rather should tremble and cower Das große Weltgewichte, the great powers of the world, Wie bist du so verspeit, how spat upon are you, Wie bist du so erbleichet! How ashen you have become! Wer hat dein Augenlicht, Who has treated the light of your eyes, Dem sonst kein Licht nicht gleichet, which is like no other light, so schändlich zugericht‘? so shamefully? 55. Evangelist 55. Evangelist Und da sie ihn verspottet hatten, zogen sie ihm den And when they had mocked him, they took off the Mantel aus und zogen ihm seine Kleider an und führeten mantle and put his clothes back on; and led him out ihn hin, daß sie ihn kreuzigten. Und indem sie hinausgin- to be crucified. And as they were going out, they gen, funden sie einen Menschen von Kyrene mit Namen found a man from Cyrene named Simon; they com- Simon; den zwungen sie, daß er ihm sein Kreuz trug. pelled him to carry his cross for him.

19 56. Rezitativ (Chor I) 56. Recitative (Chorus I) Mr. Evans Ja, freilich will in uns das Fleisch und Blut Yes, willingly are flesh and blood Zum Kreuz gezwungen sein; compelled to the Cross; Je mehr es unsrer Seele gut, The better it is for our souls, Je herber geht es ein. the bitterer it feels. 57. Arie (Chor I) 57. Aria (Chorus I) Mr. Evans Komm, süßes Kreuz, so will ich sagen, Come, sweet Cross, this I want to say: Mein Jesu, gib es immer her! My Jesus, give it always to me! Wird mein Leiden einst zu schwer, If my suffering becomes too heavy one day, So hilfst du mir es selber tragen. you yourself will help me bear it. 58. Evangelist 58. Evangelist Und da sie an die Stätte kamen mit Namen Golgatha, And when they had come to the place named das ist verdeutschet Schädelstätt, gaben sie ihm Essig zu Golgatha, which is translated the place of the Skull, trinken mit Gallen vermischet; und da ers schmeckete, they gave him vinegar to drink mixed with gall; and wollte ers nicht trinken. Da sie ihn aber gekreuziget when he tasted it, he would not drink it. When they hatten, teilten sie seine Kleider und wurfen das Los had crucified him, however, they divided up his darum, auf das erfüllet würde, das gesaget ist durch den clothing and tossed lots over them, so that what was Propheten: „Sie haben meine Kleider unter sich geteilet, spoken through the Prophets was fulfilled: “They und über mein Gewand haben sie das Los geworfen.“ have divided my clothing among them, and over my Und sie saßen allda und hüteten sein. Und oben zu robe they have cast lots.” And they sat around and seinem Häupten hefteten sie die Ursach seines Todes kept watch. And over his head they lifted up a written geschrieben, nähmlich: „Dies ist Jesus, der Jüdenkönig.“ sentence of death, namely: “This is Jesus, the King of Und da wurden zween Mörder mit ihm gekreuziget, the Jews.” And there were two murderers crucified einer zur Rechten und einer zur Linken. Die aber with him, one to his left and one to his right. But those vorübergingen, lästerten ihn und schüttelten ihre Köpfe who passed by cursed at him and shook their heads, und sprachen: saying: Chor I & II Chorus I & II Der du den Tempel Gottes zerbrichst und bauest ihn in You who destroy the temple of God and build it up dreien Tagen, hilf dir selber! Bist du Gottes Sohn, so steig again in three days, help yourself! If you are the Son of herab vom Kreuz! God, climb down from the Cross! Evangelist Evangelist Desgleichen auch die Hohenpriester spotteten sein samt In the same way the high priests also mocked him, den Schriftgelehrten und Ältesten und sprachen: together with the scribes and the elders, saying: Chor I & II Chorus I & II Andern hat er geholfen und kann ihm selber nicht He has helped others and he cannot help Himself. If helfen. Ist er der König Israel, so steige er nun vom Kreuz, he is the King of Israel, let him climb down now from so wollen wir ihm glauben. Er hat Gott vertrauet, der the Cross, and we will believe in him. He has trusted in erlöse ihn nun, lüstets ihn; denn er hat gesagt: „Ich bin God to rescue him now; he lied, because he said: “I am Gottes Sohn.“ the Son of God.” Evangelist Evangelist Desgleichen schmäheten ihn auch die Mörder, die mit In the same way he was reviled by the murderers who ihm gekreuziget waren. were crucified with Him. 59. Rezitativ (Chor I) 59. Recitative (Chorus I) Mr. Dodson Ach Golgatha, unselges Golgatha! Alas, Golgatha, unhappy Golgatha! Der Herr der Herrlichkeit The Lord of glory Muß schimpflich hier verderben, must shamefully perish here, Der Segen und das Heil der Welt the blessing and salvation of the world Wird als ein Fluch ans Kreuz gestellt. is placed on the Cross as a curse. Der Schöpfer Himmels und der Erden From the Creator of heaven and earth Soll Erd und Luft entzogen werden. earth and air shall be withdrawn. 20 Die Unschuld muß hier schuldig sterben, The innocent must die here guilty; Das gehet meiner Seele nah; this touches my soul deeply; Ach Golgatha, unselges Golgatha! Alas, Golgatha, unhappy Golgatha! 60. Arie (Chor I) und Chor II 60. Aria (Chorus I) and Chorus II Mr. Dodson Sehet, Jesus hat die Hand Look, Jesus has stretched out his hands Uns zu fassen ausgespannt, to embrace us, Kommt! — Wohin? — In Jesu Armen come! — where? — in Jesus’ arms Sucht Erlösung, nehmt Erbarmen, seek redemption, receive mercy, Suchet! — Wo? — In Jesu Armen. seek it! — where? — in Jesus’ arms. Lebet, sterbet, ruhet hier, Live, die, rest here, Ihr verlaßnen Küchlein ihr, you forsaken chicks, Bleibet! — Wo? — In Jesu Armen. stay! — where? — in Jesus’ arms. 61. Evangelist 61. Evangelist Und von der sechsten Stunde an war eine Finsternis über And from the sixth hour there was a darkness over the das ganze Land bis zu der neunten Stunde. Und um die entire land until the ninth hour. And at the ninth hour neunte Stunde schriee Jesus laut und sprach: Jesus cried out loudly and said: Jesus Jesus Eli, Eli, lama asabthani? Eli, Eli, lama sabachtani? Evangelist Evangelist Das ist: „Mein Gott, mein Gott, warum hast du mich That is: “My God, my God, why have you forsaken verlassen?“ Etliche aber, die da stunden, da sie das me?” Some of those, however, who were standing by, höreten, sprachen sie: when they heard this, said: Chor I Chorus I Der rufet dem Elias! He is calling Elijah! Evangelist Evangelist Und bald lief einer unter ihnen, nahm einen Schwamm And some of them quickly ran, took a sponge and und füllete ihn mit Essig, und steckete ihn auf ein Rohr filled it with vinegar, and put it on a reed for him to und tränkete ihn. Die andern aber sprachen: drink. But the others said: Chor II Chorus II Halt! Laß sehen, ob Elias komme und ihm helfe. Stop! Let‘s see whether Elijah comes and helps him. Evangelist Evangelist Aber Jesus schriee abermal laut und verschied. But Jesus cried out loudly once again and died. 62. Choral 62. Chorale Wenn ich einmal soll scheiden, When I must depart one day, So scheide nicht von mir, do not part from me then, Wenn ich den Tod soll leiden, when I must suffer death, So tritt du denn herfür! come to me then! Wenn mir am allerbängsten When the greatest anxiety Wird um das Herze sein, will constrict my heart, So reiß mich aus den Ängsten then wrest me out of the horror Kraft deiner Angst und Pein. by the power of your anguish and pain. 63. Evangelist 63. Evangelist Und siehe da, der Vorhang im Tempel zerriß in zwei And behold, the veil of the temple was torn in two Stück von obenan bis untenaus. Und die Erde erbebete, pieces from top to bottom. And the earth shook, and und die Felsen zerrissen, und die Gräber täten sich auf, the cliffs were rent, and the graves opened up, and und stunden auf viel Leiber der Heiligen, die da schliefen, many bodies of saints arose, who were sleeping, and und gingen aus den Gräbern nach seiner Auferstehung came out of their graves after his resurrection and und kamen in die heilige Stadt und erschienen vielen. came into the Holy City and appeared to many people. 21 Aber der Hauptmann und die bei ihm waren und The Captain, however, and those with him who were bewahreten Jesum, da sie sahen das Erdbeben und was guarding Jesus, when they saw the earthquake and da geschah, erschraken sie sehr und sprachen: what happened then, they were terrified and said: Chor I & II Chorus I & II Wahrlich, dieser ist Gottes Sohn gewesen. Truly, this was the Son of God. Evangelist Evangelist Und es waren viel Weiber da, die von ferne zusahen, And there were many women there, watching from die da waren nachgefolget aus Galiläa, und hatten a distance, who had followed him from Galilee and ihm gedienet, unter welchen war Maria Magdalena, had served him, among whom were Mary Magdalene, und Maria die Mutter Jacobi und Joses, und die Mutter and Mary the mother of James and Joseph, and the der Kinder Zebedäi. Am Abend aber kam ein reicher mother of the sons of Zebedee. In the evening how- Mann von Arimathia, der heiß Joseph, welcher auch ein ever, came a rich man from Arimathea, named Joseph, Jünger Jesu war, der ging zu Pilato und bat ihn um den who was also a disciple of Jesus; he went to Pilate and Leichnam Jesu. Da befahl Pilatus, man sollte ihm ihn asked him for Jesus’ body. Then Pilate ordered that it geben. be given to him. 64. Rezitativ (Chor I) 64. Recitative (Chorus I) Mr. Thompson Am Abend, da es kühle war, In the evening, when it was cool, Ward Adams Fallen offenbar; Adam’s fall was made apparent; Am Abend drücket ihn der Heiland nieder. in the evening the Savior bowed himself down. Am Abend kam die Taube wieder, In the evening the dove came back, Und trug ein Ölblatt in dem Munde. bearing an olive leaf in its mouth. O schöne Zeit! O Abendstunde! O lovely time! O evening hour! Der Friedensschluß ist nun mit Gott gemacht, The pact of peace with God has now been made, Denn Jesus hat sein Kreuz vollbracht. since Jesus has completed His Cross. Sein Leichnam kömmt zur Ruh, His body comes to rest, Ach! liebe Seele, bitte du, Ah! dear soul, ask, Geh, lasse dir den toten Jesum schenken, go, have them give you the dead Jesus, O heilsames, o köstlichs Angedenken! O salutary, O precious remembrance! 65. Arie (Chor I) 65. Aria (Chorus I) Mr. Thompson Mache dich, mein Herze, rein, Make yourself pure, my heart, Ich will Jesum selbst begraben. I want to bury Jesus myself. Denn er soll nunmehr in mir For from now on he shall have in me, Für und für forever and ever, Seine süße Ruhe haben. his sweet rest. Welt, geh aus, laß Jesum ein! World, get out, let Jesus in! 66. Evangelist 66. Evangelist Und Joseph nahm den Leib und wickelte ihn in ein rein And Joseph took the body, and wrapped it in a pure Leinwand, und legte ihn in sein eigen neu Grab, welches shroud, and laid it in his own new tomb, which he had er hatte in einen Fels hauen, und wälzete einen großen carved out of a single rock, and rolled a large stone Stein vor die Tür des Grabes, und ging davon. Es war before the opening of the tomb and went away. But aber allda Maria Magdalena und die andere Maria, die Mary Magdalene and the other Mary were there, and satzten sich gegen das Grab. Des andern Tages, der da they sat opposite the tomb. On the next day, that folget nach dem Rüsttage, kamen die Hohenpriester followed after the Sabbath day, the high priests and und Pharisäer sämtlich zu Pilato und sprachen: Pharisees came all together to Pilate and said: Chor I & II Chorus I & II Herr, wir haben gedacht, daß dieser Verführer sprach, Lord, we have remembered that this deceiver said, da er noch lebete: „Ich will nach dreien Tagen wieder when he was still alive: “I will rise again after three auferstehen.“ Darum befiehl, daß man das Grab ver- days.“ Therefore order that the tomb be guarded until wahre bis an den dritten Tag, auf daß nicht seine Jünger the third day, so that his disciples do not come and kommen und stehlen ihn, und sagen zu dem Volk: „Er steal him, and say to the people, “He has arisen from ist auferstanden von den Toten,“ und werde der letzte the dead,“ and the newest fraud would be worse than Betrug ärger denn der erste! the first one! 22 Evangelist Evangelist Pilatus sprach zu ihnen: Pilate said to them: Pilatus Pilate Mr. Lagasca Da habt ihr die Hüter; gehet hin und verwahrets, You have guards there; go and guard it as you see fit! wie ihrs wisset! Evangelist Evangelist Sie gingen hin und verwahreten das Grab mit Hütern They went forth and protected the tomb with guards und versiegelten den Stein. and put a seal on the stone. 67. Rezitativ (Chor I) und Chor II 67. Recitative (Chorus I) and Chorus II Ms. Heimes, Mr. Dodson, Mr. McStoots, Mr. Thompson Nun ist der Herr zur Ruh gebracht. Now the Lord is brought to rest. Mein Jesu, gute Nacht! My Jesus, good night! Die Müh ist aus, die unsre Sünden ihm gemacht. The weariness is over, that our sins have given him. Mein Jesu, gute Nacht! My Jesus, good night! O selige Gebeine, O blessed bones, Seht, wie ich euch mit Buß und Reu beweine, see, how I weep over you with repentance and regret, Daß euch mein Fall in solche Not gebracht! since my fall has brought such anguish upon You! Mein Jesu, gute Nacht! My Jesus, good night! Habt lebenslang vor euer Leiden tausend Dank, Lifelong, thousand thanks to you for your suffering, Daß ihr mein Seelenheil so wert geacht’. since you held my soul’s salvation so dear. Mein Jesu, gute Nacht! My Jesus, good night! 68. Chor I & II 68. Chorus I & II Wir setzen uns mit Tränen nieder We sit down with tears Und rufen dir im Grabe zu: and call to you in the grave: Ruhe sanfte, sanfte ruh! rest gently, gently rest! Ruht, ihr ausgesognen Glieder! Rest, you exhausted limbs! Ruhet sanfte, ruhet wohl. Rest gently, rest well. Euer Grab und Leichenstein Your grave and headstone Soll den ängstlichen Gewissen shall, for the anxious conscience, Ein bequemes Ruhekissen be a comfortable pillow Und der Seelen Ruhstatt sein. and the resting place for the soul. Ruhet sanfte, sanfte ruht! Rest gently, gently rest! Höchst vergnügt Highly contented, Schlummern da die Augen ein. there the eyes fall asleep.

— Translation © Pamela Dellal, courtesy Emmanuel Music, Inc.

Leipzig, Germany (18th century). Engraving by F. B. Werner. 23 ABOUT THE PERFORMERS

Period violinist show on New York Public Radio, and nearly Toronto and Tokyo, Purcell in Singapore, Dongmyung Ahn is a 200 performances per year, Mr. Balliett has Rameau in Montreal, Berio in Seattle, performer, educator, and been identified as an emerging voice for his Stravinsky with the Kansas City Symphony, scholar, whose interests generation. and Stockhausen in The Hague, to name a few. Currently she is playing a lot of Bach, span from the twelfth to Michael Beattie has Handel, and Telemann in New York and eighteenth centuries. She received international nearby states. She has enjoyed working with is co-founder of Guido’s Ear and regularly attention as a conductor, many ensembles; highlights include regular performs with the Sebastians, TENET, Early keyboardist, and vocal work with Trinity Wall Street Baroque Music New York, Green Mountain Vespers, coach specializing in the Orchestra, Dryden Ensemble, Holy Trinity Pegasus, Clarion, and Bach Vespers. She has music of the Baroque Bach Vespers (30 years), Tafelmusik/Opera also played the rebec in the The Play of period. For Boston’s Emmanuel Music, he Atelier, and Arion. She is heard on SONY Daniel at the Cloisters. A dedicated educator, conducted Handel’s Ariodante, the St. John Classical, Naxos, Newport Classics, CBC Dongmyung is the director of the Queens Passion, the complete Bach Motets, and Records, Chandos, and Chaconne labels, College Baroque Ensemble and has taught more than one hundred Bach cantatas. among others. music history at Vassar College and Queens Other conducting engagements have College. She is a Ph.D. candidate in musicol- included Purcell’s Dido and Aeneas A native of Taiwan, flutist ogy at the Graduate Center, CUNY, and has (Glimmerglass Opera), Handel’s Rinaldo and Mili Chang played published an article on medieval liturgy in Rodelinda (Pittsburgh Opera), and Teseo modern flute for 20 years the Rodopi series Faux Titre. (Chicago Opera Theater). He returned to before discovering the Doug Balliett is a Pittsburgh in 2017 to conduct Handel’s versatility of historical composer, instrumentalist Riccardo Primo. A highly regarded keyboard flutes and recorders. She and poet based in New player, Mr. Beattie has performed with the enjoys traditional baroque and Renaissance York City. The New York Boston Symphony Orchestra, the Saint Paul music as well as experimental contemporary Times has described his Chamber Orchestra, Boston Baroque, the styles. Performing professionally in national poetry as “brilliant and Handel and Haydn Society, Les Violons du and international venues, she has appeared witty” (Clytie and the Sun), his bass playing as Roy, and the Mark Morris Dance Group. He in the Charleston Bach Festival, Oregon Bach “elegant” (Shawn Jaeger’s In Old Virginny), toured internationally with director Peter Festival, Bach Vespers of Holy Trinity and his compositions as “vivid, emotive, with Sellars: as Assistant Conductor for the Lutheran Church, Banff Centre for Arts and contemporary twists” (Actaeon). Popular Mozart/Da Ponte cycle and as organist for Creativity, Westminster Kantorei, and St. new music blog I Care if You Listen has staged Bach cantatas with Lorraine Hunt Peter’s Church. She has also been invited to critiqued Mr. Balliett’s work as “weird in the Lieberson. radio station Philharmonic Radio Taipei Co., Ltd. And WQXR. Currently based in the NYC best possible way” (A Gnostic Passion) and A native of Oregon, Julie area, Mili received her MM in Historical “light-hearted yet dark…it had the audience Brye is at home on Performance from The Juilliard School in laughing one minute and in tears the next…” modern and baroque 2018 and DMA in flute performance from the (Pyramus and Thisbe). He is a tireless per- oboes. After a couple of University of Wisconsin-Madison in 2015. former of new music, and is professor of seasons as English horn historic basses at the Juilliard School. With a soloist in Santiago, Chile, constant stream of commissions, a weekly her oboes have taken her to play Mozart in

ABOUT THE ENSEMBLES Preëminent New York City-based early music ensemble TENET Vocal Artists celebrates its 10th anniversary season in 2018–19. Under Artistic Director Jolle Greenleaf, TENET Vocal Artists has won acclaim for its innovative programming, virtuosic singing and command of repertoire that spans the Middle Ages to the present day. TENET Vocal Artists’ distinguished soloists have been praised for their pristine one-voice-to-a-part singing “to an uncanny degree of precision” (The Boston Globe). TENET’s highly praised Green Mountain Project gives annual performances of Claudio Monteverdi’s Vespers of 1610 and other Vespers that have been newly reconstructed vespers. A driving force in cultivating the New York City early music community, TENET Vocal Artists collaborates regularly with other acclaimed ensembles and organizations including Dark Horse Consort, Five Boroughs Becky Oehlers Photography Music Festival, Quicksilver Baroque, and the Sebastians. Jolle Greenleaf, Artistic Director 24 Bassist Nathaniel Chase member of House of Time, a chamber Dutch violinist Karen performs a wide range of ensemble with a thriving series in Dekker grew up sur- music, from orchestral Manhattan dedicated to performing music rounded by music. repertoire with the on period instruments. Currently in their Dedicated to all perfor- Allentown Symphony, to sixth season as ensemble in residence at mance practices that music new music with Ensemble Holy Trinity Lutheran Church in Manhattan, might call for, Karen LPR and Ensemble Échappé, and period they have been presented by The Czech performs regularly as a soloist, orchestral performance with the Sebastians and the Center NY, Berkeley Early Music Festival, player and chamber musician with various Trinity Baroque Orchestra. He recently Early Music Festival: NYC, San Diego and San ensembles throughout the United States performed on Broadway in the critically Francisco Early Music Societies, The and Europe. Karen’s recent engagements on acclaimed production of Farinelli and the University Club in NYC and Yale Collection of baroque and modern violins include solo King with countertenor Iestyn Davies. He is a Musical Instruments. An active member of performances with Orchestra of Saint Luke’s, graduate of the New England Conservatory her Czech heritage, Ms. Daubek helped start American Classical Orchestra and Juilliard’s and the Yale School of Music, where he was the Festival Jarmily Novotne, commemorat- baroque ensemble J415, performances a winner of the 2010 Woolsey Hall Concerto ing the life of star soprano and grandmother, throughout Europe with William Christie’s Competition. Jarmila Novotna. Les Arts Florissants and The Knights Chamber Orchestra, and recordings with the Vocalist and Roomful of Immanuel Davis is one Smithsonian Chamber Players and Handel & Teeth member Martha of the most versatile Haydn Society. Karen holds degrees from Cluver has been praised flutists of his generation. Sweelinck Conservatory in Amsterdam, by The New York Times for Equally at home on the Manhattan School of music and The Juilliard her “fluid, dark-hued”, and modern and baroque School and lives in New York. “soulful” soprano voice. As flutes, Immanuel has a soloist, she has performed and recorded performed as a soloist and chamber Praised as an “excellent” with ensembles such as Trinity Baroque musician throughout the United States and and “evocative” violinist Orchestra, Janácek Philharmonic, Remix abroad. In 2005 he received a Fulbright (The New York Times), Ensemble, Prague Modern, Rebel Baroque, Fellowship to study baroque flute with Nicholas DiEugenio ICE, ACME, Fifth House Ensemble, and Wilbert Hazelzet at the Koninklijk leads a versatile perform- Deutsches Symphonie-Orchester Berlin. Conservatorium in The Hague. Since then he ing life as a chamber Chamber music collaborations include has performed as soloist and chamber player musician, leader, and soloist in music groups such as Alarm Will Sound, Ensemble with such early music ensembles as Early ranging from early baroque to current Signal, So Percussion, NEXUS, Axiom, Trio Music New York, ARTEK, Lyra Baroque, REBEL commissions. Together with pianist Mimi Mediaeval, Novus New York, Dogs of Desire, and the Bach Society of Minnesota, and Solomon, Nicholas has recorded the albums Wordless Music Orchestra, and TENET. Cluver Mercury Orchestra of Houston. He has also Into the Silence (2017) and Unraveling currently lives in Brooklyn with her husband, had the pleasure of performing on NPR’s Beethoven (2018) on the New Focus label. His Caleb Burhans, and daughter, Fiona. “Performance Today” and in recitals with award-winning recording of the complete Tatiana Daubek, a baroque flute luminaries Barthold Kuijken Schumann violin sonatas with fortepiano is “sleekly elegant” player and Wilbert Hazelzet. Soon to be released available on the Musica Omnia label. (Gazettes Long Beach) is on the Naxos label is a program of French Regarded as an inspiring teacher, Nicholas is concertmaster for New music for two traversi and continuo currently Assistant Professor of Violin at UNC York’s oldest Bach cantata Immanuel recorded with legendary baroque Chapel Hill. Nicholas holds degrees from the series, Bach Vespers Holy flutist, Barthold Kuijken. Cleveland Institute of Music (B.M, M.M) and Trinity. She performs with the American the Yale School of Music (D.M.A., A.D.). As a Classical Orchestra, Handel and Haydn core member of the Sebastians, Nicholas Society, Musica Angelica, and Trinity performs on a violin made by Karl Dennis in Baroque Orchestra. Ms. Daubek is founding 2011, and also on a 1734 violin made by Dom Nicolo Amati.

The Sebastians (www.sebastians.org) are a dynamic and vital musical ensemble specializing in music of the baroque and classical eras. Lauded as “everywhere sharp-edged and engaging” (The New York Times), the Sebastians have also been praised for their “well-thought-out articulation and phrasing” (Early Music Review) and “elegant string playing… immaculate in tuning and balance” (Early Music Today). I Care If You Listen praised the ensemble’s “beautifully-nuanced playing and thoughtful expressivity” in their début album, calling the recording a “technical and timbral tour-de-force.” The Sebastians 2018–19 season features Venetian and Roman trio sonatas and concerti grossi; Bach’s six sonatas for violin and obbligato harpsichord and sonatas for violin and continuo; and, with TENET Vocal Artists, Bach’s St. Matthew Passion and Handel’s Messiah, in intimate unconducted performances. The Sebastians are currently in Daniel S. Lee, Founding Director residence at the Yale Collection of Musical Instruments. Jeffrey Grossman, Artistic Director 25 With a voice hailed as supporter of professional choral practice, with Mercury in Houston, a member of the “vivid” (Wall Street Journal) Charles performs regularly with Seraphic viola section in the ProMusica Chamber and “unusually sparkling” Fire, Conspirare, and the Carmel Bach Orchestra in Columbus, Ohio, and a frequent (Kansas City Star), Doug Festival Chorale. guest musician with Philharmonia Baroque Orchestra and Charleston Symphony Dodson is making his Chloe Fedor, violin, has Orchestra. mark on opera and concert been lauded for her “lovely, stages throughout the United States in plush, seductive tone” and Hailed as a “golden repertoire ranging from the Baroque to the described as “clearly gifted” soprano” and “a major contemporary. Notable recent engagements by The New York Times. Last force in the New York early include the role of The United Way in the season, she joined the cast music-scene” (The New York American premiere of Tod Machover’s Death of Shakespeare’s Globe on Broadway as the Times), soprano Jolle and the Powers with American Repertory onstage baroque violinist in Farinelli and the Greenleaf is one of Theater, Nireno in Handel’s Giulio Cesare with King, starring Sir Mark Rylance. Chloe is today’s foremost figures in the field of early Boston Baroque, Cupid in Blow’s Venus and sought after as a concertmaster, soloist and music. Balancing a career as a leading soloist Adonis with the Oregon Bach Festival, chamber musician, and regularly performs and an innovative impresario, she is in great Speranza in Monteverdi’s L’Orfeo with Pacific with American Classical Orchestra, Apollo’s demand both as a guest artist and as the MusicWorks, and Ottone in Monteverdi’s Fire, New York Baroque Incorporated, artistic director of TENET Vocal Artists, a L’incoronazione di Poppea at the Aldeburgh Quodlibet, the Sebastians, and Trinity Wall premier New York-based ensemble special- Music Festival as a member of the presti- Street Baroque Orchestra, among others. izing in early music. She is a celebrated gious Britten-Pears Young Artist Programme. She was one of ten Juilliard 2015 graduates interpreter of the music of Bach Buxtehude, Canadian baritone Tyler to receive the Juilliard Career Advancement Handel, Purcell, and most notably, Duncan recently per- Fellowship. Monteverdi. She has performed as a soloist formed at the Metropolitan Caroline Giassi, a native in venues throughout the U.S., Scandinavia, Opera as Prince Yamadori New Yorker, began her Europe, and Central America for important in Puccini’s Madam musical studies on a presenters including Vancouver Early Music Butterfly. At the Spoleto Cracker Jack box violin at Festival, Denmark’s Vendsyssel Festival, Festival he debuted as Mr. Friendly in the the age of three. She soon Costa Rica International Music Festival, 18th-century ballad opera Flora, returning switched to the oboe and Puerto Rico’s Festival Casals, Utrecht Festival, the next season as the Speaker in Mozart’s later found her musical home in the world of at Panama’s National Theater, and San The Magic Flute. Other appearances have performance practice and historical oboes. Cristobal, the Cathedral in Havana, Cuba. included the role of the Journalist in Berg’s She has performed with some of the top Keyboardist and conductor Lulu and Fiorello in Rossini’s Barber of Seville, early music ensembles such as the Jeffrey Grossman both at the Metropolitan Opera, Raymondo Sebastians, Handel & Haydn Society, Opera specializes in vital, engag- in Handel’s Almira with the Boston Early Lafayette, Boston Early Music Festival, ing performances of music Music Festival, Dandini in Rossini’s La Washington Bach Consort, New York of the past, through cenerentola with Pacific Opera Victoria; and Baroque Incorporated, Pegasus Early Music, processes that are Demetrius in Britten’s A Midsummer Night’s and is an American Fellow of the English intensely collaborative and historically Dream at the Princeton Festival. Issued on Concert. In addition to performing, Caroline informed. As the artistic director of the the CPO label is his Boston Early Music is a dedicated educator and works with acclaimed baroque ensemble the Sebastians, Festival recording of the title role in John students ranging from second graders in this season Jeffrey directs concerts including Blow’s Venus and Adonis. New York City public schools to undergradu- Bach’s St. Matthew Passion and Handel’s “An elegant, mellifluous ate and graduate students at the University Messiah from the organ and harpsichord, and expressive baritone” of Michigan where she is a continuing guest both in collaboration with TENET Vocal (The New York Times), artist. Artists. In recent seasons, Jeffrey has Charles Wesley Evans Stephen Goist is a performed with Apollo’s Fire, Handel and has been lauded by The multifaceted performer in Haydn Society, the Saint Paul Chamber Miami Herald as “the peak both historical and Orchestra, Quodlibet, the Boston Early Music of the night’s solo work” and “a warm, modern traditions. A Festival, and numerous other ensembles strong baritone,” (The Washington Post). graduate of the Juilliard across the country. Jeffrey can be heard on Charles began singing professionally as a School and the University the Avie, Gothic, Naxos, Albany, Soundspells, chorister at The American Boychoir School in of Cincinnati College Conservatory of Music, Métier, and MSR Classics record labels. A Princeton, New Jersey where he toured Stephen studied historical viola and violin native of Detroit, Michigan, he holds degrees nationally and internationally, performing with Cynthia Roberts and Elizabeth from Harvard College, the Juilliard School, with notable conductors and orchestras Blumenstock, viola da gamba with Sarah and Carnegie Mellon University. He is a around the globe. He enjoys a varied career Cunningham and Annalisa Pappano, and faculty member at Yale University. performing works from the Baroque to viola with Catharine Carroll Lees and Masao Praised for her “sparkle and gospel and musical theater. Recent concert Kawasaki. Stephen is an active performer in humor, radiance and work include performances with the New York’s early music community, appear- magnetism” and hailed for Cleveland Orchestra, Austin Symphony, Fort ing with groups such as Trinity Baroque “a voice equally velvety up Worth Symphony, Sinfonia de Camera, Bach Orchestra, New York Baroque Incorporated, and down the registers”, Akademie Charlotte and Sonare Baroque the Sebastians, and the Four Nations soprano Laura Heimes is Ensemble, Düsseldorf, Germany. A strong Ensemble. Additionally, he is principal violist widely regarded as an artist of great 26 versatility, with repertoire ranging from the known for her exciting and unique perfor- Award-winning violinist Renaissance to the 21st century. She has mances of avant­-garde 20th and 21st- Daniel S. Lee enjoys a collaborated with many of the leading century works, she is a founding member of varied career as a soloist, figures in early music, including Andrew the groundbreaking Grammy Award­- leader, collaborator, and Lawrence King, Julianne Baird, Tempeste di winning alternative­-classical vocal band educator. Praised for his Mare, The King’s Noyse, Paul O’Dette, Roomful of Teeth. In addition to performing, “ravishing vehemence” and Chatham Baroque, Apollo’s Fire, The New Ms. Warnken has taught privately and guest “soulful performance” (The New York Times), York Collegium, The Publick Musick, lectured at Yale, Princeton, Williams College, he has appeared as a soloist and leader with Brandywine Baroque, Trinity Consort, and Wellesley, Vassar, and Dickinson College, Early Music New York, Freiburg Baroque Piffaro – The Renaissance Band, a group with among others. Orchestra, Quodlibet Ensemble, and Yale whom she has toured the United States. A Acclaimed to have “a Schola Cantorum, among others. He is the native of Rochester NY, she holds her beautiful sound” (The New founding director of the critically-acclaimed Bachelors degree from SUNY Geneseo and York Times), Philippines period ensemble the Sebastians. As a Master of Music degrees in Choral born bass-baritone Enrico piccolo violin specialist, he has performed as Conducting and Voice Performance from Lagasca maintains a busy a soloist in Bach’s Brandenburg Concerto No. Temple University. Ms. Heimes has recorded season with repertoire 1 and Cantata 140, and has given the for Dorian, Pro Gloria Musicae, Plectra Music, from early to contemporary music both as modern-day premiere of his own transcrip- Sonabilis, and Albany and Avian records. soloist and chorister. He is a season regular tion of Johann Pfeiffer’s concerto. He has Praised by The Strad as singer in the Choir of St. Ignatius Loyola, studied at the Juilliard School (B.M.), Yale “stylish and accomplished,” Bach Choir of Holy Trinity Lutheran Church, School of Music (M.M. and A.D.), and internationally respected St. Thomas Choir of Men and Boys, Musica University of Connecticut (D.M.A.), and has cellist and viola da gamba Sacra New York, Cathedral Choir of St. John given lectures and masterclasses at player Shirley Hunt the Divine, Choir of Trinity Wall Street, and Connecticut College, Manhattan School of embraces an eclectic The Metropolitan Opera Extra Chorus in New Music, Purchase College (SUNY), University musical life as a soloist, chamber musician, York. Across America, he sings with the Santa of Kansas, and University of North Carolina and continuo player. Ms. Hunt has per- Fe Desert Chorale, Conspirare, Ensemble VIII, at Chapel Hill. He was recently appointed as formed and recorded with the nation’s Skylark Vocal Ensemble, Bach Collegium San a faculty member at Yale School of Music. leading period instrument ensembles Diego, and Seraphic Fire. Appearances in Violinist Francis Liu including Handel and Haydn Society, Boston Orchestras and Festivals include the New specializes in period Baroque, Philharmonia Baroque Orchestra, York Philharmonic Orchestra, Orchestra of St. performances spanning American Bach Soloists, Trinity Baroque Luke’s, American Classical Orchestra, Pacific from the Baroque through Orchestra, Musica Angelica, Portland Symphony, Israel Philharmonic Orchestra, to the Romantic. He is based Baroque Orchestra, and Bach Collegium San name a few, The Salzburg Festival, Oregon in New York City, where he Diego. Ms. Hunt performs regularly at the Bach Festival, Virginia Arts Festival, Mostly performs with Baroque ensembles such as Metropolitan Museum of Art with Mozart Festival, Twelfth Night Festival, Bard the Sebastians, New York Baroque Sonnambula, and appears in recital annually Summerscape Festival. Incorporated, Holy Trinity Lutheran, and at the Museum of Jurassic Technology, Flutist Andrea LeBlanc Trinity Wall Street Baroque Orchestra. In where she is an artist in residence. Recent has been praised for her performances of later Classical and Romantic season highlights include performances at “sensitive and beautiful repertoire, Francis has appeared with the the Isabella Stewart Gardner Museum, the playing, with crystalline Handel & Haydn Society, Smithsonian Library of Congress, National Sawdust, and tone and execution” (Early Chamber Players, Teatro Nuovo, Grand La Jolla Music Society. Originally from Music America, Fall 2015). Harmonie, and the 19th Century Romantic Portland, Oregon, Ms. Hunt was born into a Ms. LeBlanc is devoted to furthering the Salon in Huddersfield, England. An avid musical family and is the younger sister of artistry and expression of the flute by storyteller, Francis is one the hosts of the the late mezzo-soprano Lorraine Hunt performing on instruments original to or upcoming “Anacreontic Society” music Lieberson. reproductions from the baroque, classical, history podcast. In the summer he can be Hailed by The New York and romantic eras. Her regular engagements found teaching at the Point Counterpoint Times as an “elegant,” include the Handel and Haydn Society, festival on Lake Dunmore, Vermont, and the “rich­toned alto” with Boston Baroque, Mercury Houston, and Woodlands Chamberfest in Houston, Texas. “riveting presence,” Arcadia Players. Ms. LeBlanc has also Praised as “the real thing, a Grammy Award­ winning appeared with the Folger Consort in true virtuoso” (Seen and mezzo-­soprano Virginia Washington, D.C. and in 2009 performed Heard International), Warnken Kelsey is known for her heartfelt Bach’s St. Matthew Passion on Cambridge Augusta McKay Lodge interpretations of the works of Bach, Handel Concentus’ tour of Japan, under the is an international and their contemporaries. In recent seasons direction of Joshua Rifkin. She performs prize-winning violinist. As Virginia has been seen on the main stages of frequently with the Aston Magna Music a flourishing soloist, McKay Lodge has Lincoln Center, Carnegie Hall, and Disney Festival, as well as the Portland Bach Festival, performed Mendelssohn Concerto in Alice Hall, and has been featured as the alto Blue Hill Bach, and the Big Moose Bach Tully (Juilliard415), Bach Concerto with soloist in Handel’s Samson, Bach’s B Minor Festival. She performs chamber music of the Indianapolis Baroque Orchestra and most Mass, Handel’s Messiah, Mozart’s C Minor late-classical and early-romantic periods recently gave her Carnegie Hall solo debut. Mass, and most recently in Bach’s Matthäus with fortepianist David Hyun-Su Kim. She claimed grand prizes in Concert Artists Passion at both the Spoleto Festival and with International, Juilliard’s Historical Helmut Rilling at the Casals Festival. Also Performance Concerto Competition, 27 Indianapolis Baroque Competition and most Vespers. Before moving to New York, Donald Lisa Rautenberg recently, her ensemble Voyage Sonique took studied choral conducting at the University performs and records 2nd grand prize in International Lyceum of Texas at Austin, served as Director of widely as a soloist and Club de Suisse Concours. McKay Lodge’s Music at First English Lutheran, and was chamber musician. She debut solo album (Naxos)—Beyond Bach and co-founder of Ensemble VIII. Donald held gave her New York City Vivaldi—was named one of the top 20 the post of Director of Music and Organist at solo debut with Concert albums of 2018 by WQXR and is under Trinity Church (Lutheran) in Worcester, Royale at the Mostly Mozart Festival in Alice consideration for the 61st Grammy Awards Massachusetts for 6 years where he Tully Hall, and performed her New York City Nominations. She is concertmaster of The conducted the Choirs of Trinity Church and recital debut in Merkin Hall playing virtuoso American Classical Orchestra, and performs was founder and Artistic Director of Vox masters for the baroque violin. Lisa can be with Les Arts Florissants, Les Talens Lyriques, Triniti. He has served as assistant chorus heard on over 100 recordings on labels such Le Poème Harmonique, and Opéra Fuoco. master for Helmuth Rilling, preparing as Champignon International, SONY Classical, Mozart’s Mass in C minor in multiple cities Jonathan May (counter- Virgin Classics, Newport Classics, MCA, throughout Venezuela and Bach’s B minor tenor), is sought after as a Decca, Nonesuch, Telarc, and Deutsche Mass and Passions in Germany and Italy. performer on concert and Grammophone. She has performed Donald also holds a degree in organ from opera stages alike. He concertos in many major American and Indiana University. performs regularly with European concert halls including Carnegie Early Music New York, Scot Moore regularly Hall, Alice Tully Hall, Kennedy Center, Choral Chameleon, and the New York splits his time between Orchestra Hall Chicago, Boston Symphony Continuo Collective, with which he most performance as a violinist Hall, Hercules Hall, Concertgebouw, and BBC recently sang the title role in Luigi Rossi’s and violist, working in a London. Lisa is Associate Concertmaster of Orfeo. Other season highlights include an variety of musical genres. the Hartford Symphony and Leader of appearance as alto soloist in Handel’s Dixit Active in early and new Fanfare Consort. She has often performed Dominus with Canticum Scholare, singing at music communities, he also works regularly with Arcadia Players. a chamber choral conducting masterclass in folk, rock, jazz, and pop with such artists Praised by The New York with Simon Carrington at the Norfolk Music as Natalie Merchant, Amanda Palmer, Times for the “limpid Summer Festival, and a performance of William Parker, among others. Scot has sweetness” of his baroque Tallis’s Spem in alium with The Tallis Scholars appeared worldwide in venues such as the flute playing, David Ross sponsored by Carnegie Hall. He holds a Mariinsky Theater, the Grand Hall of the is the principal flutist with degree in music from Dartmouth College. Moscow Conservatory, the Berlin Mercury in Houston and Konzerthaus, the NCPA Beijing, Carnegie Reviewers describe Jason performs with many ensembles including Hall, and the Library of Congress. He has McStoots as having an the Sebastians, English Concert, Tafelmusik worked with composers such as Joan Tower, “alluring tenor voice” Baroque Orchestra, Washington Bach Pauline Oliveros, Don Byron, Tania Leon, (ArtsFuse) and as “the Consort, Trinity Wall Street Baroque Michael Harrison, and George Tsontakis. consummate artist, Orchestra, New York Baroque Incorporated, From 2015-2018 he held the position of wielding not just a sweet Early Music New York, REBEL, Bach Society of co-principle viola of The Orchestra Now. tone but also incredible technique and Minnesota, and Lyra Baroque Orchestra. Scot earned his BA, BM, MA, and impeccable pronunciation” (Cleveland Plain David earned historical performance Performance Certificate from Bard College. Dealer). In 2015 he won a Grammy with the degrees from both the Koninlijk Boston Early Music Festival (BEMF) for the Kristin Olson, oboe, Conservatorium in Holland and the Juilliard music of Charpentier. Solo appearances knew from the moment School in NYC. Prior to his specialization in include Les plaisirs de Versailles (Charpentier), she stepped on stage to early music he studied modern flute at the Orfeo, Il ritorno d’Ulisse, 1610 Vespers perform the role of “young Cleveland Institute of Music. Since 2009 his (Monteverdi), Abduction from the Seraglio Mozart” in a 4th grade play training and career have focused exclusively (Mozart), Christmas Oratorio, St. Mark Passion that she would grow up to on historical performance ranging from (Bach), Dido and Aeneas (Purcell) and Messiah be a musician. She believes that her 10 year one-keyed baroque flutes to many-keyed (Handel) with groups such as Boston Lyric old self would be proud of her accomplish- flutes and piccolos from the 19th century. Opera, Emmanuel Music, Pacific MusicWorks, ments, especially performing early music David teaches privately from his home in San Juan Symphony, Bach Ensemble, Seattle (including her beloved Mozart) on period NYC. Early Music Guild, Tragicomedia, instruments all over the country. In addition Born in La Plata, Argentina, Tanglewood Music Center, and Blue Heron. to performing, Kristin organizes a concert Gonzalo X. Ruiz is one Recording credits include Lully’s Pysché, series for patients, staff, and doctors at of the world’s most Handel’s Acis and Galatea, Blow’s Venus and Mount Sinai Hospital in New York City, critically acclaimed Adonis and Charpentier’s Acteon with BEMF where she herself was a patient some years baroque oboists. A (CPO), Fischer Vespers (Toccata Classics), and ago. Recognized as a 2016 “Mover and member of Portland Awakenings with Coro Allegro (Navona). Shaker” by Musical America for her work at Baroque Orchestra for over twenty years, he Donald R. Meineke the hospital, Kristin is passionate about the performs as principal oboist and soloist with serves as Associate power of music to reach and heal those who Philharmonia Baroque, Ensemble Sonnerie, Director of Music and are suffering. www.mountsinaiconcerts.org Boston Early Music Festival, The English Organist at The Evangelical Concert, Wiener Akademie, Orchestra of the Lutheran Church of the Age of Enlightenment, and Carmel Bach Holy Trinity, home of Bach Festival. He has collaborated with conduc- tors McGegan, Savall, Pinnock, Rattle, Egarr, 28 Manze, Hogwood, and Hassellböck, among Music in cello, and graduated from the sought-after young baritones singing today. others. Ruiz’s playing is featured on dozens inaugural class of Juilliard’s historical His appearances on the operatic stage of recordings including his 2010 Grammy- performance program. include the title role in Monteverdi’s L’Orfeo nominated recording of reconstructions of (Contemporary Opera Denmark in Tenor Gene Stenger’s the four orchestral suites of J.S. Bach, with Copenhagen), Uberto in La Serva Padrona solo concert engagements Monica Huggett and Ensemble Sonnerie. (Apollo’s Fire), the Traveller in Britten’s include Evangelist in Ruiz was appointed to the faculty of The Curlew River (Britten-Pears School and Bach’s St. Matthew Passion Juilliard School in 2009. He previously taught Aldeburgh Festival, UK), Schaunard in La with the Northeast at Oberlin Conservatory’s Baroque Bohème (Granite State Opera), and the Count Pennsylvania Bach Festival; Performance Institute and at the Longy in Mozart’s Le Nozze di Figaro Evangelist in St. John Passion with Bach School’s International Baroque Institute. Ruiz (Commonwealth Opera). Mr. Thompson’s Collegium at St. Peter’s (NYC); Evangelist, is an acknowledged expert in reed design, appearances in Chicago Opera Theatre’s and tenor arias in Bach’s Christmas Oratorio and examples of his work are on permanent productions of Britten’s Death in Venice and (complete work) with Colorado Bach display at the Metropolitan Museum of Art. Rossini’s Il Viaggio a Reims were also highly Ensemble; tenor arias in St. John Passion with In his free time he enjoys playing guitar and praised. A favorite in top-tier early music Voices of Ascension; tenor arias in St. dancing tango. circles, he has appeared at the Boston Early Matthew Passion with Helmuth Rilling’s Music Festival as the Satir in its recent A native of Germany, Internationale Bachakademie Stuttgart; production of Conradi’s Ariadne. Theresa Salomon came Handel’s Messiah with Virginia Symphony to New York in 1993. She Orchestra. Originally from Pittsburgh, PA, Beth Wenstrom’s has performed at such Gene holds degrees from Yale University’s playing has been praised international festivals as School of Music, and the Institute of Sacred for its “vitality and Festival Presence, Paris; Music, Colorado State University, and eloquent phrasing, as well Gulbenkian Festival, Lisbon; Prague Spring Baldwin Wallace University Conservatory of as agility” (The Strad). As a Festival; Ostfriesland Festival, Germany; Music. He currently resides in New Haven, CT, soloist and concertmaster, Connecticut Early Music Festival; and where he serves as instructor of voice at Yale she has performed with Trinity Wall Street Ostrava Days for New Music (Czech Republic), University. Baroque Orchestra, the Sebastians, New York where she was a soloist with the Janácek Aaron Sheehan Baroque Incorporated, and Quodlibet Philharmonic. In New York she performs on regularly performs in the Ensemble. Beth is a founding member of both period and modern violin with the United States, South Wayward Sisters, winner of the 2011 Early Orchestra of St. Luke’s, Rebel Baroque America, and Europe. He Music America/Naxos Competition as well as Orchestra, New York Collegium, and SEM sang the title role in an original member of the “vital and vibrant” Ensemble. She also directs a new music Boston Early Music ensemble, ACRONYM (Classics Today). In series at Music under Construction and plays Festival’s Grammy Award winning recording addition to performing, Beth serves as string frequently for Dance under Construction. of Charpentier’s opera La déscente d’Orphée coach for the baroque ensemble at SUNY Salomon has recorded for the Vandenburg aux enfers. On the concert stage, he enjoys a Stony Brook and has taught at Oberlin and Tzadik labels, among others. reputation as a first rate interpreter of the Conservatory as a sabbatical replacement Hailed for his “scampering works of Bach, Handel and Mozart. He has and at their summer festival, BPI. virtuosity” (American performed at Tanglewood, Lincoln Center, A native of New Jersey, Record Guide) and “superb” the Metropolitan Museum of Art, violinist Alana playing (The New York Washington National Cathedral, the Early Youssefian has quickly Times), cellist Ezra Seltzer Music Festivals of Boston (BEMF), San forged a reputation as an is the principal cellist of the Francisco, Vancouver, Washington DC, engaging and spirited Trinity Baroque Orchestra, New York Carmel, Regensburg Tage Alter Musik, and soloist, chamber player, Baroque Incorporated, and Early Music New with Orpheus Chamber Orchestra, American and orchestral musician. Ms. Youssefian has York and a founding member of the Bach Soloists, Handel and Haydn Society, performed internationally as a concertmas- Sebastians. He has frequently appeared as Boston Baroque, Tafelmusik, North Carolina ter and soloist, and regularly performs with guest principal cellist of Musica Angelica and Symphony, New York Collegium, Charlotte the world’s leading early music ensembles. the St. Paul Chamber Orchestra, where he Symphony and Pacific Music Works. His roles Recent engagements as concerto soloist earned praise for his “delicate elegance and with BEMF include L’Amour and Apollon in include Philharmonia Baroque and Voices of rambunctious spirit” (Twin Cities Pioneer Lully’s Psyché, Actéon in Charpentier’s Music. Ms. Youssefian was named an Press) in performances of all six Brandenburg Actéon, Orfeo in Monteverdi’s Orfeo, American Fellow of The English Concert and Concertos. Other performances with the Eurimaco in Il ritorno d’Ulisse in patria, Acis in Juilliard Fellow of Mercury in 2018. She SPCO include Handel’s Messiah with Handel’s Acis and Galatea and Liberto/ performed with Juilliard415 as winner of the Jonathan Cohen and J.S. Bach’s St. Matthew Soldato in L’incoronazione di Poppea. He has 2017 Historical Performance Concerto Passion with Paul McCreesh. With Musica also performed leading roles in operas by Competition, and as concertmaster and Angelica, he appeared in performances of Cavalli, Handel, Weill, and Satie. soloist on several occasions. Ms. Youssefian J.S. Bach’s St. John Passion in Walt Disney Hailed as “the real thing” holds degrees from Oberlin Conservatory, Concert Hall with the Los Angeles Master (Cleveland Plain Dealer) and Rice University’s Shepherd School of Music, Chorale, and also performed in an interna- praised for his “elegant and most recently graduated from The tional tour with soprano Emma Kirkby and style” (Boston Globe), Juilliard School’s Historical Performance countertenor Daniel Taylor. He attended Sumner Thompson is Program last spring. Yale University, where he received his one of the most Bachelor of Arts in history and Master of 29