2022-23

SEASON

dame jane glover

MUSIC DIRECTOR

C E L E B R AT E !

Music of the Baroque Chorus and Orchestra Dame Jane Glover, Music Director Nicholas Kraemer, Principal Guest Conductor Thomas S. Wikman, Conductor Laureate

Board of Directors Officers Thomas O. Kuhns Chairman Robert D. Hevey, Jr. Treasurer

Pamela Baker Secretary Thomas G. Cline Vice Chairman

Directors James J. Drury III Stanley L. Ferguson Michael A. Forti Anne Marcus Hamada Elbert O. Hand III Sydney L. Hans Leland E. Hutchinson

Louise Lane Sheldon Marcus, PhD Helen Marlborough Declan McGovern William McIntosh Matthew T. Regan Marjorie M. Stinespring

Lawson Whitesides, Jr. John L. Wilhelm, MD Stephen P. Wood Nykia J. Wright

Life Trustees Ronald K. Holmberg

Mary Helen Robertson

Administrative Staff Declan McGovern Executive Director Jason Givan Director of Development Julie Griffin Director of Artistic Operations

Niloufar Iravani Development and Community Relations Manager Jan Jarvis Production Manager Fern Josephs Director of Finance and Administration

Jennifer More Director of Marketing and Communications Mary Siegel Marketing and Systems Manager Chloe Tarnowski Audience Services Manager

The graphics for Music of the Baroque’s 2022-23 season were designed by Kym Abrams Design.

Music of the Baroque Box Office & Administrative Offices 25 East Washington Street, Suite 823 Chicago, Illinois 60602 312.551.1415 staff // 312.551.1414 box office 312.551.1444 fax

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A Message from the Executive Director Dear Friends, Welcome to these performances of Bach’s St. Matthew Passion—our first in over 15 years. This monumental piece was meant to be the pinnacle of our 50th anniversary celebration in 2021, but the pandemic got in the way. Music Director Dame Jane Glover has assembled an outstanding group of leading international soloists, including the return of MOB favorites Krisztina Szabó and Roderick Williams, and the debuts of Gwilym Bowen, Brandon Cedel, Tess Altiveros, and Paul Appleby. We are particularly happy to welcome the young singers from Anima – Glen Ellyn Children’s Chorus to help us convey the depth and pathos of this extraordinary work. Along with the culmination of our 50th anniversary celebration, I am also thrilled to announce that the Illinois Council of Orchestras has named our board chairman Thomas O. Kuhns the Board President of the Year for 2023. A director on our board since 2000 and chairman for the past 5 years, Tom has led our organization with great commitment and guidance. Tom and his wife Amy have been incredibly generous to Music of the Baroque, championing many initiatives such as Baroque in the Park, soirées, and the establishment of our Baroque Forever fund. Thank you, Tom, and congratulations! If you have not already done so, please subscribe to our new season so that you can secure the best possible seats at the best price. Perks of being a subscriber include free On Demand access to our concerts for 30 days following the performance; 15% off additional tickets; free exchanges; and invitations to special events. Thank you also for considering making an add-on gift with your subscription. Finally, we are thrilled to be returning again to the Ravinia Music Festival this fall with a concert in the Martin Theatre featuring the sensational Canadian violinist James Ehnes performing Mozart’s Violin Concerto No. 3. We open our season a few weeks later at Symphony Center with the Mozart Requiem and Bach’s Magnificat, and continue our season at the Harris Theater where we will be helping to celebrate the 20th anniversary of our downtown home. Please enjoy this rare performance of Bach’s great St. Matthew Passion and thank you for being with us.

Declan McGovern Executive Director

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Music of the Baroque gratefully acknowledges

The Negaunee Foundation for its generous sponsorship support of these performances of the St. Matthew Passion

Music of the Baroque Contributors BRAVO! We applaud and gratefully acknowledge the following individuals, corporations, foundations, and government agencies that made gifts to Music of the Baroque between July 1, 2021 and March 15, 2023. This list reflects gifts made to the Annual Sustaining Fund and Gala Benefit. We regret that space limitations prevent us from listing the many thoughtful contributors who made gifts of less than $1,500. For our complete list of contributors, visit baroque.org/donors. Please advise us of any omissions or errors by calling Niloufar Iravani in our Development Office at 312.551.1415, ext. 26.

Corporate, Foundation, and Government Supporters $25,000 or more Paul M. Angell Family Foundation William Blair & Company JamesDruryPartners Julius Frankel Foundation The Irving Harris Foundation Harris Theater for Music & Dance Kirkland & Ellis Foundation The Negaunee Foundation Polk Bros. Foundation Zell Family Foundation $10,000 to $24,999 Clear View Solutions, LLC Dr. Scholl Foundation Fairmont Chicago Illinois Arts Council Wintrust Financial Corporation

$5,000 to $9,999 Aon Elizabeth F. Cheney Foundation John R. Halligan Charitable Fund John R. Houlsby Foundation Old National Bank Sidley Austin LLP Underwriters Laboratories, Inc. USG Foundation Anonymous $1,000 to $4,999 Baird Tracy Billows, Partner, Seyfarth Shaw LLP Goldberg Kohn Maison de Haj Oscar Isberian Rugs Proskauer Rose LLP Sage Foundation Sahara Enterprises, Inc. Farny R. Wurlitzer Fund Anonymous

Corporate Matching Abbott Laboratories Fund Allstate Insurance Company Ameriprise Financial Beam Suntory The Chicago Community Trust Goldman Sachs HSBC J. Crew Robert R. McCormick Foundation Microsoft The Saints UBS Global Asset Management

Music of the Baroque is partially supported by a Grant from the Illinois Arts Council, a state agency.

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Individual Contributors Major Benefactors $25,000 or more Michael & Susan Avramovich Charitable Trust JamesDruryPartners Stan & Mary Ferguson Constance M. Filling & Robert D. Hevey Mona Golub Anne Marcus Hamada Thomas & Amy Kuhns Louise Lane Helen Marlborough & Harry Roper William McIntosh Jean Perkins & Leland Hutchinson Thomas* & Sue Pick Albert V. Thompson John L. Wilhelm, MD Sustaining Guarantors $10,000 to $24,999 Pamela Baker Gail E. Belytschko Marion A. Cameron-Gray Daniel R. Cyganowski & Judith Metzger Hanna Gray Mr. & Mrs. Dietrich M. Gross Mr. & Mrs. E. O. Hand III Sydney L. Hans & Lawrence E. Strickling Cynthia* & Ron Holmberg Matthew T. Regan & Dr. Julie-An M. Talano Lynne & Ralph Schatz Carole Schecter & Steven Mayer Marjorie Moretz Stinespring The Strickling Family Lawson & Jane Whitesides Stephen P. Wood & Kathleen Arthur Nykia Wright

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Guarantors $5,000 to $9,999 Mr. & Mrs. Merrill Blau Christopher Brathwaite Thomas & Jennifer Cline Jacquelyne Den Uyl Barbara & Frank Easterbrook Michael A. Forti Linda Haack & Tom Baltes Harry J. Hunderman & Deborah J. Slaton Dr. Peter Jones & Marian Pearcy Jared Kaplan* & Maridee Quanbeck Carol & James Klenk Kremer Family Foundation Maria & Stephen Lans Kay Mabie Eric & Kate Mattson Donald Maves Michael & Margaret McCoy Declan McGovern & Angela McLaughlin Linda Thoren Neal Donald E. Nelson Shirley & Dick Paulson Carolyn & Peter Pereira Jim & Karen Prieur John Ryan & Margaret Silliker Alvin & Karen Telser Douglas & Pam Walter Maria E. Wynne Owen & Linda Youngman Supporters $2,500 to $4,999 David & Joy Anderson Peter & Lucy Ascoli Fred & Phoebe Boelter Marguerite Bookstein Donna & Andrew Brickman Elizabeth & Stephen Bruner Clark DenUyl Mark E. Ferguson & Elizabeth Yntema Karen Fishman & Anne Ladky** Stephen & Elizabeth Geer

Shelley Gorson & Alan Salpeter Fern Josephs Frederic Klein Mary Klyasheff James & Peggy Knapp Charles Kralovec & Thomas Ryan Ed & Deborah Lee Philip Lesser Sheldon Marcus & Mary Stich-Marcus David E. & Peggy Mason* Jim & Sharon O’Sullivan Michael Payette Richard Rosenberg Scott Schweinfurth & Margie English Matthew E. Steinmetz Robert & Molly Stine J. Robert & Christine Stoll Louise I. Tausche David & Ann Ward James White & Andrea Ravin Fellows $1,500 to $2,499 Marlene Bach Ron & Queta Bauer Nancy G. Becker Jerry H. Biederman Dea Brennan John & Claudia Boatright Dr. & Mrs. Mimis Cohen Nancy Dehmlow Richard & Ingrid Dubberke J. Thomas Eller Cathy & Joe Feldman Donald & Belle Finfer Richard M. & Marguerite W. Franklin Dorothy & John Gardner Yigal* & Stella Greener Larry Hanes Michael & Laura Hassan Allen W. Heinemann & William Borden Marion Hoffman Julia Hulcher, MD George Joseph

Jeanne LaDuke & Carol Stukey Laurence Lewis Dennis & Linda Myers John Nitschke & Jean McLaren Kenneth R. Norgan Marianne O'Shea & Eamonn Byrne

Lawrence Osterberg Ann R. Richards Derek & Elizabeth Sammann Debbie Siegel & Robert Altman Christopher & Chelsea Shukie** Kenneth Smith

A. Robert & Barbara* Taylor Mr. & Mrs. Clark L. Wagner

*deceased **These contributions have been matched by their employers and are listed at the level of their gift plus the amount of the match.

BAROQUE FOREVER SOCIETY Sustaining the future of Music of the Baroque through thoughtful legacy gifts Pamela Baker Mr. & Mrs. Merrill Blau Marguerite Bookstein Thomas & Jennifer Cline Daniel R. Cyganowski & Judith Metzger James & Peggy Drury Stan & Mary Ferguson Constance M. Filling & Robert D. Hevey Karen Fishman & Anne Ladky Mona Golub Linda Haack & Tom Baltes Anne Marcus Hamada Allen W. Heinemann & William Borden

Fern D. Josephs Mary Klyasheff Thomas & Amy Kuhns Louise Lane Sheldon Marcus & Mary Stich-Marcus Helen Marlborough & Harry Roper Declan McGovern & Angela McLaughlin William McIntosh Robert B. Meeker Jennifer More Linda & Phil C.* Neal The Negaunee Foundation Linda Moses Novak Jean Perkins & Leland Hutchinson

John W. Pfeiffer & Gregory L. Potts Thomas* & Sue Pick Carole Schecter & Steven Mayer Carole Schumacher Lester Spielman* Robert & Molly Stine Marjorie Moretz Stinespring Alvin & Karen Telser Lawson & Jane Whitesides John L. Wilhelm, MD Stephen P. Wood & Kathleen Arthur Maria E. Wynne

Music of the Baroque Chorus & Orchestra Dame Jane Glover, Music Director Soprano Alyssa Bennett Katherine Buzard Hannah DePriest Hannah Dixon McConnell Gabrielle Haigh Kimberly Jones Katelyn Lee Susan Nelson Laura Perkett Emily Yiannias Alto Bethany Brewer Katrina Dubbs Margaret Fox Julia Hardin Thereza Lituma Chelsea Lyons Lauren Randolph Allison Selby Cook

Tenor Matthew Cummings Howard Eckdahl Jianghai Ho Keith Murphy Joseph Shadday Nathan Taylor Ryan Townsend Strand Christopher Windle Bass Matthew Brennan Jan Jarvis Kevin Krasinski Dorian McCall Andrew Major Ian Martin Ian Morris Stephen Richardson

Anima - Glen Ellyn Children’s Chorus Evan Bruno, Artistic Director Lucy Bickel Phoebe Cochrane Kyra Gnutek Simran Goel Elaeth Kirk Leah Kreller Sophie Lopez Ellie Lovely Francesca Masi Cameron Mendez Jayden Morales

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Madeleine Nephew Sophia Nephew Hana Nowicki Ari Poi Arianna Smithey Joey Sprunger Sam Sprunger Iris Swanberg Ana Tebrugge Jamie Whitall

Orchestra I Violin 1 Gina DiBello, Elliott Golub Honorary Concertmaster Chair Kevin Case, assistant concertmaster Michael Shelton Laura Park Chen Violin 2 Sharon Polifrone, principal Paul Zafer Paul Vanderwerf Ann Duggan

Viola Elizabeth Hagen, principal Amy Hess Rebecca Swan Cello Paul Dwyer, principal Judy Stone Gamba Craig Trompeter Bass Collins Trier

Flute Mary Stolper, principal John Thorne Oboe Anne Bach, principal Erica Anderson Bassoon William Buchman Organ Michael Beattie

Orchestra II Violin 1 Kathleen Brauer, concertmaster Teresa Fream Martin Davids Kozue Funakoshi

Viola Terri Van Valkinburgh, principal Claudia LasareffMironoff Melissa Trier Kirk

Violin 2 Ann Palen, principal Rika Seko Lori Ashikawa Helen Lee

Cello Anna Steinhoff, principal Mark Brandfonbrener Bass Michael Hovnanian

Flute Jennifer Clippert, principal Scott Metlicka Oboe Jennet Ingle, principal Amy Barwan Bassoon Lewis Kirk Organ Andrew Rosenblum Supertitles Robert McConnell

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The St. Matthew Passion Dame Jane Glover, conductor Andrew Megill, chorus director

Sunday, April 2, 2023 7:30 PM North Shore Center for the Performing Arts, Skokie .

Monday, April 3, 2023 7:30 PM Harris Theater for Music and Dance, Chicago

Passion of our Lord Jesus Christ According to St. Matthew, BWV 244

Johann Sebastian Bach (1685-1750)

Part I INTERMISSION Part II

Evangelist: Gwilym Bowen, tenor Jesus: Brandon Cedel, baritone Arias: Tess Altiveros, soprano Krisztina Szabó, mezzo-soprano Paul Appleby, tenor Roderick Williams, baritone Pilate: Kevin Krasinski, baritone Peter: Ian Morris, baritone Judas: Matthew Brennan, baritone Pilate’s Wife: Katelyn Lee, soprano High Priest/First Priest: Stephen Richardson, baritone Second Priest: Dorian McCall, bass First Maid: Hannah DePriest, soprano Second Maid: Hannah Dixon McConnell, soprano False Witnesses: Julia Hardin, alto and Joseph Shadday, tenor Ripieno Chorus: Anima - Glen Ellyn Children’s Chorus Evan Bruno, Artistic Director

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Biographies Acclaimed British conductor Dame Jane Glover has been Music of the Baroque’s music director since 2002. She made her professional debut at the Wexford Festival in 1975, conducting her own edition of Cavalli’s L’Eritrea. She joined Glyndebourne in 1979 and was music director of Glyndebourne Touring Opera from 1981 until 1985. She was artistic director of the London Mozart Players from 1984 to 1991, and has also held principal conductorships of both the Huddersfield and London Choral Societies. From 2009 until 2016 she was Director of Opera at the Royal Academy of Music where she is now the Felix Mendelssohn Visiting Professor. She was recently Visiting Professor of Opera at the University of Oxford, her alma mater. Jane Glover has conducted all the major symphony and chamber orchestras in Britain, as well as orchestras in Europe, the United States, Asia, and Australia. In recent seasons she has appeared with the New York Philharmonic, the Cleveland Orchestra, the Philadelphia Orchestra, the Minnesota Orchestra, the Bremen Philharmonic, the Malaysia Philharmonic, the Orchestre Métropolitain of Montreal, the London Mozart Players, English Chamber Orchestra, the San Francisco, Houston, St. Louis, Sydney, Cincinnati, Toronto, and Chicago symphony orchestras, the Orchestra of St. Luke’s, and the Bamberg Symphony. She has worked with the period-instrument orchestras Philharmonia Baroque and Handel and Haydn Society, and appeared regularly at the BBC Proms. In demand on the international opera stage, Jane Glover has appeared with numerous companies including the Metropolitan Opera, Royal Opera House Covent Garden, English National Opera, Glyndebourne, Berlin Staatsoper, Glimmerglass Opera, New York City Opera, Opera National de Bordeaux, Opera Australia, Chicago Opera Theater, Minnesota Opera, Opera National du Rhin, Opera Theatre of Saint Louis, Luminato, Teatro Real, Royal Danish Opera, and Teatro La Fenice. A Mozart specialist, she has conducted all the Mozart operas all over the world regularly since she first performed them at Glyndebourne in the 1980s, and her core operatic repertoire also includes Monteverdi, Handel, and Britten. Highlights of recent seasons include The Magic Flute with Metropolitan Opera, Alcina with Washington Opera, L'Elisir d'amore and The Magic Flute for Houston Grand Opera, Medea for Opera Omaha, Così fan tutte for Lyric Opera of Kansas City, Albert Herring for Minnesota Opera, Orfeo ed Euridice in Lisbon, The Turn of the Screw, Jephtha, and Lucio Silla in Bordeaux, The Rape of Lucretia, A Midsummer Night’s Dream, Così fan tutte, The Marriage of Figaro, and Don Giovanni at the Aspen Music Festival, Gluck’s Armide and Iphigenie en Aulide with Met Young Artists and Juilliard, Don Giovanni and The Magic Flute at Opera Theatre of Saint Louis, and Eugene Onegin, The Rake’s Progress, The Marriage of Figaro, L’incoronazione di Poppea, and the world premiere of Sir Peter Maxwell Davies’ Kommilitonen! at the Royal Academy of Music. Highlights of the current season include Albert Herring with Chicago Opera Theater, Xerxes with Detroit Opera, returns to the Aspen Music Festival, the

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Houston, St. Louis, and San Francisco symphonies, and debuts with the Maggio Musicale Fiorentino, Helsinki Philharmonic, Fort Worth Symphony, and Tanglewood Music Center. Jane Glover’s discography includes a series of Mozart and Haydn symphonies with the London Mozart Players and recordings of Haydn, Mozart, Schubert, Mendelssohn, Britten, and Walton with the London Philharmonic, the Royal Philharmonic, and the BBC Singers. The author of the critically acclaimed books Mozart’s Women and Handel in London, Jane Glover will release her new book, Mozart in Italy, in 2023. She was created a Commander of the British Empire in the 2003 New Year’s Honours and a Dame Commander in the 2021 New Year’s Honours.

Acclaimed for the clarity and beauty of his singing and dynamic stage presence, British tenor Gwilym Bowen performs internationally with orchestras and ensembles of the highest caliber. Highlights of his career have included projects with Adelaide Symphony Orchestra; Australian Chamber Orchestra; West Australian Symphony Orchestra; Concerto Copenhagen; Die Kölner Akademie; Netherlands Bach Society; Auckland Philharmonia Orchestra; Norwegian Wind Ensemble; Warsaw Philharmonic; BBC National Orchestra of Wales; City of Birmingham Symphony Orchestra; City of London Sinfonia; Dunedin Consort; Philharmonia Baroque; and Seattle Symphony. These performances mark his debut with Music of the Baroque. Gwilym Bowen’s current engagements include Christmas Oratorio with Orchestra of the Age of Enlightenment; the St. John Passion with Academy of Ancient Music and Britten Sinfonia; Alexander’s Feast with La Scintilla; Messiah with Polyphony; La Resurrezzione with Concerto Copenhagen; and Zelenka’s Te Deum with Les Ambassadeurs. Gwilym Bowen’s stage engagements have included Flute in Britten’s A Midsummer Night’s Dream for Opéra de Lille; Snout in A Midsummer Night’s Dream and Giove / Eurimaco in Il ritorno d’Ulisse in Patria for The Grange Festival; Damon in Acis and Galatea and multiple roles in both L’incoronazione di Poppea and Il ritorno d’Ulisse with Academy of Ancient Music; Father in Hasse’s Piramo e Tisbe with The Mozartists; Valletto in L’incoronazione di Poppea for Angers Nantes Opéra; and Sylph in Zaïs with Orchestra of the Age of Enlightenment. Gwilym Bowen’s recordings include the Mass in B Minor with Orchestra of the Age of Enlightenment (Hyperion), St. John Passion with De Nederlandse Bachvereniging (All of Bach); Brockes Passion with Academy of Ancient Music (AAM) and Concerto Copenhagen (cpo); and the world premiere recording of Dussek’s Messe solemnelle (AAM).

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American bass-baritone Brandon Cedel is a recent graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, and was an ensemble member of Oper Frankfurt from 2016-2019. Current season highlights include Dan Brown in the Metropolitan Opera’s new production of Kevin Puts’ The Hours; the title role in Hercules at the Karlsruhe Handel Festival; the title role in Don Giovanni for the Atlanta Opera; and a return to the Glyndebourne Festival as Bottom in A Midsummer Night’s Dream. On the concert platform, he sings Levite in an international tour of Handel’s Solomon with The English Concert under Harry Bicket. These performances mark his debut with Music of the Baroque. Recent appearances include the title role in Le nozze di Figaro for the Glyndebourne Festival; Dan Brown in the world premiere of The Hours with the Philadelphia Orchestra; Zuniga in Carmen for Chicago Opera Theater; Masetto in Don Giovanni for Metropolitan Opera and Lyric Opera of Chicago; Leporello in Don Giovanni and Argante in Rinaldo for the Glyndebourne Festival; Collatinus in The Rape of Lucretia for Boston Lyric Opera; the title role in Le nozze di Figaro for Opera Philadelphia and the Stuttgart Staatsoper; and Colline in La bohème and Don Basilio in Il barbiere di Siviglia for Canadian Opera Company. Brandon Cedel’s many roles for Oper Frankfurt include Masetto in Don Giovanni, Sprecher in Die Zauberflöte, Lieutenant Ratcliffe in Billy Budd, Argante in Rinaldo, Ariodate in Xerxes, Cesare Angelotti in Tosca, Brander in La damnation de Faust, and Achior in Mozart’s La Betulia liberata.

Noted for her “particularly soulful” interpretations (L.A. Times) and a “captivating combination of skilled singing and magnetic acting” (Pioneer Press), soprano Tess Altiveros is equally at home in a wide range of repertoire from the 17th century to the 21st. Her current season includes a role reprisal of Female Soldier in The Falling and the Rising with both Intermountain Opera and Arizona Opera, Giannetta in L’elisir d’amore (Seattle Opera), Nana in the world premiere of A Thousand Splendid Suns (Seattle Opera), the world premiere of A Stranger at the Door (Seattle Opera Creation Lab), and appearances with Pacific MusicWorks, Seattle ProMusica, and Boise Philharmonic. These performances mark her debut with Music of the Baroque. Other recent engagements include Susanna in Le nozze di Figaro (Intermountain Opera), Angela in In Real Life (Opera Memphis), the world premiere of Romeo (Orpheus Project), and a recital of new compositions with The Aria Institute in Paris. Other credits include Susanna in Le nozze di Figaro (Kentucky Opera) and Female Soldier in The Falling and the Rising (Seattle Opera), E in Seattle Opera’s O + E, L'enfant in L'enfant et les sortilèges (Pacific 15

Symphony), Clorinda in Seattle Opera's acclaimed production of The Combat, Fiordiligi in Così fan tutte (Skylark Opera Theatre), Hannah in The Merry Widow (Inland Northwest Opera), Pamina in Die Zauberflöte (Pacific Symphony), Maria in West Side Story (Central City Opera/Boulder Philharmonic), Musetta in La bohème with Andrew Litton (Colorado Symphony), Miss Jessel in Turn of the Screw (Eugene Opera), and Elle in La voix humaine (Vespertine Opera). On the concert stage, Tess Altiveros has appeared in the American Prizewinning world premiere of John Muehleisen’s Borders at Carnegie Hall and the critically acclaimed West Coast tour of Monteverdi’s L’Orfeo with Grammywinning conductor Stephen Stubbs. She has also been featured with the Colorado Symphony, Pacific Symphony, the Boulder Philharmonic, Portland Baroque, Early Music Vancouver, Shreveport Symphony, San Francisco Early Music Society, and the Vancouver Bach Festival.

Hungarian-Canadian mezzo-soprano Krisztina Szabó is highly sought after in both North America and Europe as an artist of supreme musicianship and stagecraft, and is known for her promotion and performance of contemporary Canadian works. Current season highlights include appearances with Calgary Opera, Honens International Piano Competition, Victoria Symphony (Ian Cusson’s Songs from the House of Death), Houston Symphony (Handel’s Messiah), Early Music Vancouver (Festive Cantatas), Tafelmusik Baroque Orchestra (Bach’s St. John Passion), and a tour of George Benjamin’s Lessons in Love and Violence. She last appeared with Music of the Baroque in September 2019. Krisztina Szabó’s career has seen her on all the major opera and concert stages across Canada. She regularly performs with the Canadian Opera Company, Vancouver Opera, Tapestry Opera, Early Music Vancouver, and Tafelmusik Baroque Orchestra. Outside of Canada, she has performed with San Francisco Opera, Opera Philadelphia, Stadttheater Klagenfurt, and Wexford Festival Opera. In 2018, she made her Royal Opera and Netherlands Opera débuts in George Benjamin’s Lessons in Love and Violence, the recording of which received a Grammy nomination for Best Opera Recording. Krisztina Szabó’s discography includes Found Frozen: Songs of Jeffrey Ryan (Centrediscs), New Jewish Music, Vol. 3 (Analekta), Ana Sokolovic—Sirens (Naxos), and Talisker Players’ Where Words and Music Meet (Centrediscs). Digital projects include Canadian Opera Company’s Bluebeard’s Castle, Canadian Art Song Project’s Four Short Songs (2014), Tafelmusik’s The Voice of Vivaldi, Festival of the Sound’s Arias and Antics, Wagner’s Wesendonck Lieder (Vancouver Opera), An Italian Baroque Festive Celebration (Early Music Vancouver); Behind the Keys for Vancouver Bach Choir, and Tapestry Opera’s S.O.S. Sketch Opera Singers.

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Admired for his interpretive depth, vocal strength, and range of expressivity, tenor Paul Appleby is one of the most sought-after voices of his generation. He has graced the stages of the world’s most distinguished concert halls and opera houses and regularly collaborates with leading orchestras, instrumentalists, and conductors. These performances mark his debut with Music of the Baroque. Paul Appleby’s 2022-23 season includes the principal role of Caesar in the world premiere of Antony and Cleopatra by John Adams at San Francisco Opera and the reprisal of his internationally acclaimed title role portrayal of Bernstein’s Candide for Opéra de Lyon in a new production by Daniel Fish. He also returns to the Los Angeles Philharmonic for performances of Girl of the Golden West under the baton of composer John Adams. Concert appearances include Bach’s St. Matthew Passion with the New York Philharmonic and Hong Kong Philharmonic conducted by Jaap van Zweden; a collaboration with the Met Chamber Orchestra at Carnegie Hall in a presentation of Britten’s Serenade for Tenor, Horn, and Strings; performances with the American Modern Opera Company; and a recital at the Santa Fe Chamber Music Festival. Paul Appleby’s discography includes Nico Muhly’s opera Two Boys, released by Nonesuch, recorded live by the Metropolitan Opera; DVDs of Glyndebourne’s acclaimed presentation of Handel’s Saul and Berlioz’s Béatrice et Bénédict released commercially by Opus Arte; Dear Theo, the first album dedicated solely to works by American composer Ben Moore released by Delos; and Songs and Structures, a portrait album of recent vocal and chamber works by composer Harold Meltzer released on Bridge Records.

Roderick Williams is one of Britain’s most sought after baritones and is constantly in demand on the concert platform and in recital, encompassing a repertoire from the Baroque to world premieres. In 2016 he won the Royal Philharmonic Society’s Singer of the Year award and was created an Officer of the British Empire in 2017. He last appeared with Music of the Baroque in May 2017. Opera engagements have included major roles at leading opera houses worldwide including the Royal Opera House Covent Garden, English National Opera, Dutch National Opera, Dallas Opera, Opera North, Scottish Opera, Florida Grand Opera, the Bregenz Festival, and Oper Köln. He has been involved in many world premieres including as Lord Byron in the world premiere of Sally Beamish’s Monster; Alexander Knaifel’s Alice in Wonderland; Michel van der Aa’s After Life; and the title role in Robert Saxton’s The Wandering Jew with the BBC Symphony, which has been released on NMC to considerable critical acclaim.

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Among Roderick Williams’ many performances of opera in concert are recent appearances with the BBC Symphony Orchestra in Tippett’s The Knot Garden and Birtwistle’s The Second Mrs. Kong, and with the London Symphony Orchestra and Daniel Harding in Billy Budd. He has also sung the role of Eddie in Mark-Anthony Turnage’s Greek for the BBC. He has taken major roles in conductor Richard Hickox’s semi-staged performances of opera, including Britten’s Gloriana (Aldeburgh, 2003), Walton’s Troilus and Cressida, and most of the Vaughan Williams operas. Other concert performances include works by Henze, Strauss, Stravinsky, and Wagner. Roderick Williams is also an accomplished composer, and has had works premiered at the Wigmore and Barbican Halls, the Purcell Room, and live on national radio. Recent commissions include a major work, World without End, for the Rias Kammerchor and BBC Singers as well as a commission to celebrate the centenary of the Royal Air Force, and was named Composer in Association of the BBC Singers for the 2022-23 season. He has also been commissioned to compose a choral work for the coronation of King Charles III in May 2023. Roderick Williams’ recordings include Vaughan Williams, Berkeley and Britten operas for Chandos, and an extensive repertoire of English song with pianist Iain Burnside for Naxos. He recently recorded the three Schubert Cycles for Chandos as well as recordings of Stanford and Somervell for Somm.

Anima – Glen Ellyn Children’s Chorus empowers young people to experience the joy of singing together and to discover their own potential through personal and collective excellence. Anima – Glen Ellyn Children’s Chorus is proud to celebrate its 58th season in 2022-2023. One of the leading children and youth choral organizations in North America, its rich heritage has served as an artistic and educational model for many years. Recent national awards include the ASCAP Adventurous Programming award from Chorus America, the Tribute Award from Chicago a cappella, the Non-Profit of the Year Award from the Glen Ellyn Chamber of Commerce, the Dale Warland Singers Commission Award from Chorus America and the American Composers Forum, and the once-in-an-organizational lifetime Margaret Hillis Award for Choral Excellence from Chorus America. The Chorus is dedicated to transforming young lives through excellence in music education and choral singing. Its five ensembles serve children from over 35 different Chicagoland communities. International tours have taken the Chorus to six continents. Anima (AH-nee-mah) is the Latin word for breath, life, soul, spirit. Performing frequently with Chicago’s major musical organizations, Anima's singers have performed under many of the world’s most eminent conductors including Esa-Pekka Salonen, Bernard Haitink, Semyon Bychkov, John Nelson, Christoph Eschenbach, Claudio Abbado, and Georg Solti. Also committed to 18

new music, Anima - Glen Ellyn Children's Chorus has commissioned over 80 new works for young voices in its history. Anima - Glen Ellyn Children's Chorus was the first children’s chorus in America to be recognized and funded by the National Endowment for the Arts for the professionalism of its work and captured four Grammy Awards for its performances with the Chicago Symphony Orchestra under Sir Georg Solti.

Andrew Megill is recognized as one of the leading choral conductors of his generation, admired for both his passionate artistry and his unusually wide-ranging repertoire, which extends from early music to newly composed works. He currently serves as the Suzanne and William Allen Distinguished Professor of Music and Director of Choral Activities at the University of Illinois (Urbana-Champaign). In September 2023, he will take up the position of Professor of Conducting and Director of Choral Organizations at the Bienen School of Music, Northwestern University. In addition, he leads three of North America’s finest professional vocal ensembles: the Montreal Symphony Orchestra Chorus, the Carmel Bach Festival Chorale, and Fuma Sacra. He was named Music of the Baroque’s Chorus Director in April 2022. Andrew Megill frequently collaborates with the world’s leading orchestras. He has prepared choirs for the American Composers’ Orchestra, American Symphony, Cleveland Orchestra, Dresden Philharmonie, National Symphony, New Jersey Symphony, New York Philharmonic, and Venice Baroque Orchestra for conductors including Pierre Boulez, Charles Dutoit, Joseph Flummerfelt, Rafael Frühbeck du Burgos, Alan Gilbert, Neeme Järvi, Zdenek Macal, Kurt Masur, Zubin Mehta, Kent Nagano, John Nelson, and Julius Rudel. An accomplished orchestral conductor, he has led the Spoleto Festival Orchestra, Carmel Bach Festival Orchestra, I Musici de Montréal Chamber Orchestra, Masterwork Orchestra, Champaign-Urbana Symphony Orchestra, and Sinfonia da Camera (Urbana, IL), and made his debut conducting the Montreal Symphony Orchestra in 2014. Andrew Megill is particularly admired for his performances of Baroque choral works. He regularly collaborates with leaders in the field of historically informed performance, including Masaaki Suzuki, Ton Koopman, Bruno Weil, Andrea Marcon, Paul Goodwin, Julianne Baird, Elizabeth Wallfisch, Nancy Wilson, Peter Hanson, and John Holloway. He has conducted many period-instrument orchestras, including Piffaro, Rebel, Sinfonia NYC, Brandywine Baroque, the Sebastians, Tempesta di Mare, and the Trinity Baroque Orchestra. Andrew Megill previously served as Music Director of the Masterwork Chorus and Orchestra and Chorusmaster for the Spoleto Festival USA. He has been a guest artist with the Yale Institute of Sacred Music, TENET vocal ensemble, the Juilliard Opera Center, and Emmanuel Music, and served as interim choirmaster for Trinity Church in Manhattan. Prior to his appointment at the University of Illinois, he taught at Westminster Choir College for more than twenty years. 19

Program Notes When Felix Mendelssohn undertook his famous revival of the Passion According to St. Matthew in 1829, he declared it to be “the greatest of Christian works.” While we accord the St. Matthew Passion a similar sort of monument status today, Johann Sebastian Bach and his contemporaries likely had something different in mind. As scholar Robert Marshall writes of Bach’s sacred music more generally, “such compositions were not intended primarily for the ‘delectation’ of a concert public, but rather for the ‘edification’ of a church congregation.” Musical depictions of the Crucifixion, from plainsong Passions in the medieval era to motet Passions in the early modern period, had long been a part of devotional life. And although Martin Luther had decreed that “The Passion of Christ should not be acted out in words and pretense, but in real life,” sung Passion performances were used in the Lutheran liturgy from the start. In the mid-16th century, Luther’s friend and musical advisor Johann Walter created a German dramatic (or responsorial) Passion consisting of Gospel text sung monophonically by the Evangelist and other “characters” and simple choral statements by the people and disciples. Although Walter’s wasn’t the only Lutheran Passion, the work had an extremely strong influence in the ensuing centuries. Over the course of the 17th century—particularly in Germany—the Passion genre began assuming characteristics of opera, perhaps due in part to the story’s inherent drama. Soloists were assigned “parts,” such as Jesus or Pontius Pilate, and communicated their stories through recitatives and arias. Further, the traditional Gospel narrative was intermingled with Lutheran chorale texts and contemporary poetry in order to make the story more meaningful for the predominantly Lutheran audience. Although still a religious work, the resulting “oratorio Passion” was virtually a form of entertainment in 18thcentury Germany, and in Hamburg, the popularity of the Passion was nearly equal to that of opera. While many Passions of the time, such as those by Telemann, were written for these secular settings, Bach’s Passions were strictly intended for performance at church. As the cantor of St. Thomas in Leipzig, Bach had to produce music for every Sunday and feast day of the Lutheran liturgical calendar, as well as for other occasions upon request, and it was in fulfillment of this contractual obligation that the St. Matthew Passion was written. Rather than being performed as a self-standing work, it was integrated into the service. Parts I and II were separated by a sermon, while a hymn and motet served as bookends. Although Bach’s conservative employers disapproved of the increasingly fine line between secular and sacred composition, his beloved predecessor Johann Kuhnau had paved the way for oratorio Passions at St. Thomas with the 1717 Passion According to St. Mark, which was conceived as a supplement to Walter’s earlier work. Bach and his librettist Christian Friedrich Henrici—whose nom de plume was Picander—took a very different approach in the St. Matthew Passion, completely supplanting the 16th-century model with a new alternation of recitatives, arias, choruses, and traditional chorales, complete with new texts and adapted Biblical verses. (Picander and Bach had begun collaborating in 1725, and it is highly probable that the two worked together on the Passion’s libretto.) Rather than a full libretto with the verses from Matthew and the familiar 20

chorales, contemporary listeners would have been given only Picander’s poem to look at during the service. Although Bach was admonished about operatic writing, the St. Matthew Passion’s sheer theatricality is undeniable. It was obvious to its earliest listeners as well: according to one contemporary report, a parishioner said after hearing it for the first time, “God save us, it’s just as if one were at the opera or the theater!” Despite these criticisms, the St. Matthew Passion’s structure is as indebted to Lutheran theology as it is to secular theater. Lutheran devotional writings such as Passion sermons were written according to a strict plan: a Biblical scene is presented, its particular lesson is underscored, and a personal, affective response follows. The goal was more than didactic: the combination of lesson and meditation was ultimately intended to create a personal worship experience. The same progression from scripture to emotional response appears throughout the St. Matthew Passion. In Part 1, the Evangelist tells the story of Jesus in Bethany (Matthew 26: 6-13; No. 4c), in which Jesus is anointed and then predicts his immanent death. In the alto recitative that follows, “Du lieber Heiland du” (Dear Saviour Thou; No. 5), the singer highlights the deeper meaning of the anointment and expresses the desire to anoint Jesus’s head with tears of grief. The culminating aria, “Buß und Reu” (Repentance and remorse; No. 6), primarily communicates grief and regret, concluding with a direct appeal to the Savior. The description of the Last Supper is similarly structured: the scripture is communicated via recitative (Matthew 26: 23-29; No. 11) and subsequently summarized in the arioso “Wiewohl mein Herz” (Though my heart; No. 12). The aria “Ich will dir mein Herze schenken” (I will give my heart to Thee; No. 13) interprets the act of communication in more mystical terms—the soul’s desire to unite with Jesus. Although the libretto may have theological precedents, the St. Matthew Passion has a musical and rhetorical impact all its own. Bach employs an almost bewildering variety of musical styles throughout the work—far more than would have been used in a typical opera—and the result is at once heartrending and passionate. Bach sets the Evangelist’s Gospel texts in secco recitative (recitative accompanied by just the continuo) and uses arioso (songlike recitative) and arias for Picander’s newly composed poetry. While these styles fulfill similar functions in opera—recitative moves the plot along, while aria and arioso underscore emotional impact—their careful use in the St. Matthew Passion in combination with the dramatic story and reflective, thoughtprovoking poetry is particularly poignant. When Peter denies Christ, for example, the recitative (Nos. 38a-c) culminates in the Evangelist’s description of Peter’s remorse—“Und ging heraus, und weinete bitterlich” (And he went out, and wept bitterly)—eloquently depicted with a melisma on the word “weinet.” The gentle lyricism of the gesture is immediately picked up in the violin obbligato that begins the following aria, “Erbarme dich,” in which Peter’s bitter tears are illustrated in gentle dissonances and softly falling figuration. Another vital component of the St. Matthew Passion is the chorus. Because Good Friday was such an important day in the church calendar, Bach may have 21

had access to a larger group of musicians (although the precise number of singers has been a controversial topic; scholars have debated theories ranging from huge choral forces to extremely limited choral forces). Bach consequently divided the ensemble into two separate choruses, an arrangement that both functions as a dramatic device (for example, to represent the turba—passages depicting crowds, as when Christ appears before Pilate) and an aural effect. The chorales of the St. Matthew Passion serve almost as unifying markers, appearing in several guises: straightforward four-part settings, as in No. 54, “O Haupt voll Blut und Wunden” (O head, covered in blood and with wounds); interpolated in solo sections, as in No. 19, “O Schmerz!” (Oh pain and grief!); and as a cantus firmus in polyphonic sections, as in the opening chorus “Kommt, ihr Töchter, helft mir Klagen” (Come, ye daughters, help me mourn). Instrumental effects also heighten the story’s retelling. Although the St. Matthew Passion relies on a relatively subdued palette of instrumental color— perhaps because of the occasion’s solemnity—Bach uses these resources to great effect. In “O Schmerz,” for example, the hushed pulsing of flutes and English horns evoke Jesus’s throbbing heart and angst-ridden countenance perfectly. Also noteworthy are Jesus’s recitatives, which (with the exception of his final words) are accompanied by sustained strings and continuo in an effect often referred to as his “halo.”

—©Jennifer More, 2023

Text and Translations The italicized text is taken directly from the authorized King James version of the Bible, St. Matthew, Chapters 26 and 27. The numbers indicated here are the verse numbers within those chapters. In two places the German numbering varies slightly from the English. The non-Biblical portion of the text was written by Picander (CF Henrici) and appears in plain type.

PART I No. 1 Opening Chorus: CHOIR I, II and RIPIENO CHOIR I Kommt, ihr Töchter, helft mir Come, ye daughters, help me klagen! mourn! Sehet! Behold!

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CHOIR II Wen?

Whom?

CHOIR I Den Bräutigam! Seht ihn!

The Bridegroom! See Him!

CHOIR II Wie?

How?

CHOIR I Als wie ein Lamm.

Like a lamb.

CHOIR I and II Kommt, ihr Töchter, helft mir klagen, sehet! Was? Seht die Geduld. Seht! Wohin? Auf unsre Schuld. Sehet ihn aus Lieb’ und Huld Holz zum Kreuze selber tragen.

Come, ye daughters, help me mourn, see! What? See His patience. Look! Whereon? Upon our guilt. See Him, out of love and grace, bear wood for His cross Himself.

RIPIENO O Lamm Gottes unschuldig am Stamm des Kreuzes geschlachtet, allzeit erfunden geduldig, wiewohl du warest verachtet. All Sünd hast du getragen sonst müßten wir verzagen. Erbarm dich unser, o Jesu!

Oh innocent Lamb of God, slaughtered upon the tree of the cross, patient at all times, although Thou wast despised. Thou has borne all sin, else should we have to despair. Have mercy upon us, O Jesu!

No. 2 Recitative EVANGELIST *1) Da Jesus diese Rede vollendet hatte, sprach er zu seinen Jüngern:

1) When Jesus had finished all these sayings, he said unto his disciples:

JESUS 2) Ihr wisset, daß nach zweien Tagen Ostern wird, und des Menschen Sohn wird überantwortet werden, daß er gekreuziget werde.

2) Ye know that after two days is the feast of the passover, and the Son of Man is betrayed to be crucified.

No. 3 Chorale CHOIR I and II Herzliebster Jesu, was hast du verbrochen, daß man ein solch scharf Urteil hat gesprochen? Was ist die Schuld, in was für Missetaten bist du geraten?

Beloved Jesu, what hast Thou done wrong, that such a hard sentence is pronounced upon Thee? What is Thy offense, into what misdeeds art Thou fallen?

No. 4a Recitative EVANGELIST 3) Da versammleten sich die Hohenpriester und Schriftgelehrten, und die Ältesten im Volk in den Palast des Hohenpriesters, der da hieß Kaiphas, 4) und hielten Rat, wie sie Jesum mit Listen griffen und töteten. 5) Sie sprachen aber:

3) Then assembled together the chief priests, and the scribes, and the elders of the people, unto the palace of the high priest, who was called Caiaphas, 4) And consulted, that they might take Jesus by subtilty, and kill him. 5) But they said:

No. 4b Chorus CHIEF PRIESTS, SCRIBES, ELDERS OF THE PEOPLE: CHOIR I and II Ja nicht auf das Fest, auf daß nicht ein Aufruhr werde im Volk.

Not on the feast day, lest there be an uproar among the people.

*Matthew chapter 26

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No. 4c Recitative EVANGELIST 6) Da nun Jesus war zu Bethanien, im Hause Simonis des Aussätzigen, 7) trat zu ihm ein Weib, die hatte ein Glas mit köstlichem Wasser, und goß es auf sein Haupt, da er zu Tische saß. 8) Da das seine Jünger sahen, wurden sie unwillig und sprachen:

6) Now when Jesus was in Bethany, in the house of Simon the leper, 7) There came unto him a woman having an alabaster box of very precious ointment, and poured it on his head, as he sat at meat. 8) But when his disciples saw it, they had indignation, saying:

No. 4d Chorus DISCIPLES: CHOIR I Wozu dienet dieser Unrat? 9) Dieses Wasser hätte mögen teuer verkauft und den Armen gegeben werden.

To what purpose is this waste? 9) For this ointment might have been sold for much, and given to the poor.

No. 4e Recitative EVANGELIST 10) Da das Jesus merkete, sprach er zu ihnen:

10) When Jesus understood it, he said unto them:

JESUS Was bekümmert ihr das Weib? Sie hat ein gut Werk an mir getan! 11) Ihr habet allezeit Armen bei euch, mich aber habt ihr nicht allezeit. 12) Daß sie dies Wasser hat auf meinen Leib gegossen, hat sie getan, daß man mich begraben wird. 13) Wahrlich, ich sage euch: Wo dies Evangelium geprediget wird in der ganzen Welt, da wird man auch sagen zu ihrem Gedächtnis, was sie getan hat.

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Why trouble ye the woman? For she hath wrought a good work upon me! 11) For ye have the poor with you always, but me ye have not always. 12) For in that she hath poured this ointment on my body, she did it for my burial. 13) Verily I say unto you, Wheresoever this gospel shall be preached in the whole world, there shall also this, that this woman hath done, be told for a memorial of her.

Nos. 5 & 6 Recitative and Aria ALTO Du lieber Heiland du, wenn deine Jünger töricht streiten, daß dieses fromme Weib mit Salben deinen Leib zum Grabe will bereiten; so lasse mir inzwischen zu, von meiner Augen Tränenflüssen ein Wasser auf dein Haupt zu gießen.

Dear Saviour Thou, if Thy disciples foolishly dispute, for that this pious woman with ointment would prepare Thy body for the grave, then let me meanwhile, with tears fast flowing from my eyes, anoint Thy head.

Buß und Reu knirscht das Sündenherz entzwei, daß die Tropfen meiner Zähren angenehme Spezerei, treuer Jesu, dir gebären.

Repentance and remorse grind my sinful heart to pieces, that my teardrops sweet spices may bring forth, faithful Jesus, for Thee.

No. 7 Recitative EVANGELIST 14) Da ging hin der Zwölfen einer, mit Namen Judas Ischarioth, zu den Hohenpriestern, 15) und sprach:

14) Then one of the twelve, called Judas Iscariot, went unto the chief priests, 15) And said unto them:

JUDAS Was wollt ihr mir geben? Ich will ihn euch verraten.

What wilt ye give me, and I will deliver him unto you?

EVANGELIST Und sie boten ihm dreißig Silberlinge. 16) Und von dem an suchte er Gelegenheit, daß er ihn verriete.

And they covenanted with him for thirty pieces of silver. 16) And from that time he sought opportunity to betray him.

No. 8 Aria SOPRANO Blute nur, du liebes Herz! Ach! ein Kind, das du erzogen, das an deiner Brust gesogen, droht den Pfleger zu ermorden, denn es ist zur Schlange worden.

Oh bleed, Thou loving heart! Alas! A child, raised by Thee, that sucked wisdom at Thy breast, threatens to murder its nurse for it has turned serpent.

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No. 9a Recitative EVANGELIST 17) Aber am ersten Tage der süßen Brot traten die Jünger zu Jesu und sprachen zu ihm:

No. 9b Chorus DISCIPLES: CHOIR I Wo willst du, daß wir dir bereiten, das Osterlamm zu essen?

Where wilt thou that we prepare for thee to eat the passover?

No. 9c Recitative EVANGELIST 18) Er sprach:

18) And he said:

JESUS Gehet hin in die Stadt zu einem, und sprecht zu ihm: “Der Meister läßt dir sagen: Meine Zeit ist hier, ich will bei dir die Ostern halten mit meinen Jüngern.”

Go into the city to such a man, and say unto him, “The Master saith, My time is at hand; I will keep the passover at thy house with my disciples.”

EVANGELIST 19) Und die Jünger täten, wie ihnen Jesus befohlen hatte, und bereiteten das Osterlamm. 20) Und am Abend satzte er sich zu Tische mit den Zwölfen.

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17) Now the first day of the feast of unleavened bread the disciples came to Jesus, saying unto him:

21) Und da sie aßen, sprach er:

19) And the disciples did as Jesus had appointed them; and they made ready the passover. 20) Now when the evening was come, he sat down with the twelve. 21) And as they did eat, he said:

JESUS Wahrlich, ich sage euch: Einer unter euch wird mich verraten.

Verily I say unto you, that one of you shall betray me.

No. 9d Recitative EVANGELIST 22) Und sie wurden sehr betrübt, und huben an, ein jeglicher unter ihnen, und sagten zu ihm:

22) And they were exceeding sorrowful, and began every one of them to say unto him:

No. 9e Chorus DISCIPLES: CHOIR I Herr, bin ich’s?

Lord, is it I?

No. 10 Chorale CHOIR I and II Ich bin’s, ich sollte büßen, an Händen und an Füßen gebunden in der Höll. Die Geißeln und die Banden und was du ausgestanden, das hat verdienet meine Seel.

It is I—it is—should make atonement, bound hand and foot in hell. The scourging and the fetters and all that Thou didst suffer, this my soul has deserved.

No. 11 Recitative EVANGELIST 23) Er antwortete und sprach:

23) And he answered and said:

JESUS Der mit der Hand mit mir in die Schüssel tauchet, der wird mich verraten. 24) Des Menschen Sohn gehet zwar dahin, wie von ihm geschrieben stehet; doch wehe dem Menschen, durch welchen des Menschen Sohn verraten wird! Es wäre ihm besser, daß derselbige Mensch noch nie geboren wäre.

He that dippeth his hand with me in the dish, the same shall betray me. 24) The Son of Man goeth as it is written of him: but woe unto that man by whom the Son of Man is betrayed! It had been good for that man if he had not been born.

EVANGELIST 25) Da antwortete Judas, der ihn verriet, und sprach:

25) Then Judas, which betrayed him answered and said:

JUDAS Bin ich’s, Rabbi?

Master, is it I?

EVANGELIST Er sprach zu ihm:

He said unto him:

JESUS Du sagest’s.

Thou hast said.

EVANGELIST 26) Da sie aber aßen, nahm Jesus das Brot, dankete und brach’s, und gab’s den Jüngern und sprach:

26) And as they were eating, Jesus took bread, and blessed it, and brake it, and gave it to the disciples, and said:

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JESUS Nehmet esset, das ist mein Leib. EVANGELIST 27) Und er nahm den Kelch und dankete, gab ihnen den und sprach:

JESUS Trinket alle daraus; 28) das ist mein Blut des neuen Testaments, welches vergossen wird für viele zur Vergebung der Sünden. 29) Ich sage euch: Ich werde von nun an nicht mehr von diesem Gewächs des Weinstocks trinken bis an den Tag, da ich’s neu trinken werde mit euch in meines Vaters Reich. Nos. 12 & 13 Recitative and Aria SOPRANO Wiewohl mein Herz in Tränen schwimmt, daß Jesus von mir Abschied nimmt, so macht mich doch sein Testament erfreut: sein Fleisch und Blut, o Kostbarkeit, vermacht er mir in meine Hände. Wie er es auf der Welt mit denen Seinen nicht böse können meinen, so liebt er sie bis an das Ende. Ich will dir mein Herze schenken, senke dich, mein Heil, hinein. Ich will mich in dir versenken; ist dir gleich die Welt zu klein, ei, so sollst du mir allein mehr als Welt und Himmel sein.

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Take, eat; this is my body.

27) And he took the cup, and gave thanks, and gave it to them, saying:

Drink ye all of it; 28) For this is my blood of the new testament, which is shed for many for the remission of sins. 29) But I say unto you, I will not drink henceforth of this fruit of the vine, until that day when I drink it new with you in my Father’s kingdom.

Though my heart is drowned in tears, because Jesus takes farewell of me, yet His testament rejoices me: His flesh and blood, oh precious gift, He bequeaths into my hands. As, with His own on earth, He cannot mean them harm, so to the end He loves them. I will give my heart to Thee, sink Thyself, my Saviour, in it. I will lose myself in Thee; though earth be all too small for Thee. for me alone, ah, Thou shalt be then more than earth and heaven.

No. 14 Recitative EVANGELIST 30) Und da sie den Lobgesang gesprochen hatten, gingen sie hinaus an den Ölberg. 31) Da sprach Jesus zu ihnen:

30) And when they had sung an hymn, they went out into the Mount of Olives. 31) Then saith Jesus unto them:

JESUS In dieser Nacht werdet ihr euch alle ärgern an mir. Denn es stehet geschrieben: Ich werde den Hirten schlagen, und die Schafe der Herde werden sich zerstreuen. 32) Wenn ich aber auferstehe, will ich vor euch hingehen in Galiläam.

All ye shall be offended because of me this night, for it is written, I will smite the shepherd, and the sheep of the flock shall be scattered abroad. 32) But after I am risen again, I will go before you into Galilee.

No. 15 Chorale CHOIR I and II Erkenne mich, mein Hüter, mein Hirte, nimm mich an, von dir, Quell aller Güter, ist mir viel Guts getan. Dein Mund hat mich gelabet mit Milch und süßer Kost, dein Geist hat mich begabet mit mancher Himmelslust.

Recognize me, my keeper, my shepherd, take me to Thee, through Thee, fount of all good, much good is done to me. Thy mouth has revived me with milk and sweet sustenance, Thy spirit imbued me with many a holy longing.

No. 16 Recitative EVANGELIST 33) Petrus aber antwortete und sprach zu ihm:

33) Peter answered and said unto him:

PETER Wenn sie auch alle sich an dir ärgerten, so will ich doch mich nimmermehr ärgern.

Though all men shall be offended because of Thee, yet will I never be offended.

EVANGELIST 34) Jesus sprach zu ihm:

34) Jesus said unto him:

JESUS Wahrlich, ich sage dir: In dieser Nacht, ehe der Hahn krähet, wirst du mich dreimal verleugnen.

Verily I say unto thee, That this night, before the cock crow, thou shalt deny me thrice.

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EVANGELIST 35) Petrus sprach zu ihm: PETER Und wenn ich mit dir sterben müßte, so will ich dich nicht verleugnen.

Though I should die with thee, yet will I not deny Thee.

EVANGELIST Desgleichen sagten auch alle Jünger.

Likewise also said all the disciples.

No. 17 Chorale CHOIR I and II Ich will hier bei dir stehen; verachte mich doch nicht! Von dir will ich nicht gehen, wenn dir dein Herze bricht. Wenn dein Herz wird erblassen im letzten Todesstoß, alsdenn will ich dich fassen in meinen Arm und Schoß.

I will stand beside Thee here: do not then despise me! I will not go from Thee, when Thy heart does break. When Thy heart grows faint in death’s final agony, then I will fold Thee in my arms and take Thee in my lap.

No. 18 Recitative EVANGELIST 36) Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane, und sprach zu seinen Jüngern:

JESUS Setzet euch hie, bis daß ich dort hingehe und bete. EVANGELIST 37) Und nahm zu sich Petrum und die zween Söhne Zebedäi, und fing an zu trauern und zu zagen.

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35) Peter said unto him:

36) Then cometh Jesus with them unto a place called Gethsemane and saith unto the disciples:

Sit ye here, while I go and pray yonder.

38) Da sprach Jesus zu ihnen:

37) And he took with him Peter and the two sons of Zebedee, and began to be sorrowful and very heavy. 38) Then saith he unto them:

JESUS Meine Seele ist betrübt bis an den Tod: bleibet hie und wachet mit mir.

My soul is exceeding sorrowful, even unto death: tarry ye here, and watch with me.

No. 19 Recitative with Chorale TENOR O Schmerz! Hier zittert das gequälte Herz! Wie sinkt es hin, wie bleicht sein Angesicht!

Oh pain and grief! His heart throbs here in agony. How low it sinks! How pale His face!

CHOIR II Was ist die Ursach aller solcher Plagen?

What is the cause of all His suffering?

TENOR Der Richter führt ihn vor Gericht, da ist kein Trost, kein Helfer nicht.

CHOIR II Ach, meine Sünden haben dich geschlagen! TENOR Er leidet alle Höllenqualen, er soll vor fremden Raub bezahlen.

CHOIR II Ich, ach Herr Jesu, habe dies verschuldet, was du erduldet! TENOR Ach, könnte meine Liebe dir, mein Heil, dein Zittern und dein Zagen vermindern oder helfen tragen, wie gerne blieb ich hier!

The judge brings Him to judgment, there is no comfort, and no helper.

Alas, my sins have stricken Thee!

He suffers all the pains of Hell, He must discharge the guilt of others.

I, alas, Lord Jesus, did incur what Thou endurest!

Oh, could my love for Thee, my Saviour, make less, or help Thee bear Thy shuddering and Thy fear, how gladly would I stay here!

No. 20 Aria with Chorus TENOR Ich will bei meinem Jesu wachen.

I will wake with Jesus mine.

CHOIR So schlafen unsre Sünden ein.

So our sins fall to sleep.

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TENOR Meinen Tod büßet seine Seelennot; sein Trauren machet mich voll Freuden.

CHOIR Drum muß uns sein verdienstlich Leiden recht bitter und doch süße sein.

His meritorious passion, then, to us must be full bitter and yet sweet.

No. 21 Recitative EVANGELIST 39) Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete und sprach:

39) And he went a little further, and fell on his face, and prayed, saying:

JESUS Mein Vater, ist’s möglich, so gehe dieser Kelch von mir, doch nicht wie ich will, sondern wie du willt.

Nos. 22 & 23 Recitative and Aria BASS Der Heiland fällt vor seinem Vater nieder, dadurch erhebt er mich und alle von unserm Falle hinauf zu Gottes Gnade wieder. Er ist bereit, den Kelch, des Todes Bitterkeit zu trinken, in welchen Sünden dieser Welt gegossen sind und häßlich stinken, weil es dem lieben Gott gefällt. Gerne will ich mich bequemen, Kreuz und Becher anzunehmen, trink ich doch dem Heiland nach. Denn sein Mund, der mit Milch und Honig fließet, hat den Grund und des Leidens herbe Schmach 34

My death is redeemed by His soul’s distress; His grief fills me with joy.

O my Father, if it be possible, let this cup pass from me: nevertheless not as I will, but as thou wilt.

My Saviour falls low before His Father, thereby He raises me—and us all— up from our fall into God’s grace once more. He is ready to taste the bitterness of death, to drink the cup into which the sins of this world hideously stinking, have been poured, because it pleases the loving God so. Gladly will I agree to take cross and cup upon myself, if I drink after my Redeemer. For His mouth, that flows with milk and honey, has sweetened the dregs and the bitter taste of suffering

durch den ersten Trunk versüßet.

by its first drinking.

No. 24 Recitative EVANGELIST 40) Und er kam zu seinen Jüngern und fand sie schlafend und sprach zu ihnen:

40) And he cometh unto the disciples, and findeth them asleep, and saith unto them:

JESUS Könnet ihr denn nicht eine Stunde mit mir wachen? 41) Wachet und betet, daß ihr nicht in Anfechtung fallet. Der Geist ist willig, aber das Fleisch ist schwach.

EVANGELIST 42) Zum andernmal ging er hin, betete und sprach: JESUS Mein Vater, ist’s nicht möglich, daß dieser Kelch von mir gehe, ich trinke ihn denn, so geschehe dein Wille.

What, could ye not watch with me one hour? 41) Watch and pray, that ye enter not into temptation: the spirit indeed is willing, but the flesh is weak.

42) He went away again the second time, and prayed, saying:

O my Father, if this cup may not pass away from me, except I drink it, thy will be done.

No. 25 Chorale CHOIR I and II Was mein Gott will, das g’scheh allzeit, sein Will, der ist der beste; zu helfen den’n er ist bereit, die an ihn glauben feste; er hilft aus Not, der fromme Gott, und züchtiget mit Maßen. Wer Gott vertraut, fest auf ihn baut, den will er nicht verlassen.

What my God wills, so be it always; His will is best. He is ready to help those who steadfastly believe in Him; He helps in time of need, the gentle Lord, and punishes with moderation. He who trusts God, and builds upon Him surely, him He will not forsake.

No. 26 Recitative EVANGELIST 43) Und er kam und fand sie aber schlafend, und ihre Augen waren voll Schlafs.

43) And he came and found them asleep again, for their eyes were heavy. 35

44) Und er ließ sie und ging abermal hin und betete zum drittenmal und redete dieselbigen Worte. 45) Da kam er zu seinen Jüngern und sprach zu ihnen:

44) And he left them, and went away again, and prayed the third time, saying the same words. 45) Then cometh he to his disciples, and saith unto them:

JESUS Ach! wollt ihr nun schlafen und ruhen? Siehe, die Stunde ist hier, daß des Menschen Sohn in der Sünder Hände überantwortet wird. 46) Stehet auf, lasset uns gehen; siehe, er ist da, der mich verrät.

Sleep on now, and take your rest: behold, the hour is at hand, and the Son of man is betrayed into the hands of sinners. 46) Rise, let us be going: behold, he is at hand that doth betray me.

EVANGELIST 47) Und als er noch redete, siehe, da kam Judas, der Zwölfen einer, und mit ihm eine große Schar mit Schwertern und mit Stangen, von den Hohenpriestern und Ältesten des Volks. 48) Und der Verräter hatte ihnen ein Zeichen gegeben und gesagt: “Welchen ich küssen werde, der ist’s, den greifet.” 49) Und alsbald trat er zu Jesu und sprach:

47) And while he yet spake, lo, Judas, one of the twelve, came, and with him a great multitude with swords and staves, from the chief priests and elders of the people. 48) Now he that betrayed him gave them a sign, saying, “Whomsoever I shall kiss, that same is he: hold him fast.” 49) And forthwith he came to Jesus, and said:

JUDAS Gegrüßet seist du, Rabbi!

Hail, Master!

EVANGELIST Und küssete ihn. 50) Jesus aber sprach zu ihm:

And kissed him. 50) And Jesus said unto him:

JESUS Mein Freund, warum bist du kommen? EVANGELIST Da traten sie hinzu, und legten die Hände an Jesum, und griffen ihn.

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Friend, wherefore art thou come?

Then came they, and laid hands on Jesus, and took him.

No. 27a Duet, Soprano and Alto with Choir SOLI So ist mein Jesus nun gefangen. So my Jesus is taken. Mond und Licht Moon and light ist vor Schmerzen untergangen, for sorrow have gone down weil mein Jesus ist gefangen. because my Jesus has been taken. Sie führen ihn, er ist gebunden. They lead Him away, He is bound. CHOIR II Laßt ihn, haltet, bindet nicht!

No. 27b CHOIR I and II Sind Blitze, sind Donner in Wolken verschwunden? Eröffne den feurigen Abgrund, o Hölle!

Let Him be, hold, do not bind Him!

Have thunder and lightning vanished in the clouds? Open thy fiery abyss, oh hell!

CHOIR I Zertrümmre,...

Destroy,...

CHOIR II ...verderbe,...

...ruin,...

CHOIR I ...verschlinge,...

...swallow up,...

CHOIR II ...zerschelle...

...dash to bits...

CHOIR I ...mit plötzlicher Wut...

...in sudden wrath...

CHOIR II ...mit plötzlicher Wut...

...in sudden wrath...

CHOIR I and II ...den falschen Verräter, das mördrische Blut!

...the false betrayer, the murderous blood!

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No. 28 Recitative EVANGELIST 51) Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus und schlug des Hohenpriesters Knecht und hieb ihm ein Ohr ab. 52) Da sprach Jesus zu ihm: JESUS Stecke dein Schwert an seinen Ort; denn wer das Schwert nimmt, der soll durchs Schwert umkommen.

53) Oder meinest du, daß ich nicht könnte meinen Vater bitten, daß er mir zuschickte mehr denn zwölf Legion Engel? 54) Wie würde aber die Schrift erfüllet? Es muß also gehen.

EVANGELIST 55) Zu der Stund sprach Jesus zu den Scharen: JESUS Ihr seid ausgegangen. als zu einem Mörder, mit Schwertern und mit Stangen, mich zu fahen, bin ich doch täglich bei euch gesessen, und habe gelehret im Tempel, und ihr habt mich nicht gegriffen. 56) Aber das ist alles geschehen, daß erfüllet würden die Schriften der Propheten. EVANGELIST Da verließen ihn alle Jünger und flohen.

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51) And, behold, one of them which were with Jesus, stretched out his hand...and struck a servant of the high priest’s, and smote off his ear. 52) Then said Jesus unto him:

Put up again thy sword into his place: for all they that take the sword shall perish with the sword. 53) Thinkest thou that I cannot now pray to my Father, and he shall presently give me more than twelve legions of angels? 54) But how then shall the scriptures be fulfilled, that thus it must be?

55) In that same hour said Jesus to the multitudes:

Are ye come out as against a thief with swords and staves for to take me? I sat daily with you, teaching in the temple, and ye laid no hold on me. 56) But all this was done, that the scriptures of the prophets might be fulfilled.

Then all the disciples forsook him, and fled.

No. 29 Chorale CHOIR I, II, and CHILDREN’S CHORUS O Mensch, bewein dein Sünde Oh man, lament thy huge groß; transgression; darum Christus seins Vaters Schoß for this, did Christ forsake His äußert und kam auf Erden. Father’s bosom, and come on earth. Von einer Jungfrau rein und zart Of a virgin pure and tender für uns er hie geboren ward, He was born here for us, er wollt der Mittler werden. He was willing to be the mediator. Den Toten er das Leben gab He raised men from the dead und legt darbei all Krankheit ab, and healed the sick bis sich die Zeit herdrange, until the hour came when, for us, daß er für uns geopfert würd’, He should be sacrificed trüg unsrer Sünden schwere Bürd’ and bear the heavy burden of our wohl an dem Kreuze lange. sins full long upon the cross.

INTERMISSION PART II No. 30 Aria ALTO with CHOIR II ALTO Ach! nun ist mein Jesus hin!

Alas, my Jesus now is gone!

CHOIR Wo ist denn dein Freund hingegangen, o du Schönste unter den Weibern?

Where has thy beloved gone, oh, thou fairest among women?

ALTO Ist es möglich, kann ich schauen?

Is it possible? Can I credit my eyes?

CHOIR Wo hat sich dein Freund hingewandt?

Where has thy beloved strayed?

ALTO Ach! mein Lamm in Tigerklauen! Ach! wo ist mein Jesus hin?

Alas, my lamb in tigers’ talons! Oh, where has my Jesus gone?

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CHOIR So wollen wir mit dir ihn suchen.

Then we will seek Him with thee.

ALTO Ach! was soll ich der Seele sagen, wenn sie mich wird ängstlich fragen? Ach! wo ist mein Jesus hin?

Alas, what shall I tell my soul, when it questions me in anguished fear? Oh, where has my Jesus gone?

No. 31 Recitative EVANGELIST 57) Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas, dahin die Schriftgelehrten und Ältesten sich versammlet hatten. 58) Petrus aber folgete ihm nach von ferne bis in den Palast des Hohenpriesters; und ging hinein und satzte sich bei die Knechte, auf daß er sähe, wo es hinaus wollte. 59) Die Hohenpriester aber und Ältesten und der ganze Rat suchten falsche Zeugnis wider Jesum, auf daß sie ihn töteten, und funden keines. No. 32 Chorale CHOIR I and II Mir hat die Welt trüglich gericht’ mit Lügen und mit falschem G’dicht, viel Netz und heimlich Stricke. Herr, nimm mein wahr in dieser G’fahr, b’hüt mich für falschen Tücken! No. 33 Recitative EVANGELIST 60) Und wiewohl viel falsche Zeugen herzutraten, fanden sie doch keins. Zuletzt traten herzu zween falsche Zeugen 61) und sprachen:

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57) And they that had laid hold on Jesus led him away to Caiaphas the high priest, where the scribes and the elders were assembled. 58) But Peter followed him afar off unto the high priest’s palace, and went in, and sat with the servants to see the end. 59) Now the chief priests, and elders, and all the council, sought false witness against Jesus, to put him to death; 60) But found none:

The world has used me deceitfully with falsehoods and with lying fictions, many a snare and secret trap. Lord, defend me in this peril; save me from false cunning.

Yea, though many false witnesses came, yet found they none. At the last, came two false witnesses, 61) And said:

FALSE WITNESSES Er hat gesagt: “Ich kann den Tempel Gottes abbrechen und in dreien Tagen denselben bauen.”

This fellow said: “I am able to destroy the temple of God, and to build it in three days.”

EVANGELIST 62) Und der Hohepriester stund auf, und sprach zu ihm:

62) And the high priest arose, and said unto him:

HIGH PRIEST Antwortest du nichts zu dem, das diese wider dich zeugen?

Answereth thou nothing? what is it which these witness against thee?

EVANGELIST 63) Aber Jesus schwieg stille.

63) But Jesus held his peace.

Nos. 34 and 35, Recitative and Aria TENOR Mein Jesus schweigt zu falschen Lügen stille, um uns damit zu zeigen, daß sein Erbarmens voller Wille vor uns zum Leiden sei geneigt, und daß wir in dergleichen Pein ihm sollen ähnlich sein, und in Verfolgung stille schweigen.

Geduld, Geduld! Wenn mich falsche Zungen stechen. Leid ich wider meine Schuld Schimpf und Spott,

My Jesus keeps silent in face of false lies, to show us thereby that His merciful will inclines to suffer for us, and that we in like distress should do as He, and under persecution hold our peace. Patience, patience! When false tongues do sting me.

ei! so mag der liebe Gott meines Herzens Unschuld rächen.

If, contrary to my guilt, I yet must suffer mockery and abuse, indignity and scorn, oh, then, may the dear Lord avenge my heart’s guiltlessness!

No. 36a Recitative EVANGELIST Und der Hohepriester antwortete und sprach zu ihm:

And the high priest answered and said unto him:

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HIGH PRIEST Ich beschwöre dich bei dem lebendigen Gott, daß du uns sagest, ob du seiest Christus, der Sohn Gottes?

I adjure thee by the living God, that thou tell us whether thou be the Christ, the Son of God.

EVANGELIST 64) Jesus sprach zu ihm:

64) Jesus saith unto him:

JESUS Du sagest’s. Doch sage ich euch: Von nun an wird’s geschehen, daß ihr sehen werdet des Menschen Sohn sitzen zur Rechten der Kraft und kommen in den Wolken des Himmels. EVANGELIST 65) Da zerriß der Hohepriester seine Kleider und sprach: HIGH PRIEST Er hat Gott gelästert; was dürfen wir weiter Zeugnis? Siehe, itzt habt ihr seine Gotteslästerung gehöret.

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Thou hast said: nevertheless I say unto you, Hereafter shall ye see the Son of man sitting on the right hand of power, and coming in the clouds of heaven.

65) Then the high priest rent his clothes, saying:

66) Was dünket euch?

He hath spoken blasphemy; what further need have we of witnesses? Behold, now ye have heard his blasphemy. 66) What think ye?

EVANGELIST Sie antworteten und sprachen:

They answered and said:

No. 36b CHIEF PRIESTS, SCRIBES, ELDERS: CHOIR I and II Er ist des Todes schuldig!

He is guilty of death!

No. 36c Recitative EVANGELIST 67) Da speieten sie aus in sein Angesicht und schlugen ihn mit Fäusten. Etliche aber schlugen ihn ins Angesicht 68) und sprachen:

67) Then did they spit in his face, and buffeted him; and others smote him with the palms of their hands, 68) Saying:

No. 36d CHIEF PRIESTS, SCRIBES, ELDERS: CHOIR I and II Weissage uns, Christe, wer ist’s, der dich schlug?

Prophesy unto us, thou Christ, who is he that smote thee?

No. 37 Chorale CHOIR I and II Wer hat dich so geschlagen, mein Heil, und dich mit Plagen so übel zugericht’? Du bist ja nicht ein Sünder, wie wir und unsre Kinder; von Missetaten weißt du nicht.

Who has beaten Thee so, my Saviour, and with torments so cruelly vexed and plagued Thee? Thou art no sinner, as we and our children are, of ill-doing Thou knowest naught.

No. 38a Recitative EVANGELIST 69) Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd und sprach:

69) Now Peter sat without in the palace: and a damsel came unto him, saying:

FIRST MAID Und du warest auch mit dem Jesu aus Galiläa.

Thou also wast with Jesus of Galilee.

EVANGELIST 70) Er leugnete aber vor ihnen allen und sprach:

70) But he denied them all, saying:

PETER Ich weiß nicht, was du sagest.

I know not what thou sayest.

EVANGELIST 71) Als er aber zur Tür hinausging, sahe ihn eine andere und sprach zu denen, die da waren:

71) And when he was gone out into the porch, another maid saw him, and said unto them that were there:

SECOND MAID Dieser war auch mit dem Jesu von Nazareth.

This fellow was also with Jesus of Nazareth.

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EVANGELIST 72) Und er leugnete abermal und schwur dazu:

72) And again he denied with an oath:

PETER Ich kenne des Menschen nicht.

I do not know the man.

EVANGELIST 73) Und über eine kleine Weile traten hinzu, die da stunden, und sprachen zu Petro:

73) And after a while came unto him they that stood by, and said unto Peter:

No. 38b BYSTANDERS: CHOIR II Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich.

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Surely thou also art one of them; for thy speech betrayeth thee.

No. 38c Recitative EVANGELIST 74) Da hub er an, sich zu verfluchen und zu schwören:

74) Then began he to curse and to swear, saying:

PETER Ich kenne des Menschen nicht.

I know not the man.

EVANGELIST Und alsbald krähete der Hahn. 75) Da dachte Petrus an die Worte Jesu, da er zu ihm sagte: “Ehe der Hahn krähen wird wirst du mich dreimal verleugnen.” Und ging heraus und weinete bitterlich.

And immediately the cock crew. 75) And Peter remembered the word of Jesus, which said unto him, “Before the cock crow, thou shalt deny me thrice.” And he went out, and wept bitterly.

No. 39 Aria ALTO Erbarme dich, mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir bitterlich.

Have mercy, my God, for the sake of my tears! See here before Thee, heart and eyes weep bitterly.

No. 40 Chorale CHOIR I and II Bin ich gleich von dir gewichen, stell ich mich doch wieder ein; hat uns doch dein Sohn verglichen durch sein Angst und Todespein. Ich verleugne nicht die Schuld, aber deine Gnad und Huld ist viel größer als die Sünde, die ich stets in mir befinde. No. 41a Recitative EVANGELIST *1) Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat über Jesum, daß sie ihn töteten. 2) Und bunden ihn, führeten ihn hin und überantworteten ihn dem Landpfleger Pontio Pilato.

Though I turned away from Thee, yet I have again returned; for Thy Son has reconciled us through His agony and mortal pain. I do not deny my offence, but Thy mercy and Thy grace are much greater than the sin I find forever present in me.

3) Da das sahe Judas, der ihn verraten hatte, daß er verdammt war zum Tode, gereuete es ihn und brachte herwieder die dreißig Silberlinge den Hohenpriestern und Ältesten, 4) und sprach:

1) When the morning was come all the chief priests and elders of the people took counsel against Jesus to put him to death. 2) And when they had bound him, they led him away, and delivered him to Pontius Pilate, the governor. 3) Then Judas, which had betrayed him, when he saw that he was condemned, repented himself, and brought again the thirty pieces of silver to the chief priests and elders, 4) saying:

JUDAS Ich habe übel getan, daß ich unschuldig Blut verraten habe.

I have sinned in that I have betrayed the innocent blood.

EVANGELIST Sie sprachen:

And they said:

No. 41b CHIEF PRIESTS, ELDERS: CHOIR I and II Was gehet uns das an? Da siehe du What is that to us? See thou to zu. that.

*Matthew chapter 27 45

No. 41c Recitative EVANGELIST 5) Und er warf die Silberlinge in den Tempel, hub sich davon, ging hin und erhängete sich selbst. 6) Aber die Hohenpriester nahmen die Silberlinge und sprachen:

5) And he cast down the pieces of silver in the temple, and departed, and went and hanged himself. 6) And the chief priests took the silver pieces, and said:

CHIEF PRIESTS Es taugt nicht, daß wir sie in den Gotteskasten legen, denn es ist Blutgeld.

It is not lawful for to put them into the treasury, because it is the price of blood.

No. 42 Aria BASS Gebt mir meinen Jesum wieder! Seht, das Geld, den Mörderlohn, wirft euch der verlorne Sohn zu den Füßen nieder. No. 43 Recitative EVANGELIST 7) Sie hielten aber enien Rat und kauften einen Töpfersacker darum zum Begräbnis der Pilger. 8) Daher ist derselbige Acker genennet der Blutacker, bis auf den heutigen Tag. 9) Da ist erfüllet, das gesagt ist durch den Propheten Jeremias, da er spricht: “Sie haben genommen dreißig Silberlinge, damit bezahlet ward der Verkaufte, welchen sie kauften von den Kindern Israel;

10) und haben sie gegeben um einen Töpfersacker, als mir der Herr befohlen hat.” 11) Jesus aber stund vor dem Landpfleger; und der Landpfleger fragte ihn und sprach:

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Give me back my Jesus! Behold the money, the wages of murder, the lost son flings it down at your feet.

7) And they took counsel, and bought with them the potter’s field, to bury strangers in. 8) Wherefore that field was called, The field of blood, unto this day. 9) Then was fulfilled that which was spoken by Jeremy the prophet, saying, “And they took the thirty pieces of silver, the price of him that was valued, whom they of the children of Israel did value, 10) And gave them for the potter’s field, as the Lord appointed me.” 11) And Jesus stood before the governor, and the governor asked him, saying:

PILATE Bist du der Juden König?

Art thou the King of the Jews?

EVANGELIST Jesus aber sprach zu ihm:

And Jesus said unto him:

JESUS Du sagest’s.

Thou sayest.

EVANGELIST 12) Und da er verklagt ward von den Hohenpriestern und Ältesten, antwortete er nichts. 13) Da sprach Pilatus zu ihm:

12) And when he was accused of the high priests and elders, he answered nothing. 13) Then Pilate said unto him:

PILATE Hörest du nicht, wie hart sie dich verklagen?

Hearest thou not how many things they witness against thee?

EVANGELIST 14) Und er antwortete ihm nicht auf ein Wort, also, daß sich auch der Landpfleger sehr verwunderte.

14) And he answered him to never a word: insomuch that the governor marvelled greatly.

No. 44 Chorale CHOIR I and II Befiehl du deine Wege und was dein Herze kränkt der allertreusten Pflege des, der den Himmel lenkt. Der Wolken, Luft und Winden gibt Wege, Lauf und Bahn, der wird auch Wege finden, da dein Fuß gehen kann.

Commend thy ways and whatever ails thy heart to the most faithful care of Him, who directs the heavens. He, that orders the paths, ways and courses of the clouds, winds and air, will find ways also for thy feet to go.

No. 45a Recitative EVANGELIST 15) Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen loszugeben, welchen sie wollten. 16) Er hatte aber zu der Zeit einen Gefangenen, einen sonderlichen vor andern, der hieß Barabbas.

15) Now at that feast the governor was wont to release unto the people a prisoner, whom they would. 16) And they had then a notable prisoner, called Barabbas.

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17) Und da sie versammlet waren, sprach Pilatus zu ihnen:

PILATE Welchen wollet ihr, daß ich euch losgebe? Barabbam oder Jesum, von dem gesaget wird, er sei Christus?

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17) Therefore when they were gathered together, Pilate said unto them:

Whom will ye that I release unto you? Barabbas, or Jesus, which is called Christ?

EVANGELIST 18) Denn er wußte wohl, daß sie ihn aus Neid überantwortet hatten. 19) Und da er auf dem Richtstuhl saß, schickete sein Weib zu ihm und ließ ihm sagen:

18) For he knew that for envy they had delivered him. 19) When he was set down on the judgment seat, his wife sent unto him, saying:

PILATE’S WIFE Habe du nichts zu schaffen mit diesem Gerechten; ich habe heute viel erlitten im Traum von seinetwegen!

Have thou nothing to do with that just man: for I have suffered many things this day in a dream because of him.

EVANGELIST 20) Aber die Hohenpriester und die Ältesten überredeten das Volk, daß sie um Barabbas bitten sollten, und Jesum umbrächten. 21) Da antwortete nun der Landpfleger und sprach zu ihnen:

20) But the chief priests and elders persuaded the multitude that they should ask Barabbas and destroy Jesus. 21) The governor answered and said unto them:

PILATE Welchen wollt ihr unter diesen zweien, den ich euch soll losgeben?

Whether of the twain will ye that I release unto you?

EVANGELIST Sie sprachen:

They said:

MULTITUDE: CHOIR I and II Barabbam!

Barabbas!

EVANGELIST 22) Pilatus sprach zu ihnen:

22) Pilate saith unto them:

PILATE Was soll ich denn machen mit Jesu, von dem gesagt wird, er sei Christus?

What shall I do then with Jesus which is called Christ?

EVANGELIST Sie sprachen alle:

They all say unto him:

No. 45b MULTITUDE: CHOIR I and II Laß ihn kreuzigen!

Let him be crucified!

No. 46 Chorale CHOIR I and II Wie wunderbarlich ist doch diese Strafe! der gute Hirte leidet für die Schafe, die Schuld bezahlt der Herre, der Gerechte, für seine Knechte.

How wondrous strange is this punishment! The good shepherd suffers for the sheep, the master, upright and just, pays his servants’ debt!

No. 47 Recitative EVANGELIST 23) Der Landpfleger sagte:

23) And the governor said:

PILATE Was hat er denn Übels getan?

Why, what evil hath he done?

Nos. 48 & 49 Recitative and Aria SOPRANO Er hat uns allen wohlgetan, den Blinden gab er das Gesicht, die Lahmen macht er gehend, er sagt uns seines Vaters Wort, er trieb die Teufel fort, Betrübte hat er aufgericht’, er nahm die Sünder auf und an. Sonst hat mein Jesus nichts getan.

He has done good to us all, To the blind He gave sight, He made the lame to walk, He preached His Father’s Word to us, He cast out evil spirits, the downcast He took up, He raised and took unto Him sinners; else has my Jesus nothing done.

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Aus Liebe will mein Heiland sterben, von einer Sünde weiß er nichts. Daß das ewige Verderben und die Strafe des Gerichts nicht auf meiner Seele bliebe.

(he knows nothing of sin), so that eternal damnation and the penalty of judgment may not rest upon my soul.

No. 50a Recitative EVANGELIST Sie schrieen aber noch mehr und sprachen:

But they cried out the more, saying:

No. 50b MULTITUDE: CHOIR I and II Laß ihn kreuzigen!

Let him be crucified!

No. 50c EVANGELIST 24) Da aber Pilatus sahe, daß er nichts schaffete, sondern daß ein viel größer Getümmel ward, nahm er Wasser und wusch die Hände vor dem Volk, und sprach:

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For love will my Redeemer die

24) When Pilate saw that he could prevail nothing, but that rather a tumult was made, he took water, and washed his hands before the multitude, saying:

PILATE Ich bin unschuldig an dem Blut dieses Gerechten, sehet ihr zu.

I am innocent of the blood of this just person: see ye to it.

EVANGELIST 25) Da antwortete das ganze Volk und sprach:

25) Then answered all the people, and said:

No. 50d MULTITUDE: CHOIR I and II Sein Blut komme über uns und unsre Kinder!

His blood be on us, and on our children!

No. 50e EVANGELIST 26) Da gab er ihnen Barabbam los; aber Jesum ließ er geißeln und überantwortete ihn, daß er gekreuziget würde.

26) Then released he Barabbas unto them: and when he had scourged Jesus, he delivered him to be crucified.

Nos. 51 and 52, Recitative and Aria ALTO Erbarm es Gott! Hier steht der Heiland angebunden. O Geißelung, o Schläg, o Wunden! Ihr Henker, haltet ein! Erweichet euch der Seelen Schmerz, der Anblick solchen Jammers nicht? Ach ja! ihr habt ein Herz, das muß der Martersäule gleich und noch viel härter sein. Erbarmt euch, haltet ein!

Have mercy, oh God! Here stands the Saviour bound. Oh scourging, oh blows, oh wounds! You butchers, stay your hands! Does the suffering of His soul and the sight of such distress not soften you? Why, yes, you have hearts! They must be like the pillar of martyrdom, and harder yet by far! Have mercy, stay your hands!

wenn die Wunden milde bluten, auch die Opferschale sein.

If the tears on my cheeks are of no avail, oh then take my heart! But let it also be the sacrificial chalice for the drops that flow from His gently bleeding wounds.

No. 53a Recitative EVANGELIST 27) Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus und sammleten über ihn die ganze Schar 28) und zogen ihn aus, und legeten ihm einen Purpurmantel an 29) und flochten eine dornene Krone und satzten sie auf sein Haupt und ein Rohr in seine rechte Hand und beugeten die Knie vor ihm und spotteten ihn und sprachen:

27) Then the soldiers of the governor took Jesus into the common hall, and gathered unto him the whole band of soldiers. 28) And they stripped him, and put on him a scarlet robe. 29) And when they had platted a crown of thorns, they put it upon his head, and a reed in his right hand; and they bowed the knee before him, and mocked him saying:

No. 53b SOLDIERS: CHOIR I and II Gegrüßet seist du, Jüdenkönig!

Hail, King of the Jews!

Können Tränen meiner Wangen nichts erlangen, o, so nehmt mein Herz hinein! Aber laßt es bei den Fluten,

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No. 53c EVANGELIST 30) Und speieten ihn an, und nahmen das Rohr, und schlugen damit sein Haupt. No. 54 Chorale CHOIR I and II O Haupt voll Blut und Wunden, voll Schmerz und voller Hohn, O Haupt, zu Spott gebunden mit einer Dornenkron, O Haupt, sonst schön gezieret mit höchster Ehr und Zier, jetzt aber hoch schimpfieret, gegrüßet seist du mir! Du edles Angesichte, dafür sonst schrickt und scheut das große Weltgewichte, wie bist du so bespeit, Wie bist du so erbleichet! wer hat dein Augenlicht, dem sonst kein Licht nicht gleichet, so schändlich zugericht’? No. 55 Recitative EVANGELIST 31) Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus und zogen ihm seine Kleider an und führeten ihn hin, daß sie ihn kreuzigten. 32) Und indem sie hinausgingen, funden sie einen Menschen von Kyrene mit Namen Simon; den zwungen sie, daß er ihm sein Kreuz trug.

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30) And they spit upon him, and took the reed, and smote him on the head.

Oh head covered in blood and with wounds, full of woe and overwhelmed by ridicule! Oh head, bound for mockery with a crown of thorns! Oh head, once splendidly adorned with highest honor and embellishment but now how greatly outraged: be thou hailed by me! Thou noble countenance, before which the last tremendous judgment recoils and is affrighted, how art thou spat upon! How is it thou art so pallid and so wan? Who has so shamefully reduced the light of thine eyes, which no other light can equal, to such a sorry state?

31) And after they had mocked him, they took the robe off from him, and put his own raiment on him, and led him away to crucify him. 32) And as they came out, they found a man of Cyrene, Simon by name; him they compelled to bear his cross.

Nos. 56 and 57, Recitative and Aria BASS Yes, this flesh and blood Ja freilich will in uns das Fleisch of ours und Blut will gladly be compelled to bear zum Kreuz gezwungen sein; the cross; the better for our souls je mehr es unsrer Seele gut, it is, the bitterer it is. je herber geht es ein. Komm, süßes Kreuz, so will ich sagen, mein Jesu, gib es immer her! Wird mir mein Leiden einst zu schwer, so hilfst du mir es selber tragen. No. 58a Recitative EVANGELIST 33) Und da sie an die Stätte kamen mit Namen Golgatha, das ist verdeutschet Schädelstätt, 34) gaben sie ihm Essig zu trinken mit Gallen vermischet; und da er’s schmeckete, wollte er’s nicht trinken. 35) Da sie ihn aber gekreuziget hatten, teilten sie seine Kleider und wurfen das Los darum, auf daß erfüllet würde, das gesagt ist durch den Propheten: “Sie haben meine Kleider unter sich geteilet, und über mein Gewand haben sie das Los geworfen.” 36) Und sie saßen allda und hüteten sein. 37) Und oben zu seinen Häupten hefteten sie die Ursach seines Todes beschrieben, nämlich: “DIES IST JESUS, DER JUDEN KÖNIG.” 38) Und da wurden zween Mörder mit ihm gekreuziget, einer zur Rechten und einer zur Linken. 39) Die aber vorübergingen, lästerten ihn und schüttelten ihre Köpfe 40) und sprachen:

Come, sweet cross, then I will say, my Jesus, share it with me! Should my suffering ever prove too great, help Thou me then to bear it.

33) And when they were come unto a place called Golgotha, that is to say, a place of a skull, 34) They gave him vinegar to drink mingled with gall; and when he had tasted thereof, he would not drink. 35) And they crucified him, and parted his garments, casting lots; that it might be fulfilled which was spoken by the prophet: “They parted my garments among them, and upon my vesture did they cast lots.” 36) And sitting down they watched him there. 37) And set up over his head his accusation written, “THIS IS JESUS THE KING OF THE JEWS.” 38) Then were there two thieves crucified with him, one on the right hand, and another on the left. 39) And they that passed by reviled him, wagging their heads, 40) And saying: 53

No. 58b PASSERS-BY: CHOIR I and II Der du den Tempel Gottes zerbrichst, und bauest ihn in dreien Tagen, hilf dir selber! Bist du Gottes Sohn, so steig herab vom Kreuz!

Thou that destroyest the Temple, and buildest it in three days, save thyself. If thou be the Son of God, come down from the cross.

No. 58c EVANGELIST 41) Desgleichen auch die Hohenpriester spotteten sein samt den Schriftgelehrten und Ältesten und sprachen:

41) Likewise also the chief priest mocking him, with the scribes and elders, said:

No. 58d CHIEF PRIESTS, SCRIBES, ELDERS: CHOIR I and II 42) Andern hat er geholfen und kann ihm selber nicht helfen. Ist er der König Israel, so steige er nun vom Kreuz, so wollen wir ihm glauben. 43) Er hat Gott vertrauet, der erlöse ihn nun, lüstet’s ihn; denn er hat gesagt: Ich bin Gottes Sohn.

42) He saved others: himself he cannot save. If he be the King of Israel, let him now come down from the cross, and we will believe him. 43) He trusted in God; let him deliver him now, if he will have him: for he said, I am the Son of God.

No. 58e Recitative EVANGELIST 44) Desgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren.

44) The thieves also, which were crucified with him, cast the same in his teeth.

Nos. 59 and 60, Recitative and Aria ALTO Ach Golgatha, unselges Golgatha! Der Herr der Herrlichkeit muß schimpflich hier verderben, der Segen und das Heil der Welt wird als ein Fluch ans Kreuz gestellt. Der Schöpfer Himmels und der Erden soll Erd und Luft entzogen werden. Die Unschuld muß hier schuldig 54

Ah, Golgotha, unhappy Golgotha! The King of Glory must basely pass away here, the blessing and salvation of the world is set, like a curse upon the cross. Earth and air shall be bereft of heaven and earth’s creator; the guiltless one must die here

sterben, das gehet meiner Seele nah; ach, Golgatha, unselges Golgatha!

guilty: it pierces my soul to the very quick. Ah, Golgotha, unhappy Golgotha!

Sehet, Jesus hat die Hand, uns zu fassen, ausgespannt; kommt!

See, Jesus has his hand outstretched to grasp us; come!

CHOIR Wohin?

Where?

ALTO In Jesu Armen sucht Erlösung, nehmt Erbarmen, suchet!

In Jesu’s arms seek salvation, receive grace, seek!

CHOIR Wo?

Where?

ALTO In Jesu Armen, suchet!

In Jesu’s arms, seek!

CHOIR Wo?

Where?

ALTO In Jesu Armen. Lebet, sterbet, ruhet hier, ihr verlaßnen Küchlein ihr, bleibet...

In Jesu’s arms. Live, die, repose here, ye forsaken lambs ye, remain...

CHOIR Wo?

Where?

ALTO ...in Jesu Armen, bleibet...

...in Jesu’s arms, remain...

CHOIR Wo?

Where?

ALTO ...in Jesu Armen.

...in Jesu’s arms.

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No. 61a Recitative EVANGELIST 45) Und von der sechsten Stunde an war eine Finsternis über das ganze Land, bis zu der neunten Stunde. 46) Und um die neunte Stunde schriee Jesus laut und sprach:

46) And about the ninth hour Jesus cried with a loud voice, saying:

JESUS Eli, Eli, lama asabthani?

Eli, Eli, lama sabachthani?

EVANGELIST Das ist: “Mein Gott, mein Gott, warum hast du mich verlassen?” 47) Etliche aber, die da stunden, da sie das höreten, sprachen sie:

That is to say, “My God, my God, why hast thou forsaken me?” 47) Some of them that stood there, when they heard that, said:

No. 61b BYSTANDERS: CHOIR I Der rufet dem Elias.

This man calleth for Elias.

No. 61c EVANGELIST 48) Und bald lief einer unter ihnen, nahm einen Schwamm und füllete ihn mit Essig und steckete ihn auf ein Rohr und tränkete ihn. 49) Die andern aber sprachen:

48) And straightway one of them ran, and took a sponge, and filled it with vinegar, and put it on a reed, and gave him to drink. 49) The rest said:

No. 61d BYSTANDERS: CHOIR II Halt! Laß sehen, ob Elias komme und ihm helfe?

Let be, let us see whether Elias will come to save him.

No. 61e EVANGELIST 50) Aber Jesus schriee abermal laut und verschied.

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45) Now from the sixth hour there was darkness over all the land unto the ninth hour.

50) Jesus, when he had cried again with a loud voice, yielded up the ghost.

No. 62 Chorale CHOIR I and II Wenn ich einmal soll scheiden, so scheide nicht von mir! Wenn ich den Tod soll leiden, so tritt du denn herfür! Wenn mir am allerbängsten wird um das Herze sein, so reiß mich aus den Ängsten kraft deiner Angst und Pein!

No. 63a Recitative EVANGELIST 51) Und siehe da, der Vorhang im Tempel zerriß in zwei Stück von oben an bis unten aus. 52) Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen, die da schliefen, 53) und gingen aus den Gräbern nach seiner Auferstehung und kamen in die heilige Stadt und erschienen vielen. 54) Aber der Hauptmann und die bei ihm waren und bewahreten Jesum, da sie sahen das Erdbeben und was da geschah, erschraken sie sehr und sprachen:

When at last I must depart, depart Thou not then from me! When I must endure death, hasten Thou then hither! When I am at heart in extremity of dread snatch me out of anguish through Thine own anguish and pain!

51) And, behold, the veil of the temple was rent in twain from the top to the bottom and the earth did quake and the rocks rent; 52) And the graves were opened; and many bodies of the saints which slept arose,

53) And came out of the graves after his resurrection, and went into the holy city, and appeared unto many. 54) Now when the centurion and they that were with him watching Jesus, saw the earthquake, and those things that were done, they feared greatly, saying:

No. 63b CENTURION, SOLDIERS, BYSTANDERS: CHOIR I and II Wahrlich, dieser ist Gottes Sohn gewesen.

Truly, this was the Son of God.

No. 63c EVANGELIST 55) Und es waren viel Weiber da, die von ferne zusahen, die da waren nachgefolget aus Galiläa und hatten ihm gedienet,

55) And many women were there beholding afar off, which followed Jesus from Galilee, ministering unto him: 57

56) unter welchen war Maria Magdalena und Maria, die Mutter Jacobi und Joses, und die Mutter der Kinder Zebedäi. 57) Am Abend aber kam ein reicher Mann von Arimathia, der hieß Joseph, welcher auch ein Jünger Jesu war, 58) der ging zu Pilato und bat ihn um den Leichnam Jesu. Da befahl Pilatus, man sollte ihm ihn geben.

Nos. 64 and 65, Recitative and Aria BASS Am Abend, da es kühle war, ward Adams Fallen offenbar; am Abend drücket ihn der Heiland nieder. Am Abend kam die Taube wieder und trug ein Ölblatt in dem Munde. O schöne Zeit! O Abendstunde! Der Friedensschluß ist nun mit Gott gemacht, denn Jesus hat sein Kreuz vollbracht. Sein Leichnam kömmt zur Ruh. Ach! liebe Seele, bitte du, geh, lasse dir den toten Jesum schenken, o heilsames, o köstlichs Angedenken! Mache dich, mein Herze, rein, ich will Jesum selbst begraben. Denn er soll nunmehr in mir für und für seine süße Ruhe haben. Welt, geh aus, laß Jesum ein! No. 66a Recitative EVANGELIST 59) Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand

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56) Among which was Mary Magdalene, and Mary the mother of James and Joses, and the mother of Zebedee’s children. 57) When the evening was come, there came a rich man of Arimathaea, named Joseph, who also himself was Jesus’ disciple. 58) He went to Pilate, and begged the body of Jesus. Then Pilate commanded the body to be delivered.

At evening, when it was cool, Adam’s fall was manifest; at evening the Saviour overcame it. At evening the dove returned again bearing an olive leaf in its beak. O lovely time! Oh evening hour! Peace with God is now concluded for Jesus has endured His cross; His body comes to rest. Oh, dear soul, ask thou, go, bid them give thee the dead Jesus, oh wholesome, oh precious memorial! Purify thyself, my heart, I myself will bury Jesus. for He shall henceforth evermore sweetly take His rest in me. World, go hence, let Jesus in!

59) And when Joseph had taken the body, he wrapped it in a clean linen cloth,

60) und legte ihn in sein eigen neu Grab, welches er hatte lassen in einen Fels hauen, und wälzete einen großen Stein vor die Tür des Grabes und ging davon. 61) Es war aber allda Maria Magdalena und die andere Maria, die satzten sich gegen das Grab. 62) Des andern Tages, der da folget nach dem Rüsttage, kamen die Hohenpriester und Pharisäer sämtlich zu Pilato 63) und sprachen:

60) And laid it in his own new tomb, which he had hewn out in the rock; and he rolled a great stone to the door of the sepulchre, and departed. 61) And there was Mary Magdalene, and the other Mary, sitting over against the sepulchre. 62) Now the next day, that followed the day of the preparation, the chief priests and Pharisees came together unto Pilate, 63) Saying:

No. 66b CHIEF PRIESTS, PHARISEES: CHOIR Herr, wir haben gedacht, daß dieser Verführer sprach, da er noch lebete: “Ich will nach dreien Tagen wieder auferstehen.” 64) Darum befiehl, daß man das Grab verwahre bis an den dritten Tag, auf daß nicht seine Jünger kommen und stehlen ihn und sagen zu dem Volk: Er ist auferstanden von den Toten, und werde der letzte Betrug ärger denn der erste!

I and II Sir, we remember that that deceiver said, while he was yet alive, “After three days I will rise again.” 64) Command therefore that the sepulchre be made sure until the third day, lest his disciples come by night, and steal him away, and say unto the people, He is risen from the dead: so the last error shall be worse than the first.

No. 66c EVANGELIST 65) Pilatus sprach zu ihnen:

65) Pilate said unto them:

PILATE Da habt ihr die Hüter; gehet hin und verwahret’s, wie ihr’s wisset.

Ye have a watch; go your way, make it as sure as ye can.

EVANGELIST 66) Sie gingen hin und verwahreten das Grab mit Hütern und versiegelten den Stein.

66) So they went, and made the sepulchre sure, sealing the stone and setting a watch.

No. 67 Recitative BASS Nun ist der Herr zur Ruh gebracht.

Now the Lord is laid to rest. 59

CHOIR Mein Jesu, gute Nacht!

My Jesu, fare Thee well!

TENOR Die Müh ist aus, die unsre Sünden ihm gemacht.

The toil our sins did make for Him is done.

CHOIR Mein Jesu, gute Nacht!

My Jesu, fare Thee well!

ALTO O selige Gebeine, seht, wie ich euch mit Buß und Reu beweine daß euch mein Fall in solche Not gebracht!

CHOIR Mein Jesu, gute Nacht! SOPRANO Habt lebenslang vor euer Leiden tausend Dank,

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Oh blessed corpse, see how, repentant and filled with remorse, I mourn thee that my fall should have brought thee to such distress.

My Jesu, fare Thee well!

daß ihr mein Seelenheil so wert geacht’.

All life long, be thanked for Thy Passion a thousand times, that Thou held’st my soul’s welfare so dear.

CHOIR Mein Jesu, gute Nacht!

My Jesu, fare Thee well!

No. 68 Final Chorus CHOIR I and II Wir setzen uns mit Tränen nieder und rufen dir im Grabe zu: Ruhe sanfte, sanfte ruh!

We sit down in tears and call to Thee in the grave: Sweet repose, rest sweetly!

CHOIR I Ruht, ihr ausgesognen Glieder!

Rest, you weary limbs!

CHOIR II Ruhet sanfte, ruhet wohl!

Rest softly, rest well!

CHOIR I Ruht, ihr ausgesognen Glieder!

Rest, you weary limbs!

CHOIR II Ruhet sanfte, ruhet wohl!

Rest softly, rest well!

CHOIR I Euer Grab und Leichenstein soll dem ängstlichen Gewissen ein bequemes Ruhekissen und der Seelen Ruhstatt,...

Your sepulchre and tombstone shall to the troubled conscience be a comfortable pillow and for the soul a resting place,...

CHOIR II Ruhet sanfte, sanfte ruht!

Rest sweetly, sweet repose!

CHOIR I ...der Seelen Ruhstatt sein. Höchst vernügt schlummern da die Augen ein.

...for the soul a resting place shall be. In highest contentment, eyes close there in slumber.

CHOIR I and II Wir setzen uns mit Tränen nieder und rufen dir im Grabe zu: Ruhe sanfte, sanfte ruh!

We sit down in tears, and call to Thee in the grave: Sweet repose, rest sweetly!

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2022-23

CONCERT SEASON

HANDEL’S JEPHTHA

MONTERO PLAYS MOZART

The great Baroque composer’s final masterpiece

Mozart’s Piano Concerto No. 21

Sunday, Sep 18, 7:30 pm North Shore Center

Saturday, Jan 21, 7:30 pm Harris Theater

Monday, Sep 19, 7:30 pm Harris Theater

Sunday, Jan 22, 7:30 pm North Shore Center

BAROQUE HEROES

LONDON CALLING

With guest conductor Patrick Dupré Quigley

Orchestral music written for or inspired by London

Sunday, Oct 9, 3 pm North Shore Center Tuesday, Oct 11, 7:30 pm Harris Theater

REGINALD MOBLEY SINGS One of the world’s greatest countertenors Sunday, Nov 20, 7:30 pm North Shore Center Monday, Nov 21, 7:30 pm Harris Theater

HOLIDAY BRASS & CHORAL CONCERTS Inspiring music in beautiful spaces Thursday, Dec 15, 7:30 pm Grace Lutheran Church Friday, Dec 16, 7:30 pm St. Michael Church Saturday, Dec 17, 2 pm Saints Faith, Hope & Charity Catholic Church

Sunday, Feb 26, 7:30 pm North Shore Center Monday, Feb 27, 7:30 pm Harris Theater

THE ST. MATTHEW PASSION One of the greatest creative achievements of all time Sunday, Apr 2, 7:30 pm North Shore Center Monday, Apr 3, 7:30 pm Harris Theater

CIRCLES OF FRIENDS 21st-c. Chicago friends play music by 18th-c. Viennese friends Sunday, May 7, 7:30 pm North Shore Center Monday, May 8, 7:30 pm Harris Theater

Sunday, Dec 18, 2 pm Alice Millar Chapel

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