2018 Bach Festival bach society of charleston
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bach society of charleston
Ricard Bordas, Artistic Director
presents
2018 Bach Festival
Baroque Concertos
Bach, Corelli, Handel and Vivaldi
First (Scots) Presbyterian Church, Charleston | March 1, 7:30 p.m.
Charleston Baroque Orchestra
Led by Cynthia Roberts and Phoebe Carrai
Organ Recital
St. Michael’s Church, Charleston | March 2, 7:30 p.m.
Christopher Jacobson, organ
Credo
A Year with Johann Sebastian Bach (1685–1750)
Christopher Jacobson, organ
St. John Passion (in German)
Johann Sebastian Bach
First (Scots) Presbyterian Church | March 3, 7:00 p.m.
Ricard Bordas, conductor
Charleston Baroque Orchestra
Charleston Baroque Voices and Soloists
Bach Festival on the Islands
presented with the Town of Kiawah Island Arts Council
Holy Spirit Catholic Church, Johns Island | March 4, 4:00 p.m.
Brandenburg Concerto No. 4 in G Major, BWV 1049
and
St. John Passion (selections)
Young Artists Recital
an outreach program of The Bach Society of Charleston
Bishop Gadsden Chapel, James Island | March 3, 3:00 p.m.
bach society of charleston
presents
Baroque Concertos
First (Scots) Presbyterian Church Thursday, March 1, 7:30 p.m.
Charleston Baroque Orchestra
Led by Cynthia Roberts and Phoebe Carrai
We very much want your opinions about our concerts. We will use the information to
Concerto Grosso Opus 6 No. 4 in D major Arcangelo Corelli evaluate our performances and publicity and to make plans for the coming year.
Adagio—Allegro—Adagio—Vivace 1653-1713
1. How did you hear about today’s concert? (Check all that apply)
Brandenburg Concerto No. 4 in G major, BWV 1040 Johann Sebastian Bach _____ I am a regular attender of Bach Society Concerts
Allegro—Andante—Presto 1685-1750 _____ Friend
_____ City Paper
Intermission _____ Newspaper article (please indicate which) ____________________________
_____ Bach Society Poster
Concerto for two flutes and strings in C major, RV 533 Antonio Vivaldi _____ Charleston Symphony Orchestra Program Booklet
Allegro—Larghetto—untitled 1685-1741 _____ SCETV
_____ SC Public Radio
Concerto Grosso Op. 6, No. 12 in B minor George Frideric Handel _____ Other (please describe) __________________________________________
Largo—Allegro—Larghetto—Largo—Allegro 1685-1759
In what community do you live? ___________________________________________
Orchestral Suite No. 1 in C major, BWV 1066 J. S. Bach
Please add me to your mailing list
Overture—Courante—Gavotte—Forlane
Name____________________________ Email _____________________________
Menuet I,II—Bourée I,II—Passepied I,II
I would like to volunteer:
Charleston Baroque Orchestra _____ Usher
_____ Housing (out of town performers)
First violins: Cynthia Roberts, Isabelle Seula Lee, Sarah Jane Kenner _____ Transportation (out of town performers)
Second violins: Alana Youssefian, Allison Willett _____ Assist with Publicity
Viola: Stephen Goist; Cello: Phoebe Carrai; Bass: Melanie Punter _____ Production assistant for events or other logistical support
Viola da gamba: Gail Schroeder; Flute: Jonathan Slade, Mili Chang How would you describe yourself?
Oboe/recorder: Sian Ricketts, William Thauer Age
Bassoon: Joe Jones; Harpsichord: Jennifer McPherson _____ under 29 _____ 30-50 _____ 51-64 _____ 65+ _____
Thank you very much!
Board of Directors—The Bach Society of Charleston
TEAR OFF
We are grateful to our many friends and
supporters Whose efforts make this concert possible:
Baroque Concertos
Program notes by Williams D. Gudger
Joel Bateman, photography Nancy Guerry, photography J. S. Bach spent 1717-1723 at the ducal court in Coethen, where he concentrated on com-
David Hoskinson, photography Bob Dukes, photography posing instrumental music. While arranging for the delivery of a new harpsichord in Berlin,
he met the Margrave of Brandenburg, to whom he sent a set of six concertos “for several
Keith Blake, publicity William D. Gudger, program notes instruments” demonstrating his ability to write for most every instrument in use at the time.
Megan Elger, graphic design George & Phyllis Dickenson, tickets The Margrave apparently did not have the resources to have the music per-formed. There is
Rachel Remsburg, production assistant no evidence of performance or even acknowledgment of the receipt of the score, much less a
gift of money to the composer. Bach had carefully written out the score of the concertos, all of
musician hosts which had likely been performed in earlier versions in Coethen. Brandenburg Concerto No.
4 calls for a virtuosic violin solo, two “flauti d’echo,” and the usual group of strings as ripieno.
Ralph and Nancy Edwards, Ben and Stephanie Hess, David Hunt, The flauti d’echo are recorders, not transverse flutes as often heard in modern performances.
First Baptist Church, Mitzi Legerton, Hank and Betsy Martin, The echo effect may refer to the middle movement where the solo violin leaves its virtuoso role
Bryan and Carol Ann Smalley, Murray and Hazel Somerville, to be the bass under the two recorders, creating a charming echo effect. The three movement
Jim Kimmett and Robbie Staubes, Susan Sully, and John and Susan Witty structure (fast - slow - fast) was popularized by the Venetian Vivaldi, as in the Concerto for
Two Flutes heard today.
The Bach Society of Charleston expresses its gratitude to First (Scots) Presbyterian
“Concerto” derives from Latin words which mean either to play together or to contend. The
Church for providing our rehearsal space and our performance hall. dichotomy of the concerto is found most clearly in the concerto grosso, which pits a small
group (“concertino,” a trio of two violins and cello) against the larger (“grosso”) group with full
The Bach Society of Charleston thanks Bishop Gadsden strings, filling up the texture (“ripieno”). Together the groups form the “tutti” (“all”). Corelli’s
for its support of the Young Artists Recital. Opus 6 Concerti Grossi (from Rome) were not the first but certainly the most popular. This
standardized the scoring for strings alone, followed by later composers such as Handel, whose
London-composed and published concerti grossi formed his similarly numbered Opus 6, per-
haps an homage to Corelli.
If the concerto grosso was Italian in origin, the other popular ensemble piece of the Baroque
was the suite, French in origin, with an “ouverture” in regal style prefacing a sequence of styl-
ized dances. Bach’s use of the French titles and spellings betrays the origins of the suite in the
court of Louis XIV.
John Phillips Harpsichord
The First (Scots) Presbyterian Church harpsichord being used by the Bach Festival was built
by John Phillips of Berkeley, California in 2001. It is patterned after one built in Dresden,
Germany, by Johann Heinrich Gräbner the Younger in 1739. In all likelihood, the original
instrument was used in a court theater or chapel, where its unusual DD-d” range of four
octaves would have been ideal for accompaniment. Because of its Germanic style, the new
instrument is especially well suited for the music of J. S. Bach, Handel, Pachelbel, Buxtehude
and other composers of the High German Baroque Period. Made entirely by hand rather than
constructed from kits (which are assembled by amateurs), this harpsichord is a world-class,
museum-quality instrument, and one of only two of its type (a Germanic harpsichord with a
DD-d” range) in the United States.
bach society of charleston patrons of the bach society of charleston
presents
BACH SOCIETY ($5000 and up) CORELLI COLLEAGUES (up to $499)
Dr. George and Phyllis Dickinson A & E Printing
Credo
Murray and Hazel Somerville Anonymous
Netrist Solutions, LLC Robert and Lynell Baldwin
Pam Pollitt Bishop Gadsden
A year with Johann Sebastian Bach (1685-1750)
Dr. John and Susan Witty James and Barbara Buckley
Clarence and Frances Calcote
St. Michael’s Church, Charleston Friday, March 2,2018 HANDEL CIRCLE ($2500-$4999) Jim and Judy Chitwood
Gordon and Linda Bondurant Susan Durkalski
Christopher Jacobson, organ Dr. Boyd and Charlotte Gillespie Paul and Dianne Friel
Herzman-Fishman Foundation Richard and Dr. Patricia Frisch
Toccata in F major, BWV 540 Robert G. and Cathy Hill Hay Tire Company
Dr. Bryan and Carol Ann Smalley Isabel Hopkins
Advent
Edwin Johnson
Kommst du nun, Jesu, von Himmel herunter auf Erden, BWV 650 VIVALDI ASSOCIATES ($1000-$2499)
Judith Johnson
(Art thou coming, Lord Jesus, from heaven down to earth?) Emmy Lou Anderson
Lee and Elsie Kohlenberg
Dr. Charles and Bonnie Bensonhaver
Christmas Louise B. Lancaster
Charles (Buddy) Darby III
Vom Himmel kam der Engel Schar, BWV 607 (From heaven came the host of angels) Andrew Lawson
Gonzalez & Oberlander, LLP
Mitzi Legerton
Bill and Becky Johnson
Epiphany Elizabeth Rivers Lewine
Janice Key, in memory of Lyndon Key
Jesus Christus, under Heiland, der von uns den Zorn Gottes wandt, BWV 688 Richard and Lasca Lilly
Dr. Jenny Kinnard
(Jesus Christ, who turned God’s anger away from us) Marilyn Long
Mrs. Sandra Korn
LW and Elizabeth McAnally
Palm Sunday Poplar Tent Presbyterian Church
Joan McLees
Chorale Fantasia: Valet will ich dir geben, BWV 736 (All glory, laud and honor) Clark and Joyce Remsburg
Slade and Ina Metcalf
O Mensch, bewein’ dein’ Sünde groß, BWV 622 (O man, bewail thy grievous sin) Drs. Paul and Mary Jane Roberts
Kevin Mizell
Dr. Tom and Sugar Slabaugh
David and Elaine Neff
Maundy Thursday Lawrence and Ingrid Speakman
Lloyd and Margaret Ann Pearson
O Lamm Gottes unschuldig, BWV 656 (O spotless Lamb of God) South State Bank
Drs. Jose and Lori Rafols
Drs. Carl and Debbie Stanitski
Good Friday Dr. Frederick and Grace Reed
Bert Storey and Barbara Kraemer
Durch Adam’s Fall ist ganz verderbt, BWV 637 (By Adam’s fall has man sinned) Ed Ritchen
Es ist das Heil uns kommen her, BWV 638 (Salvation has come to us) PURCELL ALLIANCE ($500-$999) Taylor Rucker
Laurie Bonneau John and Aileen Sanders
Easter Thomas and Gail Bunn Julienne Smith
Nun freut euch, liebe Christian g’mein, BWV 734 (Now rejoice, all Christians) Sarah Christopher and Remley Campbell Dr. Thomas and Lynn Springer
Jesus Christus, unser Heiland, BWV 665 (Jesus Christ, our Savior) Barbara Campbell and Arnold Marcus Miles Tager
Dr. Strait and Charlotte Fairey Mikell and Dorothy Thaxton
Pentecost Drs. Michael and Karen Ullian
John Kuhn
Trio super Allein Gott in der Höh sei Ehr, BWV 664 (All glory be to God on high) Ms. Kay Wade
Hal and Shannon Ravenel
David and Sharon Ward
Passacaglia in C minor, BWV 582
George Wagner
All contributions to the Bach Society of Lt Col Charles C. and Helen Watson
Charleston are tax-deductible. Robert and Sue White
Nathaniel Olson, baritone Organ for St. Michael’s, Charleston
Nathaniel Olson, based in Greensboro, NC, is delighted to make his first appearance Kenneth Jones and Associates
with the Bach Society of Charleston. The 2017/2018 Season include solo perfor-
mances of the Five Mystical Songs of Vaughan Williams with the Columbus Indiana Bray, Ireland 1994
Philharmonic, with the Raleigh Bach Soloists, for the Duke Chapel Bach Cantata
Series, in the Brahms Requiem in Greensboro, and with the 208th Army Reserve Three manuals and pedals, 40 stops, 51 ranks, 2,519 pipes, 6 couplers, tracker key
Band. Performance Highlights include premiering the role of Tomasz in Lyric Opera
of Chicago’s The Property, solo recitals for the Carnegie Hall Great Singers III Series action, mechanical stop action with a parallel electric stop action. The organ case is
and the Carnegie Hall Neighborhood Concert Series with Kevin Murphy, a solo restored to its original 1767 style and proportions. Original case by John Snetzler. It
WTVP Public Television Special entitled “The American Songbook,” as the singing
voice for a Biscuitville TV commercial, as Don Giovanni with the Oklahoma Mozart has been in St. Michael’s since 1767.
Festival, as Adam in Haydn’s Creation with Maestro John Nelson, as Bass Soloist
with the Chicago Bach Ensemble, in recital at the Ravinia Festival, in recital at the Tucson Desert Song Festival, and Below is a colorful history of the organ at St. Michael’s by Murray Somerville, harp-
on tour with Soprano Julianne Olson to South Korea with the Far East Broadcasting Company, across Indonesia as
former voice faculty, and in the Netherlands for the Ravinia Festival.
sichord and chamber organ performer and board member for the Bach Society of
Charleston.
Cynthia Roberts, baroque violin “We (The Bach Society of Charleston) wanted the recital there, not just because it’s
Cynthia Roberts is one of America’s leading baroque violinists, appearing as soloist, close, but also because it’s such a good organ for Bach (and many other things.) The
concertmaster, and recitalist throughout North America, Europe, and Asia. She is
a faculty member of the Juilliard School, and toured this spring with the Juilliard
elegant case is the original one built in London in 1767, to house the organ for St.
415 baroque orchestra to India, and as concertmaster under Masaaki Suzuki to New Michael’s built by the great English organ builder John Snetzler. Over the years that
Zealand. She also teaches at the University of North Texas and the Oberlin Baroque instrument was mucked about and “improved” many times; under Lee Kohlenberg’s
Performance Institute and has given master classes at the University of Music and
Performing Arts Vienna, Indiana University, Eastman, the Cleveland Institute, Cor- leadership all the detritus was discarded, and a new organ was built for the old case by
nell, Rutgers, Minsk Conservatory, Leopold-Mozart-Zentrum Augsburg, Shanghai the noted Irish organ builder Kenneth Jones in 1994. He … reproduced (as best as
Conservatory, Vietnam National Academy of Music, and for the Jeune Orchestre
Atlantique in France. She appears regularly with the Trinity Baroque Orchestra, we know) the Snetzler instrument (which would have of course have been a real ba-
Smithsonian Chamber Players, Tafelmusik, and the Boston Early Music Festival and roque instrument!) for two of the manuals, adding (as Snetzler would not have known
is a principal player in the Carmel Bach Festival. In Europe, she has performed as concertmaster of Les Arts Floris-
sants and appeared with Orchester Wiener Akademie, the London Classical Players, and the Taverner Players. She about) a swell division and pedal stops to make the instrument capable of playing
was featured as soloist and concertmaster on the soundtrack of the Touchstone Pictures film Casanova and toured a wide variety of literature. But, as the Snetzler would have, it has mechanical (not
South America as concertmaster for a production featuring actor John Malkovich. Ms. Roberts made her solo debut
at age 12 playing the Mendelssohn Violin Concerto with the Grant Park Symphony of Chicago. Her recording credits electric) key action, low wind pressures, and a classic specification on the Great and
include Sony, CPO, and Deutsche Harmonia Mundi. Choir divisions; Snetzler himself (as you might guess) was originally German, and so
would have grown up knowing the great German baroque organs that Bach would
Faith Sherman, mezzo-soprano have played. 18th century music, played on an (almost) 18th-century instrument, in
Acclaimed by the New York Times as a “luminous mezzo-soprano,” and praised by an 18th-century building … ! Where else can you do that in the U.S.?”
Opera News for her “rich mezzo,” Faith Sherman has enjoyed successes on both the
operatic and concert stages. Ms. Sherman recently made “a sensational European
debut” (Financial Times) at the English National Opera in Kaijia Saariaho’s L’Amour
de loin as the Pilgrim to rave reviews from the international press. Last season, she
made her German operatic debut as Concepcion in L’heure espagnole at Oper Frank-
furt and premiered the mezzo-soprano lead role in Ricky Ian Gordon’s Rappahan-
nock County at Virginia Opera. In addition, she covered the role of the Composer
in Ariadne auf Naxos at Houston Grand Opera. Ms. Sherman sang Verdi’s Messa da
requiem with period instruments at the Ludwigsburger Schlossfestspiele and at the
Opéra de Vichy under Michael Hofstetter. In the future, she will be seen at Houston
Grand Opera, Seattle Opera, and the English National Opera. While earning her Artist Diploma at the Juilliard
School, Ms. Sherman was heard in Mozart’s Requiem for the 9/11 Memorial Concert at Carnegie Hall, as well as per-
formances in “Songs of Peace and War” and “100 years of Juilliard Composers in Song” with the New York Festival of
Song. Ms. Sherman was the winner of the Houston Grand Opera Eleanor McCollum Competition in 2007 and the
New England Regional Metropolitan Opera Auditions. She was also a semi-finalist in the 2007 Metropolitan Opera
National Auditions, and the 2011 Neue Stimmen International Singing Competition.
Jennifer Luiken, mezzo soprano
Jennifer Luiken is well versed in both operatic and concert repertoire. With
bach society of charleston a voice described as “voluptuous” and “beautifully clean and radiant,” Miss
presents Luiken transitions easily between many genres and styles. She has per-
formed throughout the United States, as well as in England, Scotland, Ger-
many, Bulgaria, Austria, Catalunya and Italy. She is an avid and frequent
Young Artists Recital
recitalist and performer of both art song and chamber works for voice and
instruments, and has been frequently selected for the Spotlight Concert
Series on the Piccolo Spoleto Festival as well as the “Sunset Serenade,” the
opening concert of the festival. Having made multiple appearances with
Bishop Gadsden Chapel, James Island Saturday, March 3, 3:00 p.m. the Charleston Symphony Orchestra and other regional orchestras, her orchestral and concert repertoire
includes Verdi’s Requiem; Mahler’s Symphony No. 2, “Resurrection”; Beethoven’s Symphony No. 9;
Musette Johann Sebastian Bach Bernstein’s Kaddish Symphony; and Aaron Copland’s In the Beginning. Known also for her convincing
Minuet en Rondeau Jean-Phillipe Rameau acting skills in both comedic and dramatic roles, Miss Luiken’s operatic credits include The Old Lady in
Julia Richards, piano 1683-1764 Candide, Madame Flora in The Medium, the title role in The Rape of Lucretia, the Mother in Amahl and
the Night Visitors, Prince Orlofsky in Die Fledermaus, and Maddalena in Rigoletto. She has been a state
Suite for Cello No. 6: Gavotte BWV 1012 J. S. Bach
winner and regional finalist in the Metropolitan Opera auditions and second runner-up in the Mid-At-
Chloe Ross, violin 1685-1750
lantic region of NATSAA. A native of Iowa, she now lives in Summerville, South Carolina, and is chair of
Goldberg Variations: I, BWV 988 J. S. Bach the Horton School of Music at Charleston Southern University where she also serves on the voice faculty.
Reed Kurtz, piano
Suite for Cello No. 3 in C major: Prelude, BWV 1009 J. S. Bach Oliver Mercer, tenor
Erica Kremer, cello Oliver Mercer recently performed the tenor solo in Hiawatha’s Wedding
Feast with the Savannah Philharmonic Orchestra. Other credits include
O Esca Viatorum from St. Matthew Passion, BWV 244 J. S. Bach
Glyndebourne Festival Opera, Spoleto Festival USA, Opera Theater Com-
Julia Merritt McAtee, soprano
pany Ireland, Charleston Bach Festival, Charleston Symphony Orchestra,
Julia Harlow, harpsichord
English National Opera and Mid Wales Opera. He has appeared as a solo-
Sonata No. 1 in G minor: Adagio, BWV 1009 J. S. Bach ist at Carnegie Hall, Lincoln Center, Trinity Wall Street and in London at
Elliott Weeks, violin the Barbican and Royal Albert Hall. A specialist of the Baroque era, recent
engagements include a national tour of the Monteverdi Vespers, the role of
Invention No. 10, BWV 781 J. S. Bach Evangelist in Bach’s St. John Passion and performances with Boston Early
Sonata in E Domenico Scarlatti Music Festival.
YiYun (Maggie) Cen, piano 1685-1757
Suite for Cello No. 6: Courante, BWV 1012 J. S. Bach Rufus Müller, tenor
Sonata No. 4: Allegro, BWV 1033
Rufus Müller, the British-German tenor was acclaimed by The New York
Linda Chen, flute
Times following a performance in Carnegie Hall as “...easily the best tenor
Julia Harlow, harpsichord
I have heard in a live Messiah.” He is celebrated as the Evangelist in Bach’s
Prelude and Fugue in D minor BWV 875 J. S. Bach Passions, his unique dramatic interpretation of this role confirming his
Lily Lassiter, piano status as one of the world’s most sought-after performers (“a sensational
Evangelist”- New York Times). Rufus is also a leading recitalist, performing
Sonata in E minor for violin and keyboard: Allegro con fuoco Francesco Veracini worldwide with pianist Maria João Pires, notably in an extended Schuber-
Benjamin Kremer, violin 1690-1764 tiade in the Wigmore Hall, and on tour in Spain, Germany, and Japan with
Julia Harlow, harpsichord Schubert’s Winterreise. The 2017/2018 season includes Bach Passions and
Handel Messiah in New York, Princeton, Toronto, Washington DC, Car-
Our appreciation goes to Julia Harlow for furnishing her personal harpsichord, to Bishop Gadsden for mel Bach Festival, The Royal Albert Hall, and Canterbury Cathdedral; Monteverdi Vespers, Schubert
hosting and sponsoring the Young Artists Recital, and to co-sponsor Poplar Tent Presbyterian Church, Winterreise, Mozart Don Giovanni (Ottavio) in Tokyo; Beethoven’s Choral Symphony in Pennsylvania,
Concord, N. C., which seeks to nurture those in the larger community “with whom we share the journey.” Haydn Creation in London, as well as recitals and masterclasses in Japan, Spain, Germany and the USA.
Rufus was a choral scholar at New College, Oxford. He studied in New York with the late Thomas Lo-
Monaco and now with Ilka LoMonaco. In 1985 he won first prize in the English Song Award in Bright-
on, and in 1999 was a prize winner in the Oratorio Society of New York Competition. He is Associate
Professor of Music at Bard College, New York.
Daniel Cole, bass
Dr. Daniel Cole has had a diverse musical career incorporating conducting, early music and operatic
performance. A national semi-finalist of the Metropolitan Opera National Council Auditions, he has bach society of charleston
performed as a soloist in Alice Tully Hall, Carnegie Hall, as well as with Netherlands Opera, Opera The- presents
atre of St. Louis, Opera Boston, Kentucky Opera, and Opera Carolina. He has most recently recorded
Argento’s Jonah and the Whale with the Boston Modern Orchestra Project on the BMOP label. Dr. Cole
St. John Passion, BWV 245
recently performed Franz Schubert’s Winterreise with pianist William Ransom at Emory University, his
alma mater. Dr. Cole received his MM and DM in choral conducting from the Indiana University Jacobs
School of Music. He currently serves on the voice and choral faculty of the University of South Carolina
and is music director of First Presbyterian Church (ARP) in Columbia, SC, where he has served since Johann Sebastian Bach
2007. Dr. Cole and his wife, Holly, have five children and make their home in Columbia, SC.
First (Scots) Presbyterian Church Saturday, March 3, 7:00 p.m.
Margaret Kelly Cook, soprano Ricard Bordas, conductor
Born in Glasgow, Scotland, Margaret Kelly Cook earned music degrees at Rufus Müller, Evangelist
the Oberlin Conservatory and the London Royal College of Music. She
has performed extensively in Europe and in the U.S. in operatic roles rang- Katherine Clarkson, soprano
ing from Monteverdi and Handel to Mozart, Bellini, Donizetti and the
Margaret Kelly Cook, soprano
contemporary works of Michael Tippet. On the concert stage, Ms. Cook
has appeared as a guest soloist with numerous groups and festivals includ- Faith Sherman, mezzo-soprano
ing the City of London Choir, the English Mozart Players, the Camerata
Jennifer Luiken, mezzo-soprano
Hispánica, Buxton Festival U.K., Salzburg Festival, the Charleston Sym-
phony Orchestra, the South Carolina Philharmonic and Charleston’s own Oliver Mercer, tenor
Piccolo Spoleto Festival. She lives in Mt. Pleasant with her husband and
young son, Mateu.
Nathaniel Olson, baritone
Daniel Cole, bass
Christopher Jacobson, organ
Charleston Baroque Voices
Christopher Jacobson, FRCO, is Duke University Chapel Organist and
Organist at Duke Divinity School. At Duke he founded and oversees the Sopranos: Margaret Kelly Cook, Katherine Clarkson, Suzanne Atwood*, Jennifer Blanton
Chapel Organ Scholar Program and directs the Evensong Singers in weekly
Altos: Faith Sherman, Jennifer Luiken, Renee Blankenship
Sunday afternoon Choral Evensong in Duke Chapel. Before assuming
this position, Mr. Jacobson was Associate Organist at Trinity Episcopal Tenors: Michael Owens, Wayne French, Roman M. Testroet*
Cathedral in Columbia, South Carolina, and Assistant Organist at Wash-
Basses: Paul Thomas*, Scott Atwood, Eric Bash, Daniel Cole
ington National Cathedral where he assisted in training of the cathedral
choirs. He has presented organ recitals across North America, Europe,
and Australia including performances of the complete organ works of Charleston Baroque Orchestra
César Franck, Maurice Duruflé, and Johann Sebastian Bach throughout
the United States. He has won top prizes in numerous organ competitions: the National Young Artist First violins: Cynthia Roberts, Isabelle Seula Lee, Sarah Jane Kenner
Competition of the American Guild of Organists, the Miami International Organ Competition, and the Second violins: Alana Youssefian, Allison Willett; Viola: Stephen Goist
John R. Rodland Competition in sacred music. A Fellow of the Royal College of Organists (FRCO),
Mr. Jacobson holds the Master of Music degree in Organ Performance and the Sacred Music Diploma Cello: Phoebe Carrai; Bass: Melanie Punter; Viola da gamba: Gail Schroeder
from the Eastman School of Music as well as a Bachelor of Music degree with distinction in Organ Flute: Jonathan Slade, Mili Chang; Oboe/recorder: Sian Ricketts, William Thauer
Performance from St. Olaf College. Mr. Jacobson records for the Dutch record label Pentatone Classics.
Bassoon: Joe Jones; Harpsichord: Jennifer McPherson;
Chamber organ: Murray Somerville
* soloists
Ricard Bordas, counter tenor and conductor
St. John Passion
Born in Barcelona, Bach Society of Charleston Artistic Director Ricard
Bordas graduated from the London Royal Academy of Music, receiving his
degree from Diana, Princess of Wales, and winning several awards. Mr.
Program notes by Williams D. Gudger Bordas has conducted choirs and chamber groups in the U. S., Spain and
Britain. As one of the leading countertenors of his generation, Mr. Bordas
has performed in fourteen countries in both opera and concert with Muti,
Bach’s obituary claims he wrote five passions. Of these, one is perhaps a lost passion setting Jacobs, Christophers, Rousset, and has performed at La Scala, Netherlands
composed early in his career at the Weimar Court. The other four represent his large output Opera, the Royal Albert Hall. Mr. Bordas has recorded for the labels DHS,
of four or five cycles of cantatas for Leipzig, where from 1722 until his death in 1750 he was United, Verany and Discantus. Mr. Bordas is Assistant Professor of Music
“Thomascantor,” a sort of municipally employed music director for all the churches in Leipzig, at Charleston Southern University, Artistic Director of the Charleston Men’s Chorus, Director of Choral
with his cantatas performed alternately at the St. Thomas Church (with its school where Bach Music at First (Scots) Presbyterian Church, and writes for the Spanish magazine Revista Musical Catala-
lived) and the municipal church St. Nicholas. The St. Mark Passion requires lots of guesswork na. He is married to soprano Margaret Cook, and has a son, Mateu.
to reconstruct, and the St. Luke Passion is Bach’s arrangement of an anonymous composer’s
work. That leaves us the two great passions: the St. Matthew (with two choirs and orchestras)
and the St. John. The St. John Passion was written for Good Friday 1723, a climactic end Phoebe Carrai, cello
to Bach’s first year in Leipzig, when he had composed a new cantata every week. The period Phoebe Carrai followed her path to Austria to do post graduate studies
leading up to the Passion performance must have seemed a bit of a relief as no cantatas were in early music after finishing her studies at New England Conservatory.
sung on the Sundays of Lent, giving Bach time to create the long passion. She became a full member of Musica Antiqua Köln, making 40 discs for
Deutsche Gramaphone and teaching at the Hillversum Conservatory in
There are three musical components to the St. John Passion. The Biblical narrative from Holland. Ms. Carrai taught at the Conservatory of the Arts in Berlin, Ger-
John’s gospel is set as a dramatic narration. Recitative carries the story along, with the words many for sixteen years and is now on the faculties of the Juilliard School
and the Longy School of Music at Bard College. She is director of the
of Jesus and others (Pilate, Peter) for soloists, with the chorus acting out the part of the crowd
Harvard Baroque Chamber Orchestra. She also teachers at the Curitiba
(“turba”). But the bulk of the narration is given to a tenor who sings as the Evangelist, a tour- Festival in Brazil and the Handel Festival in Karlsruhe. Ms. Carrai per-
de-force vocal part attempted by only the most accomplished singers. forms regularly with Juilliard Baroque, Philharmonia Baroque Orchestra,
The Boston Early Music Festival Orchestra and Chamber Ensemble, Göttingen Handel Festival Or-
Secondly, Bach chose various modern poetic texts to be set as arias for various soloists, con- chestra and Ensemble and The Arcadian Academy. Ms. Carrai’s recording of the Six Bach Suites for Solo
templations by the Christian believer on the events of the passion. These arias have elaborate Violincello and Duets of August Kummer can be found on the Avie label. Her recently recorded CD for
orchestral accompaniments. Thirdly, Bach chose a number of chorales, the Lutheran hymns 2 cellos plus continuo “Out of Italy,” also on Avie label, will be released in the fall of 2018. Ms. Carrai
well-known to the congregation (which probably did not sing along). Bach’s harmonizations plays on a restored Italian cello made ca. 1690.
of these chorale tunes are masterful, and form a body of music studied today by all music
students.
Katherine Clarkson, soprano
Compared to the more contemplative mood of the St. Matthew Passion, the St. John is vividly Soprano Katherine Clarkson attended Louisiana State University and
dramatic. The congregation sitting in the St. Nicholas Church on Good Friday 1723 may have obtained her BM in vocal performance in 2009 with vocal pedagogue,
even found the passion a bit too operatic for church, even tempered by the one-hour sermon Dr. Loraine Sims. In 2010, she began her studies at Indiana University
delivered between the two parts of the Passion. But in the minds of the listeners, who could with American soprano, Patricia Wise. In 2011, Mrs. Clarkson traveled
not see the musicians who were in a back gallery, the passion story, which was followed on to San Francisco to work with The Bay Area Summer Opera Theatre In-
a printed word-book, must have come to life in a way that makes this among Bach’s greatest stitute as Belinda in Purcell’s Dido and Aeneas. Upon graduating with her
achievements. MM in 2012, she appeared as the soloist in Vaughn Williams’ Dona No-
bis Pacem with the Columbus Indiana Philharmonic. Since moving to
Charleston with her husband, Dr. Justin Clarkson, she has performed with
the Robert Taylor Festival Choir, Jewish Choral Society of Charleston, and
Bach Society of Charleston and in concerts featured in numerous Piccolo Spoleto Festivals. Ms.
Clarkson, a Louisiana native, moved to the Charleston area in 2012. She began her collegiate
teaching career at Charleston Southern University as Adjunct Voice Faculty in 2012. Presently,
she is the soprano at First (Scots) Presbyterian Church and Upper School Choral Director at
Ashley Hall School.
Choral
Ach Herr, lass dein lieb Engelein
Am letzten End die Seele mein
Chorale
Ah, Lord, let Your dear little angel,
at my final end, take my soul
St. John Passion
In Abrahams Schoß tragen, to Abraham's bosom. Translation by Pamela Dellal
Den Leib in seim Schlafkämmerlein Let my body, in its little sleeping chamber,
Gar sanft ohn eigne Qual und Pein absolutely softly, without any anguish or pain, Johannes-Passion The Passion According to St. John
Ruhn bis am jüngsten Tage! rest until the last day!
Alsdenn vom Tod erwecke mich, At that day wake me from death, Erster Teil Part One
Dass meine Augen sehen dich so that my eyes may see You
In aller Freud, o Gottes Sohn, in all joy, o Son of God, Chor Chorus
Mein Heiland und Genadenthron! my Savior and Throne of grace! Herr, unser Herrscher, dessen Ruhm Lord, our ruler, Whose fame
Herr Jesu Christ, erhöre mich, Lord Jesus Christ, hear me, In allen Landen herrlich ist! In every land is glorious!
Ich will dich preisen ewiglich! I will praise You eternally! Zeig uns durch deine Passion, Show us, through Your passion,
("Herzlich lieb hab ich dich, o Herr," verse 3) Daß du, der wahre Gottessohn, That You, the true Son of God,
Translation © Pamela Dellal Zu aller Zeit, Through all time,
Auch in der größten Niedrigkeit, Even in the greatest humiliation,
John 18 and 19; Matthew 26:75 and 27:51-52; aria texts after Barthold Heinrich Brockes, Christian Heinrich Postel, and unknown; Verherrlicht worden bist! Have become transfigured!
chorales: "Herzliebster Jesus, was hast du verbrochen," verses 7, 8, 9, Johann Heermann, 1630 (mov'ts. 3 & 17); "Vater unser im
Himmelreich," verse 4, Martin Luther, 1539 (mov't. 5); "O Welt, sieh hier dein Leben," verses 3 & 4, Paul Gerhardt, 1647 (mov't. Evangelist Evangelist
11); "Jesu Leiden, Pein und Tod," verses 10, 20, last, Paul Stockmann, 1633 (mov'ts. 14, 28, 32); "Christus, der uns selig macht," Jesus ging mit seinen Jüngern über den Bach Kidron, da war Jesus went with His disciples over the brook Cedron, where the-
verses 1 & 8, Michael Weiße, 1531 (mov'ts. 15 and 37); C. H. Postel, 1700 (mov't. 22), "Mach's mit mir, Gott, nach deiner Güt"; ein Garte, darein ging Jesus und seine Jünger. Judas aber, der re was a garden, into which Jesus entered with His disciples. Ju-
"Valet will ich dir geben," verse 3, Valerius Herberger, 1613 (mov't. 26); "Herzlich lieb hab ich dich, o Herr," verse 3, Martin ihn verriet, wußte den Ort auch, denn Jesus versammlete sich das, however, who betrayed Him, also knew the place, for Jesus
Schalling, 1571 (mov't 40). oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte often met there with His disciples. Now Judas, having gathered
genommen die Schar und der Hohenpriester und Pharisäer Die- a band of servants of the high priests and Pharisees, came there
ner, kommt er dahin mit Facheln, Lampen und mit Waffen. Als with torches, lamps, and weapons. Now Jesus, knowing all that
nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus would happen to Him, went out and said to them:
und sprach zu ihnen:
Jesus Jesus
Wen suchet ihr? Whom do you seek?
Evangelist Evangelist
Sie antworteten ihm: They answered Him:
Chor Chorus
Jesum von Nazareth. Jesus of Nazareth.
Evangelist Evangelist
Jesus spricht zu ihnen: Jesus said to them:
Jesus Jesus
Ich bin's. I am He.
Evangelist Evangelist
Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus Judas, however, who betrayed Him, stood also with them. Now
zu ihnen sprach: Ich bin's, wichen sie zurücke und fielen zu Bo- when Jesus said to them: I am He, they drew back and fell to the
den. Da fragete er sie abermal: ground. Then He asked them again:
Jesus Jesus
Wen suchet ihr? Whom do you seek?
Evangelist Evangelist
Sie aber sprachen: They said, however:
Chor Chorus
Jesum von Nazareth. Jesus of Nazareth.
Evangelist Evangelist
Jesus antwortete: Jesus answered:
Jesus Jesus
Ich hab's euch gesagt, daß ich's sei, suchet ihr denn mich, so I have told you, that I am He, if you seek Me, then let these go!
lasset diese gehen!Chorale Chorale Arioso T Arioso T
O große Lieb, o Lieb ohn alle Maße, O great love, o love beyond measure, Mein Herz, in dem die ganze Welt My heart - while the entire world
Die dich gebracht auf diese Marterstraße! that brought You to this path of martyrdom! Bei Jesu Leiden gleichfalls leidet, with Jesus' suffering likewise suffers;
Ich lebte mit der Welt in Lust und Freuden, I lived with the world in delight and joy, Die Sonne sich in Trauer kleidet, the sun drapes itself in mourning,
Und du mußt leiden. and You had to suffer. Der Vorhang reißt, der Fels zerfällt, the curtain is rent, the crag crumbles,
Die Erde bebt, die Gräber spalten, the earth trembles, the graves split open,
Evangelist Evangelist
Weil sie den Schöpfer sehn erkalten, since they behold the Creator growing cold;
Auf daß das Wort erfüllet würde, welches er sagte: Ich habe der So that the word might be fulfilled, which He spoke: "I have lost
Was willst du deines Ortes tun? How shall you react from your depths?
keine verloren, die du mir gegeben hast. Da hatte Simon Petrus none that You have given to me." Then Simon Peter, who had a
ein Schwert und zog es aus und schlug nach des Hohenpriesters sword, drew it out and struck at the servant of the high priest Aria S Aria S
Knecht und hieb ihm sein recht Ohr ab; und der Knecht hieß and cut off his right ear; and the servant's name was Malchus. Zerfleiße, mein Herze, in Fluten der Zähren Dissolve, my heart, in floods of tears
Malchus. Da sprach Jesus zu Petro: Then Jesus said to Peter: Dem Höchsten zu Ehren! to honor the Highest!
Erzähle der Welt und dem Himmel die Not: Tell the world and heaven the anguish:
Jesus Dein Jesus ist tot! Your Jesus is dead!
Stecke dein Schwert in die Scheide! Soll ich den Kelch nicht Jesus
Evangelist Evangelist
trinken, den mir mein Vater gegeben hat? Put your sword in its sheath! Shall I not drink the cup, which
Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Lei- The Jews however, since it was the Sabbath day, so that the
My Father has given to Me?
chname am Kreuze blieben den Sabbat über (denn desselbigen corpses would not remain on their crosses over the Sabbath (for
Chorale Chorale Sabbats Tag war sehr groß), baten sie Pilatum, daß ihre Beine this particular Sabbath day was very great), asked Pilate for their
Dein Will gescheh, Herr Gott, zugleich Your will be done, Lord God, likewise gebrochen und sie abgenommen würden. Da kamen die Krie- bones to be broken and that they be taken away. So the soldiers
Auf Erden wie im Himmelreich. on earth as in heaven. gsknechte und brachen dem ersten die Beine und dem andern, came and broke the bones of the first and the other one, who
Gib uns Geduld in Leidenszeit, Grant us patience in time of sorrow, der mit ihm gekreuziget war. Als sie aber zu Jesu kamen, da sie had been crucified with Him. But when they came to Jesus, and
Gehorsam sein in Lieb und Leid; to be obedient in love and suffering; sahen, daß er schon gestorben war, brachen sie ihm die Beine they saw that He was already dead, they did not break His bones;
Wehr und steur allem Fleisch und Blut, check and guide all flesh and blood nicht; sondern der Kriegsknechte einer eröffnete seine Seite mit instead one of the soldiers opened His side with a spear, and
Das wider deinen Willen tut! that acts contrary to Your will! einem Speer, und alsobald ging Blut und Wasser heraus. Und immediately blood and water came out. And he that saw this,
der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist bore witness to it, and his testimony is true, and this same knows
Evangelist Evangelist
wahr, und derselbige weiß, daß er die Wahrheit saget, auf daß ihr that he speaks the truth so that you believe. For all this has hap-
Die Schar aber und der Oberhauptmann und die Diener der The band, however, and the captain and the servants of the Jews
gläubet. Denn solches ist geschehen, auf daß die Schrift erfüll- pened in order that the Scripture might be fulfilled: "You shall
Jüden nahmen Jesum und bunden ihn und führeten ihn aufs took Jesus and bound Him and led Him first to Annas, who was
et würde: "Ihr sollet ihm kein Bein zerbrechen." Und abermal break none of His bones." And in addition another Scripture
erste zu Hannas, der was Kaiphas Schwäher, welcher des Jahres the father-in-law of Caiaphas, the high priest that year. It was
spricht eine andere Schrift: "Sie werden sehen, in welchen sie says: "They will behold what they have pierced."
Hoherpriester war. Es war aber Kaiphas, der den Juden riet, es Caiaphas, however, who counselled the Jews, that it would be
gestochen haben."
wäre gut, daß ein Mensch würde umbracht für das Volk. good for one man to be destroyed for the people.
Choral Chorale
Arie A Aria A
O hilf, Christe, Gottes Sohn, O help, Christ, Son of God,
Von den Stricken meiner Sünden To untie me
Durch dein bitter Leiden, through Your bitter Passion,
Mich zu entbinden, from the knots of my sins,
Daß wir dir stets untertan that we, being always obedient to You,
Wird mein Heil gebunden. my Savior is bound.
All Untugend meiden, might shun all vice,
Mich von allen Lasterbeulen To completely hea me
Deinen Tod und sein Ursach Your death and its cause
Völlig zu heilen, of all blasphemous sores,
Fruchtbarlich bedenken, consider fruitfully,
Läßt er sich verwunden. He allows Himself to be wounded.
Dafür, wiewohl arm und schwach, so that, although poor and weak,
Evangelist Evangelist Dir Dankopfer schenken! we might offer you thanksgiving!
Simon Petrus aber folgete Jesu nach und ein ander Jünger. Simon Peter however followed after Jesus with another disciple.
Evangelist Evangelist
Arie S Aria S Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu Afterwards Joseph from Arimathia, who was one of Jesus' di-
Ich folge dir gleichfalls mit freudigen Schritten I follow You likewise with happy steps war (doch heimlich aus Furcht vor den Jüden), daß er möchte sciples (though secretly out of fear of the Jews), asked Pilate
Und lasse dich nicht, and do not leave You, abnehmen den Leichnam Jesu. Und Pilatus erlaubete es. De- whether he might take away Jesus' body. And Pilate permitted
Mein Leben, mein Licht. my Life, my Light. rowegen kam er und nahm den Leichnam Jesu herab. Es kam it. Therefore he came and took the body of Jesus away. But
Befördre den Lauf, Pursue your journey, aber auch Nikodemus, der vormals bei der Nacht zu Jesu kom- Nicodemus also came, who previously had come to Jesus in the
Und höre nicht auf, and don't stop, men war, und brachte Myrrhen und Aloen untereinander, bei night, and brought myrrh and aloe with him in hundred-wei-
Selbst an mir zu ziehen, zu schieben, zu bitten. continue to draw me on, to push me, to urge me. hundert Pfunden. Da nahmen sie den Leichnam Jesu und bun- ghts. Then they took the body of Jesus and wrapped it in linen
Evangelist Evangelist den ihn in leine Tücher mit Spezereien, wie die Jüden pflegen zu cloths with spices, as is the Jewish custom of burial. However,
Derselbige Jünger war dem Hohenpriester bekannt und ging mit This same disciple was known to the high priest and went inside begraben. Es war aber an der Stätte, da er gekreuziget war, ein there was a garden near the place where He was crucified, and in
Jesu hinein in des Hohenpriesters Palast. Petrus aber stund drau- with Jesus in the high priest’s palace. Peter however stood outside Garte, und im Garten ein neu Grab, in welches niemand je ge- this garden a new grave, in which no one had ever been laid. In
ßen für der Tür. Da ging der andere Jünger, der dem Hohen- at the door. Then the other disciple, who was known to the leget war. Daselbst hin legten sie Jesum, um des Rüsttags willen that same grave they laid Jesus, according to the Sabbath wishes
priester bekannt war, hinaus und redete mit der Türhüterin und high priest , went outside and spoke with the girl guarding the der Jüden, dieweil das Grab nahe war. of the Jews, since the grave was nearby.
führete Petrum hinein. Da sprach die Magd, die Türhüterin, door and brought Peter inside. Then the maid, the doorkeeper, Chor Chorus
zu Petro: said to Peter: Ruht wohl, ihr heiligen Gebeine, Rest well, you blessed limbs,
Die ich nun weiter nicht beweine, now I will no longer mourn you,
Magd Maid Ruht wohl und bringt auch mich zur Ruh! rest well and bring me also to peace!
Bist du nicht dieses Menschen Jünger einer? Aren’t you one of this man’s disciples? Das Grab, so euch bestimmet ist The grave that is allotted to you
Und ferner keine Not umschließt, and encloses no further suffering,
Macht mir den Himmel auf und schließt die opens heaven for me and closes off Hell.
Hölle zu.Choral Chorale Evangelist Evangelist
Er nahm alles wohl in acht He took good care of everything Es stunden aber die Knechte und Deiner und hatten ein Kohl- He said:
In der letzten Stunde, in the last hour, feu'r gemacht (denn es war kalt) und wärmeten sich. Petrus
Seine Mutter noch bedacht, still thinking of His mother, aber stund bei ihnen und wärmete sich. Aber der Hohepriester Peter
Setzt ihr ein' Vormunde. He provided a guardian for her. fragte Jesum um seine Jünger und um seine Lehre. Jesus an- I am not.
O Mensch, mache Richtigkeit, O mankind, do justice, twortete ihm:
Gott und Menschen liebe, love God and humanity, Evangelist
Stirb darauf ohn alles Leid, die without any sorrow, Jesus However the soldiers and servants stood around and they had
Und dich nicht betrübe! and do not be troubled! Ich habe frei, öffentlich geredet für der Welt. Ich habe allezeit made a coal fire (for it was cold) and warmed themselves. Peter
gelehret in der Schule und in dem Tempel, da alle Juden zu- however stood with them and warmed himself. But the high
Evangelist Evangelist
sammenkommen, und habe nichts im Verborgenen geredt. Was priest questioned Jesus about His disciples and about His tea-
Und von Stund an nahm sie der Jünger zu sich. Darnach, als And from that hour the disciple took her to himself. Afterwards,
fragest du mich darum? Frage die darum, die gehöret haben, chings. Jesus answered him:
Jesus wußte, daß schon alles vollbracht war, daß die Schrift er- when Jesus knew that everything was already accomplished, so
was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was
füllet würde, spricht er: that the Scripture might be fulfilled, He said:
ich gesaget habe. Jesus
I have freely and openly spoken before the world. I have taught
Jesus
Evangelist all the time in the synagogue and in the temple, where all Jews
Jesus I thirst!
Als er aber solches redete, gab der Diener einer, die dabeistun- gather, and I have said nothing in secret. Why do you ask me
Mich dürstet!
den, Jesu einen Backenstreich und sprach: about this? Ask those about it, who have heard what I said to
Evangelist
them! Behold, these same people know what I have said
Evangelist There was a vessel full of vinegar. They filled a sponge with vine-
Diener
Da stund ein Gefäße voll Essigs. Sie fülleten aber einen gar and placed it on a hyssop, and held it directly to His mouth.
Solltest du dem Hohenpriester also antworten? Evangelist
Schwamm mit Essig und legten ihn um einen Isopen, und heil- Now when Jesus had taken the vinegar, He said:
As He was saying this, however, one of the servants who stood by
ten es ihm dar zum Munde. Da nun Jesus den Essig genommen
Evangelist gave Jesus a blow on his cheek and said:
hatte, sprach er: Jesus
Jesus aber antwortete:
It is finished!
Servant
Jesus
Jesus Is this how You answer the high priest?
Es ist vollbracht!
Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber
Arie A Aria A recht geredt, was schlägest du mich? Evangelist
Es ist vollbracht! It is finished! Jesus however answered:
O Trost vor die gekränkten Seelen! O comfort for the ailing soul!
Die Trauernacht The night of sorrow Jesus
Läßt nun die letzte Stunde zählen. now measures out its last hour. If I have spoken ill, then make it known that it is ill-spoken;
Der Held aus Juda siegt mit Macht The hero out of Judah conquers with might however if I spoke rightly, why do you strike Me?
Und schließt den Kampf. and concludes the battle.
Choral Chorale
Es ist vollbracht! It is finished!
Wer hat dich so gschlagen, Who has struck you thus,
Evangelist Evangelist Mein Heil, und dich mit Plagen my Savior, and with torments
Und neiget das Haupt und verschied. And bowed His head and departed. So übel zugericht'? so evilly used You?
Du bist ja nicht ein Sünder You are not at all a sinner
Arie B und Chor Aria B and Chorus
Wie wir und unsre Kinder, like us and our children,
Mein teurer Heiland, laß dich fragen, My precious Savior, let me ask,
Von Missetaten weißt du nicht. You know nothing of transgressions.
Da du nunmehr ans Kreuz geschlagen Now that you have been nailed to the Cross
Und selbst gesagt: Es ist vollbracht, and have said yourself: It is finished,
Ich, ich und meine Sünden, I, I and my sins,
Bin ich vom Sterben frei gemacht? Am I made free from death?
Die sich wie Körnlein finden that can be found like the grains
Kann ich durch deine Pein und Sterben Can I, through your pain and death
Des Sandes an dem Meer, of sand by the sea,
Das Himmelreich ererben? inherit the kingdom of heaven?
Die haben dir erreget these have brought You
Ist aller Welt Erlösung da? Has the redemption of the whole world arrived?
Das Elend, das dich schläget, this misery that assails You,
Du kannst vor Schmerzen zwar nichts sagen; You cannot say a single thing out of pain;
Und das betrübte Marterheer. and this tormenting martyrdom.
Doch neigest du das Haupt yet you bow Your head
Und sprichst stillschweigend: ja. and say silently: yes. Evangelist Evangelist
Und Hannas sandte ihn gebunden zu dem Hohenpriester Kai- And Hannas send Him bound to the high priest Caiaphas. Si-
Jesu, der du warest tot, Jesus, you who were dead, phas. Simon Petrus stund und wärmete sich, da sprachen sie mon Peter stood and warmed himself, when they said to him:
Lebest nun ohn Ende, live now unendingly, zu ihm:
In der letzten Todesnot in the last pangs of death
Nirgend mich hinwende I will turn nowhere else Chor Chorus
Als zu dir, der mich versühnt, but to You, who has absolved me, Bist du nicht seiner Jünger einer? Aren’t you one of His disciples?
O du lieber Herre! O beloved Lord!
Gib mir nur, was du verdient, Only give me what You earned, Evangelist Evangelist
Mehr ich nicht begehre! more I do not desire! Er leugnete aber und sprach: He denied it however and said:
Evangelist Evangelist
Petrus Peter
Und siehe da, der Vorhang im Tempel zeriß in zwei Stück von And behold, the curtain in the temple was torn in two pieces
Ich bin’s nicht. I am not.
oben an bis unten aus. Und die Erde erbebete, und die Felsen from top to bottom. And the earth shook, and the cliffs were
zerrissen, und die Gräber täten sich auf, und stunden auf viel rent, and the graves opened up, and many bodies of saints arose.
Leiber der Heiligen.Evangelist Evangelist
Evangelist Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden There they crucified Him, and two others with Him on either
Spricht des Hohenpriesters Knecht' einer, ein Gefreundter des, One of the high priest's servants, a friend of the man whose ear Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Übers- side, Jesus however in the middle. Pilate however wrote a sign-
dem Petrus das Ohn abgehauen hatte: Peter had cut off, said: chrift und satzte sie auf das Kreuz, und war geschrieben: "Jesus post and set it upon the Cross, and there was written on it: "Jesus
von Nazareth, der Jüden König." Diese Überschrift lasen viel of Nazareth, the King of the Jews." This signpost was read by
Knecht Servant Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreu- many Jews, for the place where Jesus was crucified was near the
Sahe ich dich nicht im Garten bei ihm? Didn't I see you in the garden with Him? ziget ist. Und es war geschrieben auf ebräische, griechische und city. And it was written in the Hebrew, Greek and Latin langua-
lateinische Sprache. Da sprachen die Hohenpriester der Jüden ges. Then the high priests of the Jews said to Pilate:
Evangelist Evangelist zu Pilato:
Da verleugenete Petrus abermal, und alsobald krähete der Hahn. Then Peter denied it again, and just then the cock crew.
Da gedachte Petrus an die Worte Jesu und ging hinaus und wei- Then Peter recalled Jesus' words and went out and wept bitterly. Chor Chorus
nete bitterlich. Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Do not write: The King of the Jews, rather that He said: I am
Ich bin der Jüden König. the King of the Jews.
Arie T Aria T
Ach, mein Sinn, Alas, my mind,
Evangelist Evangelist
Wo willt du endlich hin, where will you flee at last,
Pilatus antwortet: Pilate answered:
Wo soll ich mich erquicken? where shall I find refreshment?
Bleib ich hier, Should I stay here,
Pilatus Pilate
Oder wünsch ich mir or do I desire
Was ich geschrieben habe, das habe ich geschrieben. What I have written, I have written.
Berg und Hügel auf den Rücken? mountain and hill at my back?
Bei der Welt ist gar kein Rat, In all the world there is no counsel, Choral Chorale
Und im Herzen and in my heart In meines Herzens Grunde In the bottom of my heart
Stehn die Schmerzen remains the pain Dein Nam und Kreuz allein Your name and Cross alone
Meiner Missetat, of my misdeed, Funkelt all Zeit und Stunde, sparkles at all times and hours,
Weil der Knecht den Herrn verleugnet hat. since the servant has denied the Lord. Drauf kann ich fröhlich sein. for which I can be joyful.
Erschein mir in dem Bilde Shine forth for me in that image
Choral Chorale
Zu Trost in meiner Not, as comfort in my need,
Petrus, der nicht denkt zurück, Peter, who did not recollect,
Wie du, Herr Christ, so milde how You, Lord Christ, so gently
Seinen Gott verneinet, denied his God,
Dich hast geblut' zu Tod! bled to death!
Der doch auf ein' ernsten Blick who yet after a serious glance
Bitterlichen weinet. wept bitterly. Evangelist Evangelist
Jesu, blicke mich auch an, Jesus, look upon me also, Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nah- The soldiers however, that had crucified Jesus, took His clothing
Wenn ich nicht will büßen; when I will not repent; men seine Kleider und machten vier Teile, einem jeglichen and made four parts, one part for each soldier, the same also with
Wenn ich Böses hab getan, when I have done evil, Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber His robe. The robe, however, had no seam, being woven from
Rühre mein Gewissen! stir my conscience! war ungenähet, von oben an gewürket durch und durch. Da top to bottom. Then they said to each other:
sprachen sie untereinander:
Zweiter Teil Part Two
Chorus
Chor Let's not divide this, rather let's toss for it, to see whose it will be.
Choral Chorale
Lasset uns den nicht zerteilen, sondern darum losen, wes er sein
Christus, der uns selig macht, Christ, who makes us blessed,
soll. Evangelist
Kein Bös' hat begangen, committed no evil deed,
So that the Scripture might be fulfilled, which says: "They have
Der ward für uns in der Nacht for us He was taken in the night
Evangelist divided my clothing among themselves and have cast lots over
Als ein Dieb gefangen, like a thief,
Auf daß erfüllet würde die Schrift, die da saget: "Sie haben mei- my robe." These things the soldiers did. However there stood
Geführt für gottlose Leut led before godless people
ne Kleider unter sich geteilet und haben über meinen Rock das by Jesus' Cross His mother and His mother's sister, Mary, the
Und fälschlich verklaget, and falsely accused,
Los geworfen." Solches taten die Kriegesknechte. Es stund aber wife of Cleophas, and Mary Magdalene. Now when Jesus saw
Verlacht, verhöhnt und verspeit, scorned, shamed, and spat upon,
bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, His mother and the disciple standing near, whom He loved, He
Wie denn die Schrift saget. as the Scripture says.
Maria, Kleophas Weib, und Maria Magdalena. Da nun Jesus said to His mother:
Evangelist Evangelist seine Mutter sahe und den Jünger dabei stehen, den er lieb hatte,
Da führeten sie Jesum von Kaiphas vor das Richthaus, und es Then they led Jesus before Caiaphas in front of the judgment spricht er zu seiner Mutter: Jesus
war frühe. Und sie gingen nicht in das Richthaus, auf daß sie hall, and it was early. And they did not go into the judgment Woman, behold, this is your son!
nicht unrein würden, sondern Ostern essen möchten. Da ging hall, so that they would not become unclean; rather that they Jesus
Pilatus zu ihnen heraus und sprach: could partake of Passover. Then Pilate came outside to them Weib, siehe, das ist dein Sohn! Evangelist
and said: Afterwards He said to the disciple:
Evangelist
Pilatus Pilate Darnach spricht er zu dem Jünger: Jesus
Was bringet ihr für Klage wider diesen Menschen? What charge do you bring against this Man? Behold, this is your mother!
Jesus
Evangelist Evangelist Siehe, das ist deine Mutter!
Sie antworteten und sprachen zu ihm: They answered and said to him:You can also read
