Programme booklet Christmas Oratorio by Nederlandse Bachvereniging

CHRISTMAS ORATORIO

programme performers

Johann Sebastian Bach (1685-1750)

cantata I, Jauchzet, frohlocket, auf, preiset die Tage from Christmas Oratorio, BWV 248 cantata for the First Day of Christmas

cantata IV, Fallt mit Danken, fallt mit Loben from Christmas Oratorio, BWV 248 cantata for New Year’s Day

INTERMISSION

cantata V, Ehre sei dir, Gott, gesungen from Christmas Oratorio, BWV 248 cantata for the Sunday after New Year

cantata VI, Herr, wenn die stolzen Feinde schnauben from Christmas Oratorio, BWV 248 cantata for Epiphany

Netherlands Bach Society

Lars Ulrik Mortensen, organ and direction

Béni Csillag, choir conductor

soloists

Carine Tinney, soprano

Alex Potter, alto

Daniel Johannsen, tenor

Tomáš Král, bass

vocal ensemble

Amelia Berridge, Marta Paklar*, soprano

Sofia Gvirts. Michaela Riener, alto

Adriaan De Koster, João Moreira, tenor

Matthew Baker, Donald Bentvelsen, bass

* Echo in ‘Flösst mein Heiland’ (cantata IV, no 4)

orchestra

Cecilia Bernardini, concertmaster

Annelies van der Vegt, Ivan Iliev, violin 1

Lucia Giraudo, Anneke van Haaften,

Kirsti Apajalahti, violin 2

Femke Huizinga, Ivan Jorge Saez

Schwartz, viola

Ira Givol, Luka Stefanovic, cello

Robert Franenberg, double bass

Johanna Bartz, Doretthe Janssens, traverso

Rodrigo López Paz, Katharina Verhaar, oboe

Benny Aghassi, bassoon

Bart Aerbeydt, Milo Maestri, horn

Robert Vanryne, Amir Rabinovitz, Christopher Price, trumpet

Patrick Raab, timpani

Siebe Henstra, harpsichord

by Frederike Berntsen

A JOURNEY THROUGH TIME IN THE HERE AND NOW

The Dane Lars Ulrik Mortensen is conducting the Netherlands Bach Society from the organ, in a concert series of Bach’s famous Christmas Oratorio. He shares with us his first memories of this moving musical rendition of the Christmas story. How should you approach and perform the music, and what does it mean?

“My scores, including that of the Christmas Oratorio, are becoming barer by the year. I want as few old annotations on them as possible. They used to be full of fingerings, bowings, accents and whatnot, but now I try to approach a piece as if it’s completely new to me. Of course that’s an illusion, but it’s really worthwhile, especially for music we think we know well. The older I get, the more I want to act on what comes to me in the moment of performance. There are twelve concerts in the Netherlands Bach Society’s tour and each one has to be fresh, otherwise you can’t keep up.”

about the programme

“There’s a lot of music involved in the Christmas Oratorio, even though we’re performing four of the six cantatas, rather than the whole thing. It makes enormous demands on everyone. If you don’t turn each concert into a voyage of discovery, you get into a rut.”

Overwhelmed

“My first experience of the Christmas Oratorio was around the age of six or seven I think, on Christmas Eve at my grandma’s, with the whole family. We were watching Danish television, with just one channel that was showing a performance by the Münchener Bach-Orchester, conducted by Karl Richter. As a child, I was already completely under the spell of classical music. The beauty and grandeur of this work totally overwhelmed me. I didn’t know what had hit me. Now I’m remembering it, I feel those goose bumps all over again. Later, the oratorio was in the repertoire of the boys’ choir in Copenhagen, and after that I often played in it as a harpsichordist, and I’ve conducted the work many times.”

“I know the Christmas Oratorio like the back of my hand, but my

“IN NO WAY DO I WANT A RITUAL. I WANT TO BE CONTINUALLY SURPRISED AND NOT CONFIRMED IN MY OWN IDEAS.”

notion of the best way to perform it keeps on changing. I have ideas, but I see myself not as someone who imposes things, but rather someone who tries to steer the energy in the right direction: the energy among the musicians, the energy in the auditorium and my own energy. As soon as you start the rehearsal process, you hear something very different to what you’d imagined about the piece back home. And I know for sure that the same applies to the musicians. A certain timbre in the violins or when the oboes begin to swing in the fifth cantata, Ehre sei dir, Gott, gesungen. You anticipate that, and you build on it if something like that sounds good and works.”

The Netherlands Bach Society is one of the best informed and one of the most talented institutions where the performance of Bach’s music is concerned.

We know one another well from previous projects. I already know that we’ll be on the same wavelength. And not just because of the knowledge, but also precisely because of the challenge that everyone wants to take up again.”

Big arc

“The challenge is to make a cantata sound as if you’re making a journey through time.

As a listener, you shouldn’t be thinking ‘now comes this recitative and now comes that chorale’, but you should be travelling through time. A cantata is one big arc. And that brings us to a very exciting topic: our movements as musicians when we’re playing and conducting.

Throughout my life, I’ve never been criticised for too little movement on stage. As a performer, you have to be very aware of your body language. How do you get from the final chord of one section to the first bar of the next one in the right way? Sometimes it’s best not to move between sections, so you don’t interrupt the music and the silence belonging to it.”

“You know, it’s also the case that we musicians are responsible for the listener’s experience. I see it like this: this concert is the only chance in your life to be at one with your surroundings in the here and now. That’s the essence of a live performance. And that’s what you’re all working towards: the musicians, but also the audience.”

“We’re performing cantatas I, IV, V and VI and I’m trying to distinguish between them as much as possible. The timbres and moods of each cantata are different. My greatest wish is that each cantata makes the listener curious about the next one; that you’ve just finished something exciting and there’s something new on the way. In no way do I want a ritual. I want to be continually

“THE WORDS FORM THE BASIS FOR THE INTERPRETATION. WHAT DO THEY MEAN TODAY?”

about the programme

surprised and not confirmed in my own ideas. I wish that for the listener too, and our goal as musicians must be to fulfil that wish.”

“Jauchzet, frohlocket, the first cantata, and the last one too, number six, are the most exuberant. Bach wrote wonderful parts in them for the trumpets and timpani. The timbre of the fourth cantata, which is defined at the beginning by the horns, and the chamber music element in number five are also delightful. The atmosphere changes in every piece. Bach’s Christmas story is light and unproblematic. We’re in a positive time of the ecclesiastical year.”

Absolutely divine

“The words form the basis for the interpretation. By that I don’t mean their pronunciation and whether they should be loud or soft. That should be good anyway. No, it’s rather what do they mean today? That’s what you have to find out. The interpretation of the text gives rise to the right sound, the right line in the phrasing – and that’s what you discover during rehearsals.”

“I SEE MYSELF NOT AS SOMEONE WHO IMPOSES THINGS, BUT RATHER SOMEONE WHO TRIES TO STEER THE ENERGY IN THE RIGHT DIRECTION.”

“In the Christmas Oratorio, Bach uses religious texts. I’ve often wondered if I really ought to be conducting Bach’s religious works, as a non-believer. But I think that the deeper meaning of words, whether they’re from the Bible or a poem, is universal. Moreover, the emotions aroused by texts are universal, whatever your background and wherever you come from. Bach is probably the strongest example of this. He writes like a craftsman, with both feet on the ground, and he understands all the human aspects and all our emotions better than anyone. At the same time, he created music that’s absolutely divine. But his acknowledgement of the human element means you can always relate to it.”

about the programme

biography

Lars Ulrik Mortensen organ and direction

The Danish Lars Ulrik Mortensen (1955) first made a name for himself as a harpsichordist. After his studies at the The Royal Danish Academy of Music in Copenhagen, he studied with Trevor Pinnock in London, gained fame among others with his interpretation of Bach’s Goldberg Variations and made numerous award winning CD recordings. He played the harpsichord in famous ensembles such as London Baroque and Collegium Musicum 90 and taught all over the world, including at the Hochschule für Musik in Munich, Mozarteum Salzburg and Juilliard School of Music in New York. Mortensen has been working as a conductor for more than 25 years and since 2003, he has concentrated on only working with specialized ensembles with historical instruments. He toured all over the world and played with some of the most prominent international early music ensembles, like the Irish Baroque Orchestra, Collegium 1704 and the Netherlands Bach Society. Since 1999 he is artistic director of Concerto Copenhagen (‘CoCo’). Lars Ulrik Mortensen and the Netherlands Bach Society have often worked together: Mortensen conducted several concert tours from the harpsichord, for example the St Matthew Passion (2009) and the Orchestral Suite no 3 and no 4 (2017, recorded for All of Bach). As a harpsichordist, he recorded BWV 922, BWV 989 and two Concertos for three harpsichords (BWV 1063 and BWV 1064, 2017) for All of Bach.

Watch Lars Ulrik Mortensen on All of Bach

THE MEANING OF THE CHRISTMAS ORATORIO TO…..

Carine

Tinney

Scottish/Maltese soprano of oratorio, song and opera repertoire, including with the Berliner Philharmonie, Handel Halle Festspiele and Liverpool Philarmonic. She made her debut with the Bach Society in September 2024 with Bach’s Compass conducted by John Butt.

“For me, Bach’s Christmas Oratorio is the heart of the festive season. Since moving to Germany 13 years ago, it has become essential to my Christmas, a tradition that unites us all in its beauty. The story and its music brings people together, creating bonds that go beyond family and giving us a moment to reflect and be thankful.”

Alex Potter

Leading British countertenor and performer of music from the seventeenth and eighteenth centuries under conductors such as Philippe Herreweghe, Hans Christoph Rademann, John Butt, Jordi Savall and Stephan MacLeod. Alex Potter has performed frequently with the Bach Society including in the St Matthew Passion (2019, 2020, 2024), many cantatas and All of Bach recordings and as conductor of Magnificat! (2023).

“The Christmas Oratorio deals with something wondrous and beyond understanding: God in the human form of a helpless infant. The text and Bach’s music perfectly express this mystery, from royally majestic choruses down to small-scale arias of exquisite tenderness. Performers and listeners are emotionally drawn in; we are not simply observers. We can take part and touch the divine.”

Daniel Johannsen

Austrian tenor and sought-after Bach interpreter, who has worked with the Staatskapelle Dresden, the Freiburger Barockorchester and with conductors such as Nikolaus Harnoncourt and Philippe Herreweghe. Daniel Johannsen is a welcome guest with the Bach Society, for example as the Evangelist in the St John Passion (2021) and St Matthew Passion (2022) and as a soloist in several All of Bach recordings.

“A Christmastide without BWV 248 is hardly thinkable for me. Though I didn’t grow up with it (the Richter recording came into my life, when I was 16) the Christmas Oratorio shaped my career, being my debut in 1998, even before I started my singing studies. I hardly know any more uplifting music than the first bars of Jauchzet, frohlocket. This is what we need in the darkest days of the year.”

about the programme

Tomáš Král

The Czech Republic’s well-known bass-baritone has performed with many renowned European ensembles, including Collegium 1704, Il Gardellino, B’Rock Orchestra, Dunedin Consort and Ensemble Pygmalion. He makes his debut with the Bach Society in this Christmas Oratorio tour.

“This year it is exactly 20 years since I encountered for the first time Bach’s Christmas Oratorio as a singer. I have to admit, I fell in love from day one. As a bass soloist, one has plenty opportunities to show different colours and abilities in recitatives, arias or duets. One of the closest aria to my heart is one from the 5th cantata, ‘Erleucht auch meine finstre Sinnen’. Every time I have a chance to sing this aria, I always discover new approaches and possibilities. Bach’s music simply never stops surprising me.”

JOHANN SEBASTIAN BACH

CANTATE I, JAUCHZET, FROHLOCKET, AUF PREISET DIE TAGE

1. Chorus

Jauchzet, frohlocket, auf, preiset die Tage, rühmet, was heute der Höchste getan! Lasset das Zagen, verbannet die Klage, stimmet voll Jauchzen und Fröhlichkeit an!

Dienet dem Höchsten mit herrlichen Chören, laßt uns den Namen des Herrschers verehren!

2. Recitative (Evangelist) Es begab sich aber zu der Zeit, daß ein Gebot von dem Kaiser Augusto ausging, daß alle Welt geschätzet würde. Und jedermann ging, daß er sich schätzen ließe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus Galiläa, aus der Stadt Nazareth, in das jüdische Land zur Stadt David, die da heißet Bethlehem; darum, daß er von dem Hause und Geschlechte David war: auf daß er sich schätzen ließe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daß sie gebären sollte.

3. Recitative (Alto)

Nun wird mein liebster Bräutigam, nun wird der Held aus Davids Stamm

Celebrate, rejoice, rise up and praise these days, glorify what the Highest has done today! Abandon despair, banish laments, sound forth full of delight and happiness! Serve the Highest with glorious choruses, let us honor the name of the Supreme Ruler!

It came to pass at that time, however, that a decree went out from Caesar Augustus that the whole world should be appraised. And everyone went to be appraised, each to his own city. So Joseph also went out of Galilee, out of the city of Nazareth, into the Jewish territory to the city of David, which was called Bethlehem; since he was of the house and race of David; so that he might be appraised with Mary, his betrothed wife, who was pregnant. And while they were there, the time came for her to deliver.

Now my dearest Bridegroom, now the hero from David’s branch,

zum Trost, zum Heil der Erden einmal geboren werden. Nun wird der Stern aus Jakob scheinen, sein Strahl bricht schon hervor.

Auf, Zion, und verlasse nun das Weinen, dein Wohl steigt hoch empor!

4. Aria (Alto)

Bereite dich, Zion, mit zärtlichen Trieben, den Schönsten, den Liebsten bald bei dir zu sehn!

Deine Wangen müssen heut viel schöner prangen, eile, den Bräutigam sehnlichst zu lieben!

5. Chorale

Wie soll ich dich empfangen und wie begegn’ ich dir?

O aller Welt Verlangen, o meiner Seelen Zier!

O Jesu, Jesu, setze mir selbst die Fackel bei, damit, was dich ergötze, mir kund und wissend sei!

6. Recitative (Evangelist)

Und sie gebar ihren ersten Sohn und wickelte ihn in Windeln und legte ihn in eine Krippen, denn sie hatten sonst keinen Raum in der Herberge.

7. Recitative (Bass) / Chorale (Soprano)

Er ist auf Erden kommen arm, Wer will die Liebe recht erhöhn, die unser Heiland vor uns hegt?

for the comfort, for the salvation of the earth, will be born at last.

Now the Star out of Jacob will shine, its light already breaks forth.

Arise, Zion, and give up your weeping now, your happiness rises high above you!

Prepare yourself, Zion, with tender efforts, to behold your lovely one, your beloved, near you soon!

Your cheeks must now glow much more radiantly, hurry to love the Bridegroom with passion!

How shall I embrace you, and how encounter you?

O desire of the whole world, O adornment of my soul!

O Jesus, Jesus, place the torch near me yourself, so that what gives you pleasure be known and familiar to me!

And she bore her first son, and wrapped him in swaddling clothes and laid him in a manger, since there was no other room in the inn.

He came to earth poor, Who can rightly exalt this love, that our Savior harbors for us?

daß er unser sich erbarm Ja, wer vermag es einzusehen, wie ihn der Menschen Leid bewegt? und in dem Himmel mache reich Des Höchsten Sohn kömmt in die Welt, weil ihm ihr Heil so wohl gefällt, und seinen lieben Engeln gleich. So will er selbst als Mensch geboren werden.

Kyrieleis!

8. Aria (Bass)

Großer Herr, o starker König, liebster Heiland, o wie wenig achtest du der Erden Pracht! Der die ganze Welt erhält, ihre Pracht und Zier erschaffen, muß in harten Krippen schlafen.

9. Chorale

Ach mein herzliebes Jesulein, mach dir ein rein sanft Bettelein, zu ruhn in meines Herzens Schrein, daß ich nimmer vergesse dein!

so that he might have sympathy for us, Indeed, who could possibly have predicted how the sorrow of humanity moved him? and make us rich in heaven, The Son of the Highest came into the world, since its salvation pleased him so much, and like his dear angels. thus he himself will be born a human. Kyrie eleison!

Great Lord, O powerful King, dearest Savior, O how little you care about the glories of the earth! He who sustains the entire world, who created its magnificence and beauty, must sleep in a harsh manger.

Ah, my heart’s beloved little Jesus, make yourself a pure, soft little bed within my heart’s chamber in which to rest, so that I never forget you!

JOHANN SEBASTIAN BACH

CANTATE IV, FALLT MIT DANKEN, FALLT MIT LOBEN

1. Chorus

Fallt mit Danken, fallt mit Loben vor des Höchsten Gnadenthron! Gottes Sohn will der Erden Heiland und Erlöser werden, Gottes Sohn dämpft der Feinde Wut und Toben.

With gratitude, with praise, fall before the Almighty’s throne of grace! God’s Son desires to become the Savior and Redeemer of the world, God’s Son suppresses the rage and fury of the enemy.

2. Recitative (Evangelist)

Und da acht Tage um waren, daß das Kind beschnitten würde, da ward sein Name genennet Jesus, welcher genennet war von dem Engel, ehe denn er im Mutterleibe empfangen ward.

3. Recitative (Bass) / Chorale (Soprano) Immanuel, o süßes Wort!

Mein Jesus heißt mein Hort, mein Jesus heißt mein Leben. Mein Jesus hat sich mir ergeben, mein Jesus soll mir immerfort vor meinen Augen schweben. Mein Jesus heißet meine Lust, mein Jesus labet Herz und Brust. Jesu, du mein liebstes Leben, Komm! Ich will dich mit Lust umfassen, meiner Seelen Bräutigam, mein Herze soll dich nimmer lassen, der du dich vor mich gegeben ach! So nimm mich zu dir! an des bittern Kreuzes Stamm!

Auch in dem Sterben sollst du mir das Allerliebste sein; in Not, Gefahr und Ungemach seh ich dir sehnlichst nach. Was jagte mir zuletzt der Tod für Grauen ein?

Mein Jesus! Wenn ich sterbe, so weiß ich, daß ich nicht verderbe. Dein Name steht in mir geschrieben, der hat des Todes Furcht vertrieben.

4. Aria (Soprano) Flößt, mein Heiland, flößt dein Namen auch den allerkleinsten Samen jenes strengen Schreckens ein?

And when eight days had passed, when the child would be circumcised, he was given the name of Jesus, which was proposed for him by the angel, while he was still confined in his mother’s womb.

Emmanuel, o sweet word!

My Jesus is named my treasure, my Jesus is named my life. My Jesus has given himself to me, my Jesus shall, from now on, hover before my eyes. My Jesus is named my joy, my Jesus refreshes heart and breast. Jesus, o my dearest life, Come! I will embrace you with joy, bridegroom of my soul, my heart shall never leave you, you who have given yourself for me Ah! Then take me to you! on the bitter staff of the cross! Even in death you shall be to me my most beloved; in suffering, danger, and hardship I look to you longingly. How, then, can death pursue me with fear? My Jesus! When I die, I know that I will not perish. Your name stands written within me, which has driven out the fear of death.

O my Savior, does your name instill even the very tiniest seed of that powerful terror?

Nein, du sagst ja selber nein. (Nein!)

Sollt ich nun das Sterben scheuen? Nein, dein süßes Wort ist da!

Oder sollt ich mich erfreuen?

Ja, du Heiland sprichst selbst ja. (Ja!)

5. Recitative (Bass) / Chorale (Soprano)

Wohlan, dein Name soll allein Jesu, meine Freud und Wonne, meine Hoffnung, Schatz und Teil, in meinem Herzen sein!

mein Erlösung, Schmuck und Heil, Hirt und König, Licht und Sonne, So will ich dich entzücket nennen, wenn Brust und Herz zu dir vor Liebe brennen. Doch, Liebster, sage mir: ach! wie soll ich würdiglich, mein Herr Jesu, preisen dich?

Wie rühm ich dich, wie dank ich dir?

6. Aria (Tenor)

Ich will nur dir zu Ehren leben, mein Heiland, gib mir Kraft und Mut, daß es mein Herz recht eifrig tut! Stärke mich, deine Gnade würdiglich und mit Danken zu erheben!

7. Chorale

Jesus richte mein Beginnen, Jesus bleibe stets bei mir, Jesus zäume mir die Sinnen, Jesus sei nur mein Begier, Jesus sei mir in Gedanken, Jesu, lasse mich nicht wanken!

No, you yourself say no. (No!)

Shall I shun death now?

No, your sweet word is there!

Or shall I rejoice?

Yes, O Savior, you yourself say yes. (Yes!)

Well then, your name alone Jesus, my joy and delight, my hope, treasure and portion, shall be in my heart! my redemption, adornment, and salvation, Shepherd and King, light and sun, Thus I shall call you enchanting, since breast and heart are enflamed with love for you. Yet, beloved, tell me: ah! How shall I worthily praise you, my Jesus? how shall I praise you, how thank you?

I will live only for your honor, my Savior, give me strength and courage, so that my heart can do it eagerly!

Strengthen me to exalt your mercy worthily and with gratitude!

May Jesus order my beginning, may Jesus remain always with me, may Jesus restrain my thoughts, may Jesus only be my delight, may Jesus be with me in my thoughts, Jesus, do not let me waver! INTERMISSION

JOHANN SEBASTIAN BACH CANTATE V, EHRE SEI DIR, GOTT, GESUNGEN

1. Chorus

Ehre sei dir, Gott, gesungen, dir sei Lob und Dank bereit’. Dich erhebet alle Welt, weil dir unser Wohl gefällt, weil anheut unser aller Wunsch gelungen, weil uns dein Segen so herrlich erfreut.

2. Recitative (Evangelist)

Da Jesus geboren war zu Bethlehem im jüdischen Lande zur Zeit des Königes Herodis, siehe, da kamen die Weisen vom Morgenlande gen Jerusalem und sprachen:

3. Chorus / Alto

Wo ist der neugeborne König der Jüden?

Sucht ihn in meiner Brust, hier wohnt er, mir und ihm zur Lust! Wir haben seinen Stern gesehen im Morgenlande und sind kommen, ihn anzubeten.

Wohl euch, die ihr dies Licht gesehen, es ist zu eurem Heil geschehen!

Mein Heiland, du, du bist das Licht, das auch den Heiden scheinen sollen, und sie, sie kennen dich noch nicht, als sie dich schon verehren wollen. Wie hell, wie klar muß nicht dein Schein, geliebter Jesu, sein!

Let honor be sung to you, O God, praise and thanks be prepared for you. All the world exalts you, since our well-being was your pleasure, since today all our wishes have come to pass, since your blessing so gloriously delights us.

When Jesus was born in Bethlehem in the Jewish lands at the time of King Herod, behold, there came sages from the east towards Jerusalem and said:

Where is the new-born King of the Jews? Seek him within my breast, he lives here, to his and my delight! We have seen his star in the east and have to come to make our devotions to him.

Happy are you, who have seen this light, it has appeared for your salvation! My Savior, you, you are the light, that shall shine also for the heathens, and they, they do not yet know you, yet they already wish to honor you. How bright, how clear must your radiance be, beloved Jesus!

4. Chorale

Dein Glanz all Finsternis verzehrt, die trübe Nacht in Licht verkehrt. Leit uns auf deinen Wegen, daß dein Gesicht und herrlichs Licht wir ewig schauen mögen!

5. Aria (Bass)

Erleucht auch meine finstre Sinnen, erleuchte mein Herze durch der Strahlen klaren Schein! Dein Wort soll mir die hellste Kerze in allen meinen Werken sein; dies lässet die Seele nichts Böses beginnen.

6. Recitative (Evangelist)

Da das der König Herodes hörte, erschrak er und mit ihm das ganze Jerusalem.

7. Recitative (Alto)

Warum wollt ihr erschrecken?

Kann meines Jesu Gegenwart euch solche Furcht erwecken?

O! solltet ihr euch nicht vielmehr darüber freuen, weil er dadurch verspricht, der Menschen Wohlfahrt zu verneuen

8. Recitative (Evangelist)

Und ließ versammlen alle Hohepriester und Schriftgelehrten unter dem Volk und erforschete von ihnen, wo Christus sollte geboren werden. Und sie sagten ihm:

Your radiance destroys all darkness, the troubled night is transfigured with light. Lead us on your paths, so that your face and glorious light might always be visible to us!

Illumine my dark thoughts as well, illumine my heart through the rays of your clear brilliance! Your word shall be the brightest candle for me in all my doings; this will never let my soul initiate evil.

When King Herod heard this, he was frightened, and with him all of Jerusalem.

Why are you afraid?

Can the presence of my Jesus awaken such fear in you?

O! Should you not rather much more rejoice over this, since he has promised through this to renew the happy destiny of humanity.

And he had all the high priests and interpreters of Scripture among the people gathered together, and inquired of them where Christ was supposed to be born. And they answered him:

Zu Bethlehem im jüdischen Lande; denn also stehet geschrieben durch den Propheten: Und du Bethlehem im jüdischen Lande, bist mitnichten die kleinest unter den Fürsten Juda; denn aus dir soll mir kommen der Herzog, der über mein Volk Israel ein Herr sei.

9. Aria (Soprano, Alto, Tenor)

Ach, wenn wird die Zeit erscheinen? Ach, wenn kömmt der Trost der Seinen? Schweigt, er ist schon würklich hier! Jesu, ach so komm zu mir!

10. Recitative (Alto) Mein Liebster herrschet schon.

Ein Herz, das seine Herrschaft liebet und sich ihm ganz zu eigen gibet, ist meines Jesu Thron.

11. Chorale

Zwar ist solche Herzensstube wohl kein schöner Fürstensaal, sondern eine finstre Grube; doch, sobald dein Gnadenstrahl in denselben nur wird blinken, wird es voller Sonnen dünken.

In Bethlehem in the Jewish lands: for thus it is written through the Prophets: and you, Bethlehem, in the Jewish lands, are by no means the least among the princes of Judah; for out of you shall come the leader to me, who shall be a Lord over my people Israel.

Ah, when will the time appear?

Ah, when will the comfort of the faithful come? Hush, he is truly already here! Jesus, ah, then come to me!

My beloved already reigns. A heart that loves his governance and gives itself utterly to him as his own, is my Jesus’ throne.

Indeed such a heart’s closet may be no ornate princely chamber, rather a dark pit; yet, as soon as your beams of grace only peep within it, it seems to be full of sunshine.

JOHANN SEBASTIAN BACH

CANTATE VI, HERR, WENN DIE STOLZEN

FEINDE SCHNAUBEN

1. Chorus

Herr, wenn die stolzen Feinde schnauben, so gib, daß wir im festen Glauben nach deiner Macht und Hülfe sehn! Wir wollen dir allein vertrauen, so können wir den scharfen Klauen des Feindes unversehrt entgehn.

2. Recitative (Evangelist)

Da berief Herodes die Weisen heimlich und erlernet mit Fleiß von ihnen, wenn der Stern erschienen wäre?

Und weiset sie gen Bethlehem und sprach: Ziehet hin und forschet fleißig nach dem Kindlein, und wenn ihrs findet, sagt mirs wieder, daß ich auch komme und es anbete.

3. Recitative (Soprano)

Du Falscher, suche nur den Herrn zu fällen, nimm alle falsche List, dem Heiland nachzustellen; der, dessen Kraft kein Mensch ermißt, bleibt doch in sichrer Hand. Dein Herz, dein falsches Herz ist schon, nebst aller seiner List, des Höchsten Sohn, den du zu stürzen suchst, sehr wohl bekannt.

Lord, when our proud enemies snarl, then grant that, in firm faith, we can look for your help and strength! We will trust in you alone, thus we can escape the sharp claws of the enemy unscathed.

Then Herod summoned the sages secretly and cleverly discovered from them when the star had appeared. And he directed them towards Bethlehem and said:

Go there and seek diligently for the infant, and when you find it, report to me, so that I can also come and pay my devotions to it.

Liar, you seek only to destroy the Lord; You employ all false trickery to supplant the Savior; yet he, whose power no man can measure, remains in secure hands. Your heart, your false heart is already, with all its deceit, very well known to the Son of the Highest whom you seek to crush.

4. Aria (Soprano)

Nur ein Wink von seinen Händen stürzt ohnmächtger Menschen Macht. Hier wird alle Kraft verlacht! Spricht der Höchste nur ein Wort, seiner Feinde Stolz zu enden, o, so müssen sich sofort Sterblicher Gedanken wenden.

5. Recitative (Evangelist)

Als sie nun den König gehöret hatten, zogen sie hin. Und siehe, der Stern, den sie im Morgenlande gesehen hatten, ging für ihnen hin, bis daß er kam und stund oben über, da das Kindlein war. Da sie den Stern sahen, wurden sie hoch erfreuet und gingen in das Haus und funden das Kindlein mit Maria, seiner Mutter, und fielen nieder und beteten es an und täten ihre Schätze auf und schenkten ihm Gold, Weihrauch und Myrrhen.

6. Chorale

Ich steh an deiner Krippen hier, o Jesulein, mein Leben; ich komme, bring und schenke dir, was du mir hast gegeben. Nimm hin! es ist mein Geist und Sinn, Herz, Seel und Mut, nimm alles hin, und laß dirs wohlgefallen!

Only a wave of his hands topples the impotent power of humans. Here all strength is laughable! If the Highest speaks only a word, to terminate the pride of his enemies, Oh, then how immediately must the thoughts of mortals be turned aside!

When they had heard the King, they went away. And behold, the star which they had seen in the East went before them until it came and stood over where the infant was. When they saw the star, they were highly delighted, and went into the house, and found the infant with Mary, his mother; and they fell down and worshipped him and presented their treasures; and they gave him gold, frankincense, and myrrh.

I stand here by your cradle, O little Jesus, my life; I come, I bring and give to you, what you have given to me. Take it! It is my spirit and mind, heart, soul, and will, take all of it, and let it be pleasing to you!

7. Recitative (Evangelist)

Und Gott befahl ihnen im Traum, daß sie sich nicht sollten wieder zu Herodes lenken, und zogen durch einen andern Weg wieder in ihr Land.

8. Recitative (Tenor)

So geht! Genug, mein Schatz geht nicht von hier, er bleibet da bei mir, ich will ihn auch nicht von mir lassen. Sein Arm wird mich aus Lieb mit sanftmutsvollem Trieb und größter Zärtlichkeit umfassen; er soll mein Bräutigam verbleiben, ich will ihm Brust und Herz verschreiben. Ich weiß gewiß, er liebet mich, mein Herz liebt ihn auch inniglich und wird ihn ewig ehren. Was könnte mich nun für ein Feind bei solchem Glück versehren! Du, Jesu, bist und bleibst mein Freund; und werd ich ängstlich zu dir flehn: Herr, hilf!, so laß mich Hülfe sehn!

9. Aria (Tenor)

Nun mögt ihr stolzen Feinde schrecken; was könnt ihr mir für Furcht erwecken? Mein Schatz, mein Hort ist hier bei mir. Ihr mögt euch noch so grimmig stellen, droht nur, mich ganz und gar zu fällen, doch seht! mein Heiland wohnet hier.

And God commanded them in a dream that they should not journey back to Herod, and they travelled by another way back to their own land.

Go then! It is enough, my treasure does not leave here, ye remains here with me, I also will not let him leave me. His arm will, out of love, embrace me with tender emotions and the greatest gentleness; he shall remain my bridegroom, I will dedicate my heart and breast to him. I surely know that he loves me, my heart loves him inwardly as well and will always honor him. What kind of enemy now, amid such happiness, could harm me! You, Jesus, are and remain my Friend; and if I will beseech you anxiously: Lord, help! then let me see assistance!

Now, you arrogant enemies, you may tremble; what kind of fear can you arouse in me? My treasure, my sanctuary is here with me. You may seem still so horrible, threatening to defeat me once and for all, yet see! My Savior lives here.

10. Recitative (Soprano, Alto, Tenor, Bass)

Was will der Höllen Schrecken nun?

Was will uns Welt und Sünde tun, da wir in Jesu Händen ruhn?

11. Chorale

Nun seid ihr wohl gerochen an eurer Feinde Schar, denn Christus hat zerbrochen, was euch zuwider war.

Tod, Teufel, Sünd und Hölle sind ganz und gar geschwächt; bei Gott hat seine Stelle das menschliche Geschlecht.

How can hell frighten now, what can the world and sin do to us, since we are safe in Jesus’ hands?

Now you are well avenged upon the horde of your enemies, since Christ has pulverized what was contrary to you.

Death, devil, sin and hell are weakened once and for all; the place of the human race is next to God.

FOR ALL BACH

The Netherlands Bach Society is a unique, leading, vocal-instrumental ensemble. We started out over hundred years ago by performing Johann Sebastian Bach’s St Matthew Passion in the Grote Kerk, in Naarden.

Since then, we have put our heart and soul into sharing Bach’s music with the world. Through educational projects, talent development programmes and around sixty concerts a year, we fulfil our mission: Bach for all. In addition, music-lovers all over the world can enjoy All of Bach: our YouTube channel full of top-quality recordings of Bach’s music.

Our ensemble comprises professional players and singers, who play historical instruments and are driven by their curiosity and love of performing. Their hearts beat for Bach and his contemporaries.

bachvereniging.nl/en youtube.com/bach

Meet a singer or instrumentalist from our ensemble. This time:

Annelies van der Vegt violin

I grew up in a family where music played a central part and life revolved around it. When I came home from school, my mother gave me tea and biscuits with Vivaldi’s Stabat Mater playing in the background, performed by James Bowman and Christopher Hogwood. My father was a cantor/organist, and from a very young age I played Bach’s cantatas and chorales with him. I rebelled against religion early on, but this music got under my skin and into my blood. Choosing an instrument was as self-evident as going to school; I chose violin because my brothers were already playing flute and cello.

The decision to become a musician was inevitable, but quite honestly I’d also have loved to be a vet. I’m happiest on stage when a collective concentration arises in the musicians and the audience, where it no longer matters which instrument you’re playing and everything becomes one. The counterpart in my life is the ultimate silence I find in the north of Norway, in a former school with just a wood stove, where I study and read and light a fire under the dancing northern lights, in the blue hour and in the always-light or always-dark.

Besides being a musician, I’ve also become a professional photographer, and I make portraits and reportages. Faces are like landscapes, and landscapes are like faces. I really love to travel alone with my rucksack, tent and camera, and then come home again to my children, friends, colleagues and my other piece of equipment… my violin.

grants, sponsors and donors

Grants

and funds

Ministerie van Onderwijs, Cultuur en Wetenschap

Gemeente Utrecht

Premium partner

Deloitte

All of Bach

Partners

Amerborgh MWH4impact

Private donors

All of Bach is supported by hundreds of donors from home and abroad, for example by adopting an All of Bach recording.

Talent development and education

The Bach Society has 12 donors who donate on an annual basis to the Jos van Veldhoven Fund, which invests in talent development, and a select group of donors who support our educational projects.

For the current list of grants, donors and supporters, visit bachvereniging.nl/ support-us.

Support us

Contact our department Fundraising & Legacy Giving at development@ bachvereniging.nl or check our website, bachvereniging.n/en/support.

PRESERVE BACH’S HERITAGE SUPPORT US

With your support, we can realise our mission Bach for all and continue to invest in high quality, education and talent development. Support can be given in many ways - become a Friend, Donor, Patron or Sponsor, or include the Bach Society in your will, so that future generations can also enjoy Bach’s oeuvre. More information bachvereniging.nl/en/support

Colofon

Netherlands Bach Society text Frederike Berntsen, Brechtje van Riel

final editing Brechtje van Riel translation Pond Translations translation lyrics Pamela Dellal photography Bach digital, Petra Hajská, Eduardus Lee, LEES foto, Sebastian Palzhoff, Marcel Plavec, Jochen Quast, Emile Vrolijk design Atelier Blanco print Opmeer

Netherlands Bach Society Postbus 295, 3500 AG Utrecht 030 - 251 34 13

info@bachvereniging.nl bachvereniging.nl/en youtube.com/bach

UPCOMING CONCERTS

Reflect with Bach 22 February 2025

Bach at his Finest with Richard Egarr 23 – 28 February 2025

St Matthew Passion with Hans-Christoph Rademann 4 – 19 April 2025