OAE Spring 2015 Southbank Centre Programme by Orchestra of the Age of Enlightenment

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Contents

Spring Concerts 2015 Welcome to the Southbank Centre and to your free programme. This is our fifth season of offering complimentary programmes and we hope that they are adding to your enjoyment of the evening. Don’t forget to bring this programme back with you if you are attending another concert and remember that you can always download programmes in advance of the concert at oae.co.uk/programmes. Lastly, perhaps you might consider putting the £3 you would usually have paid for this programme towards an OAE Priority Booking or Friends Membership? These start from £15 a year and you can find information at our desk in the foyer, within this programme or online at oae.co.uk.

OAE Administration

Flying the Flag An Introduction

Flying the Flag: Best of Both Wednesday 4 March 2015

Bach’s St Matthew Passion Thursday 2 April 2015

The Rough with the Smooth

Major sponsor

Tuesday 12 May 2015

Glossary

OAE Biography

OAE Education

OAE News

Future Concerts

OAE Supporters

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Management Chief Executive Crispin Woodhead Projects Manager Laura Sheldon Assistant Projects Manager Sophie Kelland Orchestra Manager Philippa Brownsword Librarian Colin Kitching Director of Finance and Operations Ivan Rockey Finance Officer Daniel da Silva

Board of Directors Sir Martin Smith (Chairman) Lisa Beznosiuk Cecelia Bruggemeyer Robert Cory Nigel Jones Martin Lawrence Susannah Simons Matthew Truscott Andrew Watts Mark Williams Crispin Woodhead OAE Trust Sir Martin Smith (Chair) Edward Bonham Carter Robert Cory David Marks Julian Mash Imogen Overli Rosalyn Wilkinson

Leaders Alison Bury Kati Debretzeni Margaret Faultless Matthew Truscott American Friends Board Wendy Brooks (Chair) Playersâ&#x20AC;&#x2122; Artistic Committee Cecelia Bruggemeyer Lisa Besnoziuk Martin Lawrence Matthew Truscott Andrew Watts

Education Director Cherry Forbes Education Officer Louise Malijenovsky Communications & Creative Programming Director William Norris Press Manager Katy Bell Digital Content Officer Zen Grisdale Marketing and Press Officer Charles Lewis Regional Marketing Co-ordinator Erica Scott Development Director Emily Stubbs Deputy Director of Development Harriet Lawrence Head of Individual Giving Liz Scase Memberships and Events Manager Holly Noon

Administration Orchestra of the Age of Enlightenment Kings Place, 90 York Way, London, N1 9AG Tel: 020 7239 9370 Email: info@oae.co.uk Website: oae.co.uk orchestraoftheageofenlightenment theoae Registered Charity No. 295329 Registered Company No. 2040312

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Flying the Flag – an introduction Running through this year’s concert series here at Southbank Centre is Flying the Flag, a five concert series exploring the concept of nationhood and music, delving into national styles, lost nations and turning points in nation’s musical and political histories. The idea for the series, which, along with the rest of our 2014-15 concerts is curated by Principal Flute Lisa Beznosiuk and Principal Double Bass Chi-chi Nwanoku MBE, sprang from a concert that was already in the diary: ‘When we first looked at curating this season,’ says Chi-chi Nwanoku, ‘there were already a few confirmed projects in the diary. The one that leapt off the page and glared at me was Boris Godunov with Vladimir! A full-on Russian image appeared before my eyes, and I just came out with ‘flying the flag’. Lisa said, ‘genius’ and that was it! When it was agreed upon, it helped to form the route down which we would venture.’ And as for that Flying the Flag title, Lisa comments: ‘Flying the Flag seemed like an appropriate phrase which embraces the idea of exploring as many distinctive musical identities as possible within the series.’ Once plans for Russian and French programmes were in place, Lisa and Chi-chi started to look at what else might complement them, with Lisa noting: ‘We were looking at other national styles which appealed to us and would be interesting to perform on period instruments. The idea of performing Dvořák’s New World Symphony presented itself as an incredibly exciting idea not least because it links the old and the new: i.e. Dvořák’s Bohemian roots and 19th-century European musical tradition combined with the desire to create a distinctive ‘American’ sound and symphony.’ Of course, as Chi-chi observes, not everything was possible within the series: ‘Scandinavia for example. Lisa had some great ideas for that, and I really wanted to get something that looked like the Caribbean or Africa in there too, even a Commonwealth flag would have made me slightly happier. It always comes down to finance and practicalities... it was not that we did not have the bigger picture and the rest of the world in our sights!’ So what can we expect from the series and the music featured? Is it really as simple as saying that French music sounds, well, French? Lisa explains:

‘I believe there is a very distinctive sound to French music which goes across the centuries – e.g. elegant melodies and subtle colours and textures which can be heard in Rameau and Berlioz as well as in Debussy. Also, composers often draw on their national history, folklore, song and dance rhythms which can give their work an individual identity and flavour - this is certainly true of Tchaikovsky, Mussorgsky, Dvořák and Smetana. Hungarian folk music is a clear influence in Brahms’ composition. Added to that, power, politics and wars also play their part directly or indirectly.’ Chi-chi chimes in with a helpful food analogy: ‘there are several telltale signs that let you know if something is French, German, American, Bohemian, African. Just like tasting the foods – and in particular hearing the sound, rhythms and intonation of the language of different nations.’ So we have the music, but what about the artists? Was it important to select artists of particular nationalities? Is it a bit simplistic to have a Russian conductor lead a Russian programme – or is that really essential in realising the project? Lisa explains: ‘In the case of Mussorgsky and Jurowski…the idea of doing ‘Boris Godunov’ came from Vladimir and we were only too happy to run with it! Working with a Russian conductor (not to mention baritone Sergei Leiferkus) on this repertoire is bound to foster a deeper understanding of the music, its context and background because he (or she) is bound to have an innate understanding of the sensibility of the music with its melancholy and soul-searching sincerity. Drawing on those characteristic elements with artists who know them from the inside will surely help us create the right sound. Likewise, Hungarian conductor Adam Fischer will bring an intimate understanding and feel for the music of Central Europe – Smetana, Brahms and Dvořák, and we’re all looking forward to working with brilliant conductor François Xavier-Roth on a French programme which includes the sparkling overture to Berlioz’ s ‘Beatrice & Benedict’, a symphony by George Onslow who was known as the ‘French Beethoven’, and Beethoven’s ‘Eroica’ Symphony which was originally dedicated to Napoleon.’ Flying the Flag includes earlier concerts on 9 and 22 October (find the programmes on our website) and concludes on 4 March with a new/old world programme including Dvořák’s New World Symphony alongside Brahms’ Violin Concerto.

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Flying the Flag: Best of Both Wednesday 4 March 2015 7pm Royal Festival Hall Violins 1 Kati Debretzeni Jennifer Godson Maya Magub Simon Kodurand Miranda Fulleylove Andrew Roberts Judith Templeman Rachel Isserlis Madeleine Easton Claire Sansom Alice Evans Jane Gordon Henry Tong* Violins 2 Ken Aiso Colin Scobie Declan Daly Claire Holden Nancy Elan Debbie Diamond Jayne Spencer Stephen Rouse Julia Kuhn Catherine Ford Claudia Norz* Violas Caroline Henbest Nicholas Logie Martin Kelly Annette Isserlis Kate Heller Marina Ascherson Thomas Kirby Penny Veryard Cellos Luise Buchberger Andrew Skidmore Catherine Rimer Ruth Alford Richard Tunnicliffe Eva Lymenstull* Jennifer Morsches Josh Salter* Penny Driver

Basses Chi-chi Nwanoku MBE Cecelia Bruggemeyer Pippa Macmillan Matthew Gibson Kate Aldridge Flutes Lisa Beznosiuk Neil McLaren + piccolo Katy Bircher

Brahms Violin Concerto in D major Interval Dvořák Symphony No.9 in E minor, From the New World

Oboes Gonzalo Ruiz + cor anglais Mark Radcliffe Clarinets Antony Pay Jane Booth Bassoons Howard Dann Andrew Watson

Ádám Fischer conductor Viktoria Mullova violin

Horns Roger Montgomery Martin Lawrence Gavin Edwards David Bentley Antonia Gonzalez* Trumpets Paul Sharp Simon Munday

The Orchestra of the Age of Enlightenment would like to thank the following for their support, without which this concert would not have been possible:

Trombones Susan Addison David Whitson David Stewart

Robert and Laura Cory Mark and Rosamund Williams

Tuba James Anderson Timpani Adrian Bending Percussion Jeremy Cornes *OAE Experience participant

Smetana Overture from The Bartered Bride

This concert will finish at approximately 8.50pm with an interval of 20 mins. OAE Extras at 5.45pm, free admission Royal Festival Hall A talk about the origins of Dvořák’s New World Symphony.

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Flying the Flag: Best of Both Wednesday 4 March 2015

Tonight’s concert is sponsored by

A message from our major sponsor, Jupiter: I am delighted to welcome you to tonight’s concert: Flying the Flag: Best of Both by the Orchestra of the Age of Enlightenment, directed by Ádám Fischer. Jupiter has been sponsoring the Orchestra since 1999 and over the past fifteen years we have established a successful partnership based on our shared strengths of integrity and innovation. Founded just one year apart, in 1985 and 1986 respectively, Jupiter and the OAE have much in common. Like the Orchestra, over the past three decades Jupiter has also developed an impressive reputation for expertise and professionalism – albeit in the field of fund management rather than music! I hope that you will enjoy listening to another memorable performance from the OAE’s fine musicians.

Maarten Slendebroek

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Concert in context

*Words indicated by an asterisk are explained on page 54

Music historians tend to use the word ‘nationalism’ to describe music born of a particular country’s indigenous traditions which at the same time helped argue for that country’s freedom or recognition. In Bohemia – the land roughly equivalent to today’s Czech Republic – there was a particular pining for independence from the controlling Habsburg Austrians in the middle of the 19th century, just when Bedřich Smetana was born. Seventeen years older than his compatriot Antonín Dvořák, Smetana laid the foundations of musical nationalism in Bohemia by writing music imbued with the area’s song-and-dance folk tradition. But he also reflected its culture in more real ways, writing operas on normal, provincial themes just like The Bartered Bride. By the time Dvořák came to maturity, Smetana had laid the ground work. But composers with an eye on international success (like Dvořák) were faced with a vital question: was musical ‘nationalism’ a passing fad which allowed them to recycle alreadyestablished tunes and rhythms, or was it something more significant – an aesthetic shift born of intellectual conviction? Dvořák posed one answer to that question when he wrote a ‘nationalist’ symphony that didn’t use Bohemian traditions but used another country’s entirely – America’s. As a Bohemian in New York, Dvořák became fascinated by the spirituals and plantation songs of the new world and saw his Ninth Symphony as a manifesto for how America’s indigenous music could re-energise the country’s composers. That must have felt like a solid vote of confidence in nationalist compositional techniques and their future, non-nationalistic (or at least, non-political) viability. Dvořák, though, might have been following the lead of a

composer he admired and learnt a huge amount from – Johannes Brahms. Brahms sought more than anything to advance the idea of ‘symphonic argument’ established by Beethoven. But even a composer with that lofty ambition recognised the allure of using vernacular songs and dances in concert music. He filled the third movement of his Violin Concerto with the spirit of Hungary and that country’s folk-fiddling tradition. It was a payback for the dedicatee, violinist Joseph Joachim, who had earlier dedicated a ‘Hungarian Concerto’ to Brahms.

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Flying the Flag: Best of Both Wednesday 4 March 2015

Programme Notes Bedřich Smetana (1824-1884) The Bartered Bride – Overture

Johannes Brahms (1833-1897) Concerto for Violin and Orchestra in D major Opus 77 (i) Allegro non troppo (ii) Adagio (iii) Allegro giocoso, ma non troppo vivace – Poco più presto

Bedřich Smetana was a true child of Bohemian nationalism – born right on cue as the movement which pressed for Slav nationhood and independence from the controlling Habsburg Austrians started to gather pace. Smetana’s time away from his homeland, conducting the orchestra in Gothenburg on Sweden’s west coast, may well have strengthened his nationalist feelings even more. When he eventually returned home Smetana wasted no time converting that strength of feeling into musical creativity: in 1866 he finished the stage work that would become an iconic, ‘national’ opera for Czechs: The Bartered Bride. After a slight misfire with his first opera The Brandenburgers, Smetana pitched The Bartered Bride just right. It told a simple, funny provincial story of matrimonial mix-up that ended with smiles all round. After a lukewarm premiere in 1866, Smetana added three dances based

on indigenous folk dances from his country and immediately the opera became a hit. Smetana took as his model the most illustrious nuptial opera of them all – The Marriage of Figaro – and The Bartered Bride’s overture seizes the attention just like the famous overture* to Mozart’s work. So thrilled was Smetana when he saw an early draft of Karel Sabina’s libretto*, in fact, that he wrote the overture immediately in a frenzy of excitement and before he’d seen the finished text. You sense some of that in the mood of virtuosity and attack of the Overture – a virtuosity that’s carried over into the opera’s orchestral dances. As for actual signposts towards indigenous Czech music, they’re there in the Overture’s shape-shifting syncopations, furious strings and in the arresting ‘pentatonic’ (see ‘Boffins Corner’) string fanfare that launches it.

We tend to think of Johannes Brahms as a portly, bearded, stubborn conservative who laboured over those chronically unsexy compositional details of structure, cohesion and orchestral balance. It’s not an inaccurate image of the Hamburg-born composer, but nor is it a comprehensive one. When Brahms met the celebrated violinist and conductor Joseph Joachim in 1853, he was a 20-year-old clean-shaven youth blessed with a blazing talent and eager to please. Back then, Joachim described the young Brahms as ‘pure as diamond, soft as snow’. Similarly, Brahms can just as easily be viewed an innovator as a conservative: a composer who used his retrospective admiration for

Bach and Beethoven to tread a new path, a path perhaps more recognisable in his concertos than in his symphonies and chamber works. Beethoven’s concertos had progressively acquired symphonic proportions and Brahms’s would take that lead. The violin concerto Brahms wrote for Joachim was famously described by one critic as ‘a symphony with principal violin’. Yet Brahms created a captivating violin part for the concerto with Joachim by his side, and a full score which reflects the composer’s characteristic combination of orchestral elegance and argument. But there’s warmth in the violin concerto, too. Like Brahms’ B flat Piano Concerto, the score was inspired in part by Italy, where the composer had been

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Programme Notes

Dvořák

(i) (ii) (iii) (iv)

Adagio – Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

travelling in the Spring of 1878. A few months later he decamped to a lakeside summer house at Pörtschach in southern Austria to orchestrate the piece. Joachim gave the first performance of the results in Leipzig on New Year’s Day 1879 with the composer conducting, and it was probably the violinist who advised the conductor some months earlier to remove the then third movement Scherzo. Brahms took the advice, recycling the movement later as part of that same B flat Piano Concerto. The movements that remain exude Brahmsian poise. There’s noble expanse aplenty in the first movement, and yet it never seems

bloated or haughty. The orchestra is in charge, though the soloist does lead the second of Brahms’s two thematic ‘expositions’ (the introduction of a new musical idea) at the movement’s opening. The second movement contains what one famous violinist called ‘the only real tune in the work’; the same violinist protesting later that it’s given not to the solo violinist but to the oboe. The soloist is, though, bestowed similar melodic gifts soon thereafter. The final movement is in the rumbustious Hungarian spirit of Joachim, but Brahms the perfectionist peers through its meticulous intricacies.

It was the great Czech conductor Václav Talich who described Dvořák’s Ninth Symphony as a portrait of the composer ‘yearning for his native soil.’ Thus began a long association of the piece with feelings of homesickness, loss and nostalgia – propagated in the UK by a famous 1980s TV advert that aligned the symphony’s famous Largo with the musical tradition of England’s floundering industrial north. In truth, while the Ninth might evoke the pain of Dvořák’s separation from his homeland, it isn’t so much a homesick letter from America as an informative postcard from it. The composer arrived in New York in September 1892, lured from Prague to take charge of America’s new National Conservatory of Music. He quickly became fascinated with ‘real’ American music – in particular plantation songs and spirituals, many sung to him by Harry Burleigh, a young black composer and one of the Conservatory’s first students. At the same time, Dvořák was beginning to formulate a new

symphony that would convey ‘impressions and greetings from the New World.’ There’s a good deal of conjecture surrounding the actual tunes Dvořák employed in his symphony: are they genuine examples of vernacular American song, or respectful fabrications? Though some of them feel like native American tunes, the composer insisted the themes were all his own. But there’s evidence to suggest the music he heard from Harry Burleigh had a hand in shaping them. Take, for example, the Largo’s winding cor anglais theme. When Dvořák first wrote it in his notebook, it didn’t employ dotted rhythms (an extended note followed by a shortened one) and used a G flat as its ninth note; by the time it reached the symphony, its rhythms had become wistfully dotted and its ninth note raised a tone, rendering it ‘pentatonic’. Dotted rhythms and the pentatonic scale were hallmarks of spirituals including Steal Away, a tune that Burleigh is known to

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Flying the Flag: Best of Both Wednesday 4 March 2015

Programme Notes

have sung to Dvořák. What we are probably hearing in the Ninth Symphony, then, is Dvořák’s own profound melodic gift refracted through an American lens. In a symphonic sense, it’s not so important where his themes come from as how Dvořák treats and links them across his four movements. Unsurprisingly, they are integrated with considerable symphonic skill. The main theme of the opening movement, for example, is heard at the culmination of the Largo, again in the Scherzo (during the transition to the waltzing trio section) and again in the finale, where it resoundingly joins that movement’s own main theme at the music’s apex (not before Dvořák has referenced separate themes from all three preceding movements).

If that sounds rather convoluted and detailed, then it’s worth considering how such thematic links can effect listeners subliminally (just like Harry Burleigh’s songs did Dvořák), convincing them of the piece’s cumulative journey. That – alongside the vivid, pictorial quality of those themes and a highly-skilled handling of the orchestra – is what made Dvořák such a respected symphonist. But the composer also captured a very American emotional directness in his Ninth Symphony, which might well explain why it’s proved so consistently popular with audiences since its first performance in December 1893. Programme notes by Andrew Mellor © 2015

Boffin’s Corner The Pentatonic Scale The ‘pentatonic’ scale is a series of five notes commonly found in many indigenous folk musics throughout the world; its first outings can be traced back to the musical endeavours of over four thousand years ago. Play the five adjacent black notes on any piano and you’ve heard the most common pentatonic scale of them all – the ‘anhemitonic’ pentatonic, entirely bereft of urbane ‘semitones’ or half-notes. When we talk of 19th-century nationalist composers incorporating elements of folk music into their works, one of the most obvious techniques available to them was to embed the earthy-feeling pentatonic scale in their music, giving it the sound of something rather different, exotic or direct. One example is the opening call-to-arms of Smetana’s Overture to The Bartered Bride, in which urgent strings punch out a zesty pentatonic fanfare. Use of those pentatonic notes – or just a characteristic pentatonic ‘twist’ – can be found all over Smetana’s music both operatic and instrumental. But Dvořák also knew how evocative a pentatonic glance could prove. In America, Dvořák heard spirituals like ‘Steal Away’ which are based on the pentatonic scale (you could play Steal Away’s melody using only the black notes of a piano). But Dvořák went a step further, bending one of his own themes into a pentatonic shape. As explained above, when he first jotted down the famous cor anglais theme from the Ninth Symphony’s Largo, the ninth note in the tune was a G flat. When Dvořák raised it by a whole tone, the melody took on a pentatonic (and a rather more wistful, yearning and earthy) feel.

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Biography Ádám Fischer conductor The Hungarian-born Ádám Fischer originates from Budapest and began studying conducting and composition at the Liszt Ferenc Academy of his home town. He studied further with the legendary Hans Swarovsky in Vienna. His first engagement took him to the Graz Opera where he worked as repetiteur and assistant conductor. Following this engagement he assumed the position of ‘Kapellmeister’ at the opera companies in Helsinki, Karlsruhe and Munich (Bavarian State Opera). From 1981 to 1983 he was General Music Director in Freiburg and 1987-1992 in Kassel. From 2000 to 2005 Adam Fischer held the position of General Music Director at the National Theatre of Mannheim. From 2007-2010 he was Music Director of the Hungarian State Opera in Budapest. Ádám Fischer regularly conducts at all the major opera houses and the leading festivals in Europe and the USA. His collaboration with the Wiener Staatsoper began in 1973, and he has since conducted a large number of performances and highly successful premières there. In 1984 he made his début at the Paris Opera with Der Rosenkavalier and in 1986 at La Scala in Milan with The Magic Flute. In 1989 he made his début at the Royal Opera House with Die Fledermaus and in 1994 at the Metropolitan Opera in New York with Otello. In 2001 he gave his first performances of Wagner’s Der Ring des Nibelungen at Bayreuth. These were met with outstanding international media acclaim and culminated in him being named ‘Conductor of the Year’ by the German periodical Opernwelt. On the concert stage Ádám Fischer is a welcome guest of many of the world’s most prestigious orchestras, such as the Vienna Philharmonic, Vienna Symphony, Munich Philharmonic, Tonhalle Zurich, London Philharmonic, Philharmonia Orchestra, Royal Philharmonic, Chicago Symphony, Boston Symphony, Tokyo Metropolitan and NHK Symphony Orchestra as well as the Orchestre de Paris and both the Hungarian National Philharmonic Orchestra and the Hungarian Radio Symphony Orchestra. In 1987 Ádám Fischer was co-founder of the Haydn Festival Eisenstadt in Austria. He also founded the Austro-Hungarian Haydn Orchestra with which he continues to work. Apart from concert and opera performances at the Haydn Festival Eisenstadt, they have recorded the complete symphonies of Josef

Haydn in the Haydn Hall of the Esterházy Palace in Eisenstadt. This complete cycle was recorded by Nimbus Records. Ádám Fischer has received the coveted “Grand Prix de Disque” twice for his recordings of Goldmark’s Königin von Saba released by Hungaroton in 1980 and Bartók’s Bluebeard’s Castle released by CBS/Sony in 1987. In 2008 he received an “Echo” prize for his new recording of the Haydn Symphonies Nos 88 and 101 with the Austro-Hungarian Haydn Orchestra. In 1998 he became Principal Conductor of the Danish National Chamber Orchestra in Copenhagen, with which he has recorded all ‘seria operas’ by Mozart: Lucio Silla, Mitridate, Il Re Pastore, Idomeneo and La Clemenza di Tito. Their latest recording includes all symphonies by Mozart and they are presently working on a recording of all Beethoven symphonies.

Photo: Lukas Beck

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Flying the Flag: Best of Both Wednesday 4 March 2015

Biography Viktoria Mullova violin Viktoria Mullova studied at the Central Music School of Moscow and the Moscow Conservatoire. Her extraordinary talent captured international attention when she won first prize at the 1980 Sibelius Competition in Helsinki and the Gold Medal at the Tchaikovsky Competition in 1982 which was followed, in 1983, by her dramatic and much publicised defection to the West. She has since appeared with most of the world’s greatest orchestras and conductors and at the major international festivals. She is now known the world over as a violinist of exceptional versatility and musical integrity. Her curiosity spans the breadth of musical development from baroque and classical right up to the most contemporary influences from the world of fusion and experimental music. Her interest in the authentic approach has led to collaborations with period instrument bands such as the Orchestra of the Age of Enlightenment, Il Giardino Armonico, Venice Baroque and Orchestre Révolutionaire et Romantique. Viktoria has a great affinity with Bach and his work makes up a large part of her recording catalogue. Her interpretations of Bach have been acclaimed worldwide and led Tim Ashley to write, ‘To hear Mullova play Bach is, simply, one of the greatest things you can experience…’ in the Guardian. Her most recent disc of Bach Concerti with the Accademia Bizantina and Ottavio Dantone has been highly praised and her recording of Bach’s solo sonatas and partitas represents a significant milestone in Viktoria’s personal journey into this music. The recording received 5-star reviews from all over the world and she has embarked on an international, several season-long series of solo Bach recitals. Her ventures into creative contemporary music started in 2000 with her album ‘Through the Looking Glass’ in which she played world, jazz and pop music arranged for her by Matthew Barley. This exploration continued with her second album ‘The Peasant Girl’ which she has toured around the world with the Matthew Barley ensemble. This project shows a different side to Viktoria as she looks to her peasant roots in the Ukraine and explores the influence of gypsy music on the classical and jazz genres in the 20th Century. Her most recent project, ‘Stradivarius in Rio’ is inspired by her love of Brazilian songs by composers such as Antonio Carlos Jobin, Caetano Veloso and Claudio Nucci. A CD of the same name has been enthusiastically received and she is now presenting the

project in planned concerts throughout Europe. As well as her own projects, she has also commissioned works from young composers such as Fraser Trainer, Thomas Larcher and Dai Fujikura. This rich musical diversity has been celebrated in several high-profile residences, including London’s Southbank, Vienna’s Konzerthaus, the Auditorium du Louvre in Paris, Musikfest Bremen, Barcelona Symphony Orchestra and Helsinki Music Festival. In the 14/15 season, she is artist in residence in Lille. Highlights of her 14/15 season include concerts with the Hallé, Philharmonia Orchestra, Chamber Orchestra of Europe, Orchestre National de France and a tour with the Orchestra of the Age of Enlightenment to New York and the UK. Viktoria will also give duo recitals with Katia Labèque throughout Europe and South America. Mullova’s extensive discography for Philips Classics and Onyx Classics has attracted many prestigious awards. Her recording of the Vivaldi Concertos with Il Giardino Armonico and directed by Giovanni Antonini, won the Diapason D’Or of the Year award for 2005 and her recording featuring Beethoven’s Op. 12 No. 3 and Kreutzer Sonatas with Kristian Bezuidenhout won immense critical acclaim. Other discs have included the Schubert Octet with the Mullova Ensemble, “Recital” with Katia Labèque, Bach Sonatas with Ottavio Dantone and ‘6 Solo Sonatas and Partitas’ by JS Bach. Viktoria either plays on her ‘Jules Falk’ 1723 Stradivarius or a Guadagnini violin.

Photo: Henry Fair

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Bach’s St Matthew Passion Thursday 2 April 2015 7pm Royal Festival Hall

Bach St Matthew Passion

Choir One Sophie Bevan soprano Paula Murrihy mezzo-soprano Mark Padmore Evangelist Stephan Loges Christus Choir Two Fflur Wyn soprano Robin Blaze countertenor Andrew Tortise tenor Matthew Brook baritone

Violins Matthew Truscott leader, Orchestra 1 Alison Bury leader, Orchestra 2 George Crawford Anna Curzon Noyuri Hazama Claire Holden Julia Kuhn Nicolette Moonen Claire Sansom Andrew Roberts Alison Teyssier James Toll Violas Jan Schlapp Annette Isserlis Nicholas Logie Louisa Tatlow Cellos Luise Buchberger Richard Tunnicliffe Helen Verney Jonny Byers Basses Chi-chi Nwanoku MBE Megan Adie Viola da gamba Richard Tunnicliffe

Flutes Lisa Beznosiuk Michaela Ambrosi Eva Caballero Laura Piras

Soloists of the Choir of Enlightenment

Oboes James Eastaway Clara Geuchen Richard Earle Cait Walker Organ Steven Devine Pawel Siwczak

The Orchestra of the Age of Enlightenment would like to thank the following for their support, without which this concert would not have been possible: Dunard Fund Julian and Camilla Mash

This concert will finish at approximately 10.20pm with an interval of 20 mins. OAE Extras at 5.45pm, free admission Royal Festival Hall OAE musicians talk about tonight’s performance of Bach’s St Matthew Passion and how it is realised without a conductor.

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Bach’s St Matthew Passion Thursday 2 April 2015

Programme Notes Johann Sebastian Bach (1685 –1750) St. Matthew Passion

*Words indicated by an asterisk are explained on page 54

The modern listener to the St Matthew Passion is confronted, at the outset and in strength, with the difficulties of understanding its literary text or libretto* which will persist throughout the whole work. The opening chorus is replete with images familiar to eighteenth century Lutherans but arcane to us nowadays. These difficulties need not bother us much. There is always the music, magisterially moving, to fill our ears and engross our attention, never mind what odd words come with it. And modern musical audiences are pretty well practised in this sort of suspension of critical engagement where the words are concerned. But all the same, it has to be true that something is missing without an appreciation of the words which is, in the first instance, informed, and then is capable of an emotional empathy as heartfelt as we expect from the music. So these programme notes intend to identify and clarify the layers of text which make up the libretto – Matthew’s Gospel, its previous scriptural heritage, and the commentary on the narrative in recitatives, arias, choruses and chorales – and understand their religious and aesthetic unity. The opening chorus is a formidable enough sample of what is involved. Who are these ‘daughters’ who are summoned to assist in lamentation? An echo of the daughters of Jerusalem in the biblical love poem The Song of Songs would have occurred to Bach and his congregation. They are attendants on the bride who frequently adjures them to ‘stir not up nor awaken love until it please’ – a tantalising admonition. For centuries this erotic masterpiece had been taken as a paradigm of the mutual love of Christ and the devout soul, so lending a warm sensuality to spirituality which is very strongly, and perhaps even disturbingly, present in the arias

and other additions to the text of Matthew’s Gospel. There is a further reference. In Luke’s Gospel, Jesus turns to the women who bewailed and lamented him on his way to crucifixion and says ‘Daughters of Jerusalem, do not weep for me, but weep for yourselves and for your children’, prophesying the catastrophe to come with the destruction of Jerusalem by the Romans. This is not in Matthew’s Gospel but it is, certainly enough, in Bach’s mind. And then, in the second line of this chorus, attention is summoned to the bridegroom, meaning Christ. That image is The Song of Songs, but also in Matthew’s Gospel. A parable in its twenty-fifth chapter, just before the passion story, tells of virgins who ‘took their lamps and went to meet the bridegroom.’ When the bridegroom arrived at midnight, some of them found themselves without oil in their lamps. The parable enjoins readiness for Christ’s coming – now to suffer. The significance of his sufferings, his passion, is indicated in the next image of Christ: ‘as a lamb.’ From the first beginnings of Christianity, Christ had been identified with the lamb which every Jewish family sacrificed at Passover. The fact that Jesus was crucified at Passover was an historical fact packed with energetic religious significance for the first Christian churches. A horrible but minor incident in history became, for them generally and for St Paul particularly, the defining sacrificial event in the world’s history. Its salient features are indicated in the rest of the chorus: Christ’s willing patience and his bearing of our guilt, out of love and grace, on the cross. All this is to be made so visible and palpable to us, the audience, that our hearing should become seeing. ‘Seht’ or ‘sehet’, ‘look!’, the chorus insists, not once but five times in a row.

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Programme Notes

Such is a brief analysis of a brief, if momentous, text. But its brevity contains a vast time span, from the origins of Jewish nationality in the Passover commemoration of the long-ago exodus from Egypt to St Thomas’s Church in Leipzig on Good Friday 1727 and our own present. It has been traversed back and forth in the analysis. The contents of that span or, to revert to the previous metaphor, the strata underlying Bach’s work, can be set out in clear order. First are the Jewish Scriptures which were the Bible of the first Christians who, to mention the obvious, had no New Testament. Among those first Christians St Paul was preeminent. His letters are the earliest Christian documents to have survived. He subjected the Jewish scriptures to a radical interpretation in which Jesus Christ’s sacrificial death was their be all and end all. So insistent and profound, even obsessive, was his focus on this point in time that he had no apparent interest in Christ’s life of teaching and miracles. It was an event of eternal significance, no longer confined to the time of its happening, but recurring over and over again in the lives of individuals, inwardly in the individuals who had ‘died together with Christ’ and shared his risen life – a coinherence which comes up repeatedly in Bach’s arias. It was therefore able to survive unscathed the historical catastrophe some thirty years later: the destruction in 70 AD of Jerusalem and its temple. An event so appalling, so contradictory of hopes, forced attention to the question of what was going on in the historical process itself. History needed to be written and, for the Christians, this began with the Gospel of Mark. This life of Jesus was imbued with Paul’s principles, so much so that it has been called a passion narrative with a long prologue. It is short on ethical teaching other than the

necessity for disciples of participation in the death of their master. It represents Jesus as prophesying the ruin of the temple, whose officials, the chief priests, are about to lead his prosecution. Matthew’s Gospel was a new edition of Mark’s. It added plentiful ethical teaching: the Sermon on the Mount for example. It also endorsed and augmented Mark’s emphasis on the passion. Emphasis on the fulfilment of scriptural prophecy was more insistent too. Jesus is the prophet of his own sufferings, foreordained in scripture, at least nine times in the course of the narrative. This tragic inevitability was not smoothly straightforward. As in Mark, Jesus in the garden of Gethsemane prayed for its supension. Prophecy was in crisis. Only through agonised struggle is it restored: ‘Thy will be done’. It is then fulfilled: first by the arrest in Gethsemane and then by Matthew’s addition to Mark’s narrative of the purchase of the Field of Blood with Judas’s blood money. Matthew added a few more incidents. He had Pilate’s wife make a sympathetic contribution from off-stage with her dream of ‘that righteous man’. Pilate exculpates himself by washing his hands and guilt for the passion is promptly taken up by ‘all the people’: ‘His blood be on us and on our children.’ None of this was in Mark. By supplying it, Matthew the Christian Jew savaged orthodox, traditional Jews with an injustice (Christ’s was a Roman sentence and punishment) which stuck in the later gospels of Luke and John and poisoned the Christian Church’s relations with Judaism for the future. These distortions became canonical scripture which Bach could not, even if he had wished, alter. And they are, of course, great drama. So, too, are the earthquake and resurrection of holy men of old (Abraham, Moses and others, we

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Bach’s St Matthew Passion Thursday 2 April 2015

Programme Notes

may imagine) at the moment of Christ’s death, which Matthew contributed to the story as actualisations of the earth-shaking significance of this point in time and of its fulfilment of previous sacred history. As a parting shot at his orthodox Jewish enemies, Matthew added the sealing and guarding of the tomb which ends Bach’s work. Apart, that is, from the elegiac recitative in which all four solo voices, successively alternating with the chorus, sing their remorse and Jesus’s good night. It is followed by the peace of the final threnody*. The language is, as usual in so many of the texts which the libretto added to Matthew’s narrative, intimate: ‘My Jesus, goodnight!’, a maternal lullaby which brings solace after all the stress and strain. It is a resolution won by sacrifice: ‘I weep for you in penance and remorse (an echo of the aria ‘Buss und Reu’) because my lapse (‘Fall’) brought you such suffering.’ And it is a peace shared by us, performers and audience together, at the deep psychological level plumbed by music: Your grave and tombstone shall be a soft pillow for the uneasy conscience and a place for the soul to rest.

So Paul’s doctrines of Christ’s redeeming death and of our coinherence in him return one last time. They do so in a way which is not formally or merely intellectually doctrinal but shamelessly emotional. It needs to be noticed and emphasised that this deeply felt acceptance of sacrifice, so marked in recitatives, arias and choruses, is not stuck on to Matthew’s passion narrative as a (perhaps to us, rather embarrassing extra where the words are concerned) but part of the unity of the whole masterpiece. Paul’s doctrine was a matter of profound feeling rather than dispassionate

philosophy, which he had no time for. Mark and Matthew, as we have seen, had absorbed it into their passion narratives. Martin Luther, the founder of Bach’s own Lutheran Christianity, revived it at the beginning of the sixteenth century with extraordinarily vivid eloquence. As a monk he had been through a major crisis of tormented conscience and self condemnation from which he was liberated by reading the Bible. In the Psalms he found emotional companionship. ‘Where do you find deeper, more sorrowful, more pitiful words of sadness than in the psalms of lamentations? There you look into the hearts of all saints, as into death, nay, as into hell. How gloomy and dark it is there!’ And again ‘There you see into the hearts of all the saints, as into lovely and pleasant gardens, yes, as into heaven itself, and see what fine and gay flowers spring up out of fair and happy thoughts towards God because of his benefits.’ These are words which might apply to the experience of listening to Bach. In any case, it was Paul’s doctrine of Christ’s sacrificial death that cured Luther’s psychological illness. He made it abundantly and repeatedly clear. ‘We can very well say with St. Paul, “We will know nothing save Christ, and him crucified.”’ ‘Whence, then, is our defence? Nowhere save from Christ and in Christ. For if there shall come some reproach against the heart which believes in Christ, testifying against him concerning some evil deed, then it turns itself away and turns to Christ (ad Christum!) and says “But he made satisfaction. He is the Righteous one,” this is my defence. He died for me, he made his righteousness to be mine, and made my sin his own, and if he made my sin his own, then I can have it now no longer, and I am free.’ For the other great sixteenth century reformer, Calvin, Christianity was an edifice of

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Programme Notes

systematic doctrine founded on Paul; but with Luther, as the historian Harnack noticed, ‘the old dogmatic Christianity was discarded and a new evangelical view was substituted for it’ – and not so much a view as a heartfelt love. What Luther said of the sacrament of Communion can be said of Bach’s passion music: ‘All the spiritual possessions of Christ and the saints are communicated to him who receives this sacrament: again, all his sufferings and sins are communicated to them and love engenders love and unites all.’ The Matthew Passion is a decidedly Lutheran work. It is at the most emotional moments in Matthew’s narrative that Bach excels, communicating its humanity, with all its various moods and contradictions, to performers and listeners with music of the greatest power and beauty. Peter’s bitter weeping is followed by the pathos of the alto aria ‘Erbarme dich’, ‘Have mercy.’ Matthew’s addition to Mark of Judas’s remorse is followed by the bass aria ‘Gebt mir meinen Jesu wieder’, ‘O give me back my Jesus’ – a sympathetic aria for Judas. It would not have been proper to give an aria to Jesus himself, the emotional focus of the whole work. He either speaks the words of scripture with the sparse adornment of recitative or remains silent (a silence delicately applied to us in the tenor aria ‘Geduld’, ‘Patience’ and in the chorale ‘Befiehl du deine Wege’, ‘Entrust your ways). But there is a near exception. When Jesus at the last supper utters the words which turn Jewish Passover into Christian Communion, making the bread his body and the wine his blood, so that his sacrifice can be physically absorbed by his disciples ever after, he does so with melody as beautiful as any in the entire work – all but aria. This is a clear indication of a major fact. The function of all

Bach’s multifarious resources as composer is to serve the story and us by full participation of each in each. There is no remainder or mere adornment. Aesthetically, this is the unity of a masterpiece. Religiously, it is the complete participation of the devotees (believers is too intellectual a word) in the object and subject of their devotion. In a dedicated (why not say devout?) performance of Bach’s work the divisions between voices and instruments, audience and performers, words and music, are removed and wholeness of mutual attention achieved. Programme notes by John Drury ©2015

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Bach’s St Matthew Passion Thursday 2 April 2015

St Matthew Passion

Part I Chorus Kommt, ihr Töchter, helft mir klagen, sehet - Wen? - den Bräutigam. Seht ihn - Wie? - als wie ein Lamm! Sehet, - Was? - seht die Geduld, Seht - Wohin? - auf unsre Schuld; Sehet ihn aus Lieb und Huld Holz zum Kreuze selber tragen

Chorus Come ye daughters, share my mourning; See Him! Whom? The Bridegroom Christ. See him! How? A spotless Lamb. See it! What? His patient love. Look! Look where? On our offence. Look on him, For love of us He Himself His Cross is bearing.

Ripieno O Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet, Allzeit erfund’n geduldig, Wiewohl du warest verachtet. All Sünd hast du getragen, Sonst müßten wir verzagen. Erbarm dich unser, o Jesu!

Ripieno O Lamb of God unspotted, Upon the Cross Thou art, slaughtered. Serene and ever patient, Tho’ scorned and cruelly tortured. All sin for our sake bearing. Else would we die despairing. Have pity on us, O Jesus.

Recitative Evangelista: Da Jesus diese Rede vollendet hatte, sprach er zu seinen Jüngern: Christus: Ihr wisset, daß nach zweien Tagen Ostern wird, und des Menschen Sohn wird überantwortet werden, daß er gekreuziget werde.

Recitative Evangelist: When Jesus had finished all these sayings, He said unto His disciples; Christ: Ye know that after two days is the Passover, and the Son of Man is betrayed to be crucified.

Chorale Herzliebster Jesu, was hast du verbrochen, Daß man ein solch hart Urtheil hat gesprochen? Was ist die Schuld, in was für Missethaten Bist du gerathen?

Chorale Ah, Jesus dear, what precept hast Thou broken, That such a cruel judgement has been spoken? Of what misdeed has Thou to make confession? Of what transgression?

Recitative Evangelista: Da versammleten sich die Hohenpriester und Schriftgelehrten, und die Ältesten im Volk, in dem Palast des Hohenpriesters, der da hieß Kaiphas, und hielten Rath, wie sie Jesum mit Listen griffen und tödteten. Sie sprachen aber:

Recitative Evangelist: Then assembled together the chief priest, and the scribes, and the elders of the people, unto the palace of the high priest, who was called Caiaphas, and consulted that they might take Jesus by subtlety, and kill Him. But they said,

Chorus Ja nicht auf das Fest, auf daß nicht ein Aufruhr werde im Volk.

Chorus Not upon the feast, lest haply there be an uproar among the people.

Recitative Evangelista: Da nun Jesus war zu Bethanien, im Hause Simonis des Aussätzigen, trat zu ihm ein Weib, das hatte ein Glas mit köstlichem Wasser, und goß es auf sein

Recitative Evangelist: Now when Jesus was in Bethany, in the house of Simon the leper, there came unto Him a woman, having an alabaster box of very precious ointment, and

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Haupt, da er zu Tische saß. Da das seine Jünger sahen, wurden sie unwillig und sprachen:

poured it on His head, as He sat at meat. But when His disciples saw it, they had indignation, saying:

Chorus Wozu dienet dieser Unrath? Dieses Wasser hätte mögen theuer verkauft und den Armen gegeben werden.

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

Recitative Evangelista: Da das Jesus merkete, sprach er zu ihnen: Christus: Was bekümmert ihr das Weib? Sie hat ein gut Werk an mir gethan! Ihr habet allezeit Arme bei euch, mich aber habt ihr nicht allezeit. Daß sie dies Wasser hat auf meinen Leib gegossen, hat sie gethan, daß man mich begraben wird. Wahrlich, ich sage euch: Wo dies Evangelium geprediget wird in der ganzen Welt, da wird man auch sagen zu ihrem Gedächtniss, was sie gethan hat.

Recitative Evangelist: When Jesus understood it, He said unto them: Christ: Why trouble ye the woman? For she hath wrought a good work upon Me. For ye have the poor always with you, but Me ye have not always. For in that she hath poured this ointment on My body, she did it for My burial. Verily I say unto you, wheresoever this Gospel shall be preached in the whole world, there shall also this, that this woman hath done, be told of her for a memorial.

Recitative and Aria (Mezzo-Soprano) Du lieber Heiland du, Wenn deine Jünger thöricht streiten, Daß dieses fromme Weib Mit Salben deinen Leib Zum Grabe will bereiten, So lasse mir inzwischen zu, Von meiner Augen Thränenflüssen Ein Wasser auf dein Haupt zu Gießen!

Recitative and Aria (Mezzo-Soprano) My Master and my Lord, In vain do Thy disciples chide Thee, Because this pitying woman, With ointment sweet, Thy flesh For burial maketh ready. O grant to me, beloved Lord, The tears where my heart o’erfloweth An unction on Thy head may pour.

Buß und Reu Knirscht das Sündenherz entzwei, Daß die Tropfen meiner Zähren Angenehme Specerei, Treuer Jesu, dir gebähren.

Grief for sin Rends the guilty heart within, May my weeping and my mourning Be a welcome sacrifice. Loving Saviour, hear in mercy!

Recitative Evangelista: Da ging hin der Zwölfen einer, mit Namen Judas Ischarioth, zu den Hohenpriestern, und sprach: Judas: Was wollt ihr mir geben? Ich will ihn euch verraten. Evangelista: Und sie boten ihm dreißig Silberlinge. Und von dem an suchte er Gelegenheit, daß er ihn verriete.

Recitative Evangelist: Then one of the twelve, called Judas Iscariot, went unto the chief priests, and said, Judas: What will you give me, and I will deliver Him unto you? Evangelist: And they covenanted with him for thirty pieces of silver. And from that time he sought opportunity to betray Him.

Aria (Soprano) Blute nur, du liebes Herz! Ach! ein Kind, das du erzogen, Das an deiner Brust gesogen, Droht den Pfleger zu ermorden, Denn es ist zur Schlange worden.

Aria (Soprano) Break and die, thou dearest heart. Ah! A child which Thou hast raised, Which upon Thy breast remained, Now a serpent has become. Murder is the parent’s doom.

Recitative Evangelista: Aber am ersten Tage der süßen Brot traten die Jünger zu Jesu, und sprachen zu ihm:

Recitative Evangelist: Now, the first day of the feast of unleavened bread, the disciples came to Jesus, saying unto Him:

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Bach’s St Matthew Passion Thursday 2 April 2015

Chorus Wo willst du, daß wir dir bereiten das Osterlamm zu essen?

Chorus Where wilt Thou that we prepare for Thee to eat the Passover?

Recitative Evangelista: Er sprach: Christus: Gehet hin in die Stadt zu Einem, und sprecht zu ihm ‘Der Meister läßt dir sagen: Meine Zeit ist hier, ich will bei dir die Ostern halten mit meinen Jüngern’. Evangelista: Und die Jünger thäten, wie ihnen Jesus befohlen hatte, und bereiteten das Osterlamm. Und am Abend setzte er sich zu Tische mit dem Zwölfen. Und da sie aßen, sprach er: Christus: Wahrlich, ich sage euch: Einer unter euch wird mich verrathen. Evangelista: Und sie wurden sehr betrübt, und huben an, ein Jeglicher unter ihnen, und sagten zu ihm: Chor: Herr bin ich’s?

Recitative Evangelist: And he said: Christ: Go into the City to such a man, and say unto him, The Master saith: ‘My time is at hand, I will keep the Passover at thy house with My disciples’. Evangelist: And the disciples did as Jesus appointed them, and they made ready the Passover. Now when the even was come, He sat down with the twelve. And as they did eat, He said: Christ: Verily, I say unto you, that one of you shall betray Me. Evangelist: And they were exceedingly sorrowful and began every one of them to say unto Him: Chorus: Lord, Is it I?

Chorale Ich bin’s, ich sollte büßen, An Händen und an Füßen Gebunden in der Höll, Die Geißeln und die Banden, Und was du ausgestanden, Das hat verdienet meine Seel’.

Chorale ‘Tis I who should, repenting in torture unrelenting, endure the pains of hell The Shackles and the scourges Thou bore from sin to purge us, Were by us all deserved full well.

Recitative Evangelista: Er antwortete und sprach: Christus: Der mit der Hand mit mir in die Schüssel tauchet, der wird mich verrathen. Des Menschen Sohn gehet zwar dahin, wie von ihm geschrieben stehet; doch wehe dem Menschen, durch welchen des Menschen Sohn verrathen wird. Es wäre ihm besser, daß derselbige Mensch noch nie geboren wäre. Evangelista: Da antwortete Judas, der ihn verrieth, und sprach: Judas: Bin ich’s Rabbi? Evangelista: Er sprach zu ihm: Christus: Du sagest¹s. Evangelista: Da sie aber aßen, nahm Jesus das Brot dankete und brach’s und gab’s den Jüngern und sprach: Christus: Nehmet, esset, das ist mein Leib. Evangelista: Und er nahm den Kelch, und dankete, gab ihnen den und sprach: Christus: Trinket Alle daraus; das ist mein Blut des neuen Testaments, welches vergossen wird für Viele zur Vergebung der Sünden. Ich sage euch: Ich werde von nun an nicht mehr von diesem Gewächs des Weinstocks trinken, bis an den Tag, da ich’s neu trinken werde mit euch in meines Vaters Reich.

Recitative Evangelist: And He answered and said:, Christ: He that dippeth his hand with Me in the dish, the same shall betray Me. The Son of Man goeth as it is written of Him; but woe until that man by whom the Son of Man is betrayed; it had been good for that man, if he had not been born.

Evangelist: Then answered Judas, which betrayed Him, and said Judas: Master is it I? Evangelist: He said unto him Christ: Thou hast said. Evangelist: And as they were eating, Jesus took bread, and blessed it, and brake it, and gave it to His disciples, and said: Christ: Take, eat, this is My Body Evangelist: And He took the cup, and gave thanks, and gave it to them, saying: Christ: Drink ye all of it; for this is My Blood of the New Testament, which is shed for many for the remission of sins. But I say unto you: I will not drink henceforth of this fruit of the wine, until that day when I drink it new with you in My Father’s Kingdom.

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Recitative and Aria (Soprano) Wiewohl mein Herz in Thränen schwimmt Daß Jesus von uns Abschied nimmt, So macht mich doch sein Testament erfreut: Sein Fleisch und Blut, o Kostbarkeit, Vermacht er mir in meine Hände. Wie er es auf der Welt mit denen Seinen Nicht böse können meinen, So liebt er sie bis an das Ende.

Recitative and Aria (soprano) Although my eyes with tears o’erflow, Since Jesus now must from us go, His gracious promise doth the soul uplift. His Flesh and Blood, O precious gift! He leaves us for our soul¹s refreshment, As He while in the world did love His own, So now, with love unchanging, He loves them unto the end.

Ich will dir mein Herze schenken, Senke dich, mein Heil, hinein. Ich will mich in dir versenken; Ist dir gleich die Welt zu klein, Ei, so sollst du mir allein Mehr als Welt und Himmel sein.

Jesus, Saviour, I am Thine, Come and dwell my heart within. All things else I count but loss, Glory only in Thy Cross. Dearer than the world beside Is the Saviour who hath died.

Recitative Evangelista: Und da sie den Lobgesang gesprochen hatten, gingen sie hinaus an den Ölberg. Da sprach Jesus zu ihnen: Christus: In dieser Nacht werdet ihr euch Alle ärgern an mir. Denn es stehet geschrieben: Ich werde den Hirten schlagen, und die Schafe der Herde werden sich zerstreuen. Wann ich aber auferstehe, will ich vor euch hingehen in Galiläam.

Recitative Evangelist: And when they had sung a hymn, they went out to the Mount of Olives. Then saith Jesus unto them,

Chorale Erkenne mich, mein Hüter, Mein Hirte, nimm mich an! Von dir, Quell aller Güter, Ist mir viel Gut’s gethan. Dein Mund hat mich gelabet Mit Milch und süßer Kost, Dein Geist hat mich begabet Mit mancher Himmelslust.

Chorale Remember mem my saviourm My Shepherd, take thou me; The source of every blessing, Wilt Thou forever be. By Thine abundance nourished, With milk and honey blest, Thy spirit brings me comfort and heavenly joy and rest.

Recitative Evangelista: Petrus aber antwortete und sprach zu ihm: Petrus: Wenn sie auch Alle sich an dir ärgerten, so will ich doch mich nimmermehr ärgern. Evangelista: Jesus sprach zu ihm: Christus: Wahrlich, ich sage dir: In dieser Nacht, ehe der Hahn krähet, wirst du mich dreimal verläugnen. Evangelista: Petrus sprach zu ihm: Petrus: Und wenn ich mit dir sterben müßte, so will ich dich nicht verläugnen. Evangelista: Dessgleichen sagten auch alle Jünger.

Recitative Evangelist: Peter answered, and said unto Him, Peter: Though all men shall be offended because of Thee, yet will I never be offended. Evangelist: Jesus said unto him: Christ: Verily I say unto thee, that this night before the cock crow, thou shalt deny Me thrice. Evangelist: Peter said unto Him: Peter: Though I should die with Thee, yet will I not deny Thee. Evangelist: Likewise also said all the disciples.

Chorale Ich will hier bei dir stehen; verachte mich doch nicht! Von dir will ich nicht gehen, Wenn Dir dein Herze bricht. Wann dein Herz wird erblassen Im lezten Todesstoß,

Chorale I stand here close beside Thee, Thine anguish I would share. O Lord, do no despise me, In this Thine heart’s despair. For when Thy heart is drooping in deaths last agony,

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

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Bach’s St Matthew Passion Thursday 2 April 2015

Alsdenn will ich dich fassen In meinen Arm und Schoß.

My arms will be about Thee and hold Thee close to me.

Recitative Evangelista: Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane, und sprach zu seinen Jüngern: Christus: Setzet euch hier, bis daß ich dorthin gehe und bete. Evangelista: Und nahm zu sich Petrum und die zween Söhne Zebedäi und fing an zu trauern und zu zagen. Da sprach Jesus zu ihnen: Christus: Meine Seele ist betrübt bis an den Tod, bleibet hie und wachet bei mir.

Recitative Evangelist: Then cometh Jesus with them unto a place called Gethsemane, and saith unto the disciples: Christ: Sit ye here, while I go yonder and pray. Evangelist: And He took with Him Peter and the two sons of Zebedee, and began to be sorrowful, and very heavy. Then saith He unto them, Christ: My soul is exceedingly sorowful, even unto death! Tarry ye here and watch with Me.

Recitative und Chorale Tenor: O Schmerz! hier zittert das gequälte Herz. Wie sinkt es hin, wie bleicht sein Angesicht! Der Richter führt ihn vor Gericht, Da ist kein Trost, kein Helfer nicht. Er leidet alle Höllenqualen, Er soll für fremden Raub bezahlen. Ach, könnte meine Liebe dir, Meine Heil, dein Zittern und dein Zagen Vermindern oder helfen tragen, Wie gerne blieb ich hier! Chor: Was ist die Ursach’ aller solcher Plagen? Ach! meine Sünden haben dich geschlagen! Ich, ach Herr Jesu, habe dies verschuldet, Was du erduldet!

Recitative and Chorale Tenor: O grief! how throbs His heavy-laden breast! His spirit faints, how pale His weary face! He to the Judgement-hall is brought, There is no help, no comfort near. The powers of darkness now assail Him, His chosen friends will soon forsake Him. Ah! if my love Thy stay could be. If I could gauge Thy grief, and share it, Could make it less, or help to bear it, How gladly would I watch with Thee. Choir: My Saviour, why must all this ill befall Thee? My sin, alas! from highest Heaven did call Thee. God took the debt from me, who should have paid. On Thee He laid it.

Aria (Tenor) with Choir Tenor: Ich will bei meinem Jesu wachen. Chor: So schlafen unsre Sünden ein. Tenor: Meinen Tod büßet seiner Seelen noth; Sein Trauren machet mich voll Freuden. Chor: Drum muß uns sein verdienstlich Leiden Recht bitter und doch süße sein.

Aria (Tenor) with Choir Tenor: I would beside my Lord be watching, Choir: So all our sins will fall asleep. Tenor: I am saved from sin and loss by His cross, His sorrows win my soul its ransom. Choir: His pain and woe and all His sadness, How bitter and how sweet are they.

Recitative Evangelista: Ung ging hin ein wenig, fiel nieder auf sein Angesicht, und betete, und sprach: Christus: Mein Vater, ist’s möglich, so gehe dieser Kelch von mir; doch nicht wie ich will, sondern wie du willst.

Recitative Evangelist: And He went a little farther, and fell on His face and prayed, saying, Christ: My Father, if it be possible, let this cup pass from me, yet not as I will, but as Thou wilt.

Recitative and Aria (Bass) Der Heiland fällt vor seinem Vater nieder, Dadurch erhebt er mich und Alle von unserm Falle Hinauf zu Gottes Gnade wieder. Er ist bereit, Den Kelch, des Todes Bitterkeit zu trinken, In welchen Sünden dieser Welt Gegossen sind und häßlich stinken, Weil es dem lieben Gott gefällt.

Recitative and Aria (Bass) The Saviour falleth low before His Father, Thereby He raiseth me and all The Sons of Adam, To taste once more the grace of God. He is prepared, The cup of deathly bitterness to swallow, In which the sins of all the world Are poured, and foul the dregs; Because the Father’s will is so.

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Gerne will ich mich bequemen Kreuz und Becher anzunehmen, Trink ich doch dem Heiland nach. Denn sein Mund, der mit Milch und Honig fließet, Hat den Grund und des Leidens herbe Schmach Durch den ersten Trunk versüßet.

Gladly will I, fear disdaining, Drink the cup without complaining, Drink it as my Saviour did. By His lips, with milk and honey flowing, All the shame and bitterness has been hid, Sweetness on its dregs bestowing.

Recitative Evangelista: Und er kam zu seinen Jüngern und fand sie schlafend, und sprach zu ihnen: Christus: Könnet ihr denn nicht eine Stunde mit mir wachen? Wachet und betet, daß ihr nicht in Anfechtung fallet! Der Geist ist willig, aber das Fleisch ist schwach. Evangelista: Zum andernmal ging er hin, betete und sprach: Christus: Mein Vater, ist¹s nicht möglich, daß dieser Kelch von mir gehe, ich trinke ihn denn, so geschehe dein Wille.

Recitative Evangelist: And He cometh unto the disciples, and findeth them asleep, and saith unto Peter: Christ: What, could ye not watch with Me one hour? Watch and pray that ye enter not into temptation; the spirit indeed is willing but the flesh is weak. Evangelist: He went away again the second time, and prayed, saying: Christ: O My Father, if this cup may not pass away from Me except I drink it, Thy will be done.

Chorale Was mein Gott will, das g’scheh altzeit, Sein Will, der ist der beste; Zu helfen den’n er ist bereit, Die an ihn glauben feste. Er hilft aus Noth, der fromme Gott, Und züchtiget mit Maßen. Wer Gott vertraut, fest auf ihn baut, Den will er nicht verlassen.

Chorale What Gold resolves he will achieve. His will is perfect ever. He succors all who firm believe, And for the best endeavour. Our help in need, Our god indeed, With gentle moderation. He chastens us; If Him we trust, We need not fear damnation

Recitative Evangelista: Und er kam und fand sie aber schlafend, und ihre Augen waren voll Schlaf ’s. Und er ließ sie, und ging abermals hin, und betete zum dritten Mal und redete dieselbigen Worte. Da kam er zu seinen Jüngern, und sprach zu ihnen: Christus: Ach! wollt ihr nun schlafen und ruhen? Siehe, die Stunde ist hier, daß des Menschen Sohn in der Sünder Hände überantwortet wird. Stehet auf, lasset uns gehen; siehe, er ist da, der mich verräth. Evangelista: Und als er noch redete, siehe, da kam Judas, der Zwölfen einer, und mit ihm eine große Schar, mit Schwertern und mit Stangen, von den Hohenpriestern und Ältesten des Volks. Und der Verräther hatte ihnen ein Zeichen gegeben, und gesagt: ‘Welchen ich küssen werde, der ist’s, den greifet!’ Und alsbald trat er zu Jesum und sprach: Judas: Gegrüßet sei’st du, Rabbi! Evangelista: Und küssete ihn. Jesus aber sprach zu ihm: Christus: Mein Freund, warum bist du kommen? Evangelista: Da traten sie hinzu and legten die Hände an Jesum, und griffen ihn.

Recitative Evangelist: And He came and found them asleep again, for their eyes were heavy. And He left them, and went away again, and prayed the third time, saying the same words. Then cometh He to His disciples, and saith unto them: Christ: Sleep on now, and take your rest, behold the hour is at hand, and the Son of Man is betrayed into the hands of sinners. Rise, let us be going; behold, he is at hand that doth betray Me. Evangelist: And while He yet spoke, Judas, one of the twelve, came, and with him a great multitude with swords and staves from the chief priests and elders of the people. Now he that betrayed Him, gave them a sign, saying: ‘Whomsoever I shall kiss, that same is He, hold Him fast.’ And forthwith he came to Jesus, and said:

Judas: Hail Master! Evangelist: and kissed Him. And Jesus said unto him: Christ: Friend, wherefore art thou come? Evangelist: Then came they and laid hands on Jesus and took Him.

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Bach’s St Matthew Passion Thursday 2 April 2015

Duet (Soprano and Mezzo-Soprano) with Choir Soprano, Mezzo-soprano: So ist mein Jesus nun gefangen. Mond und Licht Ist vor Schmerzen untergangen, Weil mein Jesus ist gefangen Sie füren ihn, er ist gebunden. Chor: Laßt ihn, haltet, bindet nicht! Sind Blitze, sind Donner in Wolken verschwunden? Eröffne den feurigen Abgrund, o Hölle, Zertrümmre, verderbe, verschlinge, zerschelle Mit plötzlicher Wuth Den falschen Verräther, das mördrische Blut.

Duet (Soprano and Mezzo-Soprano) with Choir Soprano, Mezzo-soprano: Behold, my saviour now is taken. Moon and stars Have for grief the night forsaken, Since my Saviour now is taken. They lead Him hence; with cords they bind Him! Choir: Loose Him! Leave Him! Bind Him not! Have lightnings and thunders their fury forgotten? Then open, O fathomless pit, all thy terrors! Destroy them, o’erwhelm them, devour them, Consume them with tumult rage, The treach’rous betrayer, the merciless throng.

Recitative Evangelista: Und siehe, Einer aus denen, die mit Jesu waren, reckete die Hand aus, und schlug des Hohenpriesters Knecht und hieb ihm ein Ohr ab. Da sprach Jesus zu ihm: Christus: Stecke dein Schwert an seinen Ort; denn wer das Schwert nimmt, der soll durchs Schwert umkommen. Oder meinest du, daß ich nicht könnte meinen Vater bitten, daß er mir zuschickte mehr denn zwölf Legion Engel? Wie würde aber die Schrift erfüllet? Es muß also gehen. Evangelista: Zu der Stund’ sprach Jesus zu den Scharen: Christus: Ihr seid ausgegangen, als zu einem Mörder, mit Schwertern und mit Stangen, mich zu fahen, bin ich doch täglich bei euch gesessen und habe gelehret im Tempel, und ihr habt mich nicht gegriffen. Aber das ist Alles geschehen, daß erfüllet würden die Schriften der Propheten. Evangelista: Da verließen ihn alle Jünger und flohen.

Recitative Evangelist: And behold, one of which were with Jesus stretched out his hand, and struck a servant of the High Priest¹s and smote off his ear. Then Jesus said to him Christ: Put up thy sword into its place, for all they that take the sword, shall perish with the sword. For thinkest thou that I cannot now pray to My Father, and He shall presently give Me more then twelve legions of angels? But how then shall the Scriptures be fulfilled, that thus it must be? Evangelist: In that hour, said Jesus to the multitudes: Christ: Are ye come out, as against a thief, with swords and with staves for to take Me? I sat daily with you teaching in the temple and ye laid no hold on Me. But all this was done, that the Scriptures of the Prophets might be fulfilled.

Chorale O Mensch, bewein’ dein’ Sünde groß, Darum Christus sein’s Vaters Schoß äußert, und kam auf Erden; Von einer Jungfrau rein und zart Für uns er hie geboren ward, Er wollt’ der Mittler werden. Den’n Todten er das Leben gab und legt dabei all Krankheit ab, Bis sich die Zeit herdrange, Daß er für uns geopfert würd¹, Trüg’ unsrer Sünden schwere Bürd’ Wohl an dem Kreuze lange.

Chorale O man,thy heavy sin lament, For which the Son of God was sent To die upon the cross. He left His Father’s throne above To save thy soul, o wondrous love! From everlasting loss. He healed the sick. He raised the dead, And hungry multitudes He fed, Until the time drew nigh, When He should be betrayed and slain, That we God’s pardon might obtain. O praise the lamb, the lamb for aye!

Evangelist: Then all the disciples forsook Him, and fled.

INTERVAL

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Part II

Aria (Mezzo-soprano) with Choir Mezzo-soprano: Ach nun is mein Jesus hin! Ist es möglich, kann ich schauen? Ach! mein Lamm in Tigerklauen, Ach! wo ist mein Jesus hin? Ach was soll ich der Seele sagen, Wenn sie mich wird ängstlich fragen? Ach wo is mein Jesus hin?

Aria (Mezzo-soprano) with Choir Mezzo-soprano: Ah! Now is my Saviour gone! Is it possible? How can I behold it? Ah! My Lamb, in tiger’s clutches! Ah! Where is my Saviour gone! Ah! How shall I answer my soul When she anxiously doth ask me: Whither is my beloved gone?

Chor: Wo ist denn dein Freund hingegangen, Mezzo-soprano: O du Schönste unter den Wiebern? Wo hat sich dein Freund hingewandt? So wollen mir mit dir ihn suchen.

Choir: How we would go with thee to seek Him. Mezzo-soprano: Ah! How I shall find an answer To assure my anxious soul? Ah! Where is my Saviour gone?

Recitative Evangelista: Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas, dahin die Schriftgelehrten und Ältsesten sich versammlet hatten. Petrus aber folgete ihm nach von ferne, bis in den Palast des Hohenpriesters; und ging hinein und setzte sich bei den Knechte, auf daß er sähe, wo es hinaus wollte. Die Hohenpriester aber und Ältesten und der ganze Rath suchten falsches Zeugnis wider Jesum, auf daß sie ihn tödteten; und fanden keines.

Recitative Evangelist: And they that had laid hold of Jesus led Him away to the High Priest, Caiaphas, where the scribes and the elders were gathered together. Simon Peter followed Him afar off, unto the palace of the High Priest, and went in, and sat with the servants, that he might see how all would be ended. Now the chief priest, and the elders, and all the Council, sought false witness against Jesus, that He might be put to death; but found they none.

Chorale Mir hat die Welt trüglich gericht’t Mit Lügen und mit falschem G’dicht, Viel Netz und heimlich Stricken. Herr, nimm mein wahr in dieser G’fahr, B’hüt’ mich vor falschen Tükken!

Chorale The world, with treachery complete, With lies and fraud and flas deceit Would tangle and ensnare me. Lord, keep Thou me from danger free From evil malice spare me!

Recitative Evangelista: Und wiewohl viel falsche Zeugen herzutraten, fanden sie doch keins. Zuletzt traten herzu zween falsche Zeugen und sprachen: Erster und Zweiter Zeuge: Er hat gesagt ‘Ich kann den Tempel Gottes abbrechen, und in dreien Tagen denselben bauen.’ Evangelista: Und der Hohepriester stand auf und sprach zu ihm: Pontifex: Antwortest du nichts zu dem, was diese wider dich zeugen? Evangelista: Aber Jesus schwieg stille.

Recitative Evangelist: Yea, though many false witnesses came forward, yet found they none. At the last there came two false witnesses, and said: False Witnesses: This fellow said, I am able to destroy the temple of God, and to build it in three days.

Recitative and Aria (Tenor) Mein Jesus schweigt zu falschen Lügen stille, um uns damit zu zeigen, daß sein erbarmens voller Wille vor uns zum Leiden sei geneigt, und daß wir in dergleichen Pein ihm sollen ähnlich sein, und in Verfolgung stille schweigen.

Recitative and Aria (Tenor) My Jesus holds His peace though men accuse Him falsely, that thereby He may show us how deep compassion works within Him to bear our sorrows in His heart. So we, when called to suffer wrong, should try to be like Him, and in affliction hold our peace.

Evangelist: And the High Priest then arose and said to Him: High Priest: Answerest Thou nothing? What is it, which these witness against Thee? Evangelist: But Jesus held his peace.

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Bach’s St Matthew Passion Thursday 2 April 2015

Geduld, Geduld! Wenn mich falsche Zungen stechen. Leid ich wider meine Schuld Schimpf und Spott Ei, so mag der liebe Gott meines Herzens Unschuld rächen

Endure, endure Even lying tongues and taunting Suffer thou, in faith secure, Scourge and rod, Wait till justice of our God Smite their hearts with sword avenging.

Recitative Evangelista: Und der Hohepriester antwortete und sprach zu ihm: Pontifex: Ich beschwöre dich bei dem lebendigen Gott, daß du uns sagest, ob du seiest Christus, der Sohn Gottes? Evangelista: Jesus sprach zu ihm: Christus: Du sagest’s. Doch sage ich euch: Von nun an wird¹s geschehen, daß ihr sehen werdest des Menschen Sohn sitzen zur Rechten der Kraft, und kommen in den Wolken des Himmels. Evangelista: Da zerriß der Hohepriester seine Kleider und sprach: Pontifex: Er hat Gott gelästert; was dürfen wir weiter Zeugniss? Siehe, jetzt habt ihr seine Gotteslästerung gehöret. Was dünket euch? Evangelista: Sie antworteten, und sprachen: Chor: Er ist des Todes schuldig!

Recitative Evangelist: And the High Priest answered and said unto Him: High Priest: I adjure Thee by the living God, that Thou tell us, whether Thou be the Christ, the Son of God. Evangelist: Jesus saith unto him: Christ: Thou hast said: nevertheless I say unto you; Hereafter shall ye see the Son of hand sitting on the right hand of power, and coming in the clouds of Heaven.

Recitative Evangelista: Da speieten sie aus in sein Angesicht, und schlugen ihn mit Fäusten. Etliche aber schlugen ihn in’s Angesicht, und sprachen: Chor: Weissage und, Christe, wer ist’s, der dich schlug?

Recitative Evangelist: Then did they spit in His face, and buffeted Him, and others smote Him with the palm of their hands, saying, Chief Priests, Scribes, Elders: Now tell us, Thou Christ, who is he that smote Thee?

Chorale Wer hat dich so geschlagen, Mein Heil, und dich mit Plagen So übel zugericht? Du bist ja nicht ein Sünder Wie wir und unsre Kinder; Von Missethaten weißt du nicht.

Chorale Who was it, Lord, did smite Thee, Thy good with ill requite Thee, So foully treated Thee? For thou wert no offender, Nor didst to sin surrender; From evil Thou wert ever free

Recitative Evangelista: Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd, und sprach: Anchilla I: Und du warest auch mit dem Jesus aus Galiläa. Evangelista: Er läugnete aber vor ihnen allen, und sprach: Petrus: Ich weiß nicht, was du sagest. Evangelista: Als er aber zu Thür hinausging, sahe ihn eine andere, und sprach zu denen, die da waren: Anchilla II: Dieser was auch mit dem Jesu von Nazareth. Evangelista: Und er läugnete abermal und schwur dazu: Petrus: Ich kenne des Menschen nicht. Evangelista: Und über eine kleine Weile traten hinzu, die da standen, und sprachen zu Petro: Chor: Wahrlich, du bist auch einer von denen; denn deine Sprache verräth dich.

Recitative Evangelist: Now Peter sat without in the palace, and a maid came unto him, saying: First Maid: Thou also wast with Jesus of Galilee. Evangelist: But he denied before them all, saying: Peter: I know not what you sayest. Evangelist: And when he was gone out into the porch, another maid saw him and said unto them that were there: Second Maid: This fellow was also with Jesus of Nazareth Evangelist: And again he denied with an oath: Peter: I do not know the man. Evangelist: And after a while came unto him they that stood by, and said to Peter: Bystanders: Surely thou also art one of them, for thy speech betrayeth thee.

Evangelist: Then the High Priest rent his clothes, saying: High Priest: He hath spoken blasphemy; What further need have we of witnesses? Behold, now ye have heard His blasphemy. What think ye? Evangelist: They answered and said, Chief Priests, Scribes, Elders: He is worthy of death.

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Recitative Evangelista: Da hub er an sich zu verfluchen und zu schwören: Petrus: Ich kenne des Menschen nicht. Evangelista: Und alsbald krähete der Hahn. Da dachte Petrus an die Worte Jesu, da er zu ihm sagte: ‘Ehe der Hahn krähen wird, wirst du mich dreimal verläugnen.’ Und ging heraus, und weinete bitterlich.

Recitative Evangelist: Then began he to curse and to swear, saying:

Aria (Mezzo-soprano) Erbarme dich, Mein Gott, um meiner Zähren willen; Schaue hier, Herz und Auge weint vor dir Bitterlich.

Aria (Mezzo-soprano) Have mercy, Lord, on me, Regard my bitter weeping, Look at me, heart and eyes Both weep to Thee bitterly. Have mercy, Lord!

Chorale Bin ich gleich von dir gewichen, Stell’ ich mich doch wieder ein; Hat uns doch dein Sohn verglichen Durch sein’ Angst und Todespein. Ich verleugne nicht die Schuld, Aber deine Gnad’ und Huld Ist viel größer als die Sünde, Die ich stets in mir befinde.

Chorale Tho’ from Thee temptation lured me, Lord, to Thee I come again. Thy forgiveness is assured me through Thy son’s despair and pain. I do not deny my guilt, But Thy mercy, if Thou Wilt, Far exceedeth my transgression, Of which I must make confession.

Recitative Evangelista: Des morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rath über Jesum, daß sie ihn tödteten. Und banden ihn, führeten ihr hin, und überantworteten ihn dem Landplfeger Pontio Pilato. Da das sahe Judas, der ihn verrathen hatte, daß er verdammt war zum Tode, gereuete es ihn, und brachte her wieder die dreißig Silberlinge den Hohenpriestern und Ältesten und sprach: Judas: Ich habe übel gethan, daß ich unschuldig Blut verrathen habe. Evangelista: Sie sprachen Chor: Was gehet uns das an? Da siehe du zu!

Recitative Evangelist: When the morning was come, all the chief priests and elders of the people took counsel against Jesus to put Him to death. And they bound Him, they led Him away, and delivered Him to Pontius Pilate the governor. Then Judas, which had betrayed Him, when he saw that He was condemned, repented himself and brought again the thirty pieces of silver to the chief priests and elders, saying: Judas: I have sinned, in that I have betrayed the innocent blood. Evangelist: And they said, Chief Priests, Elders: But what is that to us? See thou to that.

Recitative Evangelista: Und er warf die Silberlinge in den Tempel, hub sich davon, ging hin, und erhängete sich selbst. Aber die Hohenpriester nahmen die Silberlinge, und sprachen: Pontifices: Es taugt nicht, daß wir sie in den Gotteskasten legen, denn es ist Blutgeld.

Recitative Evangelist: And he cast down the pieces of silver in the temple, and departed, and went and hanged himself. And the chief priests took the silver pieces, and said, Chief Priests: It is not lawful for us to put them into the treasury, because it is the price of blood.

Aria (Bass) Gebt mir meinen Jesum wieder! Seht, das Geld, den Mörderlohn, Wirft euch der verlorne Sohn Zu den Füßen nieder!

Aria (Bass) Give, O give me back my Lord, See the silver, price of blood, At your feet in horror pour’d By the lost betrayer.

Peter: I know not the man. Evangelist: And immediately the cock crew. And Peter remembered the word of Jesus, which said unto him: ‘Before the cock crow, thou shalt deny Me thrice.’ And he went out, and wept bitterly.

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Bach’s St Matthew Passion Thursday 2 April 2015

Evangelista: Und er antwortete ihm nicht auf ein Wort, also daß sich auch der Landpfleger sehr verwunderte.

Recitative Evangelist: And they took counsel together, and brought with them the potter’s field, to bury strangers in. Wherefore that field was called the field of blood, unto this day. Then was fulfilled that which was spoken by Jeremiah the Prophet, saying, ‘And they took the thirty pieces of silver, the price of Him that was valued, whom they bought of the children of Israel, and gave them for the potter’s field, as the Lord appointed me’ And Jesus stood before the governor and the governor asked Him, saying: Pilate: Art Thou the King of Jews? Evangelist: And Jesus said unto him, Christ: Thou sayest. Evangelist: And when He was accused of the chief priests and elders, He answered nothing. Then said Pilate unto Him: Pilate: Hearest Thou not how many things they witness against Thee? Evangelist: And He anwered him never a word, insomuch that the governor marvelled greatly.

Chorale Befiehl du deine Wege, Und was dein Herze kränkt Der allertreusten Pflege dess, der den Himmel lenkt. Der Wolken, Luft und Winden giebt Wege, Lauf und Bahn, Der wird auch Wege finden Da dein Fuß gehen kann.

Chorale Entrust thy ways unto Him, and all thy spirit craves, The every faithful Guardian, who guides the wind and waves. Who rules the clouds of heaven and bids the breezes blow, He best can choose the pathway on which our steps should go.

Recitative Evangelista: Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gerfangenen loszugeben, welchen sie wollten. Er hatte aber zu der Zeit einen Gefangenen, einen sonderlichen vor andern, der hieß Barrabas. Und da sie versammlet waren, sprach Pilatus zu ihnen: Pilatus: Welchen wollet ihr, daß ich euch losgebe? Barrabam oder Jesum, von dem gesaget wird, er sei Christus. Evangelista: Denn er wusste wohl, daß sie ihn aus Neid überantwortet hatten. Und da er auf dem Richtstuhl saß, schickete sein Weib zu ihm und ließ ihm sagen: Uxor Pilati: Habe du nichts zu schaffen mit diesem Gerechten; ich habe heute viel erlitten im Traum von seinetwegen! Evangelista: Aber die Hohenpriester und die Ältesten überredeten das Volk, daß sie um Barrabam bitten sollten, und Jesum umbrächten. Da antwortete nun der Landpfleger, und sprach zu ihnen: Pilatus: Welchen wollt ihr unter diesen zweien, den ich euch soll losgeben? Evangelista: Sie sprachen: Chor: Barrabam!

Recitative Evangelist: Now at the feast the governor was wont to release unto the people a prisoner, whom they would. And they had then a notable prisoner called Barabbas. Therefore when they were gathered together, Pilate said unto them:

Recitative Evangelista: Sie hielten aber einen Rath und kauften einen Töpfersacker darum, zum Begräbnis der Pilger. Daher ist derselbige Acker genennet der Blutacker bis auf den heutigen Tag. Da ist erfüllet, das gesagt ist durch den Propheten Jeremias, da er spricht: ‘Sie haben genommen dreißig Silberlinge, damit bezahlet ward der Verkaufte, welchen sie kauften von den Kindern Israel, und haben sie gegeben um einen Töpfersacker, als mir der Herr befohlen hat.’ Jesus aber stund vor dem Landpfleger; und der Landpfleger fragte ihn, und sprach: Pilatus: Bist du der Jüden König? Evangelista: Jesus aber sprach zu ihm: Christus: Du sagest’s. Evangelista: Und da er verklagt ward von den Hohenpriestern und Ältesten, antwortete er nichts. Da sprach Pilantus zu ihm: Pilatus: Hörest du nicht, wie hart sie dich verklagen?

Pilate: Whom will ye that I release unto you? Barabbas, or Jesus, which is called Christ? Evangelist: For he knew that for envy they had delivered Him. When he was set down on the judgment seat, his wife sent unto him, saying: Pilate’s Wife: Have thou nothing to do with that just man! For I have suffered many things this day in a dream because of Him. Evangelist: But the Chief Priests and elders persuaded the multitude that they should ask Barabbas and destroy Jesus. The governor answered and said unto them: Pilate: Which of the twain will ye that I release unto you? Evangelist: They said: Multitude: Barabbas!

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Evangelista: Pilatus sprach zu ihnen: Pilatus: Was soll ich denn machen mit Jesu, von dem gesagt wird, er sei Christus? Evangelista: Sie sprachen alle: Chor: Laß ihn kreuzigen!

Evangelist: Pilate said unto them: Pilate: What shall I do then with Jesus, which is called Christ? Evangelist: They all say unto him, Multitude: Let him be crucified.

Chorale Wie wunderbarlich ist doch diese Strafe! Der gute Hirte leidet für die Schafe, Die Schuld bezahlt der Herre, der Gerechte, Für seine Knechte!

Chorale How strange, how wondrous strange, this crucifixtion; The Shepherd for His sheep must bear affliction, The good King pays his subjects obligation, despite His station!

Recitative Evangelista: Der Landpfleger sagte: Pilatus: Was hat er denn Übels gethan?

Recitative Evangelist: And the governor said, Pilate: Why, what evil has He done?

Recitative and Aria (Soprano) Er hat uns Allen wohlgethan, Den Blinden gab er das Gesicht, Die Lahmen macht’ er gehend; Er sagt’ uns seines Vaters Wort, Er trieb die Teufel fort, Betrübte hat er aufgericht’t, Er nahm die Sünder auf und an; Sonst hat mein Jesus nichts gethan. Aus Liebe will main Heiland sterben, Von einer Sünde weiß er nichts. Daß das ewige Verderben Und die Srafe des Gerichts Nicht auf meiner Seele bliebe.

Recitative and Aria (Soprano) To us He hath done all things well; The blind man sight from Him received, The lame man leaped and walked; He told us of His Father’s word; He sent the devils forth, The mourners He hath comforted And the sinners, too, He hath received, Besides this, Jesus nought hath done. For love my Saviour now is dying, Of sin and guilt He knoweth nought, So eternal desolation And the sinner’s righteous doom Shall not rest upon spirit

Recitative Evangelista: Sie schrieen aber noch mehr, und sprachen: Chor: Laß ihn kreuzigen! Evangelista: Da aber Pilatus sahe, daß er nichts schaffete, sondern daß ein viel größer Getümmel ward, nahm er Wasser, und wusch die Hände vor dem Volk und sprach: Pilatus: Ich bin unschuldig an dem Blut dieses Gerechten, sehet ihr zu. Evangelista: Da antwortete das ganze Volk und sprach: Chor: Sein Blut komme über uns und unsre Kinder. Evangelista: Da gab er ihnen Barrabam los; aber Jesum ließ er geißeln und überantwortete ihn, daß er gekreuziget würde.

Recitative Evangelist: But they cried out the more, saying: Multitude: Let Him be crucified! Evangelist: When Pilate saw that he could prevail nothing, but that rather a tumult was made, he took water, and washed his hands before the multitude, saying: Pilate: I am innocent of the blood of this just person: see ye to it. Evangelist: Then answered all the people, and said: Multitude: His blood be on us and on our children Evangelist: Then released he Barabbas unto them, and when he had scourged Jesus, he delivered Him to be crucified.

Recitative and Aria (Mezzo-soprano) Erbarm’ es Gott! Hier steht der Heiland angebunden. O Geißelung, o Schläg’, o Wunden! Ihr Henker, haltet ein! Erweichet euch der Seelen Schmerz, Der Anblick solchen Jammers nicht? Ach ja, ihr habt ein Herz, Das muß der Martersäule gleich

Recitative and Aria (Mezzo-soprano) O gracious God! Behold, the Saviour standeth bound. Now scourge they Him, and smite and wound Him! Tormenters, stay your hands! Are not your hearts with pity moved To see such anguish meekly borne? Ah no! Your hearts are hard. And must be like the rock itself,

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Und noch viel härter sein. Erbarmt euch, haltet ein!

Nay, more unyielding still. Have pity! Stay your hands.

Können Thränen meiner Wangen Nichts erlangen, O, so nehmt mein Herz hinein! Aber laßt es bei den Fluten, Wenn die Wunden milde bluten, Auch die Opferschale sein!

By my weeping and my wailing, Unavailing, Still receive my willing heart. When Thy suff ’rings are completed, When at God’s right hand Thou art seated, Let me have in Thee a part.

Recitative Evangelista: Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus, und sammleten über ihn die ganze Schar; und zogen ihn aus und legeten ihm einen Purpurmantel an; und flochten eine Dornenkrone und setzten sie auf sein Haupt, und ein Rohr in seine rechte Hand, und beugeten die Knie vor ihm, und spotteten ihn, und sprachen: Chor: Gegrüßet seist du, Jüdenkönig! Evangelista: Und speieten ihn an, und nahmen das Rohr, und schlugen damit sein Haupt.

Recitative Evangelist: Then the soldiers of the governor took Jesus unto the common hall, and gathered unto Him the whole band of soldiers, and stripped Him, and put on Him a scarlet robe, and when they had plaited a crown of thorns, they put it upon His head, and a reed in His right hand, and they bowed the knee before Him, and mocked Him, and said: Soldiers: Hail, Hail, King of the Jews! Evangelist: and they spat upon Him, and took reed, and smote Him on the head.

Chorale O Haupt voll Blut und Wunden, Voll Schmerz und voller Hohn! O haupt, zu Spott gebunden Mit einer Dornenkron’! O Haupt, sonst schön gezieret Mit höchster Ehr’ und Zier, Jetzt aber hoch schimpfieret: Gegrüßet seist du mir! Du edles Angesichte, Vor dem sonst schrickt und scheut Das große Weltgerichte, Wie bist du so bespeit! Wie bist du so erbleichet! Wer hat dein Augenlicht, Dem sonst kein Licht nicht gleichet, So schändlich zugericht’t?

Chorale Oh head, all scarr’d and bleeding, and heap’d with cruel scorn! Oh Head so fill’d with sorrow, and bound with crown of thorn! Oh head, that was so honor’d, so lovely fair to see, and now so low degraded; my heart goes out to Thee! O Lord, we will not jeer Thee, as they who mocked Thee there, but comfort, love and cheer Thee, in anguish and despair.

Recitative Evangelista: Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus und zogen ihm seine Kleider an, und führeten ihn hin, daß sie ihn kreuzigten. Und indem sie hinausgingen, fanden sie einen Menschen von Kyrene, mit Namen Simon; den zwangen sie, daß er ihm sein Kreuz trug.

Recitative Evangelist: And after that they had mocked Him they took the robe off Him, and put His own raiment on Him, and led Him away, to crucify Him. And as they came out, they found a man of Cyrene, Simon by name, him compelled they to bear His cross.

Recitative and Aria (Bass) Ja! freilich will in uns das Fleisch und Blut zum Kreuz gezwungen sein; je mehr es unsrer Seele gut, Je herber geht es ein.

Recitative and Aria (Bass) The flesh must be crucified, If we would follow Christ: Each sinful lust must be subdued, Though sore the conflict must be.

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Komm, süßes Kreuz, so will ich sagen, Mein Jesu, gieb es immer her! Wird mir mein Leiden einst zu schwer, So hilf du mir es selber tragen.

Come blessed cross, thus will I sing, My Saviour ever give it me, Should burdens ever too heavy be, I¹ll cast them on my Saviour King.

Recitative Evangelista: Und da sie an die Stätte kamen, mit Namen Golgatha, das ist verdeutschet, Schädelstätt’, gaben sie ihm Essig zu trinken mit Gallen vermischet; und da er’s schmeckete, wollte er¹s nicht trinken. Da sie ihn aber gekreuziget hatten, theilten sie seine Kleider und warfen das Los darum, auf daß erfüllet würde, das gesagt ist durch den Propheten: ‘Sie haben meine Kleider unter sich getheilet, und über mein Gewand haben sie das Los geworfen.’ Und sie saßen allda, und hüteten sein. Und oben zu seinem Häupte hefteten sie die Ursach seines Todes beschrieben, nämlich: ‘Dies ist Jesus, der Jüden König.’ Und da wurden zween Mörder mit ihm gekreuziget, einer zur Rechten und einer zur Linken. Die aber vorübergingen, lästerten ihn und schüttelten ihre Köpfe, und sprachen: Chor: Der du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, hilf dir selber. Bist di Gottes Sohn, so steig herab vom Kreuz. Evangelista: Desgleichen auch die Hohenpriester spotteten sein, sammt den Schriftgelehrten und Ältesten und sprachen: Chor: Andern hat er geholfen und kann sich selber nicht helfen. Ist er der König Israel, so steige er nun vom Kreuz, so wollen wir ihm glauben. Er hat Gott vertrauet, der erlöse ihn nun, lüstet’s ihn; denn er hat gesagt: Ich bin Gottes Sohn.

Recitative Evangelist: When they were come unto a place Golgotha (that is, a place of a skull) they gave Him vinegar to drink mingled with gall. And when He had tasted it, He would not drink. And they crucified Him, and parted His garments, casting lots: that it might be fulfilled, which was spoken by the prophet, ‘They parted My garments among them, and upon My vesture did they cast lots.’ And sitting down, they watched Him there and they set up over His head His accusation written, saying, ‘This is Jesus, the King of the Jews!’. There were two thieves crucified with Him, one on the right hand, and another on the left. And they that passed by reviled Him, wagging their heads, and saying:

Recitative Evangelista: Dessgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget wurden.

Recitative Evangelist: The thieves also which were crucified with Him cast the same in His teeth.

Recitative and Aria (Mezzo-soprano) Mezzo-soprano: Ach Golgatha, unsel’ges Golgatha! Der Herr derr Herrlichkeit muß schimpflich hier verderben, Der Segen und das Heil der Welt Wird als ein Fluch an’s Kreuz gestellt. Der Schöpfer Himmels und der Erden Soll Erd’ und Luft entzogen werden; Die Unschuld muß hier schuldig sterben: Das gehet meiner Seele nah; Ach Golgatha, unsel’ges Golgatha! Sehet, Jesus hat die Hand, Uns zu fassen ausgespannt. Kommt! Chor: Wohin? Mezzo-soprano: In Jesu Armen. Sucht Erlösung, nehmt Erbarmen, suchet! Chor: Wo?

Recitative and Aria (Mezzo-soprano) Mezzo-soprano: Ah, Golgotha! Unhappy Golgotha! ‘Twas there the Lord of Glory vilely was rejected. The blessed Saviour of the world, Here hangs upon th’accursed tree. The God who heav’n and earth created, On thee must perish from the earth, The innocent must die, as do the guilty. Ah! how this grief afflicts my soul; Ah, Golgotha! Unhappy Golgotha! See ye, see the Saviour’s outstretched hands! He would draw us to Himself: come! Choir: Where? Mezzo-soprano: In Jesu’s arms. Seek redemption, seek ye mercy, seek them! Choir: Where?

Passers-by: Thou that destroyed the temple of God, and buildest it in three days, save Thyself. If Thou be the Son of God, come down from the cross. Evangelist: Likewise also the chief priests mocking Him, with scribes and elders said: Chief Priests, Scribes, Elders: He saved others, Himself He cannot save. If He be the King of Israel, let Him now come down from the cross, and we will believe Him; He trusted in God, Let Him deliver Him now, if He will have Him for He hath said, ‘I am the Son of God’.

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Bach’s St Matthew Passion Thursday 2 April 2015

Mezzo-soprano: In Jesu Armen. Lebet, sterbet, ruhet hier Ihr verlass’nen Küchlein ihr, bleibet. Chor: Wo? Mezzo-soprano: In Jesu Armen.

Mezzo-soprano: In Jesu’s arms. Live ye, die ye, rest ye here, Ye whom sin and guilt oppress: rest. Choir: Where? Mezzo-soprano: In Jesu’s arms.

Recitative Evangelista: Und von der sechsten Stunde an ward eine Finsterniss über das ganze Land, bis zu der neunten Stunde. Und um die neunte Stunde schriee Jesus laut und sprach: Christus: Eli, Eli, lama asabthani? Evangelista: Das ist ‘mein Gott, mein Gott, warum hast du mich verlassen?’ Etliche aber, die da standen, da sie das höreten, sprachen sie: Chor: Der rufet den Elias! Evangelista: Und bald lief einer unter ihnen, nahm einen Schwamm und füllete ihn mit Essig, und steckete ihn auf ein Rohr, und tränkete ihn. Die Andern aber sprachen: Chor: Halt! laß sehen, ob Elias komme, und ihm helfe.

Recitative Evangelist: Now from the sixth hour there was darkness over all the land until the ninth hour. And about the ninth hour, Jesus cried with a loud voice, saying:

Evangelista: Aber Jesus schriee abermal laut und verschied.

Christ: Eli, Eli lama sabachthani? Evangelist: That is to say, ‘My God, My God, why hast Thou forsaken Me?’ Some of them that stood there, when they heard that, said: Bystanders: He calleth for Elias. Evangelist: And straightaway one of them ran, and took a sponge, and filled it with vinegar, and put it on a reed, and gave Him to drink. The rest said: Bystanders: Let be, let us see whether Elias will come to save Him. Evangelist: Jesus, when He had cried again with a loud voice, yielded up the ghost.

Chorale Wenn ich einmal soll scheiden, So sheide nicht von mir! Wenn ich den Tod soll leiden, So tritt du dann herfür ! Wenn mir am allerbängsten Wird um das Herze sein, So reiß mich aus den Ängsten Kraft deiner Angst und Pein!

Chorale When comes my hour of parting, so not Thou part from me. As death’s dread hour approaches beside me Thou wilt be. And when, in awful anguish, my time of death is nigh, Thy cross will then uphold me that steadfast I may die.

Recitative Evangelista: Und siehe da, der Vorhang im Tempel zerriß in zwei Stück, von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber theten sich auf, und standen auf viel Leiber der Heiligen, die da schliefen, und gingen aus den Gräbern nach seiner Auferstehung, und kamen in die heilige Stadt, und erschienen vielen. Aber der Hauptmann, und die bei ihm waren, und bewahreten Jesum, da sie sahen das Erdbeden und was da geschah, ershraken sie sehr und sprachen: Chor: Wahrlich, dieser ist Gottes Sohn gewesen.

Recitative Evangelist: And, behold, the veil of the temple was rent in twain, from top unto the bottom, and the earth did quake, and the rocks rent. And the graves were opened, and there arose many bodies of the saints which had slept, and came out of the graves after His resurrection and went into the holy city, and appeared unto many. Now when the centurion, and they that were with Him, watching Jesus, saw the earthquake, and those things that were done, they feared greatly, saying:

Evangelista: Und es waren viel Weiber da, die von ferne zusahen, die da waren nachgefolget aus Galiläa, und hatten ihm gedienet, unter welchen war Maria Magdalena, und Maria, die Mutter Jakobi und Joses, und die Mutter der Kinder Zebedäi. Am Abend aber kam ein reicher Mann von Arimathia, der hieß Joseph, welcher auch ein Jünger Jesu war. Der ging zu

Centurion, Soldiers, Bystanders: Truly, this was the Son of God. Evangelist: And many women were there (beholding afar off ) which followed Jesus from Galilee, ministering unto Him. Among which was Mary Magdalene, and Mary the mother of James and Joseph, and the mother of Zebedee’s children. When the even was come, there came a rich man of Arimathea, named Joseph, who also himself was Jesus’ disciple: he went to Pilate and

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Pilato, und bat ihn um den Leichnam Jesu. Da befahl Pilatus, man sollte ihm ihn geben.

begged the body of Jesus. Then Pilate commanded the body to be delivered.

Recitative and Aria (Bass) Am abend, da es kühle war, ward Adams Fallen offenbar; Am Abend drücket ihn der Heiland nieder; Am Abend kam die Taube wieder und trug ein Ölbatt in dem Munde. O schöne Zeit! O Abendstunde! Der Friedensschluß ist nun mit Gott gemacht, denn Jesus hat sein Kreuz vollbracht. Sein Leichnam kommt zur Ruh, Ach, liebe Seele, bitte du, Geh, lasse dir den todten Jesum schenken, o heilsames, o köstlich’s Angedenken!

Recitative and Aria (Bass) At evening, hour of calm and peace, was Adam¹s fall made manifest. At evening, too, the Lord’s redeeming love; At evening homeward turned the dove and bore the olive-leaf as token. O beauteous time! O evening hour! Our lasting peace is now with God made sure, for Jesus hath His cross endured. His body sinks to rest. Go, loving servant, ask thou if Go, be it thine, the lifeless Saviour’s Body. O, wond’rous Gift! A precious, holy burden!

Mache dich, mein Herze, rein, ich will Jesum selbst begraben. Denn er soll nun mehr in mir für und für seine süße Ruhe haben. Welt, geh aus, laß Jesum ein!

Make Thee clean, my heart, from sin. Unto Jesus give thou welcome. So within my cleaned breast shall He rest, dwelling evermore in me. World, depart; let Jesus in!

Recitative Evangelista: Und Joseph nahm den Leib, und wickelte ihn in ein’ rein Leinwand. Und legte ihn in sein eigen neu Grab, welches er hatte lassen in einen Fels hauen; und wälzete einen großen Stein vor die Thür des Grabes, und ging davon. Es war aber allda Maria Magdalena, und die andere Maria, die setzetn sich gegen das Grab. Des andern Tages, der da folget nach dem Rüsttage, kamen die Hohenpriester und Pharisäer sämmtlich zu Pilato, und sprachen: Chor: Herr, wit haben gedacht, daß dieser Verführer sprach, da er noch lebete: ‘Ich will nach dreien Tagen wieder auferstehen.’ Darum befiehl, daß man das Grab verwahre bis an den dritten Tag, auf daß nicht seine Jünger kommen und stehlen ihn, und sagen zu dem Volk: Er ist auferstanden von der Todten, und werde der letze Betrug ärger denn der erste! Evangelista: Pilatus sprach zu ihnen: Pilatus: Da habt ihr die Hüter; gehet hin und verwahret’s wie ihr wisset! Evangelista: Sie gingen hin, und verwahreten das Grab mit Hütern, und versiegelten den Stein.

Recitative Evangelist: And when Joseph had taken the body, he wrapped it in a clean linen cloth, and laid it in his own new tomb, which he had hewn out in the rock; and he rolled a great stone to the door of the sepulchre, and he departed. And there was Mary Magdalene, and the other Mary sitting over against the sepulchre. Now the next day that followed the day of the preparation, the chief priests and Pharisees came together unto Pilate, saying: Chief Priests, Pharisees: Sir, we remember that the deceiver said, while He was yet alive, ‘After three days I will rise again.’ Therefore command the grave to be made sure, until the third day, lest His disciples come by night and steal Him away, and say unto the people, ‘He is risen from the dead’, so the last error shall be worse that the first. Evangelist: Pilate said unto them: Pilate: Ye have a watch, go your way, make it as sure as you can. Evangelist: So they went, and made the sepulchre sure, sealing the stone, and setting a watch.

Recitative and Chorus Bass: Nun ist der Herr zur Ruh gebracht. Chor: Mein Jesu, gute Nacht! Tenor: Die Müh ist aus, die unsre Sünden ihm gemacht. Chor: Mein Jesu, gute Nacht! Mezzo-soprano: O selige Gebeine, Seht, wie ich euch mit Buß und Reu beweine, Daß euch mein Fall in solche Noth gebracht! Chor: Mein Jesu, gute Nacht! Sopran: Habt lebenslang Vor euer Leiden tausend Dank, Daß ihr mein Seelenheil so wert geacht’t. Chor: Mein Jesu, gute Nacht!

Recitative and Chorus Bass: And now the Lord to rest is laid. Choir: Lord Jesus, fare Thee well! Tenor: His task is o’er; for all our sins He hath atoned. Choir: Lord Jesus, fare Thee well! Mezzo-soprano: O weary, broken Body! See with repentant tears we would bedew it, Which our offence to such a death had brought. Choir: Lord Jesus, fare Thee well! Soprano: While life shall last, O let Thy suffering claim our love, Since Thou for man salvation sure hast wrought. Choir: Lord Jesus, fare Thee well!

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Bach’s St Matthew Passion Thursday 2 April 2015

Chorus Wir setzen uns mit Thränen nieder Und rufen dir im Grabe zu: Ruhe sanfte, sanfte ruh’! Ruh’t, ihr ausgesognen Glieder! Euer Grab und Leichenstein Soll dem ängstlichen Gewissen Ein bequemes Ruhekissen Und der Seelen Ruhstatt sein Höchst vergnügt schlummern da die Augen ein.

Chorus In tears of grief, dear Lord, we leave Thee, Hearts cry to Thee, O Saviour dear: Lie Thou softly, softly here. Rest Thy worn and bruised body. At Thy grave, O Jesu blest May the sinner, worn with weeping, comfort find in Thy dear keeping, And the weary soul find rest. Sleep in peace, sleep Thou in the Father’s breast.

Welcome to Southbank Centre, we hope you enjoy your visit. We have a Duty Manager available at all times. If you have any queries please ask any member of staff for assistance. Eating, drinking and shopping? Southbank Centre shops and restaurants include Foyles, EAT, Giraffe, Strada, YO! Sushi, wagamama, Le Pain Quotidien, Las Iguanas, ping pong, Canteen, Caffè Vergnano 1882, Skylon, Concrete and Feng Sushi, as well as cafes, restaurants and shops inside Royal Festival Hall, Queen Elizabeth Hall and the Hayward Gallery. If you wish to make a comment following your visit please contact the Visitor Experience Team at Southbank Centre, Belvedere Road, London SE1 8XX, phone 020 7960 4250 or email customer@southbankcentre.co.uk We look forward to seeing you again soon. Programme Editor Charles Lewis

Design Harrison

Season Photography Eric Richmond

Artwork Heather Kenmure Graphic Design

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Biography Sophie Bevan soprano Sophie Bevan studied at the Benjamin Britten International Opera School where she was awarded the Queen Mother Rose Bowl Award. Her operatic roles for English National Opera include Xenia Boris Godunov, Despina Così fan tutte, soprano solos Messiah, Polissena Radamisto, Yum Yum Mikado, Telair in Rameau’s Castor & Pollux and her first Sophie Der Rosenkavalier. For Welsh National Opera she has sung the title role in The Cunning Little Vixen, for Garsington Opera she performed her first Susanna and for the Opéra de Lyon she has performed the soprano solos Messiah. Sophie made her debut at the Royal Opera House as the Woodbird in Wagner’s Siegfried and returned as Pamina. Conductors she has worked with include Vasily Petrenko, Edward Gardner, Sir Antonio Pappano, Laurence Cummings, Ryan Wigglesworth, Harry Christophers, Harry Bicket, Phillipe Herreweghe, Sir Neville Marriner, Ivor Bolton, Daniel Harding, Sir Roger Norrington, Sir Mark Elder and Sir Charles Mackerras with orchestras that include the Royal Philharmonic Orchestra, the Royal Liverpool Philharmonic Orchestra, the Hallé, the Gabrieli Consort & Players, the Academy of Ancient Music, The Sixteen, the Scottish Chamber Orchestra, the Royal Swedish Symphony Orchestra and the Britten Sinfonia. Her concert repertoire includes Haydn’s Nelson Mass and Creation, Handel’s Samson and Messiah, Mozart’s and Brahms’ Requiem, C Minor Mass and Exsultate Jubilate, Bach’s St Matthew and St John Passion, Purcell’s King Arthur and The Fairy Queen and Britten’s Les illuminations and Spring Symphony. She made her US debut in Messiah with the Handel & Haydn Society, Boston. She is a noted recitalist and has performed at the Concertgebouw Kleine Zaal with Malcolm Martineau and made her Wigmore Hall recital debut with Sebastian Wybrew to critical acclaim. Sophie has also appeared at the BBC Proms and the Edinburgh and Aldeburgh Festivals. Her future concert engagements include performances with the City of Birmingham Symphony Orchestra with Gardner and Nelsons, and the Boston Symphony Orchestra at Tanglewood with Nelsons. Her future operatic engagements include Ninetta in Rossini’s La gazza ladra for Oper Frankfurt; Ilia Idomeneo in a new production for the Royal Opera, and her debut at Glyndebourne Festival Opera.

Sophie was the recipient of the 2010 Critics’ Circle award for Exceptional Young Talent. She was nominated for the 2012 Royal Philharmonic Society Awards and was the recipient of The Times Breakthrough Award at the 2012 South Bank Sky Arts Awards and the Young Singer award at the 2013 inaugural International Opera Awards.

photo: Sussie Ahlburg

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Bach’s St Matthew Passion Thursday 2 April 2015

Biography Paula Murrihy mezzo-soprano Mezzo-soprano Paula Murrihy is a native of County Kerry, Ireland. She received her Bachelor in Music from DIT Conservatory of Music and Drama in Dublin before going on to study for a Masters in Vocal Performance at New England Conservatory, where she was the recipient of the prestigious John Moriarty Presidential Scholarship and the Presser Award. Paula has participated in many young artist programmes including the Britten-Pears Young Artist Program and those at the Tanglewood Music Center, William Walton Foundation, Opera Theatre of Saint Louis and more recently Santa Fe Opera. As a participant on the 2003 Vocal Fellowship Program at Tanglewood, she performed in the world premiere of the opera Ainadamar by Osvaldo Golijov, a work which she went on to perform with the Los Angeles Philharmonic Orchestra in Disney Hall. Operatic roles include Ino in Semele for Boston Lyric Opera, performances as Dido in Purcell’s Dido & Aeneas at the Teatro Comunale, Bologna, and Messagiera Orfeo with the Handel and Haydn Society. Paula made her Italian debut as Dido for the Lugo Opera Festival in 2007. In 2007 Paula was also part of San Francisco Opera’s Merola Program. She made her Royal Opera House debut as Tebaldo in a new production of Don Carlo and recently made her debut at Opéra de Nice when she stepped in to sing Medoro in Orlando Furioso. She sang Dido Dido and Aeneas at the 2013 Edinburgh Festival and Ascanio in Terry Gilliam’s acclaimed production of Benvenuto Cellini at English National Opera. Paula’s extensive concert repertoire includes Vivaldi’s Gloria, Rossini’s Petite Messe Solennelle, Schubert’s Mass in C, Bach’s St. John Passion and Messiah and Mozart’s Requiem for the H&H Society. An accomplished recitalist, Paula has also performed at the Aldeburgh Festival, UK, and was invited to participate in the Marilyn Horne Foundation Masterclass Series at Carnegie Hall, New York as well as a recital with the Irish Chamber Orchestra in the Shannon International Music Festival and the Chancellor’s Concert at the University of Limerick. Paula joined Oper Frankfurt as a member of their ensemble in 2009 where her roles have included 2nd Lady Die Zauberflöte, Alisa Lucia di Lammermoor, Maddalena Il Viaggio a Reims, Annio La Clemenza di Tito, Flora La traviata, a new production of Handel’s

Giulio Cesare, Fulvia in Gluck’s Ezio and Dorabella Così fan tutte. In the 14/15 season – Dido Dido and Aeneas with Los Angeles Opera, Cesti’s L’Orontea and Octavian Der Rosenkavalier with Oper Frankfurt. Future engagements include Octavian Der Rosenkavalier in a new production for De Nationale Opera, Amsterdam, Hansel Hänsel und Gretel and Xenobia Radamisto in Frankfurt, Octavian at the Staatsoper Stuttgart and Ruggiero Alcina for Santa Fe Opera.

photo: Barbara Aumueller

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Biography Mark Padmore tenor Mark Padmore was born in London and grew up in Canterbury. After beginning his musical studies on the clarinet he gained a choral scholarship to King’s College, Cambridge and graduated with an honours degree in music. He has established a flourishing career in opera, concert and recital. His performances in Bach Passions have gained particular notice throughout the world. In the opera house he has worked with directors Peter Brook, Katie Mitchell, Mark Morris and Deborah Warner. Recent work includes the leading role in Harrison Birtwistle’s new opera The Corridor with performances at the 2009 Aldeburgh and Bregenz Festivals, as well as the Southbank Centre in London; Tom Rakewell in Stravinsky The Rake’s Progress at La Monnaie, Brussels; Handel Jephtha at WNO and ENO and the Evangelist in a staging of St Matthew Passion at Glyndebourne. He also played Peter Quint in an acclaimed BBC TV production of Britten Turn of the Screw and recorded the title role in La Clemenza di Tito with René Jacobs for Harmonia Mundi. Future plans include Captain Vere in Britten Billy Budd for Glyndebourne Festival Opera. In concert he has performed with many of the world’s leading orchestras including the Munich Radio, Berlin, Vienna, New York and London Philharmonic Orchestras, the Royal Concertgebouw Orchestra, Boston and London Symphony Orchestras and the Philharmonia. He makes regular appearances with the OAE with whom he has conceived projects exploring both Bach St John and St Matthew Passions. Mark has given recitals in Amsterdam, Barcelona, Brussels, Madrid, Milan, Moscow, New York, Paris and Vienna. He appears frequently at Wigmore Hall in London where he first sang all three Schubert song cycles in May 2008, was their Artist in Residence in the 2009/10 Season and in 2011/12 he repeated the cycles there with Paul Lewis. He also recently sang the cycles at the Theatre an der Wien and at Salle Gaveau in Paris with Till Fellner. Composers who have written for him have included Mark-Anthony Turnage, Alec Roth, Sally Beamish, Thomas Larcher and Huw Watkins. As well as his regular collaborators Paul Lewis, Till Fellner, Kristian Bezuidenhout, Julius Drake, Roger Vignoles, Simon Lepper and Andrew West, he works with many internationally

renowned chamber musicians including Imogen Cooper and Steven Isserlis. Since 2007 Mark has been recording for Harmonia Mundi with releases including a disc of Handel arias As Steals the Morn with the English Concert which won the BBC Music magazine Vocal Award; Schubert Schwanengesang, Die Schöne Müllerin and Winterreise with Paul Lewis, which in 2010 won the Gramophone magazine Vocal Solo Award; Schumann Dichterliebe with Kristian Bezuidenhout which won the Vocal Solo category of the 2011 Edison Klassiek Award and Britten Serenade, Nocturne and Finzi Dies Natalis with the Britten Sinfonia which won the ECHO/Klassik 2013 Vocal Solo Recording award. Previous recordings include the Bach Passions with Herreweghe and McCreesh, Bach Cantatas with Eliot Gardiner, Don Giovanni with Daniel Harding, operas by Rameau and Charpentier with William Christie and Haydn Creation for Deutsche Grammophon. Mark is Artistic Director of the St. Endellion Summer Music Festival in Cornwall.

photo: Marco Borggreve

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Bach’s St Matthew Passion Thursday 2 April 2015

Biography Stephan Loges bass-baritone Born in Dresden, Stephan was an early winner of the Wigmore Hall International Song Competition. He has given recitals throughout the world, including Wigmore Hall, London, Carnegie Hall, New York, Concertgebouw Amsterdam, Klavierfestival Ruhr, La Monnaie Brussels, Schleswig-Holstein Festival, Santiago de Compostela and the Vocal Arts Series in Washington with pianists Roger Vignoles, Simon Lepper, Alexander Schmalcz and Eugene Asti. Plans this season and beyond include Britten War Requiem with the Sapporo Symphony Orchestra; Mozart Requiem with the Auckland Philharmonic Orchestra and Bernard Labadie; Bach St Matthew Passion with the Munich Bach Choir and also the Gabrieli Consort; Mozart Mass in C Minor and Bach Mass in B Minor with the Scottish Chamber Orchestra and Olari Elts and Haydn Die Schöpfung with the Potsdammer Kammerakademie and Antonello Manacorda. Recitals planned include Bach Ich habe genug and Schumann Liederkreis, Op. 39 with Simone Dinnerstein at the Vienna Konzerthaus; a BBC Radio 3 recital with Iain Burnside; three concerts in Glasgow with Llyr Williams and the Elias String Quartet including the songs of Haydn, Beethoven and Schubert and a return to Wigmore Hall with Simon Lepper. Concerts have included Britten War Requiem with Melbourne Symphony Orchestra; Mauregato in Schubert Alfonso und Estrella with the Mozarteum Orchester and Ivor Bolton; Berlioz L’Enfance du Christ with Swedish Radio Symphony Orchestra and Robin Ticciati; Mendelssohn Walpurgisnacht in Florence; Creation with the Iceland Symphony and Salzburg Mozarteum Orchestras; Die Jahreszeiten with the Semperoper Dresden; The Seven Last Words with the Bergen Philharmonic Orchestra; Bruckner Requiem with The Northern Sinfonia; Saariaho The Tempest Songbook with Scharoun Ensemble at Philharmonie Köln; Mozart Coronation Mass and Haydn Stabat Mater with the Ensemble Orchestral de Paris and Fabio Biondi; and regular appearances with the SCO. Stephan has sung Bach Cantatas with Sir John Eliot Gardiner and the Passions with the Gabrieli Consort and Paul McCreesh (also recorded for DG). He made his Proms debut in 2002 in St Matthew Passion with Trevor Pinnock and has since sung it with many period and modern orchestras including the

Academy of Ancient Music, Munich Bach Choir, Handel and Haydn Society of Boston, Swedish Radio Symphony Orchestra and the Melbourne Symphony Orchestra. He recently sang St John Passion with the Leipzig Gewandhaus Orchestra, Christmas Oratorio with the Russian National Orchestra and Vladimir Jurowski and Bach Mass in B Minor in Leipzig with The English Concert. Opera appearances include Wolfram Tannhäuser and Papageno Die Zauberflöte at La Monnaie, Brussels; Maximillian Candide at the Berlin Staatsoper; Macmillan Parthenogenesis for Royal Opera, Covent Garden; Count Le Nozze di Figaro, Schaunard La Bohème, Mercutio Roméo et Juliette and Demitrius A Midsummer Night’s Dream for Opera North; Moritz in Mernier Frühlings Erwachen at the Opera National du Rhin and, in concert, the Count Capriccio and Bill The Rise and Fall of the City of Mahagonny at the Edinburgh Festival; Ottokar Der Freischütz with the LSO and Sir Colin Davis and Argenio in Handel Idomeneo with the AAM. Stephan was a member of the Dresden Kreuzchor before studying at the Hochschule der Kunste, Berlin and the Guildhall School of Music and Drama in London.

photo: Ana Alvarez Prada

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Biography Fflur Wyn soprano Welsh soprano, Fflur Wyn, graduated with a B.Mus(Hons). and Dip.RAM from the Royal Academy of Music London, where she studied with Beatrice Unsworth and Clara Taylor. She is the recipient of many awards and scholarships which include First Prize and Audience Prize at the National Handel Competition, the Kathleen Ferrier Bursary, the London Welsh Young Singer of the Year, the Bryn Terfel Scholarship and the MOCSA Young Welsh Singer Prize. Her operatic performances include Pamina (The Magic Flute – Holland Park Opera); Barbarina (Le Nozze di Figaro – La Monnaie); Iphis (Jephtha – Welsh National Opera); Sophie (Werther), Clerida (Croesus by Keiser), Gretel (Hansel and Gretel) Papagena (The Magic Flute), and cover Giulietta (I Capuleti e i Montecchi) all for Opera North; Karolka (Jenufa – St Endellion Festival with the late Richard Hickox); Susanna (The Marriage of Figaro – Court Opera); and she created the role of Adele (Jane Eyre by Berkeley - Music Theatre Wales, The Linbury Theatre Covent Garden). Whilst at the Academy, her roles included Almirena Rinaldo, Serpetta La Finta Giardiniera, First Boy The Magic Flute, conducted by Sir Colin Davis and Young Vixen The Cunning Little Vixen, conducted by Sir Charles Mackerras. Oratorio and concert appearances include Bach Christmas Oratorio with the Combattimento Consort and Jan Willem de Vriend; Handel Jephtha with Cappella Amsterdam and Daniel Reuss; Haydn Harmoniemesse with the Northern Sinfonia and Thomas Zehetmair; Haydn Creation with The Gabrieli Consort and Paul McCreesh; Handel Messiah with The English Concert and Harry Bicket; Mozart Exsultate Jubilate with the Royal Philharmonic Orchestra and with The European Union Chamber Orchestra; Mozart Mass in C minor with the Bournemouth Symphony Orchestra; Bach St John Passion conducted by David Hill with the Opera North Orchestra; Handel Judas Maccabeus and Bach St John Passion at the London Handel Festival with Laurence Cummings; and Orff Carmina Burana with the Chamber Orchestra of Wales and Andrew Greenwood. Fflur made her Proms debut in Mozart Thamos with John Lubbock and the Orchestra of St John’s. Her most recent recitals include performances at The King’s Place, St John’s Smith Square and The Howard Assembly Room.

photo: Sian Trenberth

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Bach’s St Matthew Passion Thursday 2 April 2015

Biography Robin Blaze countertenor Robin Blaze is firmly established in the front rank of interpreters of Purcell, Bach and Handel, and he works with most of the distinguished conductors in the early music field including Christophers, Gardiner, Haïm, Herreweghe, Hogwood, Koopman, Goodwin, Leonhardt, King, Kraemer, Mackerras, Pinnock and Suzuki. He regularly appears with The Academy of Ancient Music, Bach Collegium Japan, Collegium Vocale, The English Concert, The Gabrieli Consort, The King’s Consort, Florilegium, Orchestra of the Age of Enlightenment and The Sixteen. Other engagements have included the Berlin Philharmonic, the National Symphony Orchestra, Washington, Royal Flanders Philharmonic, BBC Philharmonic, Royal Philharmonic Orchestra, Northern Sinfonia and the Philharmonia Orchestra. He has visited festivals in Ambronay, Beaune, Boston, Edinburgh, Halle, Iceland, Jerusalem, Innsbruck, Karlsruhe, Leipzig, Lucerne, Saintes and Utrecht, and has given recitals in Tenerife, Paris, Karlsruhe, Innsbruck, Göttingen, at the York Early Music and Three Choirs Festivals for BBC Radio 3 and at the Wigmore Hall. Opera engagements have included Athamas Semele (Covent Garden, ENO); Didymus Theodora (Glyndebourne Festival Opera); Arsamenes Xerxes, Oberon A Midsummer Night’s Dream and Hamor Jephtha (ENO & WNO); and Bertarido Rodelinda (Glyndebourne, Göttingen Handel Festival). Robin’s many recordings include the ongoing Cantata Cycle with Bach Collegium Japan, Handel Oratorio Duets (OAE/Kraemer), several recital discs of lute songs with Elizabeth Kenny, Didymus Theodora (Gabrieli Consort/McCreesh), Vivaldi, Kuhnau and Knüpfer (The King’s Consort), Purcell Odes (Collegium Vocale Gent/Herreweghe), and Thomas Adès’ song cycle The Lover in Winter. Recent and future highlights include Handel’s Israel in Egypt with the Choir of King’s College Cambridge and the Academy of Ancient Music, Buxtehude’s Membra Jesu with the Ricercar Consort, Bach’s St Matthew Passion with the Bach Choir, Messiah in Annapolis and with the Melbourne Symphony Orchestra, Hamor Jephtha with The Sixteen, Barak Deborah with Laurence Cummings as part of the London Handel Festival, Bach’s Christmas Oratorio with Kammerorchester Basel, performances

with Florilegium and the King’s Consort at Wigmore Hall, and Robin also continues his collaboration with Bach Collegium Japan and Masaaki Suzuki.

photo: Will Unwin

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Biography Andrew Tortise tenor Andrew Tortise was a choral scholar at Wells Cathedral and graduated from Trinity College, Cambridge in 2002. He studied singing first with Ashley Stafford and now with Iris dell’Acqua. Concert plans this season and beyond include Arnalta in Monteverdi L’incoronazione di Poppea with Academy of Ancient Music; Monteverdi Orfeo on a USA tour with the Monteverdi Choir and Orchestra and Sir John Eliot Gardiner; Elijah with the Bach Choir; Ode to St Cecilia and Brockes Passion for the Bilbao Handel Festival; Bach St Matthew Passion on a European tour with Orchestra of the Age of Enlightenment including Amsterdam and Paris and in Leipzig with the Gabrieli Consort; Beethoven Missa Solemnis with Ex Cathedra and the City of Birmingham Symphony Orchestra and his Choral Fantasy at the 2015 Edinburgh International Festival and Haydn Nelson Mass in Amsterdam with the Britten Sinfonia. Opera plans include returning to the Royal Opera to sing Marzio in Mozart Mitridate and Vogelgesang Die Meistersinger von Nürnberg, his debut at Theater an der Wien in a staged Bach Christmas Oratorio and returning to Dutch National Opera to sing Odoardo in Handel Ariodante. Recent highlights include The Spirit of the Masque in the new Richard Jones production of Britten Gloriana for the Royal Opera; Peter Quint The Turn of the Screw for Lyon Opera; Novice Billy Budd and Janek The Makropulos Case for Netherlands Opera; David Die Meistersinger von Nürnberg and Ferrando Così fan tutte for Welsh National Opera and Lucano Poppea and the tenor arias in Bach St Matthew Passion for Glyndebourne Festival Opera. Early opera appearances included Marzio Mitridate at the Salzburg Festival; Ferrando and roles in L’incoronazione di Poppea for Lyon Opera; Mernier Frühlings Erwachen at La Monnaie, Brussels and Robert in David Sawyer Skin Deep for Opera North and at the Bregenz Festival. On the concert platform he has sung Bach Mass in B Minor with the Scottish Chamber Orchestra and Richard Egarr and at the 2014 Three Choirs Festival; Evangelist and arias in Bach St John Passion and Monteverdi Vespers with the Monteverdi Choir and Sir John Eliot Gardner; Mozart Requiem with the Philharmonia Orchestra, the LSO and Sir Colin Davis and with the orchestra and chorus of WNO;

Britten Les Illuminations and Aufidio in J C Bach Lucio Silla with the Salzburg Mozarteum Orchestra and Ivor Bolton; Haydn Paukenmesse with the BBC SSO and Bernard Labardie; Britten Serenade for Tenor, Horn and Strings with Academy of Ancient Music and with the Aarhus Symphony Orchestra; Evangelist St Matthew Passion in Lisbon; St Matthew Passion (arias) with the Residentie Orchestra and with the Gabrieli Consort and Players and Bach Christmas Oratorio with the Rotterdam Philharmonic Orchestra. Andrew has appeared on tours with Sir John Eliot Gardiner singing Purcell, Bach and Monteverdi, with Richard Egarr and the Orchestra of the Age of the Enlightenment, Concert Spirituel and Hervé Niquet singing Messiah and with Marc Minkowski singing Damon Acis and Galatea. He has also appeared with the Combattimento Consort, Amsterdam and Netherlands Bach Society and has given recitals at the Aldeburgh Festival with Malcolm Martineau and in Bruges with Richard Egarr.

photo: Hayden Phoenix

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Bach’s St Matthew Passion Thursday 2 April 2015

Biography Matthew Brook bass Matthew Brook has appeared as a soloist throughout Europe, Australia, North and South America and the Far East. He has worked with many of the world’s greatest conductors including Sir John Eliot Gardiner, Richard Hickox, Sir Charles Mackerras, Harry Christophers, Christophe Rousset and Sir Mark Elder, and orchestras and ensembles including the Philharmonia, the London Symphony Orchestra, the Royal Philharmonic Orchestra, St Petersburg Philharmonic, the Freiburger Barockorchester, the BBC National Orchestra of Wales, the Chamber Orchestra of Europe, the Scottish Chamber Orchestra, the English Baroque Soloists, the City of London Sinfonia, Collegium Vocale Gent, the Gabrieli Consort, Les Talens Lyriques, the Sixteen, and Orchestra Nationale de Lille. He has performed at festivals such as Edinburgh, Cheltenham, Utrecht, the BBC Proms, Ambronay, La Chaise Dieu, Innsbruck, Bermuda, and the Three Choirs Festival. Matthew’s operatic roles include Polyphemus Acis and Galatea, Aeneas Dido and Aeneas, Papageno The Magic Flute, Figaro The Marriage of Figaro, Leporello Don Giovanni, John Bunyan and Lord Hategood in Vaughan Williams’s The Pilgrim’s Progress, Melchior in Menotti’s Amahl and the Night Visitors, Young Sam in the British premiere of Bernstein’s A Quiet Place, Jupiter in Rameau’s Castor et Pollux in Paris and Seneca in L’incoronazione di Poppea at the Maggio Musicale Fiorentino. He took part in a European tour with the English Baroque Soloists and Gardiner singing the roles of Don Alfonso and Bartolo in venues including the Royal Opera House, Salle Pleyel, Paris, Teatro Real, Madrid and Giuseppe Verdi Opera House, Pisa. Matthew’s recordings include Counsel Trial By Jury and Friar Tuck in Sullivan’s Ivanhoe with the BBC National Orchestra of Wales for Chandos records; a Gramophone Award-winning recording of Handel’s Dublin score of Messiah, Acis and Galatea and Bach’s St Matthew Passion and B Minor Mass, and most recently, Handel’s Esther, all with the Dunedin Consort for Linn Records. On the concert platform notable performances include Brahms’ Requiem with the St Petersburg Philharmonic; Bach’s B Minor Mass and Haydn’s Harmoniemesse with the Dresden Staatskapelle; Elgar’s The Dream of Gerontius with Richard Hickox; Nielsen’s Symphony no. 3 with the Hallé Orchestra

and Sir Mark Elder; Bach’s Magnificat and Haydn’s Creation with L’Ensemble Orchestral de Paris; Kouno in Der Freischütz at the Opéra Comique and at the BBC Proms and Walton’s Belshazzar’s Feast with the Orchestre Philharmoniquede Strasbourg. Recent and future highlights include recordings of Bach’s Christmas Oratorio and Rameau’s Anacreon with the Orchestra of the Age of Enlightenment, Zebul Jephtha with the Sixteen, and Mozart’s Requiem with the Dunedin Consort; Vaughan Williams’s Sea Symphony with the Hallé; Brahms’ German Requiem with the Royal Northern infonia; Stravinsky’s Pulcinella with the BBC National Orchestra of Wales and the world premiere of Barry Guy’s Time passing with Camerata Zurich.

photo: Richard Shymansky

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Chi-chi Nwanoku MBE, Principal Double Bass: Credit Eric Richmond/Harrison.

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The Rough with the Smooth Tuesday 12 May 2015

The Rough with the Smooth Tuesday 12 May 2015 7pm Queen Elizabeth Hall

Telemann Overture, Burlesque Telemann Concerto for violin in Bb major, TWV 51:B1 Stevie Wishart Concerto a Double Entendre (world premiere) This commission has been sponsored in memory of Martin Middlehurst

Interval Violins Kati Debretzeni Emelia Benjamin Alison Bury Huw Daniel Debbie Diamond Claire Holden Roy Mowatt Andrew Roberts Claire Sansom Magdalena Loth-Hill* Mark Seow*

Recorders Rachel Beckett Catherine Latham

Handel Sonata a Cinque in Bb, HWV 288

Harp Frances Kelly

Handel Concerto for harp and lute, Op.4 No.6

Violas Oliver Wilson Martin Kelly Nicholas Logie Kate Heller Daniel McCarthy*

*OAE Experience participant

Cellos tbc Helen Verney Ester Domingo Sancho* Basses Chi-chi Nwanoku MBE Cecelia Bruggemeyer

Lute Elizabeth Kenny Harpsichord/organ Steven Devine

Handel Concerto Grosso Op.6 No.1 in G Kati Debretzeni director/violin Chi-chi Nwanoku MBE double bass

The Orchestra of the Age of Enlightenment would like to thank the following for their support, without which this concert would not have been possible: Nigel Jones and FranĂ§oise Valat-Jones Peter and Veronica Lofthouse This concert will finish at approximately 8.30pm with an interval of 20 mins.

OAE Extras at 5.45pm, free admission Queen Elizabeth Hall Chi-chi Nwanoku MBE and Stevie Wishart introduce tonightâ&#x20AC;&#x2122;s world premiere.

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Concert in context

Programme Notes Georg Philipp Telemann (1681–1767) Ouverture burlesque: orchestral suite in B flat (publ.1729) (i) Ouverture (ii) Scaramouches (iii) Harlequinade (iv) Colombine (v) Pierrot (vi) Menuets I & II (vii) Mezzetin en tune

*Words indicated by an asterisk are explained on page 54

Throughout the Baroque period (c.1600–1750), composers delighted in the emotional effect created by heightened musical contrasts, whether between wideranging dance styles, fast and slow tempos, or vocal and instrumental groups of varying sizes, timbres and pitches, often arranged spatially. Telemann and Handel relished the dramatic impact created by these sometimes quick-fire interchanges in their suites and concertos, most especially between a soloist or solo group (the ‘concertino’) and the

orchestral ‘ripieno’. At the core of tonight’s programme is a brand new piece by Stevie Wishart, whose varied output embraces both early music and cutting-edge electronics. Her latest work, inspired by the Baroque concerto grosso, unusually places the double bass centre-stage. The OAE’s renowned principal bassist, Chi-chi Nwanoku, will be situated between two ‘concertante’ groups – the soave (‘smooth’) and the ruvido (‘rough’) – with the remainder of the orchestra arrayed behind. .

‘Singing is the foundation of music in everything,’ Telemann once insisted. ‘A man who composes must everywhere sing.’ The natural result was a move away from the contrapuntal* intricacies of Johann Sebastian Bach towards a more Italianate, melody-driven style that would come to dominate the music of the Classical and Romantic eras. This, combined with Telemann’s natural flair for instrumental colour and orchestral sonorities, made him the toast of German Baroque composers One can readily sense the new Gallant style coursing through Telemann’s musical veins in his Ouverture burlesque, one of around 200 orchestral suites he composed in the prevailing French fashion, some 134 of which have survived. What makes this particular suite stand out is its movement titles drawn from the Commedia dell’ arte, a form of improvised comic drama featuring a troupe of regular characters. Scaramouche is the buffoon of the company, who wears a black mask, while Harlequin is the acrobatic comic servant with an eye for the ladies, including the flirtatious Colombine, who is actually married to Pierrot. The

latter is a sad clown who spends much of his time pining for Colombine, while poor Mezzetin appears doomed to suffer eternally the pangs of unrequited love.

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The Rough with the Smooth Tuesday 12 May 2015

Programme Notes Georg Philipp Telemann Violin Concerto in B flat, TWV 51:B1 (1719) (i) (ii) (iii) (iv)

Largo Vivace [Andante] Allegro

Stevie Wishart Concerto à Double Entendre (2015)

Telemann was a child prodigy on several instruments (including the violin), yet it was only after turning his back on a planned career in law that he established himself as an outstanding composer, seemingly capable of turning his hand to anything. Following three-years in Leipzig and two in Poland, where the country’s folk music had a lasting impact on his burgeoning style, Telemann returned to Germany around 1708, spending four years in Eisenach before moving to Frankfurt am Main as Kapellmeister*. His legendary creative facility enabled him to compose several sacred cantata cycles while working there (one for each of the next five years) alongside a string of instrumental works, including the B flat Violin Concerto we hear tonight.

See insert for notes on this new commission.

world premiere

INTERVAL

Cast in the traditional four movements (slow–fast–slow–fast) of the trio sonata and inspired principally by the Italianate sunshine and brilliance of Corelli, Vivaldi and Albinoni, there are also passages (most notably the opening bars of the Largo first movement) which recall the majestic poise of Handel. The concerto is dedicated to Johann Georg Pisendel, one of the leading violinists of the age, who had been a keen member of the Collegium musicum ensemble founded by Telemann during his early Leipzig period. By 1719, when Telemann composed his B flat concerto, Pisendel was happily installed as the leader of Europe’s most renowned instrumental group: the Dresden Court Orchestra.

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Programme Notes George Frideric Handel (1685–1759) Sonata a Cinque in B flat, HWV 288 (c.1707) (i) Andante (ii) Adagio (iii) Allegro

George Frideric Handel Concerto for harp and lute in B flat, HWV 294 [Op.4 No.6] (1736) (i) Andante – Allegro (ii) [Larghetto] (iii) Allegro moderato

Although Handel scored some notable successes during his first appointment in Hamburg, it was the four years he spent in Italy between 1706 and 1710 that proved crucial to his rampant genius. Having rapidly absorbed the latest creative techniques from the likes of Scarlatti, Caldara and Corelli, Handel proceeded to demonstrate just how good Italian music could sound – when composed by him! Having taken Rome (where he composed over 100 cantatas at the astonishing rate of one a week), Naples and Venice by storm, Handel crowned his Italian sojourn with the opera Agrippina, which was greeted by impassioned cries of Viva il caro Sassone! (‘Long live our dear Saxon’). Handel composed comparatively little instrumental music during this

period, but his earliest concerto (the only one for the violin) has survived, disguised by the unassuming title ‘Sonata a cinque’, which refers to the score’s five lines of music – one for the soloist and four for the accompaniment. Normally this would imply chamber music forces, but as the score clearly indicates oboes in unison with the first violins and includes a solo cadenza in the finale, it would seem to have been intended as an orchestral work, one for which Handel retained a great deal affection as he later recycled the opening movement for both an oboe concerto and the oratorio Belshazzar. It seems the ‘concerto’ may have been composed especially for Corelli as a ‘thank you’ for leading performances of Handel’s oratorios La Resurrezione and Il trionfo del tempo.

More familiar in its slightly later guise as an organ concerto – the last in a set of six published as ‘Op.4’ by John Walsh in 1738 – HWV 294 received its first performance as a ‘Concerto per il Liuto e l’Arpa’ on 19 February 1736 at the Covent Garden Theatre, played as a musical interlude during the first act of Handel’s latest ode, Alexander’s Feast. All subsequent printed editions of the original omit the lute part, which had never come to light, presumed destroyed. It was the distinguished musicologist, conductor and keyboard player Thurston Dart who first attempted a plausible reconstruction of Handel’s original, explaining that ‘The harp part works in canon (or quasicanon) with itself remarkably often – too often, in fact, for this to be mere coincidence. It is a safe assumption that the lutenist must have conversed for much of the time in close-knit dialogue with the harpist, just as do the two soloists in Bach’s concertos for two

harpsichords or two violins, or in Handel’s own incomplete concerto for two organs and double orchestra. The exquisite scoring of the accompaniment, for muted and pizzicato strings with treble recorders and organ continuo adding additional touches of colour, is the perfect foil to the delicacy of the two solo instruments.’

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The Rough with the Smooth Tuesday 12 May 2015

Programme Notes George Frideric Handel Concerto Grosso in G Op.6 No.1, HWV319 (1739) (i) (ii) (iii) (iv) (v)

A tempo giusto Allegro Adagio Allegro Allegro

Handel’s twelve Concerti Grossi Op.6 had a rather unfortunate start in life due largely to the appalling winter of 1739–40, the year they were first published by John Walsh. Frustrated by the weather conditions and pronounced lack of lively new operas and plays, music lovers were left decidedly underwhelmed by the offer of an ‘occasional’ concerto. ‘Plays we have none,’ one correspondent complained. ‘Handel has had a concerto this winter. No opera, no nothing.’ Nevertheless, society soon took this ingeniously varied music to its collective bosom, deluging Handel with advance orders of over 100 subscribers for the second edition of 1741, which proudly designated the set ‘Op.6’. The concerti grossi were originally performed as musical interludes during performances of Handel’s oratorios and odes, although they were also conceived

as a complete set, written over a five-week period during the autumn of 1739. Handel was clearly in creative free-flow at the time as virtually the entire opus consists of original music. That said, the first movement of No.1 is based on an initial draft for the overture to Imeneo (completed 1740), Handel’s penultimate Italian opera, while part of the finale bears an uncanny resemblance to one of Domenico Scarlatti’s keyboard sonatas. When asked why he sometimes ‘borrowed’ other composers’ music, Handel snapped ‘It’s much too good for them; they don’t know what to do with it!’ The English composer William Boyce put it more poetically: ‘Handel takes other men’s pebbles and polishes them into diamonds.’ Programme notes by Julian Haylock

Boffin’s Corner Telemann: A Man for all Seasons Although Johann Sebastian Bach is considered by many to be music’s supreme genius, during his lifetime it was Telemann who was the more celebrated composer. By the end of his life the highly prolific Telemann could boast an almost unbelievable tally of 700 church cantatas, 40 operas, 44 passion settings and 200 French overtures, in addition to vast reams of orchestral, chamber and solo instrumental music amounting to a total of over 3,000 compositions, many of which are now sadly lost. Such was Telemann’s reputation that he had been first choice of the Leipzig municipal authorities for the post that eventually went to Bach – Telemann had turned it down as he was already music director at the five most important churches in Hamburg! Bach admired him enough to make him the godfather of his son, Carl Philip Emmanuel. Yet if Bach staunchly upheld the absolute musical traditions of the past, never seeking or attaining anything remotely approaching musical stardom, Telemann was a man for all seasons, far more in touch with the mood of the times and perfectly happy to compose music designed primarily to entertain. One can readily sense the bracing change of creative impulse in his Ouverture burlesque, which opens tonight’s concert, and in the B flat Violin Concerto that follows – indeed at times the Mannheim symphonists and early Haydn feel just a musical stone’s-throw away. It was Telemann’s polished eclecticism that proved his downfall in terms of his posthumous reputation. He happily adapted his writing to suit any occasion, making it sometimes impossible to discern the composer. This proved an invaluable asset during his lifetime, but later generations seeking the strong identity and crucial artistic development of a Beethoven or Brahms, have tended to undervalue his supreme achievement. In his autobiography of 1740, Telemann admitted that when composing he often didn’t feel particularly engaged and that his many concertos ‘smelt mostly of France.’ Yet his finest work – much of it contained in his Tafelmusik (literally ‘Table-Music’) – is amongst the most engaging German music of the mid-18th century.

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Biography Kati Debretzeni director/violin Born in Transylvania, Kati studied the violin with Ora Shiran in Israel, and the Baroque violin with Catherine Mackintosh and Walter Reiter at the Royal College of Music in London. Since the year 2000 she leads the English Baroque Soloists under Sir John Eliot Gardiner, and since 2008 she is one of the leaders of the Orchestra of the Age of Enlightenment, which she has directed and lead in the UK, Europe and the US. She recorded numerous chamber music CDs with Florilegium (Chanel Classics), Ricordo (Linn Records) and most recently Trio Goya (Chandos). Kati features as soloist on two versions of Bachâ&#x20AC;&#x2122;s Brandenburg concertos, with the European Brandenburg Ensemble under Trevor Pinnock (Gramaphone Award 2007), and again with the English Baroque Soloists. She has directed various ensembles in Israel, Poland, Norway, Iceland and the UK, and teaches the Baroque violin at the Royal Conservatory of Music in The Hague.

photo: Joe Plommer

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The Rough with the Smooth Tuesday 12 May 2015

Biography Chi-Chi Nwanoku MBE double bass An ex-sprinter and half the size of her double bass, Chi-chi has gained a reputation as one of the finest exponents of her instrument today. The eldest of 5 children from Nigerian and Irish parents, she was 7 years old when she discovered the piano at a neighbour’s, who taught her to play a 12-bar blues. She returned to their house daily until the neighbour got so fed up they wheeled the piano up the road and gave it to her as a gift! Meanwhile, she was spotted (aged 8) by an athletics coach and trained as a 100-metre sprinter, eventually competing at National level. This career ended abruptly due to a knee injury aged 18, which is when (and why) she took up the double bass and actively pursued a career in music. She studied at the Royal Academy of Music and with Franco Petracchi in Rome, and soon found herself in demand internationally. Chi-chi is Principal Double Bassist and cofounder of the Orchestra of the Age of Enlightenment. She is Professor of Double Bass Historical Studies at the Royal Academy of Music, and was made a Fellow there 1998. Her range of musical interests has resulted in a broad career performing and recording in a diversity of styles from authentic baroque through to 21st century and new commissions, with many of Europe’s leading chamber orchestras and ensembles. Some of her notable chamber recordings include Schubert’s ‘Trout’ Quintet (recorded three times), and Octet, Beethoven Septet, Hummel Piano quintet and Boccherini Sonatas. Her solo recording of Dittersdorf and Vanhal Concertos with the Swedish Chamber Orchestra; Hyperion CD 67179 received critical acclaim. In 2012 Barrie Gavin directed a documentary film about Chi-chi’s career, called ‘Tales from the Bass Line’. As a broadcaster, Chi-chi presented BBC Radio 3 Requests for four years, she guests for the TV Proms and was Jury member of BBC 2 TV Classical Star. She will be presenting a new two part series for BBC Radio 4 in 2015 which brings to life the stories and music of black composers and musicians from the eighteenth century, whose vivd presence on the classical music scene have slipped through the net! She sits on the Board of the National Youth Orchestra of Great Britain, and Royal Philharmonic Society, is a Patron of the Mayor of London’s Fund for Young Musicians, Music Preserved, and the

Cherubim Trust. Chi-chi is a past board member of the Association of British Orchestras. The Salomon Prize was launched in 2011 by the ABO/RPS and celebrates the ‘unsung heroes’ of orchestral life; the orchestral players that make our orchestras great. It is Chi-chi’s brainchild. Chi-chi was awarded an MBE for services to Music in the 2001 Queen’s Birthday honours. She was voted one of the ‘100 - Happy List’ in the Independent on Sunday 2011. And she still loves the blues!

photo: Eric Richmond

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Glossary

Arias From the Italian word meaning ‘air’ – Any melody or song performed usually, but not always, by a singer,now used almost exclusively to describe a self-contained piece for one voice, at times duets, usually with orchestral accompaniment. The most common context for arias is opera, however there are also many arias that form crucial movements of oratorios and cantatas. In the Baroque period the term aria did not necessarily refer to a singing solo role, an Aria could also mean a melodic scheme (motif ) or pattern for singing a poetic outline, such as a sonnet; it was also used when referring to pure instrumental pieces, such as an instrumental or dance aria. Chorale A harmonised hymn, specifically, any of the traditional hymns of the German Protestant or Lutheran Churches. The form was developed after the Reformation to replace the plainsong of the earlier service and as a means of congregational participation in the liturgy. Early chorales were mainly translations of Latin hymns set to folksong melodies, written in an uncomplicated idiom combined to a simple melody. Concerto grosso A form of baroque music in which the musical material is passed between a small group of soloists (the concertino) and full orchestra (the ripieno). The form developed in the late seventeenth century, although the name was not used at first. Two distinct forms of the concerto grosso exist: the concerto da chiesa (church concert) and the concerto da camera (chamber concert). The concerto da chiesa alternated slow and fast movements; the concerto da camera had the character of a suite, being introduced by a prelude and incorporating popular dance forms. These distinctions blurred over time. Contrapunctual Having different musical lines that are interdependent harmonically yet independent in rhythm and contour.

Kapellmeister German word used most often to describe the director of music for a monarch or nobleman. Largo An Italian tempo marking which means to play very slowly, roughly 40–60 beats per minute. Libretto A libretto (from Italian word meaning ‘little book’) denotes the body of words/text used in an extended musical works such as an oratorio, opera, operetta or, more recently, a musical. The role of the libretto in the creation of a musical work varies, some composers wrote their own original libretti (a composer/ librettist) most others adapted the libretto from existing sources or plays, or had this done for them by librettists from a variety of sources; sacred, mythic, literary or secular. Overture An instrumental composition planned especially as an introduction to an extended work, such as an opera or oratorio. The earliest Italian opera overtures were simply pieces of orchestral music and were called ‘sinfonie’ , later the overture begun to foreshadow the themes and melodic strands of the subsequent larger work and in the 19th and 20th Centuries the overture became a potpourri of the work’s proceeding tunes, played as a teaser. Recitative A musical declamation for solo voice in which singers converse, describe, or declaim, moving the action forward between the high musical moments. A form/style of writing for vocals (used in operas, oratorios or cantatas) that is close to the manner of natural speech, with slight melodic variations and minimal orchestral accompaniment, focused on conveying the words and meaning.

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Glossary

Scale Scales in traditional Western music standardly consist of seven notes, made up of a root note and six other scale degrees whose pitches lie between the root and the root’s first octave. Notes in the commonly used scales are separated by intervals of tones and semitones. Symphony An extended musical composition in Western classical music, scored almost always for orchestra. ‘Symphony’ does not necessarily imply a specific form, though most are composed according to the sonata principle. Many symphonies are tonal works in four movements with the first in sonata form, which is often described by music theorists as the structure of a classical symphony, although many symphonies by the acknowledged classical masters of the form, Joseph Haydn, Wolfgang Amadeus Mozart, and Ludwig van Beethoven do not conform to this model. Threnody A song of mourning composed or performed as a memorial to a dead person, much like a dirge or elegy.

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Orchestra of the Age of Enlightenment

Principal Artists Sir Mark Elder Iván Fischer Vladimir Jurowski Sir Simon Rattle Emeritus Conductor Sir Roger Norrington

‘For this remarkable ensemble, it’s all about the music’ Independent on Sunday

Nearly three decades ago, a group of inquisitive London musicians took a long hard look at that curious institution we call the Orchestra, and decided to start again from scratch. They began by throwing out the rulebook. Put a single conductor in charge? No way. Specialise in repertoire of a particular era? Too restricting. Perfect a work and then move on? Too lazy. The Orchestra of the Age of Enlightenment was born. And as this distinctive ensemble playing on period-specific instruments began to get a foothold, it made a promise to itself. It vowed to keep questioning, adapting and inventing as long as it lived. Those original instruments became just one element of its quest for authenticity. Baroque and Classical music became just one strand of its repertoire. Every time the musical establishment thought it had a handle on what the OAE was all about, the ensemble pulled out another shocker: a Symphonie Fantastique here, some conductor-less Bach there. All the while, the Orchestra’s players called the shots. At first it felt like a minor miracle. Ideas and talent were plentiful; money wasn’t. Somehow, the OAE survived to a year. Then to two. Then to five. It began to make benchmark recordings and attract the finest conductors. It became the toast of the European touring circuit. It bagged distinguished residencies at the Southbank Centre and Glyndebourne Festival Opera. It began, before long, to thrive. And then came the real challenge. Eccentric idealists the ensemble’s musicians were branded. And that they were determined to remain. In the face of the music industry’s big guns, the OAE kept its head. It got organised but remained experimentalist. It sustained its founding drive but welcomed new talent. It kept on exploring performance formats, rehearsal approaches and musical techniques. It searched for the right repertoire, instruments and approaches with even greater resolve. It kept true to its founding vow. In some small way, the OAE changed the classical music world too. It challenged those distinguished partner organisations and brought the very best from them, too. Symphony and opera orchestras began to ask it for advice. Existing period instrument groups started to vary their conductors and repertoire. New ones popped up all over Europe and America. And so the story continues, with ever more momentum and vision. The OAE’s series of nocturnal Night Shift performances have redefined concert parameters. Its home at London’s Kings Place has fostered further diversity of planning and music-making. Great performances now become recordings on the Orchestra’s in-house CD label, OAE Released. The ensemble has formed the bedrock for some of Glyndebourne’s most groundbreaking recent productions. It travels as much abroad as to the UK regions: New York and Amsterdam court it, Birmingham and Bristol cherish it. Remarkable people are behind it. Simon Rattle, the young conductor in whom the OAE placed so much of its initial trust, still cleaves to the ensemble. Iván Fischer, the visionary who punted some of his most individual musical ideas on the young orchestra, continues to challenge it. Mark Elder still mines for luminosity, shade and line. Vladimir Jurowski, the podium technician with an insatiable appetite for creative renewal, has drawn from it some of the most revelatory noises of recent years. All four share the title Principal Artist. Of the instrumentalists, many remain from those brave first days; many have come since. All seem as eager and hungry as ever. They’re offered ever greater respect, but continue only to question themselves. Because still, they pride themselves on sitting ever so slightly outside the box. They wouldn’t want it any other way. © Andrew Mellor, 2014

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Watercycle “It was brilliant!” Kate Newton, 7 years old from York

finale we were joined by over 100 performers on stage at the University of York singing our Watercycle song.

Our Watercycle project is gaining momentum and so far we have completed two residencies in Brighton and York. In our last programme, you heard about our work in Brighton and one of the delights of this project is that it looks completely different in each place we work in. Our York residency, in collaboration with the National Centre for Early Music (NCEM), included two schools concerts, a chamber evening, two OAE TOTS concerts and a community concert. We performed six concerts of fabulous music making in two days including Handel’s Water Music, Bach’s Concerto in A minor and newly commissioned works. In a grand

From Delma Tomlin, Director NCEM “OAE’s ability to weave all the potentially disparate groups together, to make music of real quality and create magic for all concerned - whilst… retaining the highest professional musical standards - is truly remarkable.” As part of our Watercycle journey, we are also raising money for WaterAid. Our current total is over £2,000. Children and adults from local groups are collecting pennies in 500ml water bottles. They make their own bottle label and use them in our concerts as percussion – it is a fantastic sound! Do check out our website for more information on WaterAid and our ‘bottle-it’ campaign.

Community concert in Brighton

Primary teacher training in Brighton

Recording in the sewers of Brighton (photo: Connors)

Young bassoon players in Brighton

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‘Open All Ears: The Three Towns Tour’, generously supported by Arts Council England Strategic Touring Programme, will bring our Watercycle concerts to Chesterfield and King’s Lynn in April and May 2015 and to Lowestoft in October. We will work with The Rose Choir, the Co-Operative Choir, and the Rose Youth Choir in Chesterfield, the Thetford Singers in King’s Lynn, as well as local schools in every place we visit. The OAE will bring concerts to new settings and to new audiences including a pop-up pub crawl along the Brampton Mile in Chesterfield and a chamber evening in a hotel on the Sandringham estate (King’s Lynn) catering for disabled guests. Watercycle will also be visiting London this spring with over 2,000 primary pupils and secondary students taking part in concerts with the OAE. Residencies in Wiltshire and Plymouth will form the next leg our journey around the country until our next tranche of work starts in autumn 2015. Camden & Brent Early Years If you are following us on Twitter, you may have seen pictures of red duck castanets with googly eyes and wondered what they are used for. It is the latest acquisition by OAE Education for our Camden & Brent Early Years project: a three year programme of activity generously supported by the John Lyon’s Charity to enhance music provision for the youngest of children across the boroughs. The first year of work involves Brent Music Service and Camden Integrated Early Years’ Service in the OAE TOTS programme. OAE musicians will be visiting eight locations across the two boroughs, introducing instruments and delivering activities all linked to our Watercycle project. Children and their parents will also be able to join OAE musicians for ‘Sailing Away’, one of our well-loved OAE TOTS concerts. Our beloved Purcell Room TOTS continues on 12 April with Splashing About.

OAE Making Our Band performances As part of our Making Our Band project, supported by Youth Music, we've been working with severely challenged young people in London and Plymouth, forming bands with OAE players. Making our Band participants will be performing live at the Royal Festival Hall on 16 March, the Royal Albert Hall on 21 April and Devonport Guildhall on 15 May.

Cherry Forbes Education Director

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OAE News

30th Birthday Season Concerts in our 30th Birthday season, 2015-2016, are now on sale. Check our website for full details of pick up a concert diary here at the Southbank Centre. Highlights include concerts with Principal Artists Sir Simon Rattle, Sir Mark Elder and Vladimir Jurowski and Emeritus Conductor Sir Roger Norrington. You can book for all of next season’s concerts at southbankcentre.co.uk or by calling the box office on 0844 847 9922. Alternatively, browse all events and watch the season trailer at oae.co.uk.

The Night Shift in the Big Apple and across England On 1 March we took our rule-breaking relaxed classical series, The Night Shift, to Brooklyn, New York. We’ve done a few shows in pubs outside London before, but this is the first time we’ve taken it outside the UK. We’re also going to be announcing, on 6 March, a National pub and club tour of The Night Shift, with appearances in London, Brighton, Bristol, Manchester and Newcastle. Check oae.co.uk/thenightshift for full details.

Principal viola

OAE Academy

It gives us great pleasure to announce that we’ve recently appointed a new Principal Viola. Max Mandel comes from Canada and has a background mainly in chamber music. He says, ‘When a position in a groundbreaking group like the OAE comes up, the timing might not be right but you just have to go for it.’ Max will be playing with the Orchestra across all repertoire.

In January we welcomed a new batch of participants into the Ann and Peter Law OAE Experience scheme at the annual OAE Academy. The scheme enables exceptionally gifted period instrument players to work alongside the Orchestra and receive ongoing mentoring from our players. After 3 days of intensive workshops, the participants performed at Daylight Music, a series of free lunchtime concerts at Islington’s Union Chapel.

St John's Smith Square If you’re reading this at our concert in the Queen Elizabeth Hall then you’re witnessing something very special – the last OAE concert there for two years. Have we been thrown out? Of course not, but the Queen Elizabeth Hall (and Purcell Room and Hayward Gallery) are being closed for a big refit. So for the next two years some of our Southbank Centre concerts will be held over at St John’s Smith Square. But don’t worry, you can still buy tickets through the Southbank Centre in the usual way.

Glyndebourne Festival Opera 2015

Max Mandel

As Associate Orchestra at Glyndebourne, we’ll be back in Sussex again this summer. So grab your black tie and picnic basket because public booking opens on 9 March 2015. This year we’ll be playing in Mozart’s Die Entführung aus dem Serail, conducted by Robin Ticciati, and Handel’s Saul with Ivor Bolton. More details over at glyndebourne.com.

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2015-16 Southbank Centre Concerts Booking Information Southbank Centre Ticket Office 0844 847 9922 southbankcentre.co.uk/oae Tickets: £10–£60 unless otherwise indicated. Premium seats available for selected concerts. All concerts start at 7pm unless otherwise indicated and are preceded by a free pre-concert OAE Extras event at 5.45pm. Free programmes are available at every concert. You can find more information about the OAE at: Email: info@oae.co.uk Website: oae.co.uk orchestraofthe ageofenlightenment theoae

Wednesday 14 October 2015 St John’s, Smith Square

Tuesday 24 November 2015 St John’s, Smith Square

Bostridge sings Handel

Bach’s Double, Bach’s Single

Telemann Suite in F for two horns and strings Telemann Ich weiss, dass mein Erlöser lebt Telemann So stehet ein Berg Gottes from Der Tod Jesu Handel Concerto Grosso in D minor Op. 3 No. 5 Handel Scherza infida from Ariodante Handel Love sounds th’alarm from Acis and Galatea Handel Silete Venti Handel Selection from Water Music

Bach Concerto for violin in E Vivaldi Concerto for two violins in G minor Op. 3 No. 2 Pisendel Violin Concerto in G minor Bach Chaconne from Partita No. 2 in D minor Vivaldi Violin Concerto No. 2 in E minor from La Stravaganza, Op.4 Telemann Concerto for four violins in G major Bach Concerto for two violins in D minor

Steven Devine director Ian Bostridge tenor

Rachel Podger director/violin Kati Debretzeni, Margaret Faultless, Matthew Truscott violins

Tuesday 10 November 2015 Royal Festival Hall Schiff 's Schumann Mendelssohn Overture, The Hebrides Mendelssohn Symphony No. 3 in A minor, Scottish Schumann Piano Concerto in A minor Sir András Schiff conductor/piano

Saturday 6 February 2016 Royal Festival Hall Marin, Madness and Music Part of the Altered Minds weekend. Brahms Variations on a theme by Haydn Schumann Violin Concerto in D minor Schumann Symphony No. 3 in E flat, Rhenish Marin Alsop conductor Patricia Kopatchinskaja violin

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Our Supporters The OAE continues to grow and thrive through the generosity of our supporters. We are very grateful to our sponsors and patrons and hope you will consider joining them. We offer a close involvement in the life of the orchestra with many opportunities to meet players, attend rehearsals and even accompany us on tour. MAJOR SPONSOR

CORPORATE BENEFACTORS Apax Partners Commerzbank AG E.S.J.G. Limited Lubbock Fine Chartered Accountants Parabola Land CORPORATE PATRONS Lindt Macfarlanes Swan Turton Waterloo Wine

IMPRESARIO CIRCLE Robert & Laura Cory Bruce Harris Sir Thomas Hughes-Hallett KBE Nigel Jones & FranĂ§oise Valat Jones Selina & David Marks Sir Martin & Lady Smith Mark & Rosamund Williams BENEFACTORS Julian & Annette Armstrong Julian & Camilla Mash Philip & Rosalyn Wilkinson ARIA PATRONS Gary & Nina Moss

OAE Futures is the long term artistic development programme of the OAE and was established in 2006 with a substantial lead donation from The Smith Challenge Fund. The OAE is grateful to Martin and Elise Smith for this generous and imaginative support. OAE Futures comprises projects grouped under three headings: Future Orchestra, Future Performers and Future Audiences, and offers a special opportunity for donors to be involved in the development of the Orchestraâ&#x20AC;&#x2122;s artistic strategy at the highest level. The Orchestra thanks for the following for their support of OAE Futures: OAE Futures Funders Robert & Laura Cory The Smith Challenge Fund Ann & Peter Law OAE Experience Scheme Ann & Peter Law

CHAIR PATRONS Mrs Nicola Armitage Education Director Hugh & Michelle Arthur Violin Edward Bonham Carter Principal Trumpet Anthony & Celia Edwards Principal Oboe Sir Vernon & Lady Ellis Co-Principal Viola Peter & Leanda Englander Principal Clarinet Franz & Regina Etz Principal Double Bass James Flynn QC Co-Principal Lute/Theorbo Paul Forman Co-Principal Cello Sir Timothy & Lady Lloyd Co-Principal Keyboard The Mark Williams Foundation Co-Principal Bassoon Haakon & Imogen Overli Co-Principal Cello Professor Richard Portes CBE FBA Co-Principal Bassoon John & Rosemary Shannon Principal Horn Roger & Pam Stubbs Sub-Principal Clarinet EDUCATION PATRONS John & Sue Edwards (Principal Education Patrons) Mrs Nicola Armitage Patricia & Stephen Crew Venetia Hoare Professor Richard Portes CBE FBA The OAE is a registered charity number 295329 accepting tax efficient gifts from UK taxpayers and businesses

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Our Supporters FRIENDS OF THE OAE Support the OAE from just £50 a year. IDOMENEO GROUP Michael Allen Michael & Jacqueline Gee Professor David Graham QC JMS Advisory Limited Irina Knaster Stanley Lowy David Mildon in memory of Lesley Mildon Tim & Jenny Morrison Andrew Nurnberg Andrew & Cindy Peck Emily Stubbs & Stephen McCrum Shelley von Strunckel Eric Tomsett GOLD FRIENDS Noël & Caroline Annesley Mrs A Boettcher Marius & Anna Carboni Mr & Mrs C Cochin de Billy Geoffrey Collens Michael & Harriet Maunsell Kitty Sage Ann & Barry Scrutton Mr J Westwood SILVER FRIENDS Felix Appelbe & Lisa Bolgar Smith Keith Barton Haylee & Michael Bowsher Michael Brecknell Christopher Campbell Michael A. Conlon Mr & Mrs Michael Cooper David Emmerson Michael & Barbara Gwinnell Ray & Liz Harsant Patricia Herrmann Peter & Sally Hilliar Rupert & Alice King Marsh Christian Trust Roger Mears & Joanie Speers Stephen & Roberta Rosefield Anna Rowe & Jonathan White Michael & Giustina Ryan Her Honour Suzanne Stewart

BRONZE FRIENDS Dennis Baldry The Revd Brian Blackshaw Dan Burt Tony Burt Cynthia Butterworth Anthony & Jo Diamond Roger Downer Mrs S M Edge Marianne Edwards Mrs Mary Fysh Auriel Hill Professor John Irving John & Shirley Lloyd Professor Ingrid Lunt Nigel Mackintosh Marylin Smith Alan Sainer Ruth & David Samuels Susannah Simons Michael Sternberg QC FRSA Derek Sugden Gillian Threlfall Mr & Mrs Tony Timms Dr Trilby Johnson Mrs Joy Whitby Mr Paul Willans Dr & Mrs Christopher Williams David & Vivienne Woolf Tony & Jackie Yates-Watson

TRUSTS, FOUNDATIONS AND OTHER SUPPORTERS Apax Foundation Arts Council England Catalyst Fund Arts Council England Small Capital Grants Arts Council England Strategic Touring Programme Austin and Hope Pilkington Trust Brian Mitchell Charitable Settlement The Charles Peel Charitable Trust Comninos Charitable Trust The D’Oyly Carte Charitable Trust Dunard Fund Esmée Fairbairn Foundation Fenton Arts Trust Foyle Foundation Garfield Weston Foundation The Golden Bottle Trust The Helen Hamlyn Trust Idlewild Trust John Lyon’s Charity Ling Trust The Liz and Terry Bramall Foundation Lord and Lady Lurgan Trust The Mark Williams Foundation Marsh Christian Trust The Nugee Foundation Orchestras Live The Rayne Foundation The RK Charitable Trust Youth Music

THE AMERICAN FRIENDS OF THE OAE A US-based 501(c)(3) charitable organisation. Contributions received qualify for an Internal Revenue Service tax deduction. Wendy Brooks (chair) & Tim Medland John & Elena Brim Ciara A Burnham Matthew & Kimberly Cantor Mark D & Catherine J Cone John & Michelle Freise Mr Donald Johnston Sarah Ketterer Richard & Lynn Landy David Moldenhauer & Julia Lichtblau Linda Mirels The Pzena Family Foundation William & Kathleen Reiland Ms Denise Simon Mr & Mrs Nicholas von Speyr Jack and Kristalina Taylor

We are also very grateful to our anonymous supporters and the OAE Friends for their ongoing generosity and enthusiasm. For more information on supporting the OAE please contact Emily Stubbs, Development Director Emily.stubbs@oae.co.uk 020 7239 9381.

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Lisa Besnoziuk, Principal Flute: Credit Eric Richmond/Harrison.

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Lubbock Fine is proud of its ongoing association with the Orchestra of the Age of Enlightenment and wishes it every success. We have a dedicated creative and music team which provides specialist accounting and tax advice.

Paternoster House 65 St Paulâ&#x20AC;&#x2122;s Churchyard London EC4M 8AB T. 020 7490 7766

www.lubbockfine.co.uk Member of Russell Bedford International

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A Legendary Collaboration In 2015 the Academy of Ancient Music reunites with ground-breaking pianist Robert Levin for two programmes of the music of Mozart. In the 1990s, Levin’s recordings of Mozart’s Piano concertos with the AAM were game-changing — not since Mozart’s lifetime had any pianist dared to perform these works with such innovative improvisational flair and brio. Levin continues this legacy in a programme of mature Piano concertos in February before exploring lesser-known, early works for the organ and harpsichord in July.

Piano concertos Nos.24 & 25 4 February 2015 7.30pm, Barbican Hall, London Early keyboard works 7 July 2015 7.30pm, Milton Court Concert Hall, London “Levin lives Mozart throughout his entire body, and for every second of the score ... he plays the music as if he’s writing it himself — for the first time.” THE TIMES

Tickets £10-35 (£3 for AAMplify members) Book at barbican.org.uk or call 020 7638 8891 For more information visit aam.co.uk/concerts

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Help Musicians UK is the new name for the Musicians Benevolent Fund. We help musicians of all genres throughout their professional lives. Registered charity 228089

04/02/2014 16:21:37