Programme April 11_AAM programme Dec 2010

Transcrição

Programme April 11_AAM programme Dec 2010 12/04/2011 18:01 Page 1
The Bach Dynasty:
JS Bach’s St John Passion
Elin Manahan Thomas soprano
James Laing counter-tenor
Andrew Tortise tenor
Marcus Farnsworth bass
Andrew Kennedy Evangelist
Ashley Riches Pilate
David Wilson-Johnson Christ
Choir of King’s College, Cambridge
Stephen Cleobury conductor
Welcome! We’ve been giving concerts and
making recordings with the Choir of King’s
College, Cambridge for some time now — but
never before have we appeared together in
London. We’re delighted to be bringing this
acclaimed collaboration to the capital for the
first time, and are glad that you can join us for
this very special concert.
This isn’t the only recent first for the AAM,
however: last month we learnt that we’d
secured regular funding from Arts Council
England for the first time in our history; and in
February we travelled to Shanghai to give what
is thought to be the first-ever performance of
JS Bach’s complete Brandenburg Concertos in
China.
Meanwhile, why not find out fascinating facts
and essential analysis about the great man
himself in the Faber Pocket Guide to Bach? It’s
on sale tonight at the CD sales desk in the foyer
for just £6; and on 18 July you can hear the
author, Sir Nicholas Kenyon, in discussion with
AAM Music Director Richard Egarr before of our
performance of JS Bach’s cantatas at Wigmore
Hall. Turn to the inside back cover of this
programme for details.
AAM website relaunched
The AAM’s website has just been relaunched! Visit www.aam.co.uk to discover more about our
music and musicians, access all the features you need to get the most from our performances,
and listen to and watch the AAM from wherever you are in the world. And you can listen to
tracks from the AAM’s celebrated 300-CD discography for free on the AAMplayer — including
highlights from our recordings with the Choir of King’s College, Cambridge.
www.aam.co.uk
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N 1
Stephen Rose introduces a ground-breaking work
When the St John Passion was first performed at
the Nikolaikirche in Leipzig on Good Friday 1724,
Bach’s congregation would never have previously
heard anything like it. The custom in Leipzig was
to tell the story of Christ’s trial and crucifixion using
the simple setting of Johann Walter (c.1530),
where the words of scripture were recited as in
plainchant. The only change from this tradition
occurred in 1721 and 1722, when Bach’s
predecessor, Johann Kuhnau, performed a more
elaborate setting of the Passion according to St
Mark, using instruments as well as voices, and
intermingling the Biblical narrative with
contemplative arias and chorales. Bach’s St John
Passion followed Kuhnau’s model in some
respects, but went much further than Kuhnau had
dared. Bach’s work was of a length never before
encountered in Leipzig, and used a substantial
ensemble including chorus, orchestra and several
unusual instruments such as the viola d’amore
and viola da gamba. In addition, Bach’s Passion
was far more operatic in style, with vivid arias
communicating the pathos and pain of Christ’s
trial and crucifixion.
In the early eighteenth century it was highly
contentious to write Passion music in an operatic
style. Although some people argued that an
operatic style allowed composers to arouse the
emotions contained in the Passion story, other
Lutherans preferred old-fashioned styles such as
motets that conveyed solemnity and devotion.
There was also disquiet at the way that many
modern versions of the Passion — such as the
settings of Barthold Heinrich Brockes’s libretto Der
für die Sünde der Welt gemarterte und sterbende
Jesus — dispensed with the Biblical text
altogether, instead putting the story into modern
language (complete with the ornate metaphors
beloved of Baroque poets).
The polarized opinions aroused by pieces similar
to the St John Passion can be sensed from two
accounts of the time. Gottfried Ephraim Scheibel
claimed in 1721 that performing Passions in an
operatic style was a way to attract large
2 A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 0 - 2 01 1 S E A S O N
congregations to church:
“The people certainly would not have come to
church so promptly and in such numbers because
of the preacher but rather presumably because of
the music. The libretto was simply the account of
Christ’s suffering from one of the Gospels, into
which frequent chorales and also two or three
arias were introduced. I marvelled how diligently
people listened and how devoutly they sang
along; it was the moving music that contributed
the most to this, and even though the service
lasted more than four hours, everyone stayed until
it was over.”
By contrast, Christian Gerber, an opponent of
elaborate church music, reported in 1732 a
hostile response to the innovations of
composers such as Bach:
“But gradually the Passion story, which had
formerly been sung in simple plainchant, humbly
and reverently, began to be sung with many kinds
of instruments in the most elaborate fashion...
When this Passion music was performed for the
first time in one of our great cities with twelve
violins [i.e. strings], many oboes, bassoons and
other instruments, many people were shocked
and didn’t know what to make of it. In the pew of
a noble family in church, many ministers and
noble ladies were present and sang the first
Passion hymn from their books with great
devotion, but when this theatrical music
commenced, all these people were filled with the
greatest amazement, looked at one another, and
said, ‘May God preserve us, children. It’s as if a
person were at the opera or the theatre.’ Everyone
thoroughly disapproved of the music and
registered justified complaints about it. But of
course there were also such spirits as take pleasure
in such vain aberrations, especially if they are of a
sanguine nature and are given to voluptuousness.”
It is not known which performances Gerber and
Scheibel describe, but their anecdotes give an idea
of the mixed ways in which Bach’s congregation
probably responded to the St John Passion.
In Leipzig, the church authorities did not want to
follow the trend of Hamburg, where the Passion
oratorios with librettos by Brockes had
abandoned the scriptural text altogether. Instead
the clergy seem to have instructed Bach to retain
the entire Biblical text in the St John Passion. The
Biblical words are set to recitative, with a tenor
voice (the Evangelist) acting as narrator. In
addition, Bach included two further layers of text,
creating a rich poetic framework for the music.
For the arias, he used free poetry in an up-to-date
style; these texts were assembled by an unknown
author (possibly Bach himself, or a local
theologian). Many of the aria texts have close
similarities with Brockes’s Passion libretto,
particularly in the elaborate metaphors. Thus in
‘Erwäge, wie sein blutgefärbter Rücken’, the
bloodstains on Christ’s back after the scourging
are compared to “the most beautiful of rainbows”
and described as a “symbol of God’s grace” (“der
allerschönste Regenbogen...Gottes
Gnadenzeichen”). Or to take another example, in
‘Betrachte, mein Seel’ the good that comes from
Jesus’s suffering is compared to a primrose
flowering above thorns.
The final element in the text of the St John
Passion comprises strophes from chorales
(German congregational hymns), probably
chosen by Bach himself. The chorales comment
on the action and voice the collective response of
the congregation, using the familiar language of
Lutheran hymnodists. For instance, the first
chorale is sung after Jesus has freely identified
himself to his captors, and expresses the selfsacrifice inherent in Christ’s actions: “O große Lieb,
o Lieb ohn alle Maße” (“O greatest love, O love
without end”). The constant interplay between
the three levels of text in the Passion — the Bible,
the ornate poetry for the arias, and the chorale
texts — multiplies the significance of the
narrative, increasing its richness and poignance.
The St John Passion had a complex genesis, in
which four separate versions can be discerned.
The first version was prepared for the
performance in 1724, but a complete score of it
does not survive. In 1725 Bach reworked the
piece, adding a movement later used in the St
Matthew Passion (the chorus ‘O Mensch bewein’)
and inserting two arias of extreme drama and
vividness (‘Zerschmettert mich’, where musical
representations of thunderbolts express Peter’s
anger at having forsaken Jesus; and ‘Ach windet
euch nicht so’, which depicts the writhing of souls
and scourging of lashes). Another version of the
Passion survives from 1733, and Bach began a
further set of revisions in 1749. These final
revisions were never completed, so the St John
Passion (unlike the St Matthew Passion) never
reached a definitive form. Consequently the
modern-day performer has a degree of freedom
in choosing which version to use, with
implications for the scoring of individual
movements.
The Passion story is inherently dramatic — with
its scenes of anger and betrayal, and its narrative
pushing inexorably to Jesus’ death — and Bach’s
setting of the St John Passion has a strong sense
of urgency. There are fewer arias than in the St
Matthew Passion, restricting the opportunities for
leisurely contemplation. Instead Bach’s setting is
characterised by the frequent interjections of the
turba choruses (representing the crowd), which
constantly push the action onward. Even in the
initial set of recitatives — recounting Jesus’s arrest
in the Garden of Gethsemane — the turba chorus
makes a dramatic entrance, calling for Jesus.
Frequent modulations increase the tension and
mean that the turba theme tends to return in a
different key. The interventions by the chorus give
a strong sense that the narrative is being pushed
forward by forces outside Jesus’s control — partly
by the crowd that has smelled his blood, and
partly by his divine destiny.
The arias of the St John Passion draw on operatic
convention in order to convey the emotions
being felt by individuals at various points in the
Detail from a triptych depicting Martin Luther giving a sermon (1547) by Lucas Cranach the Elder (1472–1553). Luther’s ability to make the Passion
story come alive both dramatically and theologically was legendary; JS Bach’s St John Passion shares this power, as well as inheriting Luther’s doctrine.
© Church of St.Marien, Wittenberg, Germany / Giraudon / The Bridgeman Art Library
story. Often the instrumental accompaniment
and thematic material have symbolic or pictorial
significance. Sometimes the motifs are overtly
pictorial, as in ‘Eilt, ihr angefochtnen Seelen’,
where the rushing upward scales illustrate the
text’s exhortation that we “hasten to Golgotha”
(“eilt...nach Golgotha”). In other arias, by contrast, it
is hard to describe the effect of Bach’s music in
words. In ‘Erwäge, wie sein blutgefärbter Rücken’,
some listeners might interpret the dactylic motifs
as suggesting the rhythms of scourging, or as
merely illustrating the text’s exhortation that we
contemplate Jesus’s bloodstained back.
Bach also uses symbolic instrumentation in
several arias: a viola da gamba solo in ‘Es ist
vollbracht’; a pair of violas d’amore in ‘Betrachte,
meine Seel’ and ‘Erwäge, wie sein blutgefärbter
Rücken’; and an obbligato part for lute or
harpsichord in ‘Betrachte, meine Seel’. Although
Bach was always keen to experiment with
unusual sonorities, here he also followed the
standard scorings associated with funerals. The
viola da gamba and the lute were both quiet
instruments, increasing falling into obsolescence
in an age that valued more powerful sounds.
Their delicate timbre evoked the other-worldly
experience of death, increasing the intensity of
the pivotal arias in the Passion.
At the moment of Jesus’s crucifixion comes one
of the most poignant arias in the Passion. ‘Es ist
vollbracht’ sets one of Jesus’s Seven Last Words on
the Cross: ‘It is finished’. Bach’s aria isolates the two
contrasting meanings inherent in this utterance.
The aria starts ‘Molt’ adagio’ with a lamenting
obbligato played by a viola da gamba in the key
of B minor; this suggests the despair and
resignation in the words ‘It is finished’. By contrast,
the middle section of the aria interprets these
words triumphantly, as indicating that Christ’s
work on earth is gloriously completed. Here the
key turns to D major, and the voice and strings
imitate the fanfares of trumpets on the words
“Der Held aus Juda siegt mit Macht” (“The hero
from Judah triumphs with might”). With this aria,
Bach reflects a central feature of John’s Gospel,
which portrays Christ as glorious and victorious,
even in death.
Despite the many operatic elements in the arias
of the Passion, Bach also retained aspects of
Lutheran musical traditions in the piece, notably
in the chorales and in the large choruses at the
start and near the end. The congregation would
have recognised the tunes and words of the
chorales, which were used regularly in private
devotion during the eighteenth century as well
as in church services. It is unclear if the
congregation actually sang the chorales — which
are often stated in unsuitable keys for untrained
voices, or with the melody shrouded by
complicated harmonies — but they doubtless
would have recited the words quietly to
themselves during the performance.
Bach also asserted his Lutheran heritage in the
extended choruses that act as the opening and
penultimate movements. The opening chorus
takes as its starting-point words from Psalm 8 —
‘Herr unser Herrscher, dessen Ruhm in allen
Landen herrlich ist’ (‘O Lord our governor, how
excellent is thy name in all the world’) — but the
mood is one of foreboding, created by the
swirling figures in the strings and the interlocking
dissonance in the woodwind. Further agitation is
caused by the pulsing pedal notes in the bass
and the rising sequences in the voices. By
contrast, the penultimate movement, ‘Ruht wohl’,
is a gentle triple-time dance, with falling figures
suggesting the lowering of Christ into the grave.
Indeed, its key of C minor was associated by
Baroque theorists with sleep (in this case, the
sleep of death). By deploying his substantial
ensemble in highly affective movements such as
these choruses, Bach offered an unprecedented
experience for his congregation in Leipzig.
Stephen Rose © 2011
Dr Stephen Rose is Lecturer in Music at Royal
Holloway. His book The Musician in Literature in the
Age of Bach has recently been published by
Cambridge University Press.
Texts and translations
PART ONE
Chorus
Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist!
Zeig uns durch deine Passion,
daß du, der wahre Gottessohn,
zu aller Zeit, auch in der größten Niedrigkeit, verherrlicht worden bist!
Chorus
Lord, our Redeemer, whose glory is in all the world,
show us in this thy Passion
that thou, the true Son of God,
hast conquered death and tribulation.
Recitative
Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garten, darein ging
Jesus und seine Jünger. Judas aber, der ihn verriet, wußte den Ort auch, denn Jesus
versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte
genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit
Fakkeln, Lampen und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte,
ging er hinaus und sprach zu ihnen:
Recitative
Jesus went forth with his disciples across the Kidron valley, where there was a garden,
which he and his disciples entered. Now Judas, who betrayed him, also knew the place,
for Jesus often met there with his disciples. So Judas, procuring a band of soldiers and
some officers from the chief priests and the Pharisees, went there with lanterns and
torches and weapons. Then Jesus, knowing all that was to befall him, came forward and
said to them:
Jesus
Wen suchet ihr?
Jesus
Whom seek ye?
Evangelist
Sie antworteten ihm:
Evangelist
They answered him:
Chorus
Jesum von Nazareth!
Chorus
Jesus of Nazareth!
Evangelist
Jesus spricht zu ihnen:
Recitative
Jesus said to them:
Jesus
Ich bins.
Jesus
I am he.
Evangelist
Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bins,
wichen sie zurükke und fielen zu Boden. Da fragete er sie abermal:
Evangelist
And Judas also, which betrayed him, stood with them. As soon then as he had said unto
them ‘I am he’, they went backward and fell to the ground. Then asked he them again:
Jesus
Wen suchet ihr?
Jesus
Whom seek ye?
Evangelist
Sie aber sprachen:
Evangelist
And they said:
Chorus
Jesum von Nazareth.
Chorus
Jesus of Nazareth.
Evangelist
Jesus antwortete:
Recitative
Jesus answered:
Jesus
Ich habs euch gesagt, daß ichs sei, suchet ihr denn mich, so lasset diese gehen!
Jesus
I have told you that I am he; if therefore ye seek me, let these go their way.
Chorale
O große Lieb, O Lieb ohn alle Maße,
die dich gebracht auf diese Marterstraße!
Ich lebte mit der Welt in Lust und Freuden,
und du mußt leiden.
Chorale
O wondrous love quite limitless,
that brought thee here by sin and grief surrounded.
I live with all the pleasure of this world,
and thou must die.
Recitative
Auf daß, das Wort erfüllet würde, welches er sagte: Ich habe der keine verloren, die du
mir gegeben hast. Da hatte Simon Petrus ein Schwert und zog es aus und schlug nach
des Hohenpriesters Knecht und hieb ihm sein recht Ohr ab; und der Knecht hieß
Malchus. Da sprach Jesus zu Petro:
Recitative
That the saying might be fulfilled, which he spake, ‘Of them which thou gavest me have
I lost none’. Then Simon Peter having a sword drew it, and smote the high priest’s
servant, and cut off his right ear. The servant’s name was Malchus. Then said Jesus unto
Peter:
Jesus
Stekke dein Schwert in die Scheide! Soll ich den Kelch nicht trinken, den mir mein Vater
gegeben hat?
Jesus
Put up thy sword into the sheath: the cup which my Father hath given me, shall I not
drink it?
Chorale
Dein Will gescheh, Herr Gott, zugleich
auf Erden wie im Himmelreich.
Gib uns Geduld in Leidenszeit,
gehorsam sein in Lieb und Leid;
wehr und steur allem Fleisch und Blut,
das wider deinen Willen tut!
Chorale
Thy will, O Lord, our God, be done,
on earth, as round thy heavenly throne.
In time of sorrow patience give,
obedient ever make us live.
With thy restraining spirit fill
each heart that strives against thy will.
Evangelist
Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum und
bunden ihn und führeten ihn aufs erste zu Hannas, der war Kaiphas Schwäher, welcher
des Jahres Hoherpriester war. Es war aber Kaiphas, der den Jüden riet, es wäre gut, daß
ein Mensch würde umbracht für das Volk.
Evangelist
Then the band and the captain and officers of the Jews took Jesus, and bound him, and
led him away to Annas first; for he was father in law to Caiaphas, which was the high
priest that same year. Now Caiaphas was he, which gave counsel to the Jews, that it was
expedient that one man should die for the people.
Aria (Alto)
Von den Stricken meiner Sünden
mich zu entbinden,
wird mein Heil gebunden.
Mich von allen Lasterbeulen
völlig zu heilen, läßt er sich verwunden.
Aria
From the bondage of transgression
my holy Saviour frees me,
from all taint of deadly sickness
fully heals me,
bearing himself the grievous wound.
Evangelist
Simon Petrus aber folgete Jesu nach und ein ander Jünger.
Evangelist
And Simon Peter followed Jesus, and so did another disciple.
Aria (soprano)
Ich folge dir gleichfalls mit freudigen
Schritten und lasse dich nicht,
mein Leben, mein Licht.
Befördre den Lauf
und höre nicht auf,
selbst an mir zu ziehen, zu schieben,
zu bitten!
Aria
I follow thee too, my Saviour,
with joyful steps.
I will not forsake thee,
my Life and my Light.
Hasten my steps and draw me to thy side.
Evangelist
Derselbige Jünger war dem Hohenpriester bekannt und ging mit Jesu hinein in des
Hohenpriester Palast. Petrus aber stund draußen vor der Tür. Da ging der andere Jünger,
der dem Hohenpriester bekannt war, hinaus und redete mit der Türhüterin und führete
Petrum hinein. Da sprach die Magd, die Türhüterin, zu Petro:
Evangelist
That disciple was known unto the high priest, and went in with Jesus into the palace of
the high priest. But Peter stood at the door without. Then went out that other disciple,
which was known unto the high priest, and spake unto her that kept the door, and
brought in Peter. Then saith the woman that kept the door unto Peter:
Maid
Bist du nicht dieses Menschen Jünger einer?
Maid
Art not thou also one of this man’s disciples?
Evangelist
Er sprach:
Evangelist
He saith:
Peter
Ich bins nicht.
Peter
I am not.
Evangelist
Es stunden aber die Knechte und Diener und hatten ein Kohlfeu’r gemacht (denn es war
kalt) und wärmeten sich. Petrus aber stund bei ihnen und wärmete sich. Aber der
Hohepriester fragte Jesum um seine Jünger und um seine Lehre. Jesus antwortete ihm:
Evangelist
And the servants and officers stood there, who had made a fire of coals; for it was cold:
and they warmed themselves: and Peter stood with them, and warmed himself. The
high priest then asked Jesus of his disciples, and of his doctrine. Jesus answered him:
Jesus
Ich habe frei, öffentlich geredet vor der Welt. Ich habe allezeit gelehret in der Schule und
in dem Tempel, da alle Juden zusammenkommen, und habe nichts im Verborgnen
geredt. Was fragest du mich darum? Frage die darum, die gehöret haben, was ich zu
ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe.
Jesus
I spake openly to the world; I ever taught in the synagogue, and in the temple, whither
the Jews always resort; and in secret have I said nothing. Why askest thou me? ask them
which heard me, what I have said unto them: behold, they know what I said.
Evangelist
Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesu einen
Bakkenstreich und sprach:
Evangelist
And when he had thus spoken, one of the officers which stood by struck Jesus with the
palm of his hand, saying,
Officer
Solltest du dem Hohenpriester also antworten?
Officer
Answerest thou the high priest so?
Evangelist
Jesus aber antwortete:
Evangelist
Jesus answered him:
Jesus
Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber recht geredt, was
schlägest du mich?
Jesus
If I have spoken evil, bear witness of the evil: but if well, why smitest thou me?
Chorale
Wer hat dich so geschlagen,
mein Heil, und dich mit Plagen
so übel zugericht’t?
Du bist ja nicht ein Sünder,
wie wir und unsre Kinder,
von Missetaten weißt du nicht.
Chorale
O Lord, who dares to smite thee?
And falsely to indict thee,
deride and mock thee so?
For thou art not a sinner,
unlike us and our children,
thou hast done nought amiss.
Ich, ich und meine Sünden,
die sich wie Körnlein finden
des Sandes an dem Meer,
die haben dir erreget
das Elend, das dich schläget,
und das betrübte Marterheer.
It is I, with my sins
that are as countless
as the sands by the sea,
which have brought thee thy misery,
and the host of torments that ye bear.
Evangelist
Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund
und wärmete sich, da sprachen sie zu ihm:
Evangelist
Now Annas had sent him bound unto Caiaphas the high priest. And Simon Peter stood
and warmed himself. They said therefore unto him:
Chorus
Bist du nicht seiner Jünger einer?
Chorus
Art not thou also one of his disciples?
Evangelist
Er leugnete aber und sprach:
Evangelist
He denied it, and said:
Peter
Ich bins nicht.
Peter
I am not.
Evangelist
Spricht des Hohenpriesters Knecht’ einer, ein Gefreundter des, dem Petrus das Ohr
abgehauen hatte:
Evangelist
One of the servants of the high priest, being his kinsman whose ear Peter cut off, saith:
Servant
Sahe ich dich nicht im Garten bei ihm?
Servant
Did not I see thee in the garden with him?
Evangelist
Da verleugnete Petrus abermal, und alsobald krähete der Hahn. Da gedachte Petrus an
die Worte Jesu und ging hinaus und weinete bitterlich.
Evangelist
Peter then denied again: and immediately the cock crowed. And Peter remembered the
saying of Jesus and he went out and wept bitterly.
Aria (tenor)
Ach, mein Sinn, wo willt du endlich hin,
wo soll ich mich erquikken?
Bleib ich hier, oder wünsch ich mir
Berg und Hügel auf den Rükken?
Bei der Welt ist gar kein Rat,
und im Herzen stehn die Schmerzen
meiner Missetat,
weil der Knecht den Herrn verleugnet hat.
Aria
Ah, my soul, whither wilt thou fly?
Where shall I seek for comfort?
Shall I stay? Or depart and leave
the hills and mountains far behind me?
In the world is no relief,
on my heart remains the burden
of my evil deed,
since the servant hath denied his Lord.
Chorale
Petrus, der nicht denkt zurück,
seinen Gott verneinet,
der doch auf ein’ ernsten Blick
bitterlichen weinet.
Jesu, blikke mich auch an,
wenn ich nicht will büßen;
wenn ich Böses hab getan,
rühre mein Gewissen!
Chorale
Peter, faithless, thrice denies
that his Lord he knoweth;
when he meets those earnest eyes,
weeping, thence he goeth.
If I am unrepentant
look on me with kindness:
whenever I do wrong
rouse my inner conscience.
Interval of 20 minutes
PART TWO
Chorale
Christus, der uns selig macht, kein Bös’ hat begangen,
der ward für uns in der Nacht als ein Dieb gefangen,
geführt vor gottlose Leut und fälschlich verklaget,
verlacht, verhöhnt und verspeit, wie denn die Schrift saget.
Chorale
Christ who brings us joy and has done no wrong,
For our sake he was seized like a thief in the night.
He was taken before unbelievers and falsely accused.
He was derided, spat upon and vilely mocked as it is written in the Scriptures.
Evangelist
Da führeten sie Jesum von Kaipha vor das Richthaus, und es war frühe. Und sie gingen
nicht in das Richthaus, auf daß sie nicht unrein würden, sondern Ostern essen möchten.
Da ging Pilatus zu ihnen heraus und sprach:
Evangelist
Then led they Jesus from Caiaphas unto the hall of judgment: and it was early; and they
themselves went not into the judgment hall, lest they should be defiled; but that they
might eat the passover. Pilate then went out unto them, and said:
Pilate
Was bringet ihr für Klage wider diesen Menschen?
Pilate
What accusation bring ye against this man?
Evangelist
Sie antworteten und sprachen zu ihm:
Evangelist
They answered and said unto him:
Chorus
Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.
Chorus
If he were not a wrong-doer, we would not have delivered him up unto thee.
Evangelist
Da sprach Pilatus zu ihnen:
Evangelist
Then said Pilate unto them:
Pilate
So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!
Pilate
Take ye him, and judge him according to your law.
Evangelist
Da sprachen die Jüden zu ihm:
Evangelist
The Jews therefore said unto him:
Chorus
Wir dürfen niemand töten.
Chorus
It is not lawful for us to put any man to death.
Evangelist
Auf daß erfüllet würde das Wort Jesu, welches er sagte, da er deutete, welches Todes er
sterben würde. Da ging Pilatus wieder hinein in das Richthaus and rief Jesu und sprach
zu ihm:
Evangelist
That the saying of Jesus might be fulfilled, which he spake, signifying what death he
should die. Then Pilate entered into the judgment hall again, and called Jesus, and said
unto him:
Pilate
Bist du der Jüden König?
Pilate
Art thou the King of the Jews?
Evangelist
Jesus antwortete:
Evangelist
Jesus answered him.
Jesus
Redest du das von dir selbst, oder habens dir andere von mir gesagt?
Jesus
Sayest thou this thing of thyself, or did others tell it thee of me?
Evangelist
Pilatus antwortete:
Evangelist
Pilate answered:
Pilate
Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir über antwortet: was
hast du getan?
Pilate
Am I a Jew? Thine own nation and the chief priests have delivered thee unto me: what
hast thou done?
Evangelist
Jesus antwortete:
Evangelist
Jesus answered:
Jesus
Mein Reich ist nicht von dieser Welt; wäre mein Reich von dieser Welt, meine Diener
würden darob kämpfen, daß ich den Jüden nicht überantwortet würde; aber nun ist
mein Reich nicht von dannen.
Jesus
My kingdom is not of this world: if my kingdom were of this world, then would my
servants fight, that I should not be delivered to the Jews: but now is my kingdom not
from hence.
Chorale
Ach großer König, groß zu allen Zeiten,
wie kann ich gnugsam diese Treu ausbreiten?
Kein’s Menschen Herze mag indes ausdenken, was dir zu schenken.
Ich kann’s mit meinen Sinnen nicht erreichen,
womit doch dein Erbarmen zu vergleichen.
Wie kann ich dir denn deine Liebestaten im Werk erstatten?
Chorale
O mighty King, eternal is thy glory!
How can I express my allegiance to thee?
No human heart can imagine a gift
which is fit to give thee.
Neither can I find anything to compare
with thy merciful goodness.
What can I do for thee to be worthy
of thy loving deeds?
Evangelist
Da sprach Pilatus zu ihm:
Evangelist
Pilate therefore said unto him:
Pilate
So bist du dennoch ein König?
Pilate
Art thou a king then?
Evangelist
Jesus antwortete:
Evangelist
Jesus answered:
Jesus
Du sagst’s, ich bin ein König. Ich bin dazu geboren und in die Welt kommen, daß ich die
Wahrheit zeugen soll. Wer aus der Wahrheit ist, der höret meine Stimme.
Jesus
Thou sayest that I am a king. To this end was I born, and for this cause came I into the
world, that I should bear witness unto the truth. Every one that is of the truth heareth
my voice.
Evangelist
Spricht Pilatus zu ihm:
Evangelist
Pilate saith unto him
Pilate
Was ist Wahrheit?
Pilate
What is truth?
Evangelist
Und da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen:
Evangelist
And when he had said this, he went out again unto the Jews, and saith unto them,
Pilate
Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daß ich euch einen
losgebe; wollt ihr nun, daß ich euch der Jüden König losgebe?
Pilate
I find in him no fault at all. But ye have a custom, that I should release unto you one at
the passover: will ye therefore that I release unto you the King of the Jews?
Evangelist
Da schrieen sie wieder allesamt und sprachen:
Evangelist
Then cried they all again, saying:
Chorus
Nicht diesen, sondern Barrabam!
Chorus
Not this man, but Barabbas.
Evangelist
Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn.
Evangelist
Now Barabbas was a robber. Then Pilate therefore took Jesus, and scourged him.
Arioso (bass)
Betrachte, meine Seel, mit ängstlichem Vergnügen, mit bittrer Lust und hal
beklemmtem Herzen dein höchstes Gut in Jesu Schmerzen, wie dir auf Dornen, so ihn
stechen, die Himmelschlüsselblumen blühn! Du kannst viel süße Frucht von seiner
Wermut brechen, drum sieh ohn Unterlaß auf ihn!
Arioso
Consider, O my soul, with fearful joy consider, with bitter anguish, in thy heart afflicted,
thy highest good is Jesus’ sorrow: for thee, from the thorns that pierce him, what
heavenly flowers spring, thou canst the sweetest fruit his wormwood gather, then look
for evermore to him.
Aria (tenor)
Erwäge wie sein blutgefärbter Rükken in allen Stükken dem Himmel gleiche geht, daran,
nachdem die Wasserwogen von unsrer Sündflut sich verzogen, der allerschönste
Regenbogen als Gottes Gnadenzeichen steht!
Aria
Consider how his bloodstained back brings heaven before our eyes. When the
floodwaters of our sin have receded, then appears the rainbow as a sign of God’s mercy.
Evangelist
Und die Kriegsknechte flochten eine Krone von Dornen und satzten sie auf sein Haupt
und legten ihm ein Purpurkleid an und sprachen:
Evangelist
And the soldiers platted a crown of thorns, and put it on his head, and they put on him
a purple robe, and said:
Chorus
Sie gegrüßet, lieber Jüdenkönig!
Chorus
Hail, King of the Jews!
Evangelist
Und gaben ihm Bakkenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen:
Evangelist
And they smote him with their hands. Pilate therefore went forth again, and saith unto
them,
Pilate
Sehet, ich führe ihn heraus zu euch, daß ihr erkennet, daß ich keine Schuld an ihm finde.
Pilate
Behold, I bring him forth to you, that ye may know that I find no fault in him.
Evangelist
Also ging Jesus heraus und trug eine Dornenkrone und Purpurkleid. Und er sprach zu
ihnen:
Evangelist
Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate
saith unto them:
Pilate
Sehet, welch ein Mensch!
Pilate
Behold the man!
Evangelist
Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen:
Evangelist
When the chief priests therefore and officers saw him, they cried out, saying,
Chorus
Kreuzige!
Chorus
Crucify him!
Evangelist
Pilatus sprach zu ihnen:
Evangelist
Pilate saith unto them:
Pilate
Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!
Pilate
Take ye him, and crucify him: for I find no fault in him.
Evangelist
Die Jüden antworteten ihm:
Evangelist
The Jews answered him:
Chorus
Wir haben ein Gesetz, und nach dem Gesetz soll er sterben; denn er hat sich selbst zu
Gottes Sohn gemacht.
Chorus
We have a law, and by our law he ought to die, because he made himself the Son of
God.
Evangelist
Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr und ging wieder hinein in das
Richthaus, und spricht zu Jesu:
Evangelist
When Pilate therefore heard that saying, he was the more afraid; And went again into
the judgment hall, and saith unto Jesus:
Pilate
Von wannen bist du?
Pilate
Whence art thou?
Evangelist
Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm:
Evangelist
But Jesus gave him no answer. Then saith Pilate unto him:
Pilate
Redest du nicht mit mir? Weißest du nicht, das ich Macht habe, dich zu kreuzigen, und
Macht habe, dich loszugeben?
Pilate
Speakest thou not unto me? Knowest thou not that I have power to crucify thee, and
have power to release thee?
Evangelist
Jesus antwortete:
Evangelist
Jesus answered:
Jesus
Du hättest keine Macht über mich, wenn sie dir nicht wäre von oben herab gegeben;
darum, der mich dir überantwortet hat, der hat’s größ’re Sünde.
Jesus
Thou couldest have no power at all against me, except it were given thee from above:
therefore he that delivered me unto thee hath the greater sin.
Evangelist
Von dem an trachtete Pilatus, wie er ihn losließe.
Evangelist
And from thenceforth Pilate sought to release him:
Chorale
Durch dein Gefängnis, Gottes Sohn,
muß uns die Freiheit kommen;
Dein Kerker ist der Gnadenthron,
die Freistatt aller Frommen;
denn gingst du nicht
die Knechtschaft ein,
müßt unsre Knechtschaft ewig sein.
Chorale
Thy bonds, O Son of God, most high,
have perfect freedom brought us;
thy prison is the divine throne,
the haven for all believers;
for if thou hadst not taken
the bondage of a slave,
we would for evermore be bound.
Evangelist
Die Jüden aber schrieen und sprachen:
Evangelist
But the Jews cried out, saying:
Chorus
Lässest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Könige
machet, der ist wider den Kaiser.
Chorus
If thou let this man go, thou art not Caesar’s friend: whosoever maketh himself a king
speaketh against Caesar.
Evangelist
Da Pilatus das Wort hörete, führete er Jesum heraus and satzte sich auf den Richtstuhl,
an der Stätte, die da heißet: Hochpflaster, auf Ebräisch aber: Gabbatha. Es war aber der
Rüsttag in Ostern um die sechste Stunde, und er spricht zu den Jüden:
Evangelist
When Pilate therefore heard that saying, he brought Jesus forth, and sat down in the
judgment seat in a place that is called the Pavement, but in the Hebrew, Gabbatha. And
it was the preparation of the passover, and about the sixth hour: and he saith unto the
Jews:
Pilate
Sehet, das ist euer König!
Pilate
Behold your King!
Evangelist
Sie schrieen aber:
Evangelist
But they cried out:
Chorus
Weg, weg mit dem, kreuzige ihn!
Chorus
Away, away with him, crucify him.
Evangelist
Spricht Pilatus zu ihnen:
Evangelist
Pilate saith unto them:
Pilate
Soll ich euren König kreuzigen?
Pilate
Shall I crucify your King?
Evangelist
Die Hohenpriester antworteten:
Evangelist
The chief priest answered
Chorus
Wir haben keinen König denn den Kaiser.
Chorus
We have no king but Caesar.
Evangelist
Da überantwortete er ihn, daß er gekreuziget würde. Sie nahmen aber Jesum und
führeten ihn hin. Und er trug sein Kreuz und ging hinaus zur Stätte, die da heißet
Schädelstätt, welche heißet auf Ebräisch: Golgatha.
Evangelist
Then delivered he him therefore unto them to be crucified. And they took Jesus, and led
him away. And he bearing his cross went forth into a place called the place of a skull,
which is called in the Hebrew Golgotha:
Aria (bass, chorus)
Eilt, ihr angefochtnen Seelen, geht aus euren Marterhöhlen — Wohin? — nach
Golgatha! Nehmet an des Glaubens Flügel, flieht — Wohin? — zum Kreuzeshügel,
eure Wohlfahrt blüht allda!
Aria
Haste, ye deeply wounded spirits, bring your heavy burdens. Whither? To Golgotha! Take,
O take the wings of faith and fly. Whither? To the Cross of Jesus: there shall relief and
healing be found.
Evangelist
Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber
mitten inne. Pilatus aber schrieb eine Überschrift und setzte sie auf das Kreuz, und
war geschrieben: JESUS VON NAZARETH, DER JÜDEN KÖNIG. Diese Überschrift lasen
viel Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es
war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen
die Hohenpriester der Jüden zu Pilato:
Evangelist
Where they crucified him, and two other with him, on either side one, and Jesus in the
midst. And Pilate wrote a title, and put it on the cross. And the writing was, JESUS OF
NAZARETH THE KING OF THE JEWS. This title then read many of the Jews: for the place
where Jesus was crucified was nigh to the city: and it was written in Hebrew, and Greek,
and Latin. Then said the chief priests of the Jews to Pilate:
Chorus
Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden
König.
Chorus
Write not, The King of the Jews; but that he said, I am King of the Jews.
Evangelist
Pilatus antwortet:
Evangelist
Pilate answered:
Pilate
Was ich geschrieben habe, das habe ich geschrieben.
Pilate
What I have written I have written.
Chorale
In meines Herzens Grunde,
dein Nam und Kreuz allein
funkelt all Zeit und Stunde,
drauf kann ich fröhlich sein.
Erschein mir in dem Bilde
zu Trost in meiner Not,
wie du, Herr Christ,
so milde dich hast geblut’t zu Tod!
Chorale
Within our inmost being
thy Name and Cross alone,
shines there now and for always
so that I can rejoice.
When I am in need
comfort and console me
with this picture of thee
so patiently enduring death itself.
Evangelist
Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider und
machten vier Teile, einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock.
Der Rock aber war ungenähet, von oben an gewürket durch und durch. Da
sprachen sie untereinander:
Evangelist
Then the soldiers, when they had crucified Jesus, took his garments, and made four
parts, to every soldier a part; and also his coat: now the coat was without seam, woven
from the top throughout. They said therefore among themselves:
Chorus
Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.
Chorus
Let us not rend it, but cast lots for it, whose it shall be:
Evangelist
Auf daß erfüllet würde die Schrift, die da saget: ‘Sie haben meine Kleider unter sich
geteilet und haben über meinen Rock das Los geworfen.’ Solches taten die
Kriegesknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter
Schwester, Maria, Kleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter
sahe und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter:
Evangelist
That the scripture might be fulfilled, which saith, They parted my raiment among them,
and for my vesture they did cast lots. These things therefore the soldiers did. Now there
stood by the crossof Jesus his mother, and his mother’s sister, Mary the wife of Cleophas,
and Mary Magdalene. When Jesus therefore saw his mother, and the disciple standing
by, whom he loved, he saith unto his mother:
Jesus
Weib, siehe, das ist dein Sohn!
Jesus
Woman, behold thy son!
Evangelist
Darnach spricht er zu dem Jünger:
Evangelist
Then saith he to the disciple:
Jesus
Siehe, das ist deine Mutter!
Jesus
Behold thy mother!
Chorale
Er nahm alles wohl
in acht in der letzten Stunde,
seine Mutter noch bedacht,
setzt ihr ein’ Vormunde.
Chorale
He thought of everything
in his last hour,
and gave his mother
one to protect her.
Thou too should rightly act,
loving God and man,
that thou canst die untroubled
and without anxiety.
O Mensch, mache Richtigkeit,
Gott und Menschen liebe,
stirb darauf ohn alles Leid,
und dich nicht betrübe!
Evangelist
Und von Stund an nahm sie der Jünger zu sich. Darnach, als Jesus wußte, daß schon
alles vollbracht war, daß die Schrift erfüllet würde, spricht er:
Evangelist
And from that hour that disciple took her unto his own home. After this, Jesus knowing
that all things were now accomplished, that the scripture might be fulfilled, saith:
Jesus
Mich dürstet!
Jesus
I thirst.
Evangelist
Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig and
legten ihn um einen Isopen, und hielten es ihm dar zum Munde. Da nun Jesus den
Essig genommen hatte, sprach er:
Evangelist
Now there was set a vessel full of vinegar: and they filled a sponge with vinegar, and put
it upon hyssop, and put it to his mouth. When Jesus therefore had received the vinegar,
he said:
Jesus
Es ist vollbracht!
Jesus
It is finished.
Aria (alto)
Es ist vollbracht! O Trost vor die gekränkten Seelen! Die Trauernacht läßt nun die
letzte Stunde zählen. Der Held aus Juda siegt mit Macht und schließt den Kampf. Es
ist vollbracht!
Aria
It is accomplished: what comfort for suffering human souls! I can see the end of the
night of sorrow. The hero from Judah ends his victorious fight. It is accomplished!
Evangelist
Und neiget das Haupt und verschied.
Evangelist
And he bowed his head, and gave up the ghost.
Aria & Chorale (bass, chorus)
Mein teurer Heiland, laß dich fragen, da du nunmehr ans Kreuz geschlagen und selbst
gesagt: Es ist vollbracht, bin ich vom Sterben freigemacht? Kann ich durch deine Pein
und Sterben das Himmelreich ererben? Ist aller Welt Erlösung da? Du kannst vor
Schmerzen zwar nichts sagen; doch neigest du das Haupt und sprichst stillschweigend:
ja.
Aria & Chorale
My dearest Saviour, let me ask thee, as thou art nailed to this cross and hast thyself said
it is accomplished, am I released from death?
Can I gain the heavenly kingdom through thy suffering and death? Is it that the whole
world is redeemed? Thou canst not speak for agony, but incline thy head to give a
speechless ‘Yes!’
Jesu, der du warest tot,
lebest nun ohn Ende,
in der letzten Todesnot
nirgend mich hinwende als zu dir,
der mich versühnt,
o du lieber Herre!
Gib mir nur, was du verdient,
mehr ich nicht begehre!
Jesus, thou wast dead
and now livest for ever,
bring me, in death’s extremity,
nowhere but to thee who hast paid
the debt I owe to God.
My true and faithful master,
give me only what thou hast won
for how could there be more to wish for?
Evangelist
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 täten sich auf, und
stunden auf viel Leiber der Heiligen.
Evangelist
And behold, the curtain of the temple was torn in two from top to bottom. There was
an earthquake, the rocks split, and the graves opened and many of God’s people arose
from sleep.
Arioso (Tenor)
Mein Herz, indem die ganze Welt bei Jesu Leiden gleichfalls leidet, die Sonne sich in
Trauer kleidet, der Vorhang reißt, der Fels zerfällt, die Erde bebt, die Gräber spalten, weil
sie den Schöpfer sehn erkalten, was willst du deines Ortes tun?
Arioso
My heart, while the whole world shares Jesus’ suffering, the sun in mourning, the veil
rent, the rocks split, the earth quaking, the graves opening, because they see the Creator
grow cold in death, what wilt thou do for thy part?
Aria (Soprano)
Zerfließe, mein Herze, in Fluten der Zähren dem Höchsten zu Ehren! Erzähle der Welt
und dem Himmel die Not: Dein Jesus ist tot!
Aria
Dissolve then, heart, in floods of tears as thy tribute to our God. Tell earth and heaven
the grievous news thy Jesus is dead!
Evangelist
Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben
den Sabbath über (denn desselbigen Sabbaths Tag war sehr gross), baten sie Pilatum,
daß ihre Beine gebrochen und sie abgenommen würden. Da kamen die Kriegsknechte
und brachen dem ersten die Beine und dem andern, der mit ihm gekreuziget war. Als
sie aber zu Jesu kamen, da sie sahen, daß er schon gestorben war, brachen sie ihm die
Beine nicht; sondern der Kriegsknechte einer eröffnete seine Seite mit einem Speer, und
also bald ging Blut und Wasser heraus. Und der das gesehen hat, der hat es bezeuget,
und sein Zeugnis ist wahr, und derselbige weiß, daß er die Wahrheit saget, auf daß ihr
gläubet. Denn solches ist geschehen, auf daß die Schrift erfüllet würde: ‘Ihr sollet ihm
kein Bein zerbrechen’. Und abermal spricht eine andere Schrift: ‘Sie werden sehen, in
welchen sie gestochen haben’.
Evangelist
The Jews therefore, because it was the preparation, that the bodies should not remain
upon the cross on the sabbath day, (for that sabbath day was an high day,) besought
Pilate that their legs might be broken, and that they might be taken away. Then came
the soldiers, and brake the legs of the first, and of the other which was crucified with
him. But when they came to Jesus, and saw that he was dead already, they brake not his
legs: But one of the soldiers with a spear pierced his side, and forthwith came there out
blood and water. And he that saw it bare record, and his record is true: and he knoweth
that he saith true, that ye might believe. For these things were done, that the scripture
should be fulfilled, A bone of him shall not be broken. And again another scripture saith,
They shall look on him whom they pierced.
Chorale
O hilf, Christe, Gottes Sohn, durch dein bitter Leiden,
daß wir dir stets untertan all Untugend meiden,
deinen Tod und sein Ursach fruchtbarlich bedenken,
dafür, wiewohl arm und schwach, dir Dankopfer schenken!
Chorale
Help us, Christ, the Son of God, as thy loyal followers,
to avoid wrongdoing and, with the thought
of thy death and its cause, to bring thee thanksgiving
for all that thou hast done, poor and weak though we may be.
Evangelist
Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu war (doch heimlich, aus
Furcht vor den Jüden), daß er möchte abnehmen den Leichnam Jesu. Und Pilatus
erlaubete es. Derowegen kam er und nahm den Leichnam Jesu herab. Es kam aber auch
Nikodemus, der vormals bei der Nacht zu Jesu kommen war, und brachte Myrrhen und
Aloen untereinander bei hundert Pfunden. Da nahmen sie den Leichnam Jesu und
bunden ihn in leinen Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war
aber an der Stätte, da er gekreuziget ward, ein Garten, und im Garten ein neu Grab, in
welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Rüsttags willen
der Jüden, dieweil das Grab nahe war.
Evangelist
And after this Joseph of Arimathaea, being a disciple of Jesus, but secretly for fear of the
Jews, besought Pilate that he might take away the body of Jesus: and Pilate gave him
leave. He came therefore, and took the body of Jesus. And there came also Nicodemus,
which at the first came to Jesus by night, and brought a mixture of myrrh and aloes,
about an hundred pound weight. Then took they the body of Jesus, and wound it in
linen clothes with the spices, as the manner of the Jews is to bury. Now in the place
where he was crucified there was a garden; and in the garden a new sepulchre, wherein
was never man yet laid. There laid they Jesus therefore because of the Jews’ preparation
day; for the sepulchre was nigh at hand.
Chorus
Ruht wohl, ihr heiligen Gebeine,
die ich nun weiter nicht beweine,
ruht wohl und bringt auch mich zur Ruh!
Das Grab, so euch bestimmet ist,
und ferner keine Not umschließt,
macht mir den Himmel auf
und schließt die Hölle zu.
Chorus
Lie in peace, sacred body,
for which I weep no longer,
and bring me also to my rest.
The grave that is thine and holds not further suffering,
for me opens Heaven and closes Hell.
Chorale
Ach Herr, laß dein lieb Engelein
am letzten End die Seele mein
in Abrahams Schoß tragen,
den Leib in sein’m Schlafkämmerlein
gar sanft, ohn ein’ge Qual und Pein
ruhn bis am jüngsten Tage!
Alsdenn vom Tod er wekke mich,
daß meine Augen sehen dich
in aller Freud, o Gottes Sohn,
mein Heiland und Genadenthron!
Herr Jesu Christ, erhöre mich,
ich will dich preisen ewiglich!
Chorale
O Lord, send thy cherubs
in my last hour to bear my soul
away to Abraham’s bosom;
let it rest there untouched by pain
until the last day.
Wake me then from Death’s sleep,
so that my joyful eyes may see thee,
the Son of God, my Saviour.
Grant me this
and I will glorify thee
throughout eternity.
Choir of King’s College, Cambridge
Founded in the fifteenth century, the Choir of
King’s College, Cambridge is one of the world’s
most renowned choral groups, with millions of
people worldwide tuning in every Christmas
Eve to A Festival of Nine Lessons and Carols.
While the choir exists primarily to sing the daily
services in King’s College Chapel, its worldwide
fame and reputation, enhanced by its many
recordings, has led to invitations to perform
around the globe. In recent seasons the Choir
has travelled throughout Europe and to the US,
South America, Australia and Asia-Pacific,
performing in venues from Amsterdam’s
Concertgebouw to Singapore’s Esplanade.
The AAM has collaborated with the Choir for
many years, and in 1999 the first AAM recording
with King’s was released — JS Bach’s Magnificat
on EMI. Since then the relationship has gone
from strength to strength, with a number of
acclaimed concerts (including annual Passion
performances) and recordings (including music
by Handel and Purcell). The Choir also appears
frequently with symphony orchestras: it has
performed with the BBC Symphony Orchestra
at the BBC Proms, and at the Barbican with the
LSO, and gives an annual Christmas concert
with the Philharmonia Orchestra at the Royal
Albert Hall. The Choir’s recording output
includes a Grammy-nominated recording of
Rachmaninov’s Liturgy of St John Chrysostom.
The Choir owes its existence to King Henry VI,
who also built the college chapel. As the preeminent representative of the great British
church music tradition, the Choir regards the
singing of the daily services as its raison d’être,
and these are an important part of the lives of
its sixteen choristers, fourteen choral scholars
and two organ scholars.
Chorister
Alexander Banwell
William Crane
Laurence Cummins
Joshua Curtis
Andreas Eccles
Williams
George Gibbon
William Hirtzel
Christopher Howells
Benjamin Lee
Tim Manley
Rupert Peacock
Juhwan Sohn
George Wimpeney
Joseph Wong
Peter Wood
Alto
Cameron Foote
James Neville
Tom Recknell
Oliver El-Holiby
Feargal MostynWilliams
Peter Oakley
Tenor
Matthew Sandy
Alexander Stobbs
Thomas Crow
David Bagnall
Ruairi Bowen
Bass
Toby Young
David Cane
Benjamin Goble
Daniel D’Souza
Benedict Oakley
Robert Stephen
Organ Scholar
Ben-San Lau
Parker Ramsay
Stephen Cleobury conductor
Stephen Cleobury is Director of Music at King’s
College, Cambridge and has in recent years
conducted many concerts and recordings in
collaboration with the AAM. Perhaps the most
exciting project to date was the world's first-ever
live transmission of a choral concert — Handel’s
Messiah — into cinemas across Europe and North
America.
Stephen works within a broad range of music, from
Gregorian chant to newly-composed works. He has
particularly championed contemporary music, and
at King’s has annually commissioned a carol for A
Festival of Nine Lessons and Carols. In March 2005
he instigated the first Easter Festival at King’s — in
which the AAM has played a prominent part, not
least in the annual performance of one of JS Bach’s
Passions with the College Choir.
The many premieres Stephen has given with the
BBC Singers include Giles Swayne’s Havoc at the Royal Albert Hall at the Proms and Edward Cowie’s
Gaia, both with the Endymion Ensemble. In 2004, also at the Proms, he gave the British premiere of
Harrison Birtwistle’s Ring Dance of the Nazarene.
He frequently appears in this country and abroad as a conductor, leader of conducting workshops and
solo organist, in venues ranging from Haderslev Cathedral in Denmark to Salt Lake's LDS Conference
Center.
Andrew Kennedy Evangelist
Andrew Kennedy studied at King's College, Cambridge and the Royal College of Music in
London. He was a member of the Young Artists Programme at the Royal Opera House,
Covent Garden, and of BBC Radio 3’s New Generation Artists Scheme.
Andrew has appeared on the stages of ENO, the Royal Opera House, Glyndebourne
and La Scala in performances of repertoire from Mozart to Britten. In concert he has
performed Finzi’s Intimations of Immortality with the BBC Symphony Orchestra, and
Elgar’s Spirit of England at the Last Night of the BBC Proms in 2007. Equally passionate about song
repertoire, Andrew gives numerous recitals in Europe and the UK and appears regularly with the pianists
Julius Drake, Roger Vignoles, Iain Burnside and Malcolm Martineau.
Andrew's fast-growing discography includes four solo albums: ‘Strauss Songs’ with Roger Vignoles;
‘On Wenlock Edge’ with the Dante Quartet and Simon Crawford Philips; ‘The Dark Pastoral’ with Julius
Drake and Simon Russell Beale; and ‘The Curlew’ with Simon Lepper.
Andrew has won numerous prizes and awards, including the 2005 BBC Cardiff Singer of the World
Rosenblatt Recital Prize. He is a Borletti-Buitoni Trust Award winner and he won the prestigious Royal
Philharmonic Society Young Artists' Award in 2006.
Soloists
Elin Manahan Thomas soprano
Born in Swansea, Elin read Anglo-Saxon, Norse and Celtic at Clare College, Cambridge,
before moving to the musical world. Her debut album Eternal Light entered the classical
charts in 2007 at number two, and her recording of Pergolesi’s Stabat Mater with
Florilegium was BBC Music Magazine’s Choice of the Month in 2010.
Elin is the first singer ever to record JS Bach’s ‘Alles mit Gott’, a birthday ode written
in 1713 and discovered in 2005. Other recent performances include John Blow’s Venus
and Adonis in the Wigmore Hall; a British tour performing Handel with the AAM; solo recitals in the
Cheltenham, Chester and Canterbury Festivals; Fauré’s Requiem with the Royal Philharmonic Orchestra;
and Vivaldi’s Gloria at Snape Maltings with the City of London Sinfonia.
Elin’s operatic appearances range from Belinda in Dido and Aeneas with OAE to Berlioz’ Les Troyens.
She is also greatly in demand as a presenter and broadcaster, both in English and in Welsh, for which she
has twice been nominated for a BAFTA. She also hosts a weekly classical music show for Radio Cymru.
James Laing counter-tenor
James Laing was a choral scholar at Trinity College, Cambridge and studied at the Royal
College of Music with Robin Blaze.
Since then he has made appearances with, among others, the Classical Opera
Company, the Early Opera Company, Glyndebourne Festival Opera and Opera North. His
repertoire ranges from Purcell’s Dido and Aeneas to Jonathan Dove’s The Adventures of
Pinocchio, and he has appeared in concert with, among others, the City of London
Sinfonia, the Hallé, the Irish Chamber Orchestra, and, further afield, at the Blumental International Music
Festival in Israel and the William Byrd Festival in the USA.
James has recently performed with Garsington Opera as Zelim in Vivaldi’s La verita in cimento, as
Tolomeo in Handel’s Giulio Cesare for Opera North, Alessandro in Handel’s Tolomeo for English Touring
Opera and Orfeo in Gluck’s Orfeo ed Euridice with The Cannons Scholars at St John’s Smith Square. He sang
at Carnegie Hall with the Atlanta Symphony Orchestra as part of the Spring for Music festival.
James’ performance in The Adventures of Pinocchio can be seen on Opus Arte DVD; and his
recordings include Jonathan Dove’s Tobias and the Angel on Chandos.
Andrew Tortise tenor
Andrew Tortise was a choral scholar at Wells Cathedral and Trinity College, Cambridge.
Whilst at Cambridge he was active as both a tenor soloist and a piano accompanist.
Andrew made his opera debut in Paris at the Théâtre des Champs-Élysée as Apollo
in Semele in 2004, and recent appearances have included the lead tenor role in Mernier’s
Frühlings Erwachen at La Monnaie; Lucano in Poppea conducted by Emmanuelle Haïm;
the tenor arias in JS Bach’s St Matthew Passion in a new staged version by Katie Mitchell
for Glyndebourne Festival Opera; and Robert in David Sawyer’s new opera Skin Deep for Opera North and
the Bregenz Festival.
On the concert platform he has sung Haydn’s The Seasons for the Huddersfield Choral Society with
Martyn Brabbins; Mozart’s Requiem for the Philharmonia Orchestra; Berlioz’s L’Enfance du Christ for ECO;
and Britten’s Serenade for Tenor, Horn and Strings with the AAM. He has appeared on tour with Sir John
Eliot Gardiner singing Purcell and Monteverdi, and with Richard Egarr and the Orchestra of the Age of the
Enlightenment singing Messiah.
Andrew’s recordings include Buxtehude’s Membra Jesu Nostri for the Netherlands Bach Society,
which was Gramophone Magazine’s Editor’s Choice and awarded the Diapason d’Or.
Marcus Farnsworth bass
Marcus Farnsworth is currently on the opera course at the Royal Academy of Music.
Among other accolades, he has been awarded the Sir Thomas Armstrong Prize and first
prize in the 2009 Wigmore Hall International Song Competition.
Marcus’ recent concert appearances include Handel’s Messiah with Sir David
Wilcocks at the Royal Albert Hall, Handel’s Saul, Mozart’s Requiem and Rossini’s Petite
Messe Solennelle. His performances of music by JS Bach include the Christmas Oratorio,
Magnificat and Mass in B Minor.
Marcus recently appeared in a recital at St John’s Smith Square as part of Graham Johnson’s Young
Songmakers Almanac, and gave a joint recital with Sarah Connolly at the Oxford Lieder Festival.
Current and future plans include Guglielmo in Mozart’s Così fan tutte for the Royal Academy of
Music and, as part of the Wigmore Hall Britten Festival in 2012, Tit for Tat with Malcolm Martineau and
Canticles with Julius Drake and Mark Padmore. He will also give recitals as part of Julius Drake’s Schumann
Week at Middle Temple, London; at the National Portrait Gallery with Simon Lepper; and at the Oxford
Lieder and Aldeburgh Festivals.
Ashley Riches Pilate
Ashley Riches was a member of the Choir of King’s College, Cambridge under Stephen
Cleobury, and he is currently studying as a scholar on the opera course at the Guildhall
School of Music and Drama. His many awards include a Sybil Tutton Award administrated
by the Musicians Benevolent Fund, an award from the Countess of Munster Musical Trust,
the Myra Verney Recital Prize from the Worshipful Company of Musicians and the John
Hosier Award. In 2009 he received an Ian Fleming award from the Musicians Benevolent
Fund and was the winner of the Guildhall School Aria Competition.
David Wilson-Johnson Christ
The British baritone David Wilson-Johnson was born in Northampton and studied at the
Royal Academy of Music in London, having also read Modern Languages at St
Catharine's College, Cambridge. Over a career spanning thirty years he has sung under
many distinguished conductors including Pierre Boulez, Frans Brüggen, Nikolaus
Harnoncourt, Gustav Leonhardt, Sir Charles Mackerras, André Previn and Sir Simon Rattle.
David’s operatic appearances include Boris Godunov, Arianna, Cosí fan tutte and Die
Zauberflöte (all at the Royal Opera House, Covent Garden); Billy Budd (ENO, ROH, Opera Bastille); Tristan
und Isolde (Monte Carlo); and Sir Michael Tippett's A Midsummer Marriage and Messiaen's St François
d'Assise for television.
In recent years he has appeared at the BBC Proms in Tavener’s The Whale and in the title role of
Tippett’s King Priam, as well as appearances in A Child of our Time with the Royal Philharmonic Orchestra
and, with Charles Dutoit, in Berlioz’ Roméo et Juliette with the Philadelphia Orchestra and La Damnation de
Faust with the Chicago Symphony Orchestra.
His discography combines the traditional — JS Bach with Gustav Leonhardt and Carl Maria Giulini,
Beethoven with Sir Charles Mackerras and Schoenberg with Oliver Knussen — with the contemporary —
including Tubular Bells with Mike Oldfield (as part of Angel Choir and Bootleg Chorus), and the film
Goodbye to Broad Street.
Academy of Ancient Music
Back in 1973, most orchestras played old music in
a modern style. Centuries of change had eroded
the sound-worlds known to Bach, Handel, Haydn
and Mozart: the instruments were different; the
pitch was different; the number of players was
different; the very essence and spirit of
performances was different.
But change was in the air. Wouldn’t it be
wonderful, people asked, if we could turn the
clock back; if we could find out more about
composers’ original intentions and get closer to
the style in which music was originally
performed? This was the spirit in which
Christopher Hogwood founded the AAM. It was
revolutionary. Centuries of convention were cut
away and baroque and classical masterworks
were heard anew.
succeeded Hogwood in 2006. In his first four years
as Music Director his recordings with the orchestra
have won the Edison, Gramophone and MIDEM
Awards; and he has directed hundreds of
performances across four continents. The
orchestra continues to work with a roster of guest
directors including Pavlo Beznosiuk, Giuliano
Carmignola, Paul Goodwin, Stephen Layton and
Masaaki Suzuki, ensuring that new ideas and
approaches continually inspire the group. In 2009
the AAM made history with the world’s first-ever
live choral “cinecast”: its performance of Handel’s
Messiah was beamed in real time from King’s
College Chapel, Cambridge to tens of thousands of
people in over 250 cities around the globe.
“A band stuffed with the superstars of the
historically-informed style of playing”
THE HERALD OCTOBER 2010
The stringed instruments in Hogwood’s new
orchestra had strings made of animal gut, not
steel. The trumpets had no valves. The violins
and violas didn’t have chin-rests, and the cellists
gripped their instruments between their legs
rather than resting them on the floor. It wasn’t
just the instruments or the sound of the music
which changed, though; it was how it felt. AAM
performances were full of energy and passion
and joy.
From these beginnings, one of the world’s great
orchestras was born. Over the next three
decades the AAM’s fame spread to every corner
of the globe as it built up a celebrated
discography of well over 250 CDs — Brit- and
Grammy-award-winning recordings of the great
baroque masterworks; opera releases starring
Cecilia Bartoli, Dame Emma Kirkby and Dame
Joan Sutherland; pioneering cycles of the Mozart
and Beethoven symphonies. It performed live on
every continent except Antarctica, inspiring music
lovers worldwide with the passion and the power
of its music-making.
Richard Egarr — a leading light in the next
generation of early music specialists —
Today, the AAM’s concert series in London and
Cambridge lies at the heart of its work. This
season’s programme is based around The Bach
Dynasty — a major concert series exploring the
music of JS Bach and his many composer-relatives.
Other highlights include Mozart’s early opera La
Finta Giardiniera at the Barbican, and an intriguing
programme showcasing the little-known baroque
and classical music of South America. As well as
tonight’s performance with the Choir of King’s
College, Cambridge, this season the orchestra
collaborates with artists including James Gilchrist,
Rosemary Joshua, Elizabeth Watts, Steven Isserlis
and Karina Gauvin.
The AAM’s international touring schedule in 2010-11
is as wide-ranging as it has ever been. Among this
year’s highlights are performances of JS Bach’s
Brandenburg Concertos and Haydn’s The Creation at
the Shanghai Concert Hall and in Perth, Australia;
concerts with the star Korean soprano Sumi Jo at
the National Centre for the Performing Arts in Beijing
and around Singapore, South Korea and Taiwan; and
performances in leading European venues including
the Concertgebouw in Amsterdam and the Théatre
des Champs-Elysées in Paris.
Violin I
Rodolfo Richter (d. viola
d’amore)*
Bojan Čičić
Rebecca Livermore
Claire Duff
Liz MacCarthy
Violin II
William Thorp (d. viola
d’amore)
Joanna Lawrence
Iona Davies
Persephone Gibbs
Viola
Rachel Byrt
Marina Ascherson*
Lute
William Carter
Cello
Joseph Crouch*
Imogen Seth-Smith*
Viola da gamba
Reiko Ichise
Double bass
Judith Evans
Organ
Alastair Ross
Flute
Rachel Brown*
Guy Williams
*Sponsored chairs
Leader
Lord and Lady Magan
Principal cello
Dr Christopher and
Lady Juliet Tadgell
Principal flute
Christopher and Phillida Purvis
Oboe
Katharina Spreckelsen
Lars Henriksson
Sub-principal viola
Sir Nicholas and Lady Goodison
Bassoon
Siona Spillett
Sub-principal cello
Newby Trust Ltd
In
“ profile
Rachel Brown flute
Easter is often the busiest time of the year for many baroque
musicians, but it’s also a time for musical and spiritual enrichment
and refreshment. My first ever professional work was playing in JS
Bach’s St Matthew Passion, and the thrill of being immersed in such
rich sounds and being so moved sends a shiver down my spine even
now. I can’t forget the freezing cold churches where I could see my
breath, or the sun streaming in so intensely at St John’s, Smith Square
that a lady in the front row fainted in the heat and James Gilchrist
(Evangelist) leaped off the stage and offered his services as a doctor!
But above all, the many cherished memories of Passions over the
years are the wonderful oboe da caccia arias and the gamba and
violin solos.
”
Board of Directors
Adam Broadbent
Kay Brock LVO DL
John Everett
Matthew Ferrey
John Grieves
Christopher Hogwood
CBE
Heather Jarman
Christopher Purvis CBE
(Chairman)
Dr Christopher Tadgell
Sarah Miles Williams
Development Board
Adam Broadbent
Kay Brock LVO DL
Delia Broke
Elizabeth de Friend
John Everett
Matthew Ferrey
John Grieves
Madelaine Gunders
Annie Norton
Christopher Purvis CBE
Chris Rocker
Terence Sinclair
Dr Christopher Tadgell
Madeleine Tattersall
Sarah Miles Williams
Alison Wisbeach
Music Director
Richard Egarr
Emeritus Director
Christopher Hogwood
CBE
Chief Executive
Michael Garvey
Orchestra Manager
Andrew Moore
External Relations Manager:
Communications
Toby Chadd
External Relations Manager:
Development
Anne Leone
Administration Manager
Samantha Fryer
Finance Manager
Elaine Hendrie
Head of External
Relations
Simon Fairclough
Supporting the Academy of Ancient Music
We live in a world of worthy causes. Why
support an orchestra like the AAM?
For centuries, people have understood the
importance of culture. The arts enrich society and
change lives. They help to make life worth living.
For centuries, people have also understood that
culture is costly, and that it can only thrive if
those who are in a position to sustain it do so
generously. The music which the AAM performs
only ever came into being because of a culture
of patronage: Monteverdi was supported for
much of his career by the Duke of Mantua; JS
Bach composed many of his instrumental
masterpieces while employed at the courts of
Weimar and Köthen; and Haydn’s 104
symphonies may never have been written had
he not enjoyed the backing of the Esterházy
family. The music of these great composers —
and of many others besides — stands as
testament not only to individual genius, but also
to support from generous individuals which
enabled them to realise their potential.
Over the centuries, successive generations of
philanthropists created and sustained the
orchestras and choirs which kept this music alive.
It is their legacy which we inherit today.
For a time, it seemed that the need for support
from generous individuals was a thing of the
past. For better or worse, those days are long
gone. Income from ticket sales will fall short of
covering the full cost of sustaining the orchestra
by at least £400,000 this year.
The future of ancient music lies in the hands of a
new generation of philanthropists.
The AAM Society
The AAM Society is the orchestra’s closest group
of regular supporters. Membership ranges from
£250–£20,000+ per annum — or from £100 per
annum for Young Supporters — given either as a
lump sum or by regular donation. Members’
contributions provide the vital core funding
required if the orchestra is to continue to
perform.
Society members enjoy a very close involvement
with the life of the AAM. After performances in
London, members dine with the director, soloists
and AAM musicians. They have a chance to
become a part of orchestral life behind the
scenes by sitting in on rehearsals for concerts and
recordings. At least once each year they have the
opportunity to accompany the orchestra on an
international tour — recently, for example, a
large group travelled with the AAM and Choir of
King’s College, Cambridge on a tour of the
Netherlands.
Those giving over £1,000 per year receive
invitations to regular recitals and other special
events held at the homes of fellow members.
Those giving over £5,000 per year have the
opportunity to sponsor a specific position in the
orchestra, and are invited to join the Council of
Benefactors, a forum which will meet annually to
receive an update on the orchestra’s performance
from the Chief Executive and Chairman.
Tax-efficient giving
Because the AAM is a charity, gifts from UK
taxpayers can be made in a tax-efficient manner
under the Gift Aid scheme. The eventual cost
of a gift to the donor can be as little as half
of its value after Gift Aid to the AAM. The
orchestra can claim back from HMRC the basic
rate tax already paid by the donor, and higher
and additional rate taxpayers can claim tax relief
on the difference between the basic rate and
the applicable rate of income tax.
Membership
level
Minimum
donation
Value of donation
to AAM after
Gift Aid
Final cost to
additional rate
(50%) taxpayer
after tax relief
Final cost to
higher rate (40%)
taxpayer
after tax relief
Equivalent
monthly
donation
Young Supporter
(under 40 only)
Donor
Benefactor
Principal Benefactor
Patron
Principal Patron
The Hogwood Circle
The Chairman’s Circle
£100
£125
£62.50
£75
£8.33
£250
£500
£1,000
£2,500
£5,000
£10,000
£20,000
£312.50
£625
£1,250
£3,125
£6,250
£12,500
£25,000
£156.25
£312.50
£625
£1,562.50
£3,125
£6,250
£12,500
£187.50
£375
£750
£1,875
£3,750
£7,500
£15,000
£20.83
£41.67
£83.33
£208.33
£416.67
£833.33
£1,666.67
Gifts of shares
Donors are encouraged to consider covering
the cost of their AAM Society membership by
making gifts of shares. Generous tax incentives
are available to individuals who support
charities in this manner. Donors are able to
claim income tax relief on the value of shares
and securities donated, and are also exempt
from any tax on capital gains that would have
arisen if the shares had been sold. In some
circumstances the cost of the gift could be
under 50% of the eventual value to the AAM.
More information is available from the Head of
External Relations, Simon Fairclough, on 01223
301509 or [email protected].
How to join
To join the AAM Society, please complete and
return the form on page 21 of this booklet.
Leaving a legacy
Over the last four decades the Academy of
Ancient Music has brought joy and inspiration
to millions of people. Our aim over the next is
to begin to build up an endowment fund
which will enable the orchestra to do so in
perpetuity.
Leaving a legacy is one of the most important
and enduring ways in which you can support
the AAM. Whether you give £5,000 or
£5 million, your bequest will have a real
impact in enabling the AAM to keep the
music of the baroque and classical periods
alive, and to enrich the lives of music lovers
for generations to come.
Legacies are highly tax efficient: the AAM’s
charitable status means that gifts are exempt
from Inheritance Tax, and any legacy you
bequeath may also reduce the overall tax
liability due on your estate.
Should you find yourself a beneficiary under a
will, you may also wish to consider
transferring part of your inheritance to the
AAM using a Deed of Variation. Amounts
transferred in this manner become freed of
any Inheritance Tax otherwise due, affording
the opportunity for the AAM to benefit from
your generosity during your lifetime.
The Head of External Relations, Simon
Fairclough, is always happy to talk informally
and in confidence with anyone considering
making provision for the AAM in their will. He
can be contacted on 01223 301509 or
[email protected].
AAM Funders & Supporters
The AAM is indebted to the following trusts, companies, public
bodies and individuals for their support of the orchestra’s work:
AAM Business Club
Cambridge University Press
Kleinwort Benson
Royal Bank of Canada
CHK Charities Ltd
Dunard Fund
John Ellerman Foundation
Esmée Fairbairn Foundation
Fidelity UK Foundation
Goldsmiths’ Company Charity
The Idlewild Trust
The Michael Marks Charitable Trust
Newby Trust Ltd
Sir Siegmund Warburg’s Voluntary
Settlement
Anthony Travis Charitable Trust
Arts Council England through the
Sustain programme
Orchestras Live
Cambridge City Council
The AAM Society
Special gifts
The Academy of Ancient Music extends its
grateful thanks to Lady Sainsbury of Turville,
who has supported the orchestra’s work at a
particularly significant level this year.
(Donations £20,000–£49,999 per annum)
CHK Charities Ltd
Dunard Fund
The Hogwood Circle
(Donations £10,000 - £19,999 per annum)
Matthew Ferrey
Lord and Lady Magan
Christopher and Phillida Purvis *
Mrs Julia Rosier
Dr Christopher and Lady Juliet Tadgell
Lady Linda Wong Davies (KT Wong Foundation)
Principal Patrons
(Donations £5,000 – £9,999 per annum)
Sir Nicholas and Lady Goodison *
Richard and Elena Bridges
Christopher Hogwood CBE *
Mrs Sheila Mitchell
Newby Trust Ltd *
Chris Rocker and Alison Wisbeach
Terence and Sian Sinclair
and other anonymous Principal Patrons
Patrons
Adam and Sara Broadbent
Mr and Mrs Graham Brown
Richard and Elizabeth de Friend
Mr and Mrs JE Everett
John and Ann Grieves
John and Joyce Reeve
Mark West
Sarah and Andrew Williams
and other anonymous Patrons
Principal Benefactors
Lady Alexander of Weedon
George and Kay Brock
Mrs D Broke
Clive and Helena Butler
Jo and Keren Butler
Sir Charles Chadwyck-Healey Bt
Kate Donaghy
The Hon Simon Eccles
Elma Hawkins and Charles Richter
Lord Hindlip
John McFadden and Lisa Kabnick *
Mark and Liza Loveday
Mr and Mrs C Norton
Lionel and Lynn Persey
Nigel and Hilary Pye *
Mr and Mrs Charles Rawlinson
Sir Konrad and Lady Schiemann *
JG Stanford
John and Madeleine Tattersall
Marcellus and Katharine Taylor-Jones
Stephen Thomas
Mrs R Wilson Stephens
Charles Woodward
and other anonymous Principal Benefactors
Benefactors
(Donations £500 – £999)
Maureen Acland OBE *
Dr Aileen Adams CBE
Bill and Sue Blyth
Claire Brisby and John Brisby QC *
Mr and Mrs Edward Davies-Gilbert
Charles Dumas
Mr and Mrs Jean-Marie Eveillard
Simon Fairclough
Marshall Field
Michael and Michele Foot
Andrew and Wendy Gairdner
William Gibson
The Hon Mr and Mrs Philip Havers
Professor Sean Hilton
Dr and Mrs G and W Hoffman
Heather Jarman *
David and Linda Lakhdhir
Susan Latham
Tessa Mayhew
Mr and Mrs Hideto Nakahara
Rodney and Kusum Nelson-Jones
Nick and Margaret Parker
Timothy and Maren Robinson
Bruno Schroder and Family
Peter Thomson
Peter and Margaret Wynn
Julia Yorke
and other anonymous Benefactors
Donors
(Donations £250 – £499)
Angela and Roderick Ashby-Johnson
Elisabeth and Bob Boas *
Mrs Nicky Brown
Dr and Mrs S Challah
David and Elizabeth Challen
Stephen and Debbie Dance
Derek and Mary Draper
Beatrice and Charles Goldie
Steven and Madelaine Gunders
Gemma and Lewis Morris Hall
Mrs Helen Higgs
Lord and Lady Jenkin of Roding
Alison Knocker
Richard Lockwood
Yvonne de la Praudière
Robin and Jane Raw
Annabel and Martin Randall
Arthur L Rebell and Susan B Cohen
Michael and Giustina Ryan
Miss E M Schlossmann
Michael Smith
Rt Hon Sir Murray Stuart-Smith *
Robin Vousden
Pippa Wicks
Paul F. Wilkinson and Associates Inc.
and other anonymous Donors
* denotes founder member
Members of the AAM Bach Patrons
Lady Alexander of Weedon
Richard and Elena Bridges
Mr and Mrs Graham Brown
Jo and Keren Butler
CHK Charities Ltd
Elizabeth de Friend
Matthew Ferrey
Dunard Fund
The Hon Simon Eccles
Professor Sean Hilton
Graham and Amanda Hutton
Mark and Lisa Loveday
Mrs Sheila Mitchell
Mr and Mrs Charles Rawlinson
John and Joyce Reeve
Dr Christopher and Lady Juliet Tadgell
John and Madeleine Tattersall
Stephen Thomas
Mark West
Charles Woodward
Cambridge Bach Supporters
Cambridge Bach Friends
and other anonymous AAM Bach Patrons
Musical Revolutionaries
Cottisford Trust
William Gibson
Michael and Giustina Ryan
Robin Vousden
Join the AAM Society
I would like to join the AAM Society
I would like to give membership of the AAM Society to
someone else as a gift
Your details
Name: ........................................................................................................................................
Address: ....................................................................................................................................
........................................................................................................................................................
Telephone: ..............................................................................................................................
Email: ..........................................................................................................................................
Gift membership — member’s details
Please complete this section only if you are giving Society
membership to someone else as a gift.
Member’s name: ................................................................................................................
Three-year pledge
By pledging to support the AAM over a three-year period, you can
help the orchestra to plan for the future with confidence.
Please tick here if you are able to pledge to support the
orchestra at this level for three years.
Leaving a legacy
Please tick here if you would be willing to receive information
about remembering the AAM in your will.
Matched giving
My firm operates a matched giving policy. Please contact me
to discuss this further.
Gift Aid declaration
Please complete this section if you pay UK income tax and/or
capital gains tax at least equal to the tax which the AAM will
reclaim on your donations in the appropriate tax year.
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Lufthansa Festival
of Baroque Music
in association with
Rolls-Royce plc
Hanseatic to Adriatic
Journey through the Heart of Europe
13–21 May 2011 | St. John’s, Smith Square | Westminster Abbey
Bach : Mass in B minor
Friday 13 May • 7.30pm • St. John’s, Smith Square
Collegium Vocale Gent – Philippe Herreweghe
Hamburg : Queen of Cities
Concertos and sonatas by Bach, Reincken and Telemann
Saturday 14 May • 7.45pm • St. John’s, Smith Square
The English Concert – Mahan Esfahani
Life and Soul : Songs and sonatas from the German-speaking lands
Sunday 15 May • 7.30pm • St. John’s, Smith Square
Robin Blaze – Theatre of the Ayre
Buxtehude : Membra Jesu nostri
Tuesday 17 May • 7.30pm • St. John’s, Smith Square
Cantus Cölln – Konrad Junghänel
Music from Salzburg
Biber : Requiem in A major
Thursday 19 May • 7.00pm • Westminster Abbey
The Choir of Westminster Abbey – St. James’s Baroque – James O’Donnell
Intimate Bach : sonatas and suites for viola da gamba, lute and harpsichord
Friday 20 May • 7.00pm • St. John’s, Smith Square
Hille Perl – Lee Santana – Patrick Ayrton
Vivaldi and the birth of the concerto
Saturday 21 May • 7.30pm • St. John’s, Smith Square
Sonatori de la Gioiosa Marca
www.lufthansafestival.org.uk | www.sjss.org.uk | 020 7222 1061
All tickets from the Box Office, St. John’s, Smith Square, London SW1P 3HA
“... soulful and searching, his opulent and beautiful countertenor
The Independent
at the service of heartfelt musicality.”
“Ombra Felice”
Le nozze di
Figaro
Mozart’s arias for countertenor
Cadogan Hall
Wigmore Hall
15 June 2011, 7.00 pm
21 September 2011, 7.30 pm
Rosemary Joshua
Rebecca Evans
Mark Stone
Matthew Rose
Lawrence Zazzo (countertenor)
Orchestra of the Classical Opera Company
Ian Page (conductor)
Ian Page
www.classicalopera.co.uk
Cadogan
Cadogan Hall,
Hall, London
London SW1
SW1
Bookings:
Bookings: 020
020 7730
7730 4500
4500
www.cadoganhall.com
www.cadoganhall.com
www.classicalopera.co.uk
Wigmorre H
Wigmore
Hall,
all, London
London W1
Bookings
Bookings from
from 1 May:
May: 0
20 7
935 2141
020
7935
www
www.wigmore-hall.org.uk
.wigmore-hall.org.uk
Become a Musical Revolutionary!
“I’m proud to announce that at the heart of the AAM’s music-making in 2011–12
will be Musical Revolutions, a series of ten concerts exploring unique periods of
history when the face of music was completely changed. Ranging from the
dawn of the baroque period to the early days of Romanticism, these
programmes showcase the fifty-year periods
when, to thrilling effect, musical forms
including the symphony and the concerto emerged and
evolved. With AAM debuts by superb young artists including
Alina Ibragimova, Shunske Sato and Jonathan Cohen, Musical
Revolutions is sure to be truly stimulating and memorable.”
Richard Egarr Music Director
MONTEVERDI
LULLY
BIBER
MOZART
HAYDN
BEETHOVEN
PAGANINI
Due to the scale and number of performances and the artists involved, the cost of staging this special
series will be £75,000 over and above the regular cost of the AAM’s London and Cambridge season.
Donations of any size will make a real difference in enabling the series to go ahead. Those supporting
the series with gifts of over £250 will become AAM Musical Revolutionaries, and will enjoy an
especially close involvement with the series. Contributions may be made to support the series as a
whole, or to support one of our priority areas, which include:
Provision of scholarly sheet music editions
Support for free pre-concert talks
Provision of free programme booklets, each
including a newly-commissioned scholarly essay
Support of 30 AAMplify tickets per concert
Provision of keyboard instrument appropriate
to the repertoire being performed
Support for soloists Anna Prohaska,
James Gilchrist and Robert Murray
Alina Ibragimova’s debut performances with the AAM
Shunske Sato's debut performances with the AAM
Jonathan Cohen's debut performances with the AAM
Richard Egarr's involvement in the series
Supporting the Choir of the AAM's involvement
Supporting the AAM players' involvement in
performances of Beethoven and Paganini
Support for the AAM players' involvement
in the other concerts
£250 per concert
£250 per concert
£2,500 for ten concerts
£450 per concert
£500 per concert
£750 per concert
£6,000 for eight concerts
£1,500 per soloist
per concert
£2,000 per concert
£2,000 per concert
£2,000 per concert
£2,000 per concert
£3,500 per concert
£9,000 for three soloists
for two concerts
£4,000 for two concerts
£12,000 for six concerts
£14,000 per concert £28,000 for two concerts
£4,000 per concert
To find out more about supporting the series, please contact:
Anne Leone
External Relations Manager: Development
01223 341093 [email protected]
£32,000 for eight concerts

Programme April 11_AAM programme Dec 2010

Transcrição

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