Orchestra of the Age of Enlightenment

Dear Festival Visitor

For the past few months, we have cherished the hope that in March 2022 we would organise a live festival once again. Today this dream really has become reality. It is with enormous pleasure that we welcome you, our public, to Klarafestival once again, the biggest broadcast festival in the country.

Enjoying music has always been a collective experience. We have all recently felt just how music today continues to fulfil this role in society. Concert halls are meeting places, collective listening posts where together we can celebrate, be amazed, make discoveries. Precisely that physical togetherness has inspired the motto for this edition: ‘Let’s stick together’.

With no less than 25 concerts in Brussels, Antwerp and Bruges, we present an equally diverse programme this year. As always, we bring the music world’s absolute best to Flanders, like piano legend Maurizio Pollini, the Bavarian State Orchestra and the Orchestra of the Age of Enlightenment. Come and listen to musical monuments such as Bach’s St John Passion, Campra’s Requiem or Stravinsky's Violin Concerto in D. But at Klarafestival you’ll just as well discover something new. Thus we have a youthful artistic team tackling Schnittke’s ballet Peer Gynt, director Luigi De Angelis takes on the music of Scarlatti, Pärt and Andriessen, and Les Tanneurs conjure up an artificial beach for the opera-performance Sun & Sea.

After 25 concerts at a variety of locations in Brussels, Antwerp and Bruges, we are back where it all began, here in the Henry Le Boeuf Hall in Bozar. With the inimitable Orchestra of the Age of Enlightenment, Mark Padmore gives us one of the masterpieces of western music: the St John Passion of Johann Sebastian Bach. In 1724, Bach made his Passion debut in Leipzig with this intense, unusually theatrical work. The central role for the chorus (the so-called ‘turba’, meaning ‘multitude’) provides the monologues with fervent and even brutal interventions. Padmore’s enactment of the St John Passion is remarkable not only for the outstanding cast. In his theatrical interpretation, the soloists and members of the orchestra interact with each other in such a way that the uproar from the multitude is quite literally at the heart of this Passion.

Finally it became possible again. Thank you for participating so generously and with such enthusiasm in Klarafestival 2022. I wish you a wonderful final concert.

Joost Fonteyne
director of Klarafestival

Johann Sebastian Bach (1685-1750) was born in Eisenach, joining a family with an extended musical tradition. After his education in Lüneburg Gymnasium, the young composer began working in Weimar (1703), before moving to Arnstadt (1703-1707) and, last of all, Mühlhausen (1707-1708). Then, from 1708 to 1717, he returned to the court in Weimar, where he earned his reputation as an expert organist and composer. At the court of Köthen, Bach had access to an amazing eighteen-piece orchestra, for which he wrote many concertos (including the six Brandenburg Concertos) and orchestra suites. For the soloists he composed sonatas, suites, pieces for two and three voices, and part one of Das wohltemperierte Klavier (The Well-tempered Clavier).

In 1723, Bach took over from Johann Kuhnau as the cantor in Leipzig's Thomaskirche, a position that he was to retain until his death in 1750. At the time, the role of cantor at St Thomas' involved a much wider range of tasks. Indeed, Bach was also Director Musices, musical director for the city of Leipzig: this meant he was not only required to manage the religious ceremonies in the Thomaskirche, but also the musical elements in the five other churches in Leipzig. Furthermore, as from 1729, and being a pedagogue associated with the Thomasschule, he also led the Collegium Musicum, the student orchestra that Telemann reformed in 1704 and named after himself. Together with the Collegium Musicum, Bach continued the tradition of weekly concerts in the coffee house belonging to Gottfried Zimmermann. 

The St John Passion was the first large-scale work, after Magnificat (1723), which Bach wrote for Leipzig. The work was created during the Good Friday vespers in 1724 in the Nikolaikirche. Indeed, a bequest from a leading Leipzig widow meant that, from then on, Good Friday was celebrated in the Thomaskirche and the Nikolaikirche alternately. While the actual vespers were significantly shortened to leave time for passion music (the opportunity for communal singing, psalm recitals, prayers upfront and in-between and the magnificat were all scrapped), the sermon still remained: between part one and two, people preached either about the entombment, or about rolling the stone in front of Christ's tomb and the guard at the tomb. The sermon did not fit the sequence in the chronological evolution of the story at all, however, since the audience was familiar with the passion story, the sermon should seen as a moment of reflection. 

The Thomasschule in Leipzig had an average of 55 students, who were divided into four choirs according to their abilities and experience. The two best ensembles were associated with the Thomas and Nikolaikirche respectively, where they took care of both the vocal and instrumental aspects in the weekly cantata services. On 9 March 1724, Bach was able to combine the two ensembles to create his St John Passion. Research by Joshua Rifkin and Andrew Parrott shows that the numbers in the choir and orchestra for both the passions and the weekly cantata services were much smaller than we tend to imagine: it is likely that the St John Passion (and also the St Matthew Passion in 1729) was rendered by only eight singers, of which four performed both the choir and the solo passages. 

The first signs of a sung passion story date back to the 4th century. In the 15th century, the first polyphonic passions appear, based entirely on the bible text of one of the four gospels. In the responsorial passion the part of the evangelist is performed by a soloist conveying the text as a recital. In the Motet Passion on the other hand, not only the words of Christ and the other characters, but also those of the evangelist are sung in a range of voices. As from the 17th century, passion composition seems almost exclusively Lutheran: after all, we witness a particular increase of passions in Germany, while Catholic composers indicate little interest in this genre. Influenced by opera and oratorio, the characters start to stand alone and the evangelist also gets a part that leaves behind the rigid recital tone. Around 1650, it becomes customary in Lutheran Germany to add moments of reflection of non-biblical texts to the original libretto. There is also a gradual rise in the number of concert instruments. This new form is known as oratorio passion. At the beginning of the 18th century, a second kind of passion emerges that, despite being based on the bible story, is given entirely new libretto: both Handel and Telemann composed a Passion oratorio to text by Barthold Heinrich Brockes. 

Bach's St John Passion is a passion oratorio: the original bible texts of the evangelist, Christ and the people are retained, but for the madrigal poetry in the arias and certain choir passages Bach turns to Der für die Sünde der Welt gemarterte und sterbende Jesus (The Story of Jesus, Suffering and Dying for the Sins of the World), a work from 1712 by the aforementioned Brockes. He also uses poetry by Christian Weise and Christian Heinrich Postel. Leipzig's new tradition in passion explains the rather fragmented libretto: after all, it was not until 1721 that Bach's predecessor, Johann Kuhnau, began performing a musical Passion during the Holy Week. Unlike the popular trend among other German composers, the passions by Kuhnau were based entirely on bible texts and thus leaned towards the tradition of the first half of the 17th century. In 1729, Bach opted for a more cohesive and flowing text: indeed, all the libretto in the St Matthew Passion is written by Christian Friedrich Picander. 

Bach reworked the St John Passion no less than four times: after its creation in 1724, new versions were to follow in 1725, 1730, 1739 and 1748/49. Bach reworked the score on each occasion. For example, in the version dated 1725, the St John Passion begins with “O Mensch, bewein dein Sünde groß” (O man, bewail thy sins so great), the choral element that later found its permanent home as the finale in part one of the St Matthew Passion. Some researchers suspect that Bach had already worked on a passion (which has since disappeared) in 1717: it is possible that “O Mensch, bewein dein Sünde groß” already appeared in this version, along with two alternative tenor arias which he also used in the John version of 1725. 

Compared to the St Matthew Passion, the St John Passion is not only significantly shorter, it also contains – even by comparison – few arias (namely eight arias and two ariosos compared to a grand total of fifteen arias and a duet in the St Matthew Passion). The eight arias are also real gems of rhetoric and poetry. In each case the composer chooses a different cast and a very specific character. The soprano aria “Ich folge dir gleichfalls” (I follow you likewise) voices the unconditional, almost naive loyalty of the apostle John to his master. In “Es ist vollbracht” (It is finished) on the other hand, the orchestra accompaniment plays in strictly punctuated patterns: this method was already used to announce disaster in the 17th century. With growing urgent the bass exhorts us in “Eilt, ihr angefochtnen Seelen” (Hurry, you tormented souls) to submit to the faith in Golgotha. In the St John Passion, Bach emphasises the dramatic progression of the story while, in Matthew, reflection is awarded a more significant role. This is why some modern evangelists have a slight preference for Bach's oldest passion: closing lines such as “und weinete bitterlich” (and wept bitterly) or “und geißelte ihm” (and whipped him) are prime examples of the masterly and dramatic way in which Bach colours the story. In both passions the Turba choruses play a significant role, along with the four-voice chorales. The best example is undoubtedly “Weg mit dem, kreuzige ihn” (Away with him, crucify him) in which the agitated people promote the crucifixion of Christ for fear of a few demagogues. 

There are many elements to explain why a modern audience continues to enjoy both of Bach's passions year after year. To start with, there is naturally the irresistible aesthetic attraction of the master's music. Then there is also the mystical aspect: the 18th-century texts by Brockes, Weise, Postel and Picander are based on insights from Medieval theology, a theology that deliberately goes in search of the intangible. Finally, the combination of this simple beauty, the sincere and straightforward emotion, the length of the work and the singing of what is unspeakable makes every passion performance a moment of catharsis and tranquillity. 

Steven Marien

Translation: Oneliner

Mark Padmore 

The British tenor, Mark Padmore, enjoys a flourishing international career that encompasses opera, concerts and recitals. He has also achieved considerable recognition for his poignant interpretations of the Evangelist in Bach’s Passions. In the 2021-2022 season, he is in residence at London's Wigmore Hall, where he will celebrate his artistic relationships with Till Fellner, Imogen Cooper and Paul Lewis. He will also be singing in a stage version of Britten's War Requiem in Barcelona and will be going on tour in the United States with Mitsuko Uchida.

Mary Bevan 

The British soprano, Mary Bevan, is a singer of international renown. She shares the podium with major conductors, orchestras and ensembles such as the London Philharmonic Orchestra and the City of Birmingham Symphony Orchestra. In the 2021-2022 season, she has sung in performances of works such as Haydn's Creation with the Academy of Ancient Music in the Barbican and she will be going on a European tour with the Basel Chamber Orchestra. She will also give song recitals at the Wigmore Hall, Carnegie Hall and in the Bolshoi Theatre.

Daisy Walford 

The British soprano, Daisy Walford, studied at the Trinity Laban Conservatoire of Music and Dance and is in high demand as a concert and oratorio singer. She works with world-famous ensembles such as The Tallis Scholars, The Sixteen and the Choir of the Age of Enlightenment. Her musical engagements have already taken her to some of Europe's most important concert halls, such as the Elbphilharmonie and the Philharmonie Luxembourg.

Paula Murrihy 

The Irish mezzo-soprano, Paula Murrihy, studied at the Conservatory of Music and Drama in Dublin and the New England Conservatory in Boston. She is an ensemble member of the Frankfurt opera, where she has performed roles such as Dido/ Dido and Aeneas, Octavian/ Der Rosenkavalier and the title role in Carmen. In the 2021-2022 season, her programme of performances will include The Composer/ Ariadne auf Naxos in the Gran Teatre del Liceu and the title role in Ariodante in the Bolshoi Theatre.

Laurence Kilsby 

The British tenor, Laurence Kilsby, who studied at the Royal College of Music in London, is in great demand as an opera and concert singer. His first appearance in 2O21-2022 will be in L’incoronazione di Poppea by Monteverdi. He will also perform in the Philharmonie de Paris, the Concertgebouw and the Théâtre des Champs-Elysées. He also appeared on The Call with the pianist, Malcolm Martineau. On that album, the master pianist accompanies a number of upcoming voices. 

Tom Robson 

The tenor, Tom Robson, trained at the Guildhall School of Music & Drama and studied with Brian Parsons and Janice Chapman. He also performs with major ensembles such as The Sixteen, The King’s Consort, Tenebrae Choir, The English Consort and The Orchestra of the Age of the Enlightenment. He is also in high demand for recitals and oratorios and has a love of the English Song. He is also Associate Lecturer in Music at the University of Chichester.

Raoul Steffani

The young Dutch baritone, Raoul Steffani, studied at the conservatoires of Vienna, Amsterdam and Tilburg. As a soloist, he has already worked with major ensembles such as the Concertgebouw Chamber Orchestra and the Camerata Salzburg. In the 2020-2021 season, he was an ensemble member at the Opéra National de Lyon, where he performed roles such as Papageno in Mozart's The Magic Flute, Aeneas in Dido and Aeneas. His second album, Robert and Clara Schumann: Love’s Spring with the mezzo-soprano, Magdalena Kožená and the pianist, Gerold Huber, was released in November 2021.

Jonathan Brown 

The Canadian bass, Jonathan Brown, studied at the University of Western Ontario and the University of Cambridge. He is in much demand as an opera singer and has performed roles such as that of Marcello in La bohème, Garibaldo in Rodelinda, Yamadori in Madame Butterfly at venues such as the Opéra de Lille, the Théâtre du Châtelet and the Opéra national du Rhin. He has built up special working relationships with Sir John Eliot Gardiner and Emmanuelle Haim.

Philip Tebb 

Philip Tebb studied music at Durham University and at the Royal College of Music and is an active performer on both the opera and concert stage. His appearances in major productions have included the role of Demetrius/ A Midsummer Night’s Dream, Father Trulove/ The Rake’s Progress and Schaunard/ La bohème in prominent opera houses in the United Kingdom. In addition, he regularly performs as a soloist in Bach's Passions, as well as in masses, oratorios and requiems by composers such as Mozart, Verdi and Mendelssohn.

ERSTER TEIL

Chor
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!

[EN]

PART ONE

Chorus
Lord, our ruler, whose fame
In every land is glorious!
  Show us, through your passion,
  That you, the true Son of God,
  Through all time,
  Even in the greatest humiliation,
  Have become transfigured!

2a. Evangelist
Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garte, 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 Facheln, Lampen und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:

Jesus
Wen suchet ihr?

Evangelist
Sie antworteten ihm:

2b. Chor
Jesum von Nazareth.

2c. Evangelist
Jesus spricht zu ihnen:

Jesus
Ich bin's.

Evangelist
Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bin's, wichen sie zurücke und fielen zu Boden. Da fragete er sie abermal:Jesus
 

Jesus
Wen suchet ihr?

Evangelist
Sie aber sprachen:

2d. Chor
Jesum von Nazareth.

2e. Evangelist
Jesus antwortete:

Jesus
Ich hab's euch gesagt, daß ich's sei, suchet ihr denn mich, so lasset diese gehen!

[EN]

2a. Evangelist
Jesus went with his disciples over the brook Cedron, where there was a garden, into which Jesus entered with his disciples. Judas, however, who betrayed him, also knew the place, for Jesus often met there with his disciples. Now Judas, having gathered a band of servants of the high priests and Pharisees, came there with torches, lamps, and weapons. Now Jesus, knowing all that would happen to him, went out and said to them:

Jesus
Whom do you seek?

Evangelist
They answered him:

2b. Chorus
Jesus of Nazareth.

2c. Evangelist
Jesus said to them:

Jesus
I am he.

Evangelist
Judas, however, who betrayed him, stood also with them. Now when Jesus said to them: I am he, they drew back and fell to the ground. Then he asked them again:

Jesus
Whom do you seek?

Evangelist
They said, however:

2d. Chorus
Jesus of Nazareth.

2e. Evangelist
Jesus answered:

Jesus
I have told you, that I am he, if you seek me, then let these go!

3. Choral
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.
("Herzliebster Jesus, was hast du verbrochen," verse 7)

[EN]

3. Chorale
O great love, O love beyond measure,
that brought you to this path of martyrdom!
I lived with the world in delight and joy,
and you had to suffer.

4a. Evangelist
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:

Jesus
Stecke dein Schwert in die Scheide! Soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat?

[EN]

4a. Evangelist
So that the word might be fulfilled, which he spoke: "I have lost none that you have given to me." Then Simon Peter, who had a sword, drew it out and struck at the servant of the high priest and cut off his right ear; and the servant's name was Malchus. Then Jesus said to Peter:

Jesus
Put your sword in its sheath! Shall I not drink the cup, which My Father has given to me?

5. Choral
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!
("Vater unser im Himmelreich," verse 4)

[EN]

5. Chorale
Your will be done, Lord God, likewise
on earth as in heaven.
Grant us patience in time of sorrow,
to be obedient in love and suffering;
check and guide all flesh and blood
that acts contrary to your will!

6. 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 was Kaiphas Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Juden riet, es wäre gut, daß ein Mensch würde umbracht für das Volk.

[EN]

6. Evangelist
The band, however, and the captain and the servants of the Jews took Jesus and bound him and led him first to Annas, who was the father-in-law of Caiaphas, the high priest that year. It was Caiaphas, however, who counselled the Jews, that it would be good for one man to be destroyed for the people.

7. Arie A
Von den Stricken meiner Sünden
Mich zu entbinden,
Wird mein Heil gebunden.
  Mich von allen Lasterbeulen
  Völlig zu heilen,
  Läßt er sich verwunden.

[EN]

7. Aria A
To untie me
from the knots of my sins,
my Savior is bound.
  To completely heal me
  of all blasphemous sores,
  he allows himself to be wounded.

8. Evangelist
Simon Petrus aber folgete Jesu nach und ein ander Jünger.

[EN]

8. Evangelist
Simon Peter however followed after Jesus with another disciple.

9. Arie S
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.

[EN]

9. Aria S
I follow you likewise with happy steps
and do not leave you,
my Life, my Light.
  Pursue your journey,
  and don't stop,
  continue to draw me on, to push me, to urge me.

10. Evangelist
Derselbige Jünger war dem Hohenpriester bekannt und ging mit Jesu hinein in des Hohenpriesters Palast. Petrus aber stund draußen für 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:

Magd
Bist du nicht dieses Menschen Jünger einer?

Evangelist
Er sprach:

Petrus
Ich bin's nicht.

Evangelist
Es stunden aber die Knechte und Deiner 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:

Jesus
Ich habe frei, öffentlich geredet für der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammenkommen, und habe nichts im Verborgenen 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.

Evangelist
Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesu einen Backenstreich und sprach:

Diener
Solltest du dem Hohenpriester also antworten?

Evangelist
Jesus aber antwortete:

Jesus
Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber recht geredt, was schlägest du mich?

[EN]

10. Evangelist
This same disciple was known to the high priest and went inside with Jesus in the high priest's palace. Peter however stood outside at the door. Then the other disciple, who was known to the high priest , went outside and spoke with the girl guarding the door and brought Peter inside. Then the maid, the doorkeeper, said to Peter:

Maid
Aren't you one of this man's disciples?

Evangelist
He said:

Peter
I am not.

Evangelist
However the soldiers and servants stood around and they had made a coal fire (for it was cold) and warmed themselves. Peter however stood with them and warmed himself. But the high priest questioned Jesus about His disciples and about his teachings. Jesus answered him:

Jesus
I have freely and openly spoken before the world. I have taught all the time in the synagogue and in the temple, where all Jews gather, and I have said nothing in secret. Why do you ask me about this? Ask those about it, who have heard what I said to them! Behold, these same people know what I have said.

Evangelist
As he was saying this, however, one of the servants who stood by gave Jesus a blow on his cheek and said:

Servant
Is this how you answer the high priest?

Evangelist
Jesus however answered:

Jesus
If I have spoken ill, then make it known that it is ill spoken; however if I spoke rightly, why do you strike me?

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

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.
("O Welt, sieh hier dein Leben," verses 3 and 4)

[EN]

11. Chorale
Who has struck you thus,
my Savior, and with torments
so evilly used you?
You are not at all a sinner
like us and our children,
You know nothing of transgressions.

I, I and my sins,
that can be found like the grains
of sand by the sea,
these have brought you
this misery that assails you,
and this tormenting martyrdom.

12a. Evangelist
Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich, da sprachen sie zu ihm:

12b. Chor
Bist du nicht seiner Jünger einer?

12c. Evangelist
Er leugnete aber und sprach:

Petrus
Ich bin's nicht.

Evangelist
Spricht des Hohenpriesters Knecht' einer, ein Gefreundter des, dem Petrus das Ohn abgehauen hatte:

Knecht
Sahe ich dich nicht im Garten bei ihm?

Evangelist
Da verleugenete Petrus abermal, und alsobald krähete der Hahn.
Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich.
(Matthew 26:75)

[EN]

12a. Evangelist
And Hannas send him bound to the high priest Caiaphas. Simon Peter stood and warmed himself, when they said to him:

12b. Chorus
Aren't you one of his disciples?

12c. Evangelist
He denied it however and said:

Peter
I am not.

Evangelist
One of the high priest's servants, a friend of the man whose ear Peter had cut off, said:

Servant
Didn't I see you in the garden with him?

Evangelist
Then Peter denied it again, and just then the cock crew.
Then Peter recalled Jesus' words and went out and wept bitterly.

13. Arie T
Ach, mein Sinn,
Wo willt du endlich hin,
Wo soll ich mich erquicken?
Bleib ich hier,
Oder wünsch ich mir
Berg und Hügel auf den Rücken?
Bei der Welt ist gar kein Rat,
Und im Herzen
Stehn die Schmerzen
Meiner Missetat,
Weil der Knecht den Herrn verleugnet hat.

[EN]

13. Aria T
Alas, my conscience,
where will you flee at last,
where shall I find refreshment?
Should I stay here,
or do I desire
mountain and hill at my back?
In all the world there is no counsel,
and in my heart
remains the pain
of my misdeed,
since the servant has denied the Lord.

14. Choral
Petrus, der nicht denkt zurück,
Seinen Gott verneinet,
Der doch auf ein' ernsten Blick
Bitterlichen weinet.
Jesu, blicke mich auch an,
Wenn ich nicht will büßen;
Wenn ich Böses hab getan,
Rühre mein Gewissen!
("Jesu Leiden, Pein und Tod," verse 10)

[EN]

14. Chorale
Peter, who did not recollect,
denied his God,
who yet after a serious glance
wept bitterly.
Jesus, look upon me also,
when I will not repent;
when I have done evil,
stir my conscience!

ZWEITER TEIL

15. Choral
Christus, der uns selig macht,
Kein Bös' hat begangen,
Der ward für uns in der Nacht
Als ein Dieb gefangen,
Geführt für gottlose Leut
Und fälschlich verklaget,
Verlacht, verhöhnt und verspeit,
Wie denn die Schrift saget.
("Christus, der uns selig macht," verse 1)

[EN]

PART TWO

15. Chorale
Christ, who makes us blessed,
committed no evil deed,
for us he was taken in the night
like a thief,
led before godless people
and falsely accused,
scorned, shamed, and spat upon,
as the Scripture says.

16a. Evangelist
Da führeten sie Jesum von Kaiphas 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:

Pilatus
Was bringet ihr für Klage wider diesen Menschen?

Evangelist
Sie antworteten und sprachen zu ihm:

16b. Chor
Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.

16c. Evangelist
Da sprach Pilatus zu ihnen:

Pilatus
So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!

Evangelist
Da sprachen die Jüden zu ihm:

16d. Chor
Wir dürfen niemand töten.

16e. 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 und rief Jesu und sprach zu ihm:

Pilatus
Bist du der Jüden König?

Evangelist
Jesus antwortete:

Jesus
Redest du das von dir selbst, oder haben's dir andere von mir gesagt?

Evangelist
Pilatus antwortete:

Pilatus
Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir überantwortet; was hast du getan?

Evangelist
Jesus antwortete:

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.

[EN]

16a. Evangelist
Then they led Jesus away from Caiaphas before the judgment hall, and it was early. And they did not go into the judgment hall, so that they would not become unclean; rather that they could partake of Passover. Then Pilate came outside to them and said:

Pilate
What charge do you bring against this man?

Evangelist
They answered and said to him:

16b. Chorus
If this man were not an evil-doer, we wouldn't have turned him over to you.

16c. Evangelist
Then Pilate said to them:

Pilate
Then take him away and judge him after your law!

Evangelist
Then the Jews said to him:

16d. Chorus
We may not put anyone to death.

16e. Evangelist
So that the word of Jesus might be fulfilled, which he spoke, where he indicated what death he would die. Then Pilate went back into the judgment hall and called Jesus and said to him:

Pilate
Are You the King of the Jews?

Evangelist
Jesus answered:

Jesus
Do you say this of yourself, or have others said this of me?

Evangelist
Pilate answered:

Pilate
Am I a Jew? Your people and the high priests have delivered you to me; what have you done?

Evangelist
Jesus answered:

Jesus
My Kingdom is not of this world; if my Kingdom were of this world, my servants would fight over this, so that I would not be handed over to the Jews; now however my Kingdom is not from here.

17. Choral
Ach großer König, groß zu allen Zeiten,
Wie kann ich gnugsam diese Treu ausbreiten?
Keins 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?
("Herzliebster Jesus, was hast du verbrochen," verses 8, 9)

[EN]

17. Chorale
Ah great King, great for all times,
how can I sufficiently proclaim this love?
No human's heart, however, can conceive
of a fit offering to you.

I cannot grasp with my mind,
how to imitate your mercy.
How can I then repay your deeds of love
with my actions?

18a. Evangelist
Da sprach Pilatus zu ihm:

Pilatus
So bist du dennoch ein König?

Evangelist
Jesus antwortete:

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.

Evangelist
Spricht Pilatus zu ihm:

Pilatus
Was ist Wahrheit?

Evangelist
Und da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen:

Pilatus
Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daß ich euch einen losgebe; wollte ihr nun, daß ich euch der Jüden König losgebe?

Evangelist
Da schrieen sie wieder allesamt und sprachen:

18b. Chor
Nicht diesen, sondern Barrabam!

18c. Evangelist
Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn.

[EN]

18a. Evangelist
Then Pilate said to him:

Pilate
Then you are a King?

Evangelist
Jesus answered:

Jesus
You say I am a King. I was born for this, and came into the world, that I might bear witness to the Truth. Whoever is of the truth hears my voice.

Evangelist
Pilate said to him:

Pilate
What is truth?

Evangelist
And when he had said this, he went out again to the Jews and said to them:

Pilate
I find no fault in him. However, you have a custom, that I release someone to you; do you wish now, that I release the King of the Jews to you?

Evangelist
Then they all cried out together and said:

18b. Chorus
Not this one, but Barrabas!

18c. Evangelist
Barrabas however was a murderer. Then Pilate took Jesus and scourged him.

19. Arioso B
Betrachte, meine Seel, mit ängstlichem Vergnügen,
Mit bittrer Lust und halb beklemmtem Herzen
Dein höchstes Gut in Jesu Schmerzen,
Wie dir auf Dornen, so ihn stechen,
Die Himmelsschlüsselblumen blühn!
Du kannst viel süße Frucht von seiner Wermut brechen
Drum sieh ohn Unterlass auf ihn!

[EN]

19. Arioso B
Contemplate, my soul, with anxious pleasure,
with bitter joy and half-constricted heart,
your highest Good in Jesus' suffering,
how for you, out of the thorns that pierce him,
the tiny 'keys of Heaven' bloom!
You can pluck much sweet fruit
from his wormwood;
therefore gaze without pause upon him!

20. Arie T
Erwäge, wie sein blutgefärbter Rücken
In allen Stücken
Dem Himmel gleiche geht,
Daran, nachdem die Wasserwogen
Von unsrer Sündflut sich verzogen,
Der allerschönste Regenbogen
Als Gottes Gnadenzeichen steht!

[EN]

20. Aria T
Consider, how his blood-stained back
in every aspect
is like Heaven,
in which, after the watery deluge
of the flood of our sins retreated,
the most beautiful rainbow,
as God's sign of grace, was placed!

21a. Evangelist
Und die Kriegsknechte flochten eine Krone von Dornen und satzten sie auf sein Haupt und legten ihm ein Purpurkleid an und sprachen:

21b. Chor
Sei gegrüßet, lieber Jüdenkönig!

21c. Evangelist
Und gaben ihm Backenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen:

Pilatus
Sehet, ich führe ihn heraus zu euch, daß ihr erkennet, daß ich keine Schuld an ihm finde.

Evangelist
Also ging Jesus keraus und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen:

Pilatus
Sehet, welch ein Mensch!

Evangelist
Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen:

21d. Chor
Kreuzige, kreuzige!

21e. Evangelist
Pilatus sprach zu ihnen:

Pilatus
Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!

Evangelist
Die Jüden antworteten ihm:

21f. Chor
Wir haben ein Gesetz, und nach dem Gesetz soll er sterben; denn er hat sich selbst zu Gottes Sohn gemacht.

21g. Evangelist
Da Pilatus das Wort hörete, fürchtet' er sich noch mehr und ging wieder hinein in das Richthaus und spricht zu Jesu:

Pilatus
Von wannen bist du?

Evangelist
Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm:

Pilatus
Redest du nicht mit mir? Weißest du nicht daß ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben?

Evangelist
Jesus antwortete:

Jesus
Du hättest keine Macht über micht, wenn sie dir nicht wäre von oben herab gegeben; darum, der mich dir überantwortet hat, der hat's größ're Sünde.

Evangelist
Von dem an trachtete Pilatus, wie er ihn losließe.

[EN]

21a. Evangelist
And the soldiers wove a crown of thorns and set it upon his head, and laid a purple mantel on him, and said:

21.b Chorus
Hail to You, dear King of the Jews!

21c. Evangelist
And gave him blows on the cheek. Then Pilate went back outside and spoke to them:

Pilate
Behold, I bring him out to you, so that you recognize, that I find no fault in him.

Evangelist
Then Jesus went out and wore a crown of thorns and a purple mantel. And Pilate said to them:

Pilate
Behold, what a man!

Evangelist
When the high priests and servants saw him, they screamed and said:

21d. Chorus
Crucify, crucify!

21e. Evangelist
Pilate said to them:

Pilate
You take him away and crucify him; for I find no fault in him!

Evangelist
The Jews answered him:

21f. Chorus
We have a law, and according to that law he should die; for he has made himself into God's Son.

21g. Evangelist
When Pilate heard this, he became more afraid and went back inside to the judgment hall and said to Jesus:

Pilate
Where do you come from?

Evangelist
But Jesus gave him no answer. Then Pilate said to him:

Pilate
You don't speak to me? Don't you know that I have the power to crucify you, and the power to release you?

Evangelist
Jesus answered:
 

Jesus
You would have no power over me, if it were not given to you from above; therefore, he who has delivered me to you has the greater sin.

Evangelist
From then on Pilate considered how he might release him.

22. Choral
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.

[EN]

22. Chorale
Through your prison, Son of God,
must freedom come to us;
Your cell is the throne of grace,
the sanctuary of all the righteous;
for if you had not undergone servitude,
our slavery would have been eternal.

23a. Evangelist
Die Jüden aber schrieen und sprachen:

23b. Chor
Lässest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Könige machet, der ist wider den Kaiser.

23c. Evangelist
Da Pilatus da Wort hörete, führete er Jesum heraus und 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:

Pilatus
Sehet, das ist euer König!

Evangelist
Sie schrieen aber:

23d. Chor
Weg, weg mit dem, kreuzige ihn!

23e. Evangelist
Spricht Pilatus zu ihnen:

Pilatus
Soll ich euren König kreuzigen?

Evangelist
Die Hohenpriester antworteten:

23f. Chor
Wir haben keinen König denn den Kaiser.

23g. 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.

[EN]

23a. Evangelist
The Jews, however, screamed and said:

23b. Chorus
If you let this man go, you are not a friend of Caesar; for whoever makes himself a king is against Caesar.

23c. Evangelist
When Pilate heard this, he brought Jesus outside and sat upon the judgment seat, at the place that is called High Pavement, in Hebrew however: Gabbatha. But it was the Sabbath-day at Passover at the sixth hour, and he said to the Jews:

Pilate
Behold, this is your King!

Evangelist
But they shrieked:

23d. Chorus
Away, away with him, crucify him!

23e. Evangelist
Pilate said to them:

Pilate
Shall I crucify your King?

Evangelist
The high priests answered:

23f. Chorus
We have no King but Caesar.

23g. Evangelist
Then he delivered him to be crucified. They took Jesus and led him away. And he carried His Cross, and went up to the place that is called the Place of the Skull, which is called in Hebrew: Golgatha.

24. Arie B und Chor
Eilt, ihr angefochtnen Seelen,
Geht aus euren Marterhöhlen,
Eilt -- Wohin? -- nach Golgatha!
  Nehmet an des Glaubens Flügel,
  Flieht -- Wohin? -- zum Kreuzeshügel,
  Eure Wohlfahrt blüht allda!

[EN]

24. Aria B and Chorus
Hurry, you tempted souls,
come out of your caves of torment,
hurry - where? - to Golgatha!
  Take up the wings of faith,
  fly - where? -- to the Hill of the Cross,
  Your salvation blooms there!

25a. Evangelist
Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und satzte 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:

25b. Chor
Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König.

25c. Evangelist
Pilatus antwortet:

Pilatus
Was ich geschrieben habe, das habe ich geschrieben.

[EN]

25a. Evangelist
There they crucified him, and two others with him on either side, Jesus however in the middle. Pilate however wrote a signpost and set it upon the Cross, and there was written on it: "Jesus of Nazareth, the King of the Jews." This signpost was read by many Jews, for the place where Jesus was crucified was near the city. And it was written in the Hebrew, Greek and Latin languages. Then the high priests of the Jews said to Pilate:

25b. Chorus
Do not write: The King of the Jews, rather that he said: I am the King of the Jews.

25c. Evangelist
Pilate answered:

Pilate
What I have written, I have written.

26. Choral
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' zu Tod!
("Valet will ich dir geben," verse 3)

[EN]

26. Chorale
In the bottom of my heart
your name and Cross alone
sparkles at all times and hours,
for which I can be joyful.
Shine forth for me in that image
as comfort in my need,
how you, Lord Christ, so gently
bled to death!

27a. 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:

27b. Chor
Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.

27c. 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:

Jesus
Weib, siehe, das ist dein Sohn!

Evangelist
Darnach spricht er zu dem Jünger:

Jesus
Siehe, das ist deine Mutter!

[EN]

27a. Evangelist
The soldiers however, that had crucified Jesus, took his clothing and made four parts, one part for each soldier, the same also with his robe. The robe, however, had no seam, being woven from top to bottom. Then they said to each other:

27b. Chorus
Let's not divide this, rather let's toss for it, to see whose it will be.

27c. Evangelist
So that the Scripture might be fulfilled, which says: "They have divided my clothing among themselves and have cast lots over my robe." These things the soldiers did. However there stood by Jesus' Cross his mother and his mother's sister, Mary, the wife of Cleophas, and Mary Magdalene. Now when Jesus saw his mother and the disciple standing near, whom he loved, he said to his mother:

Jesus
Woman, behold, this is your son!

Evangelist
Afterwards he said to the disciple:

Jesus
Behold, this is your mother!

28. Choral
Er nahm alles wohl in acht
In der letzten Stunde,
Seine Mutter noch bedacht,
Setzt ihr ein' Vormunde.
O Mensch, mache Richtigkeit,
Gott und Menschen liebe,
Stirb darauf ohn alles Leid,
Und dich nicht betrübe!
("Jesu Leiden, Pein und Tod," verse 20)

[EN]

28. Chorale
He took good care of everything
in the last hour,
still thinking of his mother,
he provided a guardian for her.
O mankind, do justice,
love God and humanity,
die without any sorrow,
and do not be troubled!

29. 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:

Jesus
Mich dürstet!

Evangelist
Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig und legten ihn um einen Isopen, und heilten es ihm dar zum Munde. Da nun Jesus den Essig genommen hatte, sprach er:

Jesus
Es ist vollbracht!

[EN]

29. Evangelist
And from that hour the disciple took her to himself. Afterwards, when Jesus knew that everything was already accomplished, so that the Scripture might be fulfilled, he said:

Jesus
I thirst!

Evangelist
There was a vessel full of vinegar. They filled a sponge with vinegar and placed it on a hyssop, and held it directly to his mouth. Now when Jesus had taken the vinegar, he said:

Jesus
It is finished!

30. Arie A
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!

[EN]

30. Aria A
It is finished!
O comfort for the ailing soul!
The night of sorrow
now measures out its last hour.
The hero out of Judah conquers with might
and concludes the battle.
It is finished!

31. Evangelist
Und neiget das Haupt und verschied.

[EN]

31. Evangelist
And bowed his head and departed.

32. Arie B und Chor
Mein teurer Heiland, laß dich fragen,
Da du nunmehr ans Kreuz geschlagen
Und selbst gesagt: Es ist vollbracht,
Bin ich vom Sterben frei gemacht?
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.

  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!
   ("Jesu Leiden, Pein und Tod," last verse)

[EN]

32. Aria B and Chorus
My precious Savior, let me ask,
Now that you have been nailed to the Cross
and have said yourself: It is finished,
Am I made free from death?
Can I, through your pain and death
inherit the kingdom of heaven?
Has the redemption of the whole world arrived?
You cannot say a single thing out of pain;
yet you bow your head
and say silently: yes.

  Jesus, you, who were dead,
  live now unendingly,
  in the last pangs of death
  I will turn nowhere else
  but to you, who has absolved me,
  O beloved Lord!
  Only give me what you earned,
  more I do not desire!

33. Evangelist
Und siehe da, der Vorhang im Tempel zeriß 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.
(Matthew 27:51-52)

[EN]

33. Evangelist
And behold, the curtain in the temple was torn in two pieces from top to bottom. And the earth shook, and the cliffs were rent, and the graves opened up, and many bodies of saints arose.

34. Arioso T
Mein Herz, in dem 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?

[EN]

34. Arioso T
My heart - while the entire world
with Jesus' suffering likewise suffers;
the sun drapes itself in mourning,
the curtain is rent, the crag crumbles,
the earth trembles, the graves split open,
since they behold the Creator growing cold;
- how shall you react from your depths?

35. Aria S
Zerfleiße, mein Herze, in Fluten der Zähren
Dem Höchsten zu Ehren!
  Erzähle der Welt und dem Himmel die Not:
  Dein Jesus ist tot!

[EN]

35. Aria S
Dissolve, my heart, in floods of tears
to honor the Highest!
  Tell the world and heaven the anguish:
  Your Jesus is dead!

36. Evangelist
Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben den Sabbat über (denn desselbigen Sabbats 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 alsobald 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."

[EN]

36. Evangelist
The Jews however, since it was the Sabbath day, so that the corpses would not remain on their crosses over the Sabbath (for this particular Sabbath day was very great), asked Pilate for their bones to be broken and that they be taken away. So the soldiers came and broke the bones of the first and the other one, who had been crucified with him. But when they came to Jesus, and they saw that he was already dead, they did not break his bones; instead one of the soldiers opened his side with a spear, and immediately blood and water came out. And he that saw this, bore witness to it, and his testimony is true, and this same knows that he speaks the truth so that you believe. For all this has happened in order that the Scripture might be fulfilled: "You shall break none of his bones." And in addition another Scripture says: "They will behold what they have pierced."

37. Choral
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!
("Christus, der uns selig macht," verse 8)

[EN]

37. Chorale
O help, Christ, Son of God,
through your bitter Passion,
that we, being always obedient to you,
might shun all vice,
Your death and its cause
consider fruitfully,
so that, although poor and weak,
we might offer you thanksgiving!

38. 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 leine Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget war, ein Garte, 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.

[EN]

38. Evangelist
Afterwards Joseph from Arimathia, who was one of Jesus' disciples (though secretly out of fear of the Jews), asked Pilate whether he might take away Jesus' body. And Pilate permitted it. Therefore he came and took the body of Jesus away. But Nicodemus also came, who previously had come to Jesus in the night, and brought myrrh and aloe with him in hundred-weights. Then they took the body of Jesus and wrapped it in linen cloths with spices, as is the Jewish custom of burial. However, there was a garden near the place where he was crucified, and in this garden a new grave, in which no one had ever been laid. In that same grave they laid Jesus, according to the Sabbath wishes of the Jews, since the grave was nearby.

39. Chor
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.

[EN]

39. Chorus
Rest well, you blessed limbs,
now I will no longer mourn you,
rest well and bring me also to peace!
  The grave that is allotted to you
  and encloses no further suffering,
  opens heaven for me and closes off Hell.

40. Choral
Ach Herr, lass dein lieb Engelein
Am letzten End die Seele mein
In Abrahams Schoß tragen,
Den Leib in seim Schlafkämmerlein
Gar sanft ohn eigne Qual und Pein
Ruhn bis am jüngsten Tage!
Alsdenn vom Tod erwecke 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!
("Herzlich lieb hab ich dich, o Herr," verse 3)

[EN]

40. Chorale
Ah, Lord, let your dear little angel,
at my final end, take my soul
to Abraham's bosom.
Let my body, in its little sleeping chamber,
absolutely softly, without any anguish or pain,
rest until the last day!
At that day wake me from death,
so that my eyes may see you
in all joy, O Son of God,
my Savior and Throne of grace!
Lord Jesus Christ, hear me,
I will praise you eternally!

Orchestra of the Age of Enlightenment

VIOLINS
Margaret Faultless
Daniel Edgar
Andrew Roberts
Rodolfo Richter
Henry Tong
Stephen Rouse

VIOLAS
Annette Isserlis
Martin Kelly

CELLO/VIOLA DA GAMBA
Luise Buchberger
Richard Tunnicliffe

DOUBLE BASS
​​​​​​​Margaret Urquhart

FLUTES
Lisa Beznosiuk
Sophia Aretz

OBOES
Katharina Spreckelsen
Sarah Humphrys

BASSOON
Gyorgyi Farkas

ORGAN
Steven Devine

Choir of the Age of Enlightenment

SOPRANOS
Mary Bevan (arias)
Jessica Cale
Daisy Walford (Maid)

ALTOS
Paula Murrihy (arias)
Rebecca Leggett
David Clegg

TENORS
Mark Padmore (Evangelist)
Laurence Kilsby (arias)
Tom Robson (servant)

BASSES
Raoul Steffani (Christus)
Jonathan Brown (arias)
Philip Tebb (Peter)