JS Bach`s St John Passion - Academy of Ancient Music

Transcrição

JS Bach’s St John Passion
Elizabeth Watts soprano
Sarah Connolly mezzo-soprano
Andrew Kennedy tenor
Christopher Purves bass
James Gilchrist Evangelist
Matthew Rose Christ
Ashley Riches Pilate
Richard Egarr director & harpsichord
29 March 2013 Barbican Hall, London
Written for a small congregation in mid-Germany
almost three hundred years ago, Bach’s St John
Passion is a testimony to the power of music to
transcend time and place. This music still moves
us, draws us together through its passion and
drama, and provides us with a powerful shared
experience. We’re extremely happy to perform it for
you this afternoon.
Next week we go into the recording studio to
make our first-ever recording of this work, featuring
the cast you hear today. It’s a project that is very
close to our hearts — but we need your help to
make it happen.
In January we asked fellow Bach-lovers to give
from just £10 each to help raise the remaining
£5,000 needed to fund the St John Passion
recording. We have been deeply touched that so
far over 100 people have between them donated
£4,095 — leaving just £905 still to raise before
next week. We would be very grateful for any
contribution, large or small, you would like to give
towards the project. You can make a donation
today by visiting the ‘Share our Passion’ desk near
the stalls cloakroom (level -1) or you can give
online; more details can be found on the insert
in this programme. My sincere thanks to all those
who have already contributed — and in particular
to our principal donors Richard and Elena Bridges,
without whose generosity this project would not
have been possible.
There are many other exciting musical treats
in store over the next few months. We will be
Resident Ensemble at the National Gallery from
July to September 2013, accompanying the
summer exhibition ‘Vermeer and Music: The Art of
Love and Leisure’ with performances on the hour,
every hour, three days a week. Then in September
we launch our 40th anniversary season with a
performance of Monteverdi’s L’Orfeo here at the
Barbican. To find out more about all out latest
news and forthcoming concerts, visit aam.co.uk.
We wish you and your families a very joyful Easter.
Richard Egarr
Music Director
Please turn off watch alarms, phones, pagers, etc. during the performance. Taking photographs,
capturing images or using recording devices during a performance is strictly prohibited.
If anything limits your enjoyment please let us know during your visit. Additional feedback can be given
online, as well as via feedback forms or the pods located around the foyers.
A C A D E M Y O F A N C I E N T M U S I C , 2 0 1 2 – 2 01 3 S E A S O N 1
JS Bach St John Passion BWV245 (1724 version)
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.
Evangelist
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:
Evangelist
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 zurück 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:
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 2 – 2 01 3 S E A S O N
Chorus
Jesum von Nazareth.
Chorus
Jesus of Nazareth.
Evangelist
Jesus antwortete:
Evangelist
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.
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:
Evangelist
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 (alto)
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 (soprano)
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 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:
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 damsel 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
Jesus
I spake openly to the world; I ever taught in the
synagogue, and in the temple, whither the Jews
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.
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
crew. 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 (tenor)
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.
PART TWO
Richthaus, auf daß sie nicht unrein würden, sondern
Ostern essen möchten. Da ging Pilatus zu ihnen
heraus und sprach:
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.
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.
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:
Evangelist
Da führeten sie Jesum von Kaipha vor das Richthaus,
und es war frühe. Und sie gingen nicht in das
Evangelist
Then led they Jesus from Caiaphas unto the hall of
judgment: and it was early; and they themselves
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:
Evangelist
Da schrieen sie wieder allesamt und sprachen:
Evangelist
Then cried they all again, saying:
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.
Chorus
Nicht diesen, sondern Barrabam!
Chorus
Not this man, but Barabbas.
Evangelist
Barrabas aber war ein Mörder. Da nahm Pilatus Jesum
und geißelte ihn.
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.
Evangelist
Now Barabbas was a robber. Then Pilate therefore
took Jesus, and scourged him.
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.
Ich kann’s mit meinen Sinnen nicht erreichen,
womit doch dein Erbarmen zu vergleichen.
Wie kann ich dir denn deine Liebestaten im Werk
erstatten?
Neither can I find anything to compare
with thy merciful goodness.
What can I do for thee to be worthy
of thy loving deeds?
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 (bass)
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.
Evangelist
Da sprach Pilatus zu ihm:
Evangelist
Pilate therefore said unto him:
Pilate
So bist du dennoch ein König?
Aria (tenor)
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.
Pilate
Art thou a king then?
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!
Evangelist
Jesus antwortete:
Evangelist
Jesus answered:
Evangelist
Und die Kriegsknechte flochten eine Krone von
Dornen und satzten sie auf sein Haupt und legten
ihm ein Purpurkleid an und sprachen:
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
And the soldiers platted a crown of thorns, and put it
on his head, and they put on him a purple robe, and
said:
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.
Chorus
Sie gegrüßet, lieber Jüdenkönig!
Chorus
Hail, King of the Jews!
Evangelist
Spricht Pilatus zu ihm:
Evangelist
Pilate saith unto him
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
Was ist Wahrheit?
Pilate
What is truth?
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
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,
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
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?
Pilate
Sehet, welch ein Mensch! Da ihn die Hohenpriester
und die Diener sahen, schrieen sie und sprachen:
Pilate
Behold the man! EvangelistWhen 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,
Chorale
Thy bonds, O Son of God, most high,
have perfect freedom brought us;
thy prison is the divine throne,
die Freistatt aller Frommen;
denn gingst du nicht
die Knechtschaft ein,
müßt unsre Knechtschaft ewig sein.
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 (bass, chorus)
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.
Chorale
Within our inmost being
thy Name and Cross alone,
shines there now and for always
so that I can rejoice.
Erschein mir in dem Bilde
zu Trost in meiner Not,
wie du, Herr Christ,
so milde dich hast geblut’t zu Tod!
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 cross
of 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.
O Mensch, mache Richtigkeit,
Gott und Menschen liebe,
stirb darauf ohn alles Leid,
und dich nicht betrübe!
Thou too should rightly act,
loving God and man,
that thou canst die untroubled
and without anxiety.
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 (alto)
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 (bass, chorus)
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 (tenor)
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 (soprano)
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
Evangelist
The Jews therefore, because it was the preparation,
that the bodies should not remain upon the cross on
(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’.
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 thank-offerings
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.
Stephen Rose introduces JS Bach’s St John Passion
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.
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
(1721) claimed that performing Passions in
an operatic style was a way to attract large
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 (1732), an
opponent of elaborate church music, reported
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 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
Monument to Johann Sebastian Bach at the
Thomaskirche in Leipzig
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 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. The violas
d’amore also add an other-worldly aura to their
arias: in addition to their bowed strings, these
instruments have a set of sympathetic strings
that resonate like a ghostly echo.
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.
The 1724 version of the St John Passion
Bach’s St John Passion had a complex genesis in
which four separate versions can be discerned,
dating from 1724, 1725, c.1732 and 1749. Such
repeated revisions were not unusual in early
eighteenth-century music; a composer would
adapt a piece to the performers available, as
well as to possible external factors such as
the tastes of the audience or patron. Some of
Bach’s changes indeed fall into this category:
for instance, the 1749 version uses an expanded
orchestra, with the continuo section reinforced
by contrabassoon and at least one harpsichord.
Many of Bach’s revisions, however, stem
primarily from an artistic restlessness, a creativity
that sought to refine and perfect his large-scale
compositions. Some of the revisions, particularly
the 1725 version, go beyond simple adaptation
as to change entirely the overall shape and
narrative dynamic of the work. And in addition
to the four versions that can be associated with
specific performances, Bach also began a major
revision of his autograph score of the St John
Passion around 1739. This revision was never
completed, and thus it seems that Bach never
brought the work into a definitive form. As the
Bach scholar Christoph Wolff writes, it might be
more accurate to speak of the St John ‘Passions’.
Today’s concert presents a rare opportunity to
hear Bach’s original conception of the work,
the 1724. A complete score of this version does
not survive, but the first ten movements can
be reconstructed from the parts copied for
Bach’s original performance. It uses the same
order of movements as the 1749 version that is
the normal choice for modern performances.
But there are many small differences in the
melodic writing, which is less elaborate than
in subsequent versions. The vocal lines in the
arias tend to have plain leaps rather than florid
stepwise ornamentation. The alto and tenor
parts in the chorales are less prominent, moving
in the same rhythms as the outer parts rather
than containing their own faster
counter-melodies.
The surviving parts suggest that Bach used
a small orchestra in the 1724 version, giving
an intimacy to this most impassioned and
dramatic of Passion stories. In the arias
‘Betrachte meine Seel’ and ‘Erwäge wie sein
blutgefärbter Rükken’, the 1724 version specifies
the use of two violas d’amore rather than
the muted violins which are specified in the
third version (and which are often used in
modern performances). The violas d’amore
lend a haunting timbre to these arias through
their sympathetic strings, which resonate in
consonance with the bowed strings like an
otherworldly echo.
Bach’s most radical revisions were in the 1725
version, in which he replaced the opening
chorus with a movement later used in the
St Matthew Passion (the chorus ‘O Mensch
bewein’). To balance this substantial new first
movement, he closed the 1725 version with
a choral setting of the German Agnes Dei
(‘Christe du Lamm Gottes’). He inserted two
arias of extreme drama: ‘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.
He also included a bass aria (‘Himmel reiße,
Welt erbebe’) that incorporates the chorale
‘Jesu deine Passion’. Subsequently Bach
removed many of these 1725 insertions,
in part to differentiate the work from the
St Matthew Passion.
The different versions of the St John Passion
usually remain hidden in the appendix of
the complete edition, as an object purely of
scholarly interest. By performing these different
versions, we can gain rare insights into Bach’s
creative process, as well as new perspectives on
one of his best-known works.
Stephen Rose © 2013
Dr Stephen Rose is Lecturer in Music
at Royal Holloway, University of London
Join the Friends of the AAM today
Membership from just £2.50 per month
Glimpse orchestral life behind the scenes
Benefit from priority booking
Meet the musicians
Support the music you love
Post-concert drinks
29 March 2013, 5.30pm
Barbican Hall, London
Enjoy a drink with musicians and fellow AAM
supporters following our performance of
JS Bach’s St John Passion
London open rehearsal
4 June 2013, 4.00pm
The Warehouse, London
A chance to watch the orchestra as they
prepare repertoire for their
London concert series
HOW TO JOIN
Pick up a leaflet in the foyer tonight
Visit aam.co.uk/support
Academy of Ancient Music: our ethos
Academy of Ancient Music: our past, present and future
The history of the AAM is the history of a
revolution. When Christopher Hogwood
founded the orchestra almost forty years ago,
he rejected the decades-old convention of
playing old music in a modern style. Hogwood
and the AAM were inspired by original
performances and, along with musicians across
Europe, were beginning to discover the sound
worlds which Bach, Handel and Haydn would
have known. These bold initial steps would
lead to a radical transformation in musical
performance, allowing baroque and classical
masterworks to be heard anew from that day
to this.
The AAM was founded in 1973 by Christopher
Hogwood, under whose leadership the orchestra
developed the global reputation for inspirational
music making which continues today. Over
the past forty years the AAM has performed
live on every continent except Antarctica, and
millions of music lovers have heard the orchestra
through its catalogue of over 300 CDs: Brit- and
Grammy-Award-winning recordings of Handel
operas, pioneering accounts of the Beethoven,
Mozart and Haydn symphonies, and discs which
champion neglected composers.
So what’s different about the AAM? Partly it’s the
instruments, which are originals (or faithful copies
of them). The stringed instruments have strings
made of animal gut, not steel; the trumpets have
no valves; the violins and violas don’t have chinrests, and the cellists cradle their instruments
between their legs rather than resting them on
the floor. The result is a sound which is bright,
immediate and striking. Additionally, the size
of the orchestra is often smaller, meaning that
every instrument shines through and the original
balance of sound is restored; and where possible
we play from first edition scores, stripping away
the later additions and annotations of editors
and getting back to composers’ initial notes,
markings and ideas.
There’s also a difference in the way we approach
our music making. Composers prized the
creativity of musicians, expecting them to make
the music come alive and to communicate its
thrill to the audience — an ethos we place at
the heart of all that we do. Very often we don’t
have a conductor, but are directed by one of
the musicians, making for spontaneous, sparky
and engaged performances. It’s not just about
researching the past; it’s about being creative in
the present.
“Transmitting the kick of an energy drink”
F I N A N C I A L T I M E S , 2012
In everything we do, we aim to recapture the
intimacy, passion and vitality of music when it
was first composed. The result? Performances
which are full of energy and vibrancy, the
superb artistry and musical imagination of our
players combined with a deep understanding
of the music’s original context.
This artistic excellence has been fostered by a
stunning roster of guest artists. Singers Emma
Kirkby, Joan Sutherland and Cecilia Bartoli were
among those performing with the AAM in the
early days, and a range of collaborations with
artists including David Daniels, Alina Ibragimova
and Angelika Kirchschlager continue to inspire
the group with new ideas and fresh approaches.
In 2006 Richard Egarr succeeded Hogwood
as Music Director. Over the past seven years
he has led the orchestra on tours throughout
Europe, the USA and the Far East, and in 2007 he
founded the Choir of the AAM. Recent recordings
include a complete cycle of Handel’s Opp.1–7
instrumental music, released to celebrate the
250th anniversary of the composer’s death,
and the world-premiere recording of music
by seventeenth-century English composer
Christopher Gibbons. In June 2012 the AAM
was invited to perform at the Thames Diamond
Jubilee Pageant, and in December The Observer
named the AAM’s performance of JS Bach’s The
Art of Fugue at the BBC Proms as one of the top
ten concerts of the year.
The future is just as bright. From September
2013 the AAM will mark its 40th anniversary
with a season of concerts featuring the full
range of the orchestra’s music-making from
Monteverdi’s L’Orfeo (1607) to Beethoven’s
Symphony No.9 (1824). International plans
include a major tour of Australia as well as
performances at Amsterdam’s Concertgebouw,
the Palais des Beaux-Arts in Brussels and the
Théâtre des Champs Elysées in Paris.
The AAM is Associate Ensemble at London’s
Barbican Centre and Orchestra-in-Residence at
the University of Cambridge. In summer 2013 it
will be Resident Ensemble at the National Gallery.
At aam.co.uk...
➤ Browse our complete 2013–14 Barbican season
➤ Listen to our recordings on the AAMplayer
COUNTER-TENOR ANDREAS SCHOLL, WHO MADE HIS AAM DEBUT IN KING’S CHAPEL, CAMBRIDGE IN NOVEMBER 2012, RETURNS FOR A
PERFORMANCE OF PERGOLESI AND VIVALDI AT THE BARBICAN IN JANUARY 2014. VISIT AAM.CO.UK/CONCERTS FOR DETAILS.
Richard Egarr director & harpsichord
James Gilchrist Evangelist
In 2007 Richard established the Choir of the
AAM, and operas and oratorios lie at the heart
of his repertoire. He regularly appears at the
Concertgebouw in Amsterdam with, among
others, the Netherlands Opera Company; and
in 2007 he made his Glyndebourne debut in a
staged performance of JS Bach’s St Matthew
Passion. Richard is also renowned as an
inspiration for young musicians: alongside
his teaching position at the Amsterdam
Conservatoire, he has regular relationships with
the Britten–Pears Foundation in Aldeburgh and
with the Netherlands Opera Academy.
Richard Egarr brings a joyful sense of adventure
and a keen, enquiring mind to all his music–
making. As well as being an accomplished
conductor, Richard is a brilliant harpsichordist
and equally skilled on the organ, fortepiano and
modern pianos. His many roles include directing
from the keyboard, playing concertos and
giving solo recitals, and he relishes the chance
to talk about music at every opportunity.
Richard trained as a choirboy at York Minster, at
Chetham’s School of Music in Manchester and
as organ scholar at Clare College, Cambridge.
His studies with early music pioneers Gustav
and Marie Leonhardt further inspired his work in
the field of historical performance.
Richard was appointed Music Director of
the AAM in 2006, since when he has led the
orchestra on tours to four continents and in
a number of acclaimed recordings. Richard is
also involved with a number of other period
ensembles: he appears in America with the
Handel and Haydn Society and Portland
Baroque, and with Philharmonia Baroque in San
Francisco. He has performed as a soloist with
The English Concert and the Orchestra of the
Age of Enlightenment.
James’ musical appearances have, however,
been eclectically broad, ranging in scale from
Vaughan Williams’ On Wenlock Edge with
the Endellion String Quartet to Britten’s War
Requiem and Elgar’s The Dream of Gerontius
at the Three Choirs Festival. As a recitalist he
has performed music by Schumann, Finzi and
Poulenc on BBC Radio 3 with pianist Anna
Tilbrook, as well as maintaining a partnership
with harpist Alison Nicholls. He has recently
released a disc of Finzi song cycles ‘Oh Fair to
See’, and a disc of Elizabethan lute songs ‘When
Laura Smiles’ with Matthew Wadsworth.
Richard is increasingly sought after by non–
period orchestras. He appears regularly with
the Rotterdam Philharmonic Orchestra and
the Philadelphia Orchestra, and was appointed
Associate Artist with the Scottish Chamber
Orchestra in December 2011.
James’ musical education began in church
choirs and as a cellist. He went on to become a
treble in the Choir of New College, Oxford and a
tenor in the Choir of King’s College, Cambridge.
He began working life as a doctor, before in
1996 turning to a career as a musician.
“Egarr’s energy and sustained vitality
is breathtaking”
B B C M U S I C M A G A Z I N E , M A R C H 2013
Richard has performed as a soloist throughout
Europe, Japan and the USA, and his solo
recording output comprises works by
Frescobaldi, Orlando Gibbons, Couperin, Purcell,
Froberger, Mozart and JS Bach. For many years
he formed an “unequalled duo for violin and
keyboard” (Gramophone) with violinist Andrew
Manze, which resulted in acclaimed concerts
and award-winning recordings of music from
Stylus Phantasticus to Mozart and Schubert.
Richard has directed the AAM in recordings by
JS Bach, including the Brandenburg Concertos;
in a complete cycle of Handel’s Opp.1-7
instrumental music which has won MIDEM,
Edison and Gramophone Awards; and, most
recently, in music by forgotten composer
Christopher Gibbons.
Richard lives in Amsterdam with his wife
and daughter.
Since then, James has had a vibrant and
frequent association with the Academy of
Ancient Music. He sang Damon in Handel’s
Acis and Galatea at the BBC Proms under Paul
Goodwin, Ugone in Flavio in Birmingham and
London, and recently took the part of the
tenor soloist in Mozart’s Requiem at Symphony
Hall, Birmingham with Richard Egarr. As a
keen exponent of contemporary music, James
sang in the world-premiere performance and
recording of John Taverner’s Total Eclipse with
the AAM.
“
James’ appearances on the concert stage are
numerous. Highlights from the twentieth
century repertoire include Britten’s Serenade for
Tenor, Horn and Strings at The Sage Gateshead
and Owen Wingrave with the City of London
Sinfonia at Cadogan Hall. He has also performed
works by Gilbert and Sullivan and Tippett. He
is also well known for his performances of
baroque and classical repertoire. He appeared
with the Monteverdi Choir and Orchestra under
Sir John Eliot Gardiner in their celebrated Bach
Pilgrimage, and has performed the Christmas
Oratorio with Ton Koopman and Mendelssohn’s
arrangement of JS Bach’s St Matthew Passion
with the OAE. James has performed many
Handel operas, including Alexander’s Feast
in Salzburg, Saul in Hamburg and Athalia in
Cologne, and he has appeared in Messiah with
both the San Francisco and Detroit symphony
orchestras.
James Gilchrist on Bach’s St John Passion
Bach never wrote an opera, and I suppose the Passion settings are as close as he got. I see the
Passion unfolding as a moment when the barriers between the musicians and the audience come
down for a moment, and people start to interact with the story as a piece of drama. That’s why this
work lives for me time and time again.
”
Hear more of James’ thoughts in an exclusive podcast recorded in January for our Passion blog.
Visit aam.co.uk/passion/blog.aspx
Matthew Rose Christ
Sarah Connolly mezzo-soprano
In 2006 Matthew Rose made an acclaimed debut at the
Glyndebourne Festival as Bottom in Britten’s A Midsummer Night’s
Dream, for which he received the John Christie Award. Other
highlights have included included Sparafucile in Verdi’s Rigoletto at
Covent Garden; Colline in Puccini’s La bohème at the Metropolitan
Opera; Figaro in Mozart’s The Marriage of Figaro at the Bayerische
Staatsoper in Munich and Leporello in Mozart’s Don Giovanni.
In recital his appearances include the Wigmore Hall, the
Concertgebouw in Amsterdam and the Brighton, Edinburgh, Chester
and Cheltenham International Festivals.
A Grammy Award winning artist, he has recorded prolifically.
Ashley Riches Pilate
Mezzo-soprano Sarah Connolly studied at the Royal College of Music.
She was made a CBE in the 2010 New Year Honours.
Her recent appearances have included Dido in Purcell’s
Dido and Aeneas at Covent Garden and at La Scala; Komponist in
Strauss’ Ariadne auf Naxos; the title role in Handel’s Giulio Cesare and
Brangäne in Wagner’s Tristan und Isolde at the Glyndebourne Festival;
Sesto in Mozart’s La clemenza di Tito at the Festival d’Aix-en-Provence
and the title role in Britten’s The Rape of Lucretia at the Bayerische
Staatsoper, Munich.
As well as performing internationally, she is a prolific recording artist,
twice nominated for a Grammy Award.
Andrew Kennedy tenor
Ashley Riches studied Opera at the Guildhall School of Music &
Drama and read English at Cambridge University, where he sang in
the Choir of King’s College, Cambridge under Stephen Cleobury.
In concert he has given performances of Mozart’s Requiem with
David Hill and the Bach Choir in the Royal Festival Hall, Britten’s
War Requiem with Jan Latham-Koenig and Novaya Opera, Moscow,
Beethoven’s Symphony No.9 and Brahms’ German Requiem with
Stephen Cleobury, Fauré’s Requiem with Sir David Willcocks and
Vaughan Williams Five Mystical Songs with John Rutter.
He recently sang several Handel arias for a David Starkey TV series
“Music and Monarchy” with the AAM and Richard Egarr.
Elizabeth Watts soprano
Elizabeth Watts won the Rosenblatt Recital Song Prize at the BBC
Cardiff Singer of the World competition in 2007. In the same year
she was awarded the Outstanding Young Artist Award at the Cannes
MIDEM Classique Awards and the previous year the Kathleen Ferrier
Award. She is currently an Artist in Residence at the Southbank
Centre, and a former BBC Radio 3 New Generation Artist.
Her critically acclaimed debut recording of Schubert Lieder for SONY
Red Seal was followed in 2011 by an equally acclaimed disc of Bach
Cantatas for Harmonia Mundi.
A regular AAM guest artist, Elizabeth last joined us in December
2012 to perform Vivaldi in the UK and France.
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.
Christopher Purves bass
Born in Cambridge, Christopher Purves was a choral scholar at King’s
College, Cambridge where he studied English. On leaving university
he joined the highly innovative rock and roll group Harvey and
the Wallbangers, touring and recording, before he was offered the
opportunity to sing in Donizetti’s Don Pasquale with Opera 80.
Further operatic appearances include Marco in Puccini’s Gianni
Schicchi at Covent Garden and Balstrode in Britten’s Peter Grimes for
Opera North, the title role in Mozart’s Don Giovanni and The General
in James Macmillan’s The Sacrifice for Welsh National Opera, Handel‘s
Alcina at the Bayerische Staatsoper in Munich and Sharpless in
Anthony Minghella’s production of Puccini’s Madame Butterfly for
English National Opera.
Academy of Ancient Music
Violin I
Pavlo Beznosiuk*
Rodolfo Richter
Iwona Muszynska
Colin Scobie
Sijie Chen
Kinga Ujszászi
Violin II
Bojan Čičić
Rebecca Livermore
William Thorp
Persephone Gibbs
Alice Evans
Viola
Jane Rogers
Mark Braithwaite*
Marina Ascherson
Cello
Joseph Crouch*
Imogen Seth-Smith*
Vladimir Waltham
Lute
William Carter
Viola da gamba
Reiko Ichise
Double bass
Timothy Amherst
Catherine Ricketts
Organ
Alastair Ross
Flute
Rachel Brown*
Guy Williams
Harpsichord
Richard Egarr
Jan Waterfield
Oboe
Alfredo Bernardini
Lars Henriksson
*Sponsored chairs
Leader
Lord and Lady M
agan
Principal cello
Dr Christopher and
Lady Juliet Tadgell
Principal flute
Christopher and Phillida P
urvis
Sub-principal viola
Sir Nicholas and Lady G
oodison
Sub-principal cello
Newby Trust Ltd
Bassoon
Ursula Leveaux
Choir of the AAM
Soprano
Charmian Bedford
Nina Bennet
Emma Brain-Gabbott
Elizabeth Drury
Philippa Hyde
Anna Whyte
Alto
Jacqueline Connell
Michal Czerniawski
Ruth Gibbins
Susanna Spicer
Daniel Collins
Olivia Maffett
Tenor
Malcolm Bennett
James Geer
Edmund Hastings
Michael Solomon Williams
Paul Tindall
Christopher Tortise
Bass
Michael Bundy
Richard Latham
Charles Pott
Samuel Queen
Philip Tebb
Michael Wallace
Board of T rustees
Richard Bridges
Kay Brock LVO DL
John Everett
Matthew Ferrey
James Golob
John Grieves
Heather Jarman
Christopher Purvis CBE
(Chairman)
John Reeve
Terence Sinclair
Dr Christopher Tadgell
Janet Unwin
Council
Richard Bridges *
Adam Broadbent
Kay Brock LVO DL *
Delia Broke *
Elizabeth de Friend *
Kate Donaghy *
John Everett *
Matthew Ferrey *
Andrew Gairdner MBE *
James Golob *
John Grieves *
Linda Lakhdhir *
Annie Norton *
Christopher Purvis CBE *
John Reeve *
Chris Rocker and Alison Wisbeach *
Sir Konrad Schiemann
Terence Sinclair (chairman) *
Madeleine Tattersall *
Janet Unwin *
Music Director
Richard Egarr
Head of Communications
Toby Chadd
Emeritus Director
Christopher Hogwood
CBE
Communications Assistant
Tom McNeill
Chief Executive
Michael Garvey
Head of Projects &
Administration
Samantha Martin
Head of Concerts &
Artistic Planning
Andrew Moore
Concerts & Administration
Assistant
Ceri Humphries
Academy of Ancient Music
Barbican season 2013–14
Monteverdi’s L’Orfeo
The birth of Western opera
28 September 2013, 7.30pm
Richard Tognetti directs
Vivaldi, Bach and the world’s finest orchestra
27 Febuary 2014, 7.30pm
Alina Ibragimova directs
Music by Haydn and Mozart
24 October 2013, 19.30pm
Angelika Kirchschlager sings
Arias and lieder by Haydn and Mozart
26 March 2014, 7.30pm
An English golden age
Gems of the baroque with Anna Prohaska
21 November 2013, 7.30pm
Celebrating JS Bach
Richard Egarr directs concertos and suites
27 May 2014, 7.30pm
Handel’s Messiah
Celebrating Christmas with a festive
masterpiece
17 December 2013, 7.00pm
Three last symphonies
Mozart, Haydn and Beethoven
21 June 2014, 7.00pm
Andreas Scholl sings Pergolesi
The star counter-tenor returns
31 January 2014, 7.30pm
Full listings at barbican.org.uk/aam
PR Consultant
Rebecca Driver
Head of Finance
Elaine Hendrie
Head of Fundraising Simon Fairclough
Fundraising Manager
Oriel Williams
Fundraising Officer
Brittany Wellner-James
*Development board member
The AAM Society
On 17 September 1973, 23 musicians gathered
in Richmond to record Arne’s Eight Overtures
under the young director Christopher Hogwood.
Nobody travelling to the church that morning
could have begun to imagine that the Academy
of Ancient Music (as Hogwood had christened
the group) would be in flourishing health 40
years later.
Funded by Decca the AAM began to build a
pioneering discography. Over the next 25 years
it released more recordings than any other
period instrument orchestra in the world, and
gave thousands of performances at the finest
concert halls on every continent.
By the late 1990s, when Hogwood began to
plan for the appointment of his successor,
the world was changing. The record industry
was in decline, and financial pressures facing
international concert halls meant that the
generous performing fees of old were no longer
available. Putting down roots at home in the
UK had become a pressing priority.
In 2000, founder-members of the AAM Society
contributed £10,000 to fund the orchestra’s first
London season. It was AAM Society members
too who financed the establishment of the
orchestra’s residency at Cambridge, and who
provided the support needed to appoint
Richard Egarr as Hogwood’s successor. Over
the last decade, the generosity of an everexpanding group of supporters has transformed
the AAM from a private enterprise directed by
Hogwood into a major charitable institution
Join the AAM Society
which continues his work beyond his active
involvement.
The strength of support offered by Society
members and other funders has enabled the
AAM to develop an ambitious vision for the
next stage of its development. It recently
established the AAMplify new generation
programme to nurture the audiences,
performers and arts managers of the future;
in January 2012 it was appointed as Associate
Ensemble at the Barbican Centre; and it is now
working to establish its own record label.
The orchestra’s supporters have risen
magnificently to the challenge of funding
the initial costs of these developments, and
the greatest priority now is to make the stepchange permanent. You can help us to do so
by joining their number.
Because the AAM is a charity it can claim Gift
Aid on donations, boosting their value by
25%. Even better, the orchestra has received
a generous challenge grant which means
that every pound donated by a new Society
member will be matched.
We would be thrilled to welcome you as a
member — and your support would enable
us to enrich more lives than ever before with
our music.
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: ............................................................................................................................................................................................................................................................................................
Member’s address: .......................................................................................................................................................................................................................................................................................
Member’s telephone: ...................................................................................................... Member’s email: ................................................................................................................................
Membership level
The Chairman’s Circle
The Hogwood Circle
Principal Patron
Patron
Principal Benefactor £1,000–£2,499
Benefactor£500–£999
Donor£250–£499
Young Supporter (under 40 only)
£100–£249
£20,000+
£10,000–£19,999
£5,000–£9,999
£2,500–£4,999
Acknowledgement
Please acknowledge my gift using the following wording ......................................................................................................................................................................................
I would prefer to remain anonymous
Payment details
I enclose a cheque for £.......................... (please make payable to ‘AAM’)
I would like to pay by standing order (see below)
I enclose a CAF cheque for £.......................... (please make payable to ‘AAM’)
I would like to make a gift of shares (please contact the AAM)
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.
Please treat this donation and all donations that I make from the date of this declaration until I notify you otherwise as Gift Aid donations.
To find out more please contact Oriel Williams,
our Fundraising Manager, on 01223 341093 or
[email protected].
Signed .................................................................................................................................................................................... Date ...........................................................................................................
Standing order mandate
Please complete this section only if you would like to make your donation by standing order.
Name of bank ...............................................................................................................................................................................................................................................................................................
Bank address .................................................................................................................................................................................................................................................................................................
Why we support the AAM
“
Account number .............................................................................................................. Sort code .............................................................................................................................................
We love the AAM’s excellent performances, academic depth and innovative programming, and as AAM
Society members we share the musical life of this superb ensemble project by project. The AAM is as
welcoming and friendly as it is enlightening, and as professional behind the scenes as it is on stage!
RICHARD AND ELENA BRIDGES AAM SOCIETY MEMBERS
”
Please pay Academy of Ancient Music, Lloyds TSB. Gonville Place Branch, Cambridge, sort code 30-13-55, account number 02768172,
the sum of £.......................... per month / quarter / year, starting on...........................................................................................................................................................................
Signed .................................................................................................................................................................................... Date ...........................................................................................................
Please return this form to:
Oriel Williams, Academy of Ancient Music, 11b King’s Parade, Cambridge CB2 1SJ
Thank you
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
Public funders
Arts Council England
Orchestras Live
Cambridge City Council
Trusts and foundations
The Backstage Trust
CHK Charities Ltd
Dunard Fund
John Ellerman Foundation
Esmée Fairbairn Foundation
Fidelity UK Foundation
Gatsby Charitable Foundation
J Paul Getty Jnr Charitable Trust
Newby Trust Ltd
Sir Siegmund Warburg’s Voluntary Settlement
Constance Travis Charitable Trust
Garfield Weston Foundation
and other anonymous trusts and foundations
The AAM S ociety
Special gifts
The Academy of Ancient Music extends its
grateful thanks to Richard and Elena Bridges,
Matthew Ferrey and Lady Sainsbury of Turville,
who have supported the orchestra’s work at a
particularly significant level this y ear.
The Chairman’s C
ircle
(Donations £20,000–£49,999 per annum)
Matthew Ferrey
CHK Charities Ltd
The Hogwood C
ircle
(Donations £10,000 - £19,999 per annum)
Lord and Lady M
agan
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)
Richard and Elena Bridges
Christopher Hogwood CBE *
Mrs Sheila Mitchell
Newby Trust Ltd *
Chris and Ali Rocker
Terence and Sian Sinclair
and other anonymous Principal P
atrons
Patrons
Lady Alexander of Weedon
Adam and Sara B
roadbent
Clive and Helena B
utler
Richard and Elizabeth de Friend
Mr and Mrs JE E verett
Mr and Mrs James G
olob
Sir Nicholas and Lady Goodison *
John and Ann G
rieves
Graham and Amanda Hutton
David and Linda Lakhdhir
Mark and Liza L oveday
Nigel and Hilary Pye *
John and Joyce Reeve
Mark West
and other anonymous P
atrons
Principal Benefactors
John and Gilly Baker
George and Kay B
rock
Mrs D Broke
Mr and Mrs Graham Brown
Jo and Keren B
utler
Sir Charles Chadwyck-Healey Bt
Peter Stormonth Darling
Kate Donaghy
The Hon Simon E ccles
The Hon William Gibson
Elma Hawkins and Charles R
ichter
Lord Hindlip
John McFadden and Lisa Kabnick *
Steven Larcombe and Sonya Leydecker
Mr and Mrs C N
orton
Lionel and Lynn P
ersey
Mr and Mrs Charles R
awlinson
Mark and Elizabeth Ridley
Simon Robey
Sir Konrad and Lady Schiemann *
JG Stanford
Mr Michael Stump
John and Madeleine Tattersall
Marcellus and Katharine Taylor-Jones
Stephen Thomas
Sarah Williams
Mrs R Wilson S tephens
Charles Woodward
and other anonymous Principal B
enefactors
Benefactors
(Donations £500 – £999)
Dr Aileen Adams C
BE
Bill and Sue B
lyth
Claire Brisby and John Brisby QC *
Mr and Mrs Edward Davies-Gilbert
Charles Dumas
Mr and Mrs J ean-Marie Eveillard
Simon Fairclough
Marshall Field
Michael and Michele Foot CBE
Wendy and Andrew G
airdner MBE
Hon William Gibson
The Hon Mr and Mrs Philip H
avers
Professor Sean Hilton
Dr and Mrs G and W Hoffman
Heather Jarman *
Susan Latham
Tessa Mayhew
Mr and Mrs Hideto Nakahara
Nick and Margaret P
arker
Bruno Schroder and family
Victoria Sharp
Peter Thomson
Janet Unwin
Pippa Wicks
Oriel Williams
Peter and Margaret Wynn
Julia Yorke
and other anonymous B
enefactors
Donors
(Donations £250 – £499)
Angela and Roderick Ashby-Johnson
Elisabeth and Bob Boas *
Mrs Nicky Brown
Jeremy J Bunting
Mr Alexander Chadd
Dr and Mrs S C
hallah
David and Elizabeth C
hallen
Cottisford Trust
Stephen and Debbie D
ance
Derek and Mary Draper
Beatrice and Charles G
oldie
Steven and Madelaine G
unders
Gemma and Lewis Morris H
all
Mrs Helen Higgs
Lord and Lady Jenkin of R
oding
Alison Knocker
Richard Lockwood
Annie Middlemiss
Yvonne de la Praudière
Jane Rabagliati and Raymond Cross
Robin and Jane R
aw
Martin Randall
Arthur L Rebell and Susan B C
ohen
Denys Robinson
Mr and Mrs Timothy Robinson
Michael and Giustina R
yan
Alison Salt and David Mackinlay
Miss E M S chlossmann
Michael Smith
Rt Hon Sir Murray S tuart-Smith *
Robin Vousden
Paul F. Wilkinson and Associates Inc.
Tony and Jackie Yates-Watson
and other anonymous D
onors
* denotes founder m
ember

JS Bach`s St John Passion - Academy of Ancient Music

Transcrição

Documentos relacionados

Sunday Cantata: Ascension Oratorio (BWV 11

zurÃ¼ck mp3 abspielen - Katholisches Rundfunkreferat NRW

06-VI_JdEvangelist

Zeig uns durch deine

Programme April 11_AAM programme Dec 2010

the booklet

Texte | Lyrics - Vienna Vocal Consort

24/7 The Passion of Life Ausschnitte und Diskussion mit

en ganske snill mann

Translation Exercise (Mixed TENSES) - Schule

St. Matthew Passion – Lyrics Translation