BAROQUE SERIESWednesday 23 March 7.30pmPerth Concert Hall

PROGRAM

BACH’SST JOHN PASSION

ASHER FISCH CONDUCTS

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1341_WESF - Arts Sponsorship Campaign 2014 - WASO_Program Ad_210x148mm_V2_FA.indd 1 16/02/15 1:16 PM

WELCOME

“Kreuzige, kreuzige” - “crucify him, crucify him” shout the Jews in the most dramatic scene in Bach’s St John Passion. It is musically a thrilling moment, the choral writing is sublime, the orchestral texture exhilarating. And yet because of this very scene Jewish musicians have avoided taking part in performances of this masterpiece for generations. They knew that this description of Jesus’ trial was the background for two thousand years of persecution by Christians, endless flight and suffering.

In my home country, Israel, I never heard The Passion in a live performance, but loved the recording I had at home since I was a child. When Gethsemane, Golgatha, and the Kidron Valley were mentioned I could vividly recreate the drama. I knew the locations in my city of birth - Jerusalem - intimately, I loved visiting them, I felt an intriguing attraction to the story.

For me The Passions are Bach’s greatest works, the finest composed before the Classical era. When Felix Mendelssohn introduced the St Matthew Passion to the world in 1827 he literally changed the course of musical history, so deep was its influence on the romantic composers.

The fusion between high drama and unrestrained emotional expressiveness became the hallmark of the Romantic era, especially in the field of opera.

I am extremely excited to be performing my first Passion this week, I will be thinking of the music, and of sites I know and love. This music is far above religious bigotry and historical facts, it is universal, and belongs to all men.

Asher Fisch Principal Conductor & Artistic Adviser

Asher Fisch appears courtesy of Wesfarmers ArtsPh

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BOOK NOW CALL 9326 0000 VISIT WASO.COM.AU*A handling fee of $5.50 per transaction applies all purchases. An additional fee of $3.20 per transaction applies for delivery via Registered Post.

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2016 UPCOMING CONCERTS

EDUCATION CHAMBER ORCHESTRA

KIDS’ CUSHION CONCERTS 21ST BIRTHDAYWED 4 MAY 9.45AM & 11.15AM Wardle Room, Perth Concert Hall THURS 5 MAY 9.45AM & 11.15AM Maylands Community Centre (The RISE) FRI 6 MAY 9.45AM & 11.15AM South Perth Community Centre SAT 7 MAY 9.45AM & 11.15AM Wardle Room, Perth Concert Hall

Our 15-piece ensemble performs fun 50-minute shows that introduce young children to the instruments of the symphony orchestra. Suitable for 0 - 6 year olds.

ALCOHOL.THINK AGAIN MASTERS SERIES

ASHER FISCH CONDUCTS RESURRECTIONFRI 1 & SAT 2 APR 7.30PM Perth Concert Hall

To hear Mahler’s Resurrection Symphony performed live is quite simply an overwhelming experience.

MAHLER Symphony No.2 Resurrection

Asher Fisch conductor (pictured) Kiandra Howarth soprano Fiona Campbell mezzo soprano

WASO Chorus UWA Symphonic Chorus

Asher Fisch appears courtesy of Wesfarmers ArtsTICKETS FROM $45*

TICKETS $17*

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TICKETS FROM $30*

MACA LIMITED CLASSICS SERIES

MENDELSSOHN’S VIOLIN CONCERTOFRI 22 & SAT 23 APR 7.30PM Perth Concert Hall

Concertmaster Laurence Jackson performs Mendelssohn’s much-loved Violin Concerto, full of heart-melting melodies.

WEBER Euryanthe: Overture MENDELSSOHN Violin Concerto in E minor DVORAK Symphony No.6

Johannes Fritzsch conductor Laurence Jackson violin (pictured)

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Pre-concert TalkFind out more about the music in the concert with speaker, Margaret Seares. The Pre-concert Talk takes place at 6.45pm in the Terrace Level Foyer.

The Pre-concert Talk is supported by Wesfarmers Arts

BAROQUE SERIES

ASHER FISCH CONDUCTS BACH’S ST JOHN PASSION

BACH, J.S. St John Passion

There will be a 25 minute interval after the Part One.

Asher Fisch conductor Paul McMahon tenor (Evangelist) Andrew Foote baritone (Jesus) Andrew Collis bass-baritone (Pilate) Sara Macliver soprano Sally-Anne Russell mezzo soprano Richard Butler tenor St George’s Cathedral Consort

Asher FischPrincipal Conductor & Artistic Adviser

Asher Fisch took up the position of Principal Conductor and Artistic Adviser of the West Australian Symphony Orchestra in 2014. In 2015 he extended his initial three-year contract through to the end of the 2019 season. His former posts include Principal Guest Conductor of the Seattle Opera (2007-2013), Music Director of the New Israeli Opera (1998-2008), and the Wiener Volksoper (1995-2000).

A renowned conductor in both the operatic and symphonic worlds, Mr. Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers.

Mr. Fisch has long maintained enduring ties to the Bayerische Staatsoper (Munich) and in the 2015-16 season conducts five titles including Werther and Manon Lescaut. He also returns to the Teatro Regio di Torino to conduct Carmen. Guest symphony orchestra engagements this season include the Staatskapelle Dresden, Münchner Rundfunkorchester, Badische Staatskapelle Karlsruhe, Melbourne Symphony, Nashville Symphony (debut), Milwaukee Symphony, and Minnesota Orchestra.

Born in Israel, Mr. Fisch began his conducting career as Daniel Barenboim’s assistant and kappellmeister at the Berlin Staatsoper.

He has built his versatile repertoire at the major opera houses such as Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Teatro alla Scala, Covent Garden, and Semperoper Dresden. Mr. Fisch is also a regular guest conductor at leading American symphony orchestras including those of Boston, Chicago, Cleveland, New York, and Philadelphia. In Europe he has appeared at the Berlin Philharmonic, Munich Philharmonic, London Symphony Orchestra, Leipzig Gewandhaus Orchestra, and Orchestre National de France, among others.

In 2015 Mr. Fisch’s 2013 recording of Wagner’s Ring Cycle with the Seattle Opera was released on the Avie label. His first Ring Cycle recording, with the State Opera of South Australia, won ten Helpmann Awards, including best opera and best music direction. Mr. Fisch is also an accomplished pianist and released his first solo disc of Wagner piano transcriptions in 2012.

Asher Fisch appears courtesy of Wesfarmers Arts

ABOUT THE ARTISTS

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Paul McMahonTenor (Evangelist)

Performing regularly as a soloist with symphony orchestras, chamber music groups and choirs throughout Australia, New Zealand and Asia, tenor Paul McMahon is one of Australia’s finest exponents of baroque and classical repertoire, particularly the Evangelist role in the Passions of J.S. Bach.

Career highlights include Bach’s Johannes-Passion with the Australian Chamber Orchestra under Richard Tognetti; Bach’s Matthäus-Passion under Roy Goodman; Haydn’s Die Schöpfung under the late Richard Hickox, Mozart’s Mass in C Minor under Masaaki Suzuki and Mozart’s Requiem with the Hong Kong Philharmonic Orchestra under Manfred Honeck.

Paul’s discography includes a CD and DVD recording of Handel’s Messiah; Handel’s Semele; Monteverdi’s L’Orfeo; Purcell’s The Fairy Queen; Mozart’s Requiem and Idomeneo, Carl Orff’s Carmina Burana and Fauré’s La naissance de Venus.

Paul McMahon is currently a Lecturer in Music at the Australian National University, Canberra.

Andrew Foote Baritone (Jesus)

One of Australia’s finest singers and entertainers, for over 30 years Andrew Foote has been: a regular guest artist for Western Australian arts companies; a national broadcast artist for ABC Classic FM; a freelance opera principal artist performing throughout Australia with Opera Australia, OzOpera and West Australian Opera; a regular recitalist and oratorio soloist; and an opera director.

In his professional concert and operatic career, Andrew has performed more than 30 operatic roles for professional companies throughout Australia – including his acclaimed Ned Keene in Peter Grimes for which he received a 2010 Helpmann Award.  His soloist and concert repertoire, including recordings for ABC Classic FM, has consistently drawn superb accolades. 

Andrew is Head of Vocal Studies at the University of Western Australia School of Music, the Vocal Coach to the WASO Chorus, and serves as a Chairman of The Executive Connection. 

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Andrew Collis Bass-baritone (Pilate)

Andrew Collis, a member of the Cologne Opera from 1993 to 2007, has performed throughout Germany, Australia, Asia, New Zealand and in the United States. His repertoire ranges from the title roles in Don Pasquale, The Marriage of Figaro, Colline (La Boheme), Dulcamara (L’Elisir D’amore), and Friar Lawrence (Roméo et Juliette) to Leporello (Don Giovanni), Swallow (Peter Grimes), Nick Shadow (Rake’s Progress), Henry Kissinger (Nixon in China) and Fasolt (Das Rheingold).

On the concert platform Andrew’s repertoire includes the Bach Passions, Messiah, Die Schöpfung, Haydn), Beethoven’s Symphony No.9 and Missa Solemnis, and Mozart’s Requiem.

2016 sees Andrew returning to West Australian Opera (Gianni Schicchi), New Zealand Festival for Kissinger in Nixon in China, Opera Queensland (Madama Butterfly and The Barber of Seville), and Melbourne Bach Choir (St Matthew Passion). Andrew will also make his debut with Pinchgut Opera as Valens (Theodora).

Sara Macliver Soprano

Sara is one of Australia’s most popular and versatile artists, and is regarded as one of the leading exponents of Baroque repertoire. Sara is a regular performer with all the Australian symphony orchestras as well as the Perth, Melbourne and Sydney Festivals, Pinchgut Opera, the Australian Chamber Orchestra and Australian Brandenburg Orchestra, Musica Viva, and a number of international companies.

Sara records for ABC Classics with more than 35 CDs and many awards to her credit. In 2015 Sara sang Creation with the Hong Kong Philharmonic, in Pinchgut Opera’s Bajazet, and in the inaugural Brisbane Baroque amongst many others. In 2016 Sara sings with WASO, ANAM, ASQ, St George’s Cathedral, the TSO, and the Festival of Voices amongst many others.

Sara has been awarded an honorary doctorate from the University of Western Australia in recognition of her services to singing.

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ABOUT THE ARTISTS

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Sally-Anne Russell Mezzo soprano

Sally-Anne Russell has over 60 operatic roles in her repertoire, has sung in 15 countries and has recorded over 40 CDs/DVDs on ABC Classics, Chandos, Move and Decca labels.

She is a regular guest with all Australian opera companies, symphony orchestras and major festivals and choral organisations, the Australian Chamber Orchestra, Musica Viva, and the Australian String Quartet.

Sally-Anne has sung in the USA for Washington Opera (DC) at the Festival dei Due Mondi in Spoleto, Italy, Oper der Stadt Köln (Germany), Musikverein in Vienna, Pacific Baroque, Kathaumixw Festival in British Columbia (Canada) and in Japan. She has a decade long association with the Carmel Bach Festival in California.

For the 2015/16 seasons, Sally-Anne returns to the Melbourne, Sydney, Tasmanian, and New Zealand Symphony Orchestras, Nancy Tang in Nixon In China (New Zealand Festival), recording projects for the ABC and to Europe, Singapore and Canada.

Richard Butler Tenor

A 2013 Gramophone award-winning artist as principal soloist for the Gabrieli Consort (A New Venetian Coronation, 1595), English tenor Richard Butler now lives in Sydney. Recently Richard made his debut with WASO, MSO and ASO singing Handel’s Messiah.

Richard was also soloist for the ABO’s 25th anniversary series, performed in the Canberra International Festival singing Bach cantatas and was Evangelist and aria soloist in Bach’s St John Passion at St James’, Sydney with the Australian Haydn Ensemble. At UWA, Richard was the tenor soloist in Britten’s War Requiem.  

He also sang the role of Pilate in Pärt’s Passio for the Adelaide Chamber Singers and was Evangelist in Bach’s St Matthew Passion at Elder Hall, Adelaide. Future projects include Messiah (Trinity College, Melbourne at MRC and Bach's St Matthew Passion (TSO, Hobart - Evangelist and arias).

ABOUT THE ARTISTS

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St George’s Cathedral ConsortSt George’s Cathedral Consort was formed in 2008 on the arrival of Joseph Nolan as Master of Music and are now often described as the finest choir of its type in Australia.

The choir has performed on many occasions for the Perth International Arts Festival, including Arvo Pärt’s Passio with The Hilliard Ensemble and members of WASO; Haydn’s The Creation with the Academy of Ancient Music; Tallis and Striggio: Music in 40 Parts with I Fagiolini, at Perth Concert Hall; and Tenebrae et Lux: Gesualdo’s Tenebrae Responsoria.

Reviewers have been unanimous in their praise for the Consort. The Australian commented (Haydn): ‘The Consort was on excellent form, singing with faultless intonation and impeccable unity.’ The West Australian also lauded the choir, declaring that ‘under the expert direction of Joseph Nolan, they can now truly be called world-class.’

ABOUT THE ARTISTS

Joseph NolanMaster of Music

Hailed by Australia’s ABC Classic FM as an ‘extraordinary musician’ Joseph Nolan enjoys a reputation as an organist and musician of international repute.

Upon completion of his organ studies in London and Paris, Joseph was appointed to Her Majesty’s Chapels Royal, St James’ Palace in 2004. Joseph performed on many occasions at Buckingham Palace, most notably giving the inaugural recital of the refurbished Ballroom organ to a distinguished invited audience.

Nolan’s work has been broadcast by BBC Radio 3, USA Pipedreams, Radio France and has been awarded Editor’s Choice, star recording awards and multiple five star reviews in BBC Music Magazine, Gramophone and ABC Limelight amongst many others.

Joseph has performed at international festivals working with artists such as the King’s Singers, The London Mozart Players, The Philharmonia Orchestra and award winning trumpeter, Alison Balsom.

SOPRANO Anne-Marie Duce Brianna LouwenKate OliverSabra Poole-JohnsonFreya SwarbrickPhilippa Tan

ALTO Adam Boyt Gareth HearneKathleen HowAmber Lister Courtney PitmanAnita Saxby

TENOR Jonathan BrainCian Elliott David GethingAndrew HislopPerry JoyceKieran Lynch

BASS Greg BannanFrancis Cardell-OliverJonty CoyThomas FribergDavid PencoPatrick Watson

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ABOUT THE ARTISTS

Your Experience. Your Donation. Your Orchestra.When asked the question, you most likely already know why you love WASO.

It might be because you enjoy the feeling of being emotionally moved, uplifted or inspired by live performances; it might be because concerts offer you the chance to spend time with your friends and family; or maybe you enjoy the peace and calm that music can bring.

Perhaps you love WASO because you, like us, believe in the life-changing musical opportunities we offer children, young and emerging artists, and regional communities. It might be all of these wonderful things.

WASO PHILANTHROPYPhilanthropy Partner

Donations can give those who may not have had it otherwise, the opportunity to discover what WASO and the experience of live classical music might mean to them. Ongoing philanthropic support is critical and helps build a strong and vibrant Orchestra that produces beautiful music for many thousands of people at Perth Concert Hall, in schools, hospitals and communities across Western Australia.

This year we invite you to become, or renew as, a WASO Patron by making a donation to our 2016 Annual Giving campaign. Those who give $500 or more in a year (including regular monthly donations of $42 or more) are recognised as Patrons and enjoy opportunities to experience the Orchestra from different perspectives – not just from the auditorium – through invitations to exclusive Patron-only events, getting to know our musicians and receiving regular updates.

Need more information or want to join our community?

If you wish to become a Patron, increase or renew your gift, please contact Jane Clare on 9326 0014 or janec@waso.com.au. It is also quick and easy to make a donation online at waso.com.au or you can make a donation at the Box Office with your ticket purchases. All donations over $2 are fully tax deductible.

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

The West Australian Symphony Orchestra (WASO) is Western Australia’s largest and busiest performing arts organisation. With a reputation for excellence, engagement and innovation, WASO’s resident company of full-time, professional musicians plays a central role in creating a culturally vibrant Western Australia. WASO is a not for profit company, funded through government, ticket revenue and the generous support of the community through corporate and philanthropic partnerships.

WASO’s vision is to touch souls and enrich lives through music. Each year the Orchestra entertains and inspires the people of Western Australia through its concert performances, regional tours, innovative

education and community programs, and its artistic partnerships with West Australian Opera and West Australian Ballet.

The Orchestra is led by Principal Conductor and Artistic Adviser Asher Fisch. The Israeli-born conductor is widely acclaimed for his command of the Romantic German repertoire and is a frequent guest at the world’s great opera houses.

Each year the Orchestra performs over 175 concerts with some of the world’s most talented conductors and soloists to an audience in excess of 190,000. An integral part of the Orchestra is the WASO Chorus, a highly skilled ensemble of auditioned singers who volunteer their time and talent.

waso.com.au

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WASO ON STAGE TODAY

VIOLINLaurence JacksonConcertmasterGraeme NorrisAssoc ConcertmasterZak Rowntree*Principal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinFleur ChallenBeth HebertJane JohnstonSunmi JungChristina KatsimbardisEllie LawrenceShaun Lee-Chen*Akiko MiyazawaMelanie PearnKen PeelerGraham PyattJolanta SchenkKathryn ShinnickKate Sullivan

VIOLAAlex BroganBenjamin CaddyAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath Louise McKayChair partnered by Penrhos College Eve SilverFotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Sinclair*Joan Wright Christine ReitzensteinAndrew Tait

FLUTEAndrew Nicholson

PICCOLOMichael Waye

OBOEPeter Facer

COR ANGLAISLeanne Glover

BASSOONAdam Mikulicz

HARPSICHORD/CHAMBER ORGANStewart Smith^

LUTEAidan Deasy^

*Instruments used by these musicians are on loan from Janet Holmes à Court AC.

PrincipalAssociate PrincipalGuest Musician^

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YOUR CONCERT EXPERIENCE

PRINTED PROGRAMS Please share or download our free printed programs to help us be environmentally responsible. WASO’s programs can be downloaded from our website waso.com.au

FOR THE ENJOYMENT OF ALLWhen to applaud? Musicians love applause. Audience members normally applaud:• When the concertmaster (violin) walks

onto the stage • When the conductor walks onto the stage • After the completion of each piece and

at the end of the performance

When you need to cough, try to muffle or bury your cough in a handkerchief or during a louder section of the music. Cough lozenges are available from the WASO Ticket Collection Desk before each performance and at the interval.

Hearing aids that are incorrectly adjusted may disturb other patrons, please be mindful of those around you.

Mobile phones and other electronic devices need to be switched off throughout the performance.

Photography, sound and video recordings are not permitted.

Latecomers and patrons who leave the auditorium will be seated only after the completion of a work.

Join us on Facebook facebook.com/WestAustralianSymphonyOrchestra

Follow us on Twitter twitter.com/_WASO_

Tag your photos #WASO on Instagram instagram.com/_waso_

Watch us on YouTube youtube.com/WestAustSymOrchestra

E-News Stay up to date and sign-up to our SymphonE-news at waso.com.au

WASO On The Go Download WASO’s free app on iTunes or Google Play.

Visit waso.com.au For concert information and to listen to concert playlists.

CONNECT WITH WASO

FEEDBACK ABOUT THIS CONCERT Please send your feedback to PO BOX 3041, East Perth WA 6892, call 9326 0000, email waso@waso.com.au or leave us a message on Facebook or Twitter.

LISTEN TO WASOABC Classic FM

This performance is being recorded for broadcast at 8pm on Friday 25 March (or 5pm online). For further details visit abc.net.au/classic

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PERTH CONCERT HALL

THE HOME OF THE WEST AUSTRALIAN SYMPHONY ORCHESTRAPerth Concert Hall is renowned for having one of the finest acoustics in the southern hemisphere. The concert hall is the home and serves as the primary performance venue for the West Australian Symphony Orchestra (WASO), and hosts a number of diverse performances and events all year round.

FOOD & BEVERAGESPlease visit the Perth Concert Hall website perthconcerthall.com.au for full information on food and beverage offerings at the venue.

Foyer bars are open for drinks and coffee two hours before, during interval and after the concert. To save time we recommend you pre-order your interval drinks.

FREE WATER STATIONSFree water stations are set up at the Corner Bar on Terrace Level near the western window and in the Wardle Room, ground floor near the southern window.

FIRST AIDThere are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance

ACCESSIBILITY Perth Concert Hall is equipped to assist people with disabilities:• A universal accessible toilet is available on

the ground floor (Level 1)• A hearing induction loop operates in

rows N6:35 to X6:35 in the stalls area

CONNECT WITH PERTH CONCERT HALL

Join us on Facebook facebook.com/perthconcerthallwa

Follow us on Twitter twitter.com/perthconcerthal

Visit perthconcerthall.com.au For concert information.

WASO BOX OFFICE AT PERTH CONCERT HALLYou can now buy WASO tickets and subscriptions, exchange tickets and make a donation at the Box Office on the ground floor (Level 1) prior to each performance and at interval.

Tickets for other performances at Perth Concert Hall will be available for purchase only at interval.

The Box Office is open Monday to Friday, 9am to 5pm, and contactable on 9326 0000.

DONATE YOUR TICKETCan’t attend a concert? Contact the WASO Box Office on 9326 0000 to donate your ticket for re-sale and you will receive a tax deductible receipt.

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Johann Sebastian BachBorn 1685, Eisenach Died 1750, Leipzig

The Passion according to St John, BWV 245

Bach composed his Passion according to St John for his first Holy Week in Leipzig, where he served as Cantor and music director of four of the city churches from mid-1723 until his death. It is the first work the composer conceived on a grand scale while at Leipzig, and was premiered on Good Friday 1724, not at the Church of St Thomas (the principal church with which Bach was associated), but in the smaller affiliated St Nicholas Church. Bach performed it again, though in altered versions, in 1725 and c.1732. Finally he made a fourth version in 1749 in which he basically returned to the original 1724 form of the work, but with a richer instrumentation. Such rigorous revision and self-criticism is typical of Bach, and thus it is difficult to speak of a definitive version of this, as of many of his works.

The text, while consisting primarily of the Passion narrative derived from St John’s Gospel, also includes two incidents from St Matthew’s Gospel omitted by John, one describing Peter’s repentance after his denial of Christ, and the other the rending of the veil in the Temple at Jerusalem after Christ’s death. In addition, Bach derived poetic material from two contemporary versions of the Passion story by C.H. Postel and Heinrich Brockes, and these form the texts of the opening and closing choruses, as well as that of the arias, ariosos and chorales.

The two parts of the work are unequal in length. The first is remarkable for its rapid pace and sense of forward momentum. This is a result of the frequent alternation of recitatives and short dramatic choruses presenting the arrest of Jesus, his interrogation by the Jewish hierarchy, and Peter’s denial, with arias and chorales providing appropriate meditations on these events without in any way impeding the action. The second more extensive part treats the trial, condemnation, scourging, Way to Calvary, crucifixion and death of Jesus, and is the dramatic core of the work. It is here that we find the short but very beautiful chorale ‘Durch dein Gefängnis Gottes Sohn’ (Through your captivity, Son of God), which, as the Bach scholar Robin Leaver has commented, ‘is not only the centrepiece of the second part of the John Passion but also the heart and focus of the entire work’. Not surprisingly, given the depth of Bach’s faith and his interest in theology, the text of this centrally placed chorale is a concise summation of the Christian doctrine of the atonement.

ABOUT THE MUSIC

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YOU MAY ALSO ENJOYHANDEL Messiahfeatured in Handel’s MessiahFri 2 & Sat 3 December

Other outstanding musical features are the massive opening and closing choruses framing the drama, and the richly harmonised chorales which are spread throughout the work and represent the emotional response of the devout believer to the Passion story. Also notable is the delicate and varied instrumental scoring of the arias, which includes obbligato oboes, flutes, and violas. In addition, the score is coloured by innumerable musical figures intended to convey the scenes and emotions described, such as the striking chromatic line depicting Peter’s weeping, the strongly dotted rhythms and wide leaps in the melodic line reflecting the anguish of his soul, the harsh dissonances and driving rhythms of the crucifixion choruses, the fanfare figures of the mock salutation choruses, the breathless haste of the faithful rushing to Golgotha in the first bass aria with chorus, the rolling of the dice in the casting of lots chorus, and the descending instrumental scalar passages depicting the rending of the temple veil.

The conclusion of the work is marked by a particular pathos, with the poignant alto aria ‘Es ist vollbracht’ (It is fulfilled) forming a second climax, for between its opening and closing sections of lamentation occurs a middle section of heroic splendour, as Christ is hailed as conqueror of death with appropriate fanfare figures and coloratura display.

The sudden return of the opening lamentation, interrupting this splendour, reveals Bach’s dramatic powers at their greatest. A quietly contemplative atmosphere dominates the second bass aria with chorus, while the final soprano aria is a magnificent depiction of ritualised mourning, its plaintiveness enhanced by the angular melodic lines, the chromaticism, and the colouristic obbligato writing for flutes and oboes.

The final chorale stands outside the Passion story proper and forms a serene and ecstatic conclusion to the work in its meditation on the beatific vision, depicted by Bach through the consistently high scoring in all the voice parts and the expressive part-writing.

Abridged from a note by Robert Forgacs © 2007

First performance: St Nicholas Church, Leipzig, Good Friday 1724.First WASO performance: 6 February 1965. Michael Brimer, conductor. Most recent WASO performance: 22 February 1992. Peter Schreier, conductor.Instrumentation: four-part chorus, vocal soloists, and orchestra consisting of two flutes, two oboes (doubling oboe d’amore and oboe da caccia), bassoon, lute, two violas d’amore, viola da gamba, chamber organ, harpsichord and strings.

Aria – a song for solo voiceArioso – passage of a recitative or declamatory character to be sung in a melodic mannerChorale – a type of hymn tuneChromatic – use of notes that are not part of the keyColoratura – florid, virtuoso vocal writingDotted rhythm – a pattern of alternating long and short notesObbligato – a prominent accompanying melodyRecitative – a style of singing which follows speech-like rhythms rather than having a sense of regular metre

Glossary

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TEXT & TRANSLATION

Passio secundum Johannem Parte prima

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!

Evangelista: 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 Fackeln, Lampen und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:

Jesus: Wen suchet ihr?

Evangelista: Sie antworteten ihm:

Chorus: Jesum von Nazareth.

Evangelista: Jesus spricht zu ihnen:

Jesus: Ich bin’s.

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

Jesus: Wen suchet ihr?

Evangelista: Sie aber sprachen:

Chorus: Jesum von Nazareth.

Passion according to St John First Part

Chorus: Lord, our sovereign, whose fame is glorious in all lands! Show us through your passion that you, the true son of God, in every age, even in the deepest humiliation, have been glorified!

Evangelist: Jesus went with his disciples across the Kedron brook. There was a garden there, and Jesus and his disciples went in. Now Judas, who betrayed him, also knew the place, as Jesus often met with his disciples in that very place. Judas, having gathered together a detachment of soldiers and the servants of the chief priests and the Pharisees, came to the place bearing torches, lanterns and weapons. Since Jesus knew everything that was to happen to him, he went out and said to them,

Jesus: Who are you looking for?

Evangelist: They answered,

Chorus: Jesus of Nazareth!

Evangelist: Jesus said to them,

Jesus: I am he.

Evangelist: Now Judas, who betrayed him, was also standing with them. When Jesus said to them, “I am he,” they drew back and fell to the ground. Then he asked them again,

Jesus: Who are you looking for?

Evangelist: They answered,

Chorus: Jesus of Nazareth!

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Evangelista: Jesus antwortete:

Jesus: Ich habs euch gesagt, daß ichs sei, suchet ihr denn mich, so lasset diese gehen!

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!

Evangelista: 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?

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!

Evangelista: 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 Hohenpriester war. Es war aber Kaiphas, der den Juden riet, es wäre gut, daß ein Mensch würde umbracht für das Volk.

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.

Evangelista: Simon Petrus aber folgete Jesu nach und ein ander Jünger.

Evangelist: Jesus answered,

Jesus: I have told you that I am he; if it is me you are looking for, then let these others go!

Chorale: O great love, o love beyond all measure, that brought you to this martyr’s road! I lived in the world in pleasure and joy, and you must suffer!

Evangelist: This was to fulfil the words that he had spoken: ‘I have lost none of those you gave me.’ Now Simon Peter had a sword, and he drew it and struck at the High Priest’s servant, and cut off his right ear. The servant’s name was Malchus. Then Jesus said to Peter,

Jesus: Put your sword in its sheath; am I not to drink the cup my father has given me?

Chorale: Let your will be done, Lord God, both on earth and in heaven; make us patient in the time of suffering, obedient in love and suffering; control and guide all flesh and blood that acts against your will.

Evangelist: But the soldiers and their commander and the servants of the Jews took Jesus and bound him and led him first to Annas, the father-in-law of Caiaphas, who was the High Priest that year. Now it was Caiaphas who had advised the Jews that it would be good for one person to be killed for the people.

Aria (Alto): To set me free from the bonds of my sins, my Saviour is bound. To heal me completely from all the ulcers of vice, he allows himself to be wounded.

Evangelist: Now Simon Peter and another disciple followed Jesus.

19

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!

Evangelista: 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:

Ancilla: Bist du nicht dieses Menschen Jünger einer?

Evangelista: Er sprach:

Petrus: Ich bins nicht.

Evangelista: 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:

Jesus: Ich habe frei, öffentlich geredet für der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammen kommen, 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.

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

Servus: Solltest du dem Hohenpriester also antworten?

Evangelista: Jesus aber antwortete:

Aria (Soprano): I too follow you with joyful steps, and will not leave you, my life, my light. Open the way and never cease to draw me on, to drive me forward, to entreat me.

Evangelist: This disciple was known to the High Priest, and went with Jesus into the High Priest’s palace. Peter stood outside at the door. Then the other disciple, the one known to the High Priest, went out and spoke to the woman who was keeping the door, and brought Peter inside. Then the maid on duty at the door said to Peter,

Maid: Aren’t you one of this man’s disciples?

Evangelist: He said,

Peter: I am not.

Evangelist: Now there were servants and guards standing there, and they had made a charcoal fire, because it was cold, and they were warming themselves. Peter stood near them and warmed himself. Now the High Priest asked Jesus about his disciples and his teaching. Jesus answered,

Jesus: I have spoken freely, openly for all the world to hear. I have always taught in the synagogue and in the temple, where all the Jews meet together, and I have said nothing in secret. Why are you asking me about it? Ask the people who heard me what I said to them: they know what I said!

Evangelist: When he said this, one of the guards standing there slapped Jesus across the face and said,

Guard: Is that how you answer the High Priest?

Evangelist: But Jesus replied,

20

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

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.

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

Chorus: Bist du nicht seiner Jünger einer?

Evangelista: Er leugnete aber und sprach:

Petrus: Ich bins nicht.

Evangelista: Spricht des Hohenpriesters Knecht’ einer, ein Gefreundter des, dem Petrus das Ohr abgehauen hatte:

Diener: Sahe ich dich nicht im Garten bei ihm?

Evangelista: Da verleugnete Petrus abermal, und alsobald krähete der Hahn. Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich.

Aria (Tenore): 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?

Jesus: If there is something wrong with what I said, then show that it is wrong. But if what I said is right, why do you hit me?

Chorale: Who has hit you like this, my Saviour, and treated you so badly? You are certainly not a sinner, as we and our children are; you know nothing of wrongdoing.

I, I and my sins, which are like the grains of sand on a beach, It is these which have brought down on you the misery that assaults you and the host of torments.

Evangelist: And Annas sent him, bound, to the High Priest, Caiaphas. Simon Peter was standing warming himself, when they said to him,

Chorus: Aren’t you one of his disciples?

Evangelist: But he denied it, and said,

Peter: I am not.

Evangelist: One of the High Priest’s servants, a friend of the one 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 straight away the cock crowed. Then Peter remembered the words of Jesus, and went outside and wept bitterly.

Aria (Tenor): Ah, my soul, where are you taking me? where should I find relief? Should I stay here or wish myself buried under mountains and hills?

21

Bei der Welt ist gar kein Rat, und im Herzen stehn die Schmerzen meiner Missetat, weil der Knecht den Herrn verleugnet hat.

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!

INTERVAL

Parte seconda

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.

Evangelista: Da führeten sie Jesum von Kaipha vor das Richthaus, und es war frühe. Und sie gingen nicht in das Richthaus, auf daß sie nicht unrein würden, sondern Ostern essen möchten. Da ging Pilatus zu ihnen heraus und sprach:

Pilatus: Was bringet ihr für Klage wider diesen Menschen?

Evangelista: Sie antworteten und sprachen zu ihm:

Chorus: Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.

Evangelista: Da sprach Pilatus zu ihnen:

There is no help on earth, and in my heart lies the pain of my wrongdoing, because the slave has disowned his master.

Chorale: Without thinking back, Peter denies his God; yet at one grave glance he weeps bitterly. Look at me as well, Jesus, when I refuse to atone; when I have done wrong, stir my conscience.

INTERVAL

Second Part

Chorale: Christ, who makes us joyful, committed no evil deed, for our sake he was taken in the night like a thief, taken before godless people and falsely accused, laughed at, mocked and spat upon, as the scripture says.

Evangelist: Then they led Jesus from the house of Caiaphas to the Roman courthouse. It was early in the morning. And they did not go into the courthouse, so as not to become unclean, so that they would be able to eat the Passover meal. So Pilate went out to them and said,

Pilate: What charge do you bring against this man?

Evangelist: They replied,

Chorus: If he were not a criminal, we would not have handed him over to you.

Evangelist: Pilate said to them,

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

Evangelista: Da sprachen die Jüden zu ihm:

Chorus: Wir dürfen niemand töten.

Evangelista: 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?

Evangelista: Jesus antwortete:

Jesus: Redest du das von dir selbst, oder habens dir andere von mir gesagt?

Evangelista: Pilatus antwortete:

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

Evangelista: 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.

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?

Pilate: Then take him away and judge him according to your laws.

Evangelist: The Jews said to him,

Chorus: We are not allowed to put anyone to death.

Evangelist: This was to fulfil the words Jesus had spoken, indicating the way he was to die. Then Pilate went back into the courthouse and called Jesus, and said to him,

Pilate: Are you the King of the Jews?

Evangelist: Jesus replied,

Jesus: Are you asking this for yourself, or have others spoken to you about me?

Evangelist: Pilate answered,

Pilate: Am I a Jew? Your people and the chief priests have handed you over to me; what have you done?

Evangelist: Jesus answered,

Jesus: My kingdom is not of this world; if it were, my followers would fight to save me from being handed over to the Jews. But my kingdom is not from there now.

Chorale: Ah, great King, great for all time, how can I adequately display my loyalty? For no human heart can conceive of a gift fit to offer you.

My mind cannot find anything to compare with your mercy. How can I repay your loving deeds with my own works?

23

Evangelista: Da sprach Pilatus zu ihm:

Pilatus: So bist du dennoch ein König?

Evangelista: 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.

Evangelista: Spricht Pilatus zu ihm:

Pilatus: Was ist Wahrheit?

Evangelista: 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; wollt ihr nun, daß ich euch der Jüden König losgebe?

Evangelista: Da schrieen sie wieder allesamt und sprachen:

Chorus: Nicht diesen, sondern Barrabam!

Evangelista: Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn.

Arioso (Basso): Betrachte, meine Seel, mit ängstlichem Vergnügen, mit bittrer Lust und halb beklemmten 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!

Evangelist: Then Pilate said to him,

Pilate: So you are a king?

Evangelist: Jesus replied,

Jesus: You say it yourself: I am a king. I was born and came into the world for this: to bear witness to the truth. Anyone who is of the truth hears my voice.

Evangelist: Pilate said to him,

Pilate: What is truth?

Evangelist: And with those words he went back out to the Jews and said to them,

Pilate: I find no case against him. But you have a custom that I release one prisoner to you; do you want me to release the king of the Jews?

Evangelist: Again they all shouted out together,

Chorus: Not this one, but Barabbas!

Evangelist: Now Barabbas was a murderer. Then Pilate had Jesus taken and flogged.

Arioso (Bass): Contemplate, my soul, with fearful pleasure, with bitter joy and heart heavy-laden, your greatest good in the sufferings of Jesus: how on the thorns which pierce him the flowers of heaven blossom for you! You can pick many a sweet fruit from his wormwood, therefore do not cease to gaze on him!

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Aria (Tenore): 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!

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

Chorus: Sei gegrüßet, lieber Jüdenkönig!

Evangelista: 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.

Evangelista: Also ging Jesus heraus, und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen:

Pilatus: Sehet, welch ein Mensch!

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

Chorus: Kreuzige!

Evangelista: Pilatus sprach zu ihnen:

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

Evangelista: Die Jüden antworteten ihm:

Chorus: Wir haben ein Gesetz, und nach dem Gesetz soll er sterben, denn er hat sich selbst zu Gottes Sohn gemacht.

Aria (Tenor): Consider how his back stained with blood in every way resembles heaven: when the rolling flood of our sins subsides, the fairest of rainbows stands as a sign of God’s grace!

Evangelist: And the soldiers plaited a crown of thorns and put it on his head, and laid a purple robe on him, and said,

Chorus: Hail, King of the Jews!

Evangelist: And they slapped him across the face. Then Pilate went back out and said to them,

Pilate: Look, I am bringing him out to you to let you know that I find no case against him.

Evangelist: Then Jesus came out wearing a crown of thorns and a purple robe. And he said to them,

Pilate: Behold the man!

Evangelist: When the chief priests and the guards saw him, they screamed out,

Chorus: Crucify!

Evangelist: Pilate said to them,

Pilate: You take him and crucify him, for I find no case against him.

Evangelist: The Jews answered,

Chorus: We have a law, and according to that law he should die, because he has made himself out to be the Son of God.

25

Evangelista: 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?

Evangelista: 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?

Evangelista: Jesus antwortete:

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.

Evangelista: Von dem an trachtete Pilatus, wie er ihn losließe.

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.

Evangelista: Die Jüden aber schrieen und sprachen:

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

Evangelista: Da Pilatus das Wort hörete, führete er Jesum heraus, und satzte sich auf das 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: When Pilate heard this, he was more afraid than ever, and went back into the courthouse and said to Jesus:

Pilate: Where are you from?

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

Pilate: You won’t speak to me? Don’t you know that I have the power to crucify you, and the power to set you free?

Evangelist: Jesus replied,

Jesus: You would have no power over me if it had not been given to you from above. Therefore the one who handed me over to you has the greater sin.

Evangelist: From that moment on, Pilate looked for a way to release him.

Chorale: Through your captivity, Son of God, freedom must come to us. Your prison is the throne of grace, the land of asylum for all godly people. For had you not entered into servitude, our servitude would have to have lasted for ever.

Evangelist: But the Jews shouted out,

Chorus: If you let this man go, it shows you are no friend to Caesar, for whoever sets himself up as king is defying Caesar.

Evangelist: When Pilate heard this, he led Jesus out and took his seat on the tribunal at the place called The Pavement, which in Hebrew is Gabbatha. Now it was the day of preparation for the Passover, about the sixth hour. He said to the Jews,

Pilate: Look, this is your king.

26

Evangelista: Sie schrieen aber:

Chorus: Weg, weg mit dem, kreuzige ihn!

Evangelista: Spricht Pilatus zu ihnen:

Pilatus: Soll ich euren König kreuzigen?

Evangelista: Die Hohenpriester antworteten:

Chorus: Wir haben keinen König denn den Kaiser.

Evangelista: 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.

Aria (Basso) mit Chorus: 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!

Evangelista: 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:

Chorus: Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König.

Evangelista: Pilatus antwortet:

Pilatus: Was ich geschrieben habe, das habe ich geschrieben.

Evangelist: But they screamed,

Chorus: Away with this man. Crucify him!

Evangelist: Pilate said to them,

Pilate: Am I supposed to crucify your king?

Evangelist: The chief priests answered,

Chorus: We have no king but Caesar.

Evangelist: Then he handed him over to be crucified. Now they took Jesus and led him away. And he carried his cross, and went out to the place called the Place of the Skull, which in Hebrew is called Golgotha.

Aria (Bass) with Chorus: Hurry, you assaulted souls, come out of your dens of misery, hurry—where?—to Golgotha! Take the wings of faith, fly—where?—to the hill of the cross, that is where the flower of your happiness is blooming!

Evangelist: They crucified him there, and with him two others, one on either side with Jesus in the middle. Now Pilate wrote a notice and had it put on the cross, and it read, ‘Jesus of Nazareth, King of the Jews’. Many Jews read this notice, because the place where Jesus was crucified was near the city. And it was written in Hebrew, Greek and Latin. Then the chief priests said to Pilate,

Chorus: Don’t write ‘King of the Jews’, but that he said ‘I am the King of the Jews.’

Evangelist: Pilate replied,

Pilate: What I have written, I have written.

27

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!

Evangelista: 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:

Chorus: Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.

Evangelista: 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!

Evangelista: Darnach spricht er zu dem Jünger:

Jesus: Siehe, das ist deine Mutter!

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!

Chorale: In the depths of my heart, your name and cross alone shine always, therefore I can be joyful. May they appear to me as comfort in my hour of need, as you, Lord Christ, so mild, poured out your life’s blood.

Evangelist: Now the soldiers who had crucified Jesus took his clothes and made four piles, one for each soldier. There was also a seamless tunic, woven all in one piece. They said to each other,

Chorus: Rather than tearing this, let’s cast lots to see who shall have it.

Evangelist: In this way the words of scripture were fulfilled: They have divided my clothes among themselves, and cast lots over my tunic. That is what the soldiers did. Now standing near the cross of Jesus were his mother and his mother’s sister, Mary, the wife of Cleopas, and Mary Magdalene. When Jesus saw his mother and the disciple he loved standing near her, he said to his mother,

Jesus: Woman, see, this is your son!

Evangelist: Then he said to the disciple,

Jesus: See, this is your mother!

Chorale: He paid attention to everything in the last hour, he still thought of his mother, and gave her a guardian. O mortal, do what is right, love God and other people, so that you die free from suffering and grief.

28

Evangelista: 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!

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

Jesus: Es ist vollbracht!

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!

Evangelista: Und neiget das Haupt und verschied.

Aria (Basso) mit Choral 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!

Evangelist: And from that moment on she took the disciple into her house. After that, when Jesus knew that everything had now been completed, so that the scripture might be fulfilled, he said,

Jesus: I am thirsty.

Evangelist: There was a jar full of vinegar there. They soaked a sponge with vinegar and put it on a stick of hyssop and lifted it up to his mouth. When Jesus had taken the vinegar, he said,

Jesus: It is accomplished.

Aria (Alto): It is accomplished; what comfort for suffering souls! The last hours of the night of sorrow are approaching. Judah’s hero triumphs with strength and wins the fight. It is accomplished!

Evangelist: And he bowed his head and gave up his spirit.

Aria (Bass) with chorale: My dear Saviour, let me ask you, now that you are nailed to the cross and have yourself said, ‘It is accomplished’: am I set free from death? Can I, through your pain and death, inherit the kingdom of heaven? Is this the redemption of the whole world? You cannot speak for the pain, yet you bow your head and silently say: Yes!

Jesus, you who were dead now live for ever. In the last hour of death, let me turn nowhere but to you, who have atoned for me, O my dearest Lord! Give me only what you have earned, I desire nothing more.

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Evangelista: Und siehe da, der Vorhang im Tempel zerriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viele Leiber der Heiligen.

Arioso (Tenore): 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?

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!

Evangelista: Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben den Sabbath über (denn desselbigen Sabbath 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!“

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!

Evangelist: And behold, the curtain in the temple was torn in two from top to bottom. And the earth quakes, and the rocks were torn apart and the graves opened up, and the bodies of many holy people rose from the dead.

Arioso (Tenor): My heart! while the whole world shares in the suffering of Jesus, the sun dresses itself in mourning, the curtain tears, the rocks fall to pieces, the earth quakes, the graves split open, as they see the Creator growing cold: what will you do for your part?

Aria (Soprano): O my heart, melt in floods of tears to honour the Most High. Tell heaven and earth the terrible news: your Jesus is dead.

Evangelist: Now since it was the day of preparation, so that the bodies would not remain on the cross during the Sabbath (for this Sabbath was a very important one) the Jews asked Pilate to have the legs broken and the bodies taken away. So the soldiers came and broke the legs of first one, then the other of the men who had been crucified with him. But when they came to Jesus and saw that he was already dead, they did not break his legs; instead, the soldier opened his side with a spear, and immediately blood and water flowed out. And he who saw this has testified to it, and his testimony is true, and he knows that he is speaking the truth, so that you may believe. For these things happened to fulfil the scripture: You shall not break a single one of his bones. And in another place it is written: They will look upon the one whom they have pierced.

Chorale: O help us, Christ, Son of God, through your bitter suffering so that, always subject to you, we may avoid all evil ways, meditate fruitfully on your death and what caused it, and, though poor and weak, make thank-offerings to you for it.

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Evangelista: 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. Da selbst hin legten sie Jesum, um des Rüsttags willen der Jüden, dieweil das Grab nahe war.

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.

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 einge 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!

Evangelist: After that, Joseph of Arimathaea, who was a disciple of Jesus (but in secret, for fear of the Jews), asked Pilate whether he might take away the body of Jesus. And Pilate gave his permission. So he came and took the body of Jesus away. Nicodemus came as well—the one who had earlier come to Jesus in the night—and brought a mixture of myrrh and aloes weighing a hundred pounds. They took the body of Jesus and wrapped it with spices in linen cloths, according to the Jewish burial custom. Now at the place where he had been crucified, there was a garden, and in the garden a new tomb, in which no-one had yet been buried. There they lay Jesus, because of the Jewish day of preparation, since the tomb was close at hand.

Chorus: Rest in peace, O holy limbs, over which I no longer weep: rest in peace, and bring me to peace also. The tomb that has been set aside for you and contains no further distress opens the heavens to me, and closes hell.

Chorale: O Lord, let your dear little angel carry my soul at the last into the lap of Abraham; let my body in its little bedchamber rest gently, free from any pain or suffering, until the day of judgement! Then awaken me from death that my eyes may see you with utter joy, O son of God, my saviour and throne of grace! Lord Jesus Christ, hear my prayer, I would praise you for all eternity!

Translation: Natalie Shea © 2000

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

VIOLINLaurence JacksonConcertmasterGraeme NorrisAssociate Concertmaster Semra Lee-Smith Assistant Concertmaster Rebecca GlorieA/Principal 1st ViolinZak RowntreePrincipal 2nd ViolinKylie Liang Assoc Principal 2nd ViolinSarah BlackmanFleur ChallenStephanie DeanBeth HebertEllie LawrenceShaun Lee-Chen*Akiko Miyazawa Anna O’HaganMelanie PearnKen PeelerGraham Pyatt Louise SandercockJolanta SchenkJane SerrangeliJacek SlawomirskiBao Di TangCerys ToobyDavid Yeh

VIOLAAlex BroganAssoc PrincipalKierstan ArkleysmithNik BabicBenjamin CaddyAlison HallRachael KirkAllan McLeanHelen Tuckey

CELLORod McGrath PrincipalLouise McKayAssoc PrincipalChair partnered by Penrhos College

Shigeru KomatsuOliver McAslan Nicholas MetcalfeEve Silver* Fotis SkordasTim SouthXiao Le Wu

DOUBLE BASSAndrew Sinclair* PrincipalJoan Wright Assoc PrincipalLouise ElaertsChristine ReitzensteinAndrew TaitMark Tooby

FLUTEAndrew Nicholson PrincipalMary-Anne Blades Assoc Principal

PICCOLOMichael Waye Principal

OBOEPeter FacerPrincipalElizabeth CheeAssoc Principal

COR ANGLAISLeanne GloverPrincipal

CLARINETAllan Meyer PrincipalLorna Cook

BASS CLARINETAlexander Millier Principal

BASSOONJane Kircher-Lindner PrincipalChair partnered by Ron & Sue Wooller

Adam Mikulicz Assoc Principal

CONTRABASSOONChloe Turner Principal

HORNDavid Evans PrincipalSharn McIverAssoc PrincipalRobert Gladstones Principal 3rdJulia BrookeFrancesco Lo Surdo

TRUMPETBrent GrapesPrincipalEvan Cromie Assoc PrincipalPeter Miller

TROMBONEJoshua Davis PrincipalLiam O’MalleyAssoc Principal

BASS TROMBONEPhilip Holdsworth Principal

TUBACameron Brook Principal

TIMPANIAlex Timcke Principal

PERCUSSIONBrian Maloney PrincipalTroy Greatz Assoc Principal

HARPSarah Bowman Principal

*Instruments used by these musicians are on loan from Janet Holmes à Court AC.

CONDUCTOR LAUREATE Vladimir Verbitsky

CHORUS DIRECTOR Christopher van Tuinen

PRINCIPAL CONDUCTORAsher FischPartnered by Wesfarmers Arts

CHORUS VOCAL COACH Andrew Foote

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WEST AUSTRALIAN SYMPHONY ORCHESTRA

WASO programs are printed by Pilpel Print www.pilpel.com.au who are proud to be ‘Green Stamp Accredited’. This certification acknowledges Pilpel Print’s commitment to minimising environmental impacts associated with producing printed material.

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing from the publisher. Whilst every effort has been made to ensure the accuracy of statements in this publication we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers’ error. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Executive Manager, Marketing, West Australian Symphony Orchestra, PO Box 3041, East Perth. WA 6892. Email waso@waso.com.au

BOARD OF DIRECTORSJanet Holmes à Court AC ChairmanAnne NolanMark CoughlanKeith KessellBarrie Lepley Deputy ChairmanPaul ShannonJulian SherMichael Utsler

EXECUTIVECraig Whitehead Chief Executive Rebecca Smith Executive AssistantAnthony PickburnExecutive Manager, Human ResourcesNarelle CoghillHuman Resources AssistantSvetlana Williams Payroll Officer

ARTISTIC PLANNINGEvan Kennea Executive Manager, Artistic PlanningAlan Tyrrell Program ManagerNatalie De Biasi Program CoordinatorMaya Kraj-Krajewski Artist Liaison/Chorus Administrator

COMMUNITY ENGAGEMENTCassandra Lake Executive Manager, Community EngagementFiona Taylor Education CoordinatorLily Protter Community Engagement Assistant

ORCHESTRAL MANAGEMENTKeith McGowan Executive Manager, Orchestral ManagementJenna BostonOrchestral Operations ManagerDavid Cotgreave Production & Technical ManagerAlistair CoxOrchestral ManagerBreanna Evangelista Orchestral CoordinatorWee Ming Khoo Music Librarian

BUSINESS SERVICESPeter FreemantleChief Financial OfficerAndrew Chew Systems AdministratorAlex Spartalis IT SupportAngela Miller AccountantSushila BhudiaAccounts OfficerRenu Kara Accounts Assistant

PHILANTHROPY Alecia BenzieExecutive Manager, PhilanthropyJane Clare Fundraising & Philanthropy ManagerSarah Tompkin Planned Giving ManagerMegan Lo Surdo Philanthropy & Events Coordinator

CORPORATE DEVELOPMENTMarina WoodhouseExecutive Manager, Corporate DevelopmentJamie Parkin Corporate Partnerships ManagerCliona Hayes Corporate Partnerships CoordinatorGinny LuffCorporate Partnerships & Events Coordinator

MARKETINGNancy Hackett Acting Executive Manager, MarketingMarc MissiaenRelationship Marketing ManagerLuke PownallPublic Relations ManagerKirsty ChisholmMarketing CoordinatorZoe LawrenceMarketing OfficerLily ProtterMarketing Assistant

PERTH CONCERT HALLBrendon Ellmer General ManagerLorraine Rice Deputy General ManagerBrad Matthews Operations CoordinatorPenelope Briffa Events ManagerPaul Richardson Presentations CoordinatorBruce Gaw Maintenance OfficerRyan Sandilands Acting Marketing ManagerKrista TanuwibawaActing Marketing AssistantSarah Salleo Reception & AdministrationJosie AitchisonTim ChandlerVanessa WoolleyTicketing Client Account ManagersAlana ArnoldCheryl ButlerLeticia CannellMary-Louise CarboneWendy Cooper Helen GortmansEmily KennedyTalei LouieRebekah RyanBeverley TrolioCustomer Service and Sales Representatives

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MAHLER Symphony No.2 Resurrection

Asher Fisch conductorKiandra Howarth sopranoFiona Campbell mezzo sopranoWASO ChorusUWA Symphonic Chorus

Friday 1 & Saturday 2 April 7.30pmPerth Concert Hall