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AC A D E M Y O F A N C I E N T M U S I C

AAM004
J S B AC H S T M AT T H E W PA S S I O N
G I L C H R I S T R O S E R I C H E S WAT T S C O N N O L LY
H O B B S M A LT M A N C H O I R O F T H E A A M E G A R R
J S B AC H S T M AT T H E W PA S S I O N BWV244

J S B A C H S T M AT T H E W PA S S I O N A C A D E M Y O F A N C I E N T M U S I C
1727 VERSION

J A M E S G I L C H R I S T E VA N G E L I S TA
M AT T H E W R O S E J E SUS
A S H L E Y R I C H E S P I L AT US
E L I Z A B E T H WAT T S S O P R A N O
S A R A H C O N N O L LY A LTO
THOMAS HOBBS TENOR 131
C H R I S T O P H E R M A LT M A N B A S S
AC A D E M Y O F A N C I E N T M U S I C
CHOIR OF THE AAM

R I C H A R D E G A R R D I R E C TO R & H A R P S I C H O R D

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AAM004_3CD_OuterBook_s1.indd 1 05/02/2015 16:53


J S B AC H
S T M AT T H E W PA S S I O N
RICHARD EGARR
AC ADEMY O F ANCI E NT MUSIC
CHOIR OF THE AAM
ACADEMY OF ANCIENT MUSIC 3

J S B AC H S T M AT T H E W PA S S I O N BWV244
1727 version

James Gilchrist Evangelista Richard Egarr director & harpsichord CONTENTS


Matthew Rose Jesus Academy of Ancient Music About JS Bachs St Matthew Passion
Ashley Riches Pilatus Choir of the AAM 1015 Stephen Rose Introducing the Passion
Elizabeth Watts soprano Richard Stokes language advisor 1619 Richard Egarr Oh no, not again
Sarah Connolly alto Gerhard Gall language advisor Libretto and translation
Thomas Hobbs tenor Philip Hobbs producer 2241 Part One
Christopher Maltman bass 4473 Part Two

Christopher Field Testis I Production details


Stuart Jackson Testis II 7687 Artists biographies
Richard Bannan Pontifex 8892 Orchestra and Choir
Philippa Hyde Ancilla I, Uxor Pilati 9495 AAM Records
Elizabeth Drury Ancilla II 9697 Thank you & production credits
Richard Latham Petrus, Pontifex I
Philip Tebb Judas, Pontifex II
FIND OUT MORE
www.aam.co.uk/stmatthewpassion
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 5

CD 1 PART ONE 5840

1. Chorus Kommt, ihr Tchter, helft mir klagen 625 21. Aria (soprano) Ich will dir mein Herze schenken 324
2. Recitativo (Evangelista, Jesus) Da Jesus diese Rede vollendet hatte 037 22. Recitativo (Evangelista) Und da sie den Lobgesang gesprochen hatten 058
3. Choral Herzliebster Jesu, was hast du verbrochen 034 23. Choral Erkenne mich, mein Hter 052
4. Recitativo (Evangelista) Da versammleten sich die Hohenpriester 025 24. Recitativo (Evangelista, Petrus, Jesus) Petrus aber antwortete und sprach zu ihm 055
5. Chorus Ja nicht auf das Fest 014 25. Choral Es dient zu meinem Freuden 052
6. Recitativo (Evangelista) Da nun Jesus war zu Bethanien 028 26. Recitativo (Evangelista, Jesus) Da kam Jesus mit ihnen zu einem Hofe 129
7. Chorus Wozu dienet dieser Unrat? 027 27. Recitativo (tenor, choir II) O Schmerz! hier zittert das gequlte Herz 135
8. Recitativo (Evangelista, Jesus) Da das Jesus merkete 112 28. Aria (tenor, choir II) Ich will bei meinem Jesu wachen 500
9. Recitativo (alto) Du lieber Heiland du 053 29. Recitativo (Evangelista, Jesus) Und ging hin ein wenig 035
10. Aria (alto) Bu und Reu 418 30. Recitativo (bass) Der Heiland fllt vor seinem Vater nieder 058
11. Recitativo (Evangelista, Judas) Da ging hin der Zwlfen einer 035 31. Aria (bass) Gerne will ich mich bequemen 414
12. Aria (soprano) Blute nur, du liebes Herz! 408 32. Recitativo (Evangelista, Jesus) Und er kam zu seinen Jngern 100
13. Recitativo (Evangelista) Aber am ersten Tage der sen Brot 013 33. Choral Was mein Gott will, das gscheh allzeit 051
14. Chorus Wo willst du, da wir dir bereiten 021 34. Recitativo (Evangelista, Jesus, Judas) Und er kam und fand sie aber schlafend 209
15. Recitativo (Evangelista, Jesus) Er sprach: Gehet hin in die Stadt 107 35. Aria (soprano, alto, choir II) So ist mein Jesus nun gefangen 320
16. Recitativo (Evangelista) Und sie wurden sehr betrbt 011 36. Chorus Sind Blitze, sind Donner 101
17. Chorus Herr, bin ichs? 010 37. Recitativo (Evangelista, Jesus) Und siehe, einer aus denen, die mit Jesu waren 158
18. Choral Ich bins, ich sollte ben 036 38. Choral Jesum la ich nicht von mir 049
19. Recitativo (Evangelista, Jesus, Judas) Er antwortete und sprach 239
20. Recitativo (soprano) Wiewohl mein Herz in Trnen schwimmt 110
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 7

CD 2 PART two 4939

1. Aria (bass, choir II) Ach, nun ist mein Jesus hin! 317 21. Recitativo (Evangelista, Pilatus, Jesus) Sie hielten aber einen Rat 149
2. Recitativo (Evangelista) Die aber Jesum gegriffen hatten 104 22. Choral Befiehl du deine Wege 050
3. Choral Mir hat die Welt trglich gericht 036 23. Recitativo (Evangelista, Pilatus, Uxor Pilati, choir I & II) Auf das Fest 150
4. Recitativo (Evangelista, Testis I & II, Pontifex) Und wiewohl viel falsche Zeugen 105 24. Chorus La ihn kreuzigen! 015
5. Recitativo (tenor) Mein Jesus schweigt zu falschen Lgen stille 057 25. Choral Wie wunderbarlich ist doch diese Strafe! 032
6. Aria (tenor) Geduld, Geduld! 332 26. Recitativo (Evangelista, Pilatus) Der Landpfleger sagte 015
7. Recitativo (Evangelista, Pontifex, Jesus) Und der Hohenpriester antwortete 107 27. Recitativo (soprano) Er hat uns allen wohlgetan 110
8. Chorus Er ist des Todes schuldig! 010 28. Aria (soprano) Aus Liebe will mein Heiland sterben 503
9. Recitativo (Evangelista) Da speieten sie aus 013 29. Recitativo (Evangelista) Sie schrieen aber noch mehr 005
10. Chorus Weissage uns, Christe 019 30. Chorus La ihn kreuzigen! 015
11. Choral Wer hat dich so geschlagen 036 31. Recitativo (Evangelista, Pilatus) Da aber Pilatus sahe 025
12. Recitativo (Evangelista, Ancilla I & II, Petrus) Petrus aber sa drauen im Palast 054 32. Chorus Sein Blut komme ber uns 038
13. Chorus Wahrlich, du bist auch einer von denen 010 33. Recitativo (Evangelista) Da gab er ihnen Barrabam los 019
14. Recitativo (Evangelista, Petrus) Da hub er an, sich zu verfluchen 117 34. Recitativo (alto) Erbarm es Gott! 058
15. Aria (alto) Erbarme dich, mein Gott 641 35. Aria (alto) Knnen Trnen meiner Wangen 613
16. Choral Bin ich gleich von dir gewichen 048 36. Recitativo (Evangelista) Da nahmen die Kriegsknechte 037
17. Recitativo (Evangelista, Judas) Des Morgens aber hielten alle Hohepriester 056 37. Chorus Gegret seist du, Jdenknig! 009
18. Chorus Was gehet uns das an? 008 38. Recitativo (Evangelista) Und speieten ihn an 012
19. Recitativo (Evangelista, Pontifex I & II) Und er warf die Silberlinge in den Tempel 041 39. Choral O Haupt, voll Blut und Wunden 058
20. Aria (bass) Gebt mir meinen Jesum wieder! 237
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 9

CD 3 PART two (CONT D) 3619

1. Recitativo (Evangelista) Und da sie ihn verspottet hatten 102 21. Aria (bass) Mache dich, mein Herze, rein 550
2. Recitativo (bass) Ja, freilich will in uns das Fleisch und Blut 031 22. Recitativo (Evangelista) Und Joseph nahm den Leib 100
3. Aria (bass) Komm, ses Kreuz 502 23. Chorus Herr, wir haben gedacht 048
4. Recitativo (Evangelista) Und da sie an die Sttte kamen 142 24. Recitativo (Evangelista, Pilatus) Pilatus sprach zu ihnen 034
5. Chorus Der du den Tempel Gottes zerbrichst 025 25. Recitativo (soprano, alto, tenor, bass, choir II) Nun ist der Herr zur Ruh gebracht 137
6. Recitativo (Evangelista) Desgleichen auch die Hohenpriester 010 26. Chorus Wir setzen uns mit Trnen nieder 509
7. Chorus Andern hat er geholfen 045
8. Recitativo (Evangelista) Desgleichen schmheten ihn auch die Mrder 015
9. Recitativo (alto) Ach Golgatha 116 Total timing 14438
10. Aria (alto, choir II) Sehet, Jesus hat die Hand 249
11. Recitativo (Evangelista, Jesus) Und von der sechsten Stunde 118
12. Chorus Der rufet dem Elias! 004
13. Recitativo (Evangelista) Und bald lief einer unter ihnen 015
14. Chorus Halt! la sehen 006
15. Recitativo (Evangelista) Aber Jesus schriee abermal laut 022
16. Choral Wenn ich einmal soll scheiden 102
17. Recitativo (Evangelista) Und siehe da, der Vorhang im Tempel zerri 107
18. Chorus Wahrlich, dieser ist Gottes Sohn gewesen 017
19. Recitativo (Evangelista) Und es waren viel Weiber da 108
20. Recitativo (bass) Am Abend, da es khle war 145
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 11

I N T R O D U C I N G T H e PA S S I O N on the Passion story with metaphors and verbrochen / da man ein solch scharf Urteil
poetic devices typical of baroque literature. hat gesprochen? (CD 1, track 3).
When JS Bachs second wife Anna Magdalena the Biblical recitation with arias and verses of Following the model of Barthold Heinrich
was sorting out an assortment of her husbands chorales. In 1724 Bach performed his St John The different texts can also be layered
Brockess Passion libretto, Picander occasionally
manuscripts, she labelled one performing Passion, and three years later he premiered simultaneously, as in the opening chorus
introduces the allegorical figures of the
part as belonging to the Great Passion. This the St Matthew Passion. Bachs Passions, like (CD 1, track 1). Here, Choir I represents the
Daughter of Zion and the Believer, although
description could refer to only one piece Kuhnaus, were in two halves, the first part Daughters of Zion, singing Kommt ihr
many of the arias are not attributed to any
Bachs St Matthew Passion. Consisting of 68 to be performed before the sermon and the Tchter, helft mir klagen, sehet den Brutigam
specific character.
movements for double choir and double second part afterwards. (Come, daughters, help me lament / Behold
orchestra, it is a work of unprecedented length. The resultant mosaic of textual layers creates the bridegroom! a reference to a Biblical
The St Matthew Passion uses a libretto by levels of allusion that greatly enrich the Passion. tradition of representing Christs coming as a
It also has great expressive power, meditating
Picander, the pen-name of the Leipzig Comments on the Biblical story are offered wedding, except here Christ will be taken to his
on the bittersweet combination of pity,
poet Christian Friedrich Henrici. The libretto, by the chorales (in simple language dating death). Choir II represents the believers, who
penance and love aroused by the Passion story.
undoubtedly the result of a close collaboration from the Lutheran Reformation of the early interject questions about what is happening:
The St Matthew Passion was written for between Picander and Bach, uses three types 16th century) and the arias (in Picanders more Wen?, Wie?, Was?, Wohin? (Whom?,
liturgical performance at the service of Vespers of text. Firstly, there is the Biblical narrative, elaborate language of the early 18th century). How?, What?, Where?). Over all this is heard
on Good Friday, 11 April 1727, in Leipzig. sung in recitative by the Evangelist; the Leipzig For example, the first recitative of the piece is the melody of the German Agnus Dei, O Lamm
Traditionally the Leipzig churches recited churches evidently required composers the Biblical passage where Jesus prophesies his Gottes, unschuldig; this 16th-century chorale
the Passion story on Good Friday in a simple to state the entire scriptural text without death: des Menschen Sohn wird berantwortet was used at Communion services and refers
chanted setting dating back to the early 16th alteration. Secondly, there are Passiontide werden, da er gekreuziget werde (CD 1, to Christs innocence at his crucifixion. Bach
century. In 1721 Bachs predecessor as Leipzig chorales, hymns that would be familiar to track 2). This is immediately followed by a sets the two main choirs as a 12/8 pastorale in
Thomaskantor, Johann Kuhnau, introduced a every member of the congregation. Thirdly, chorale, which expresses incredulity that Jesus E minor, whereas the Agnus Dei is in G major.
more elaborate Passion setting, punctuating there is Picanders own poetry, reflecting should die: Herzliebster Jesu, was hast du The dual tonality epitomises the musical and
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 13

textual richness of the movement. In addition, meditation, and Bach often emphasises their dialogue with the solo tenor, drawing a moral the good things that Jesus has done, followed
its length and sense of foreboding give a contemplative function by using an unusual for the congregation: Was ist die Ursach aller by the aria Aus Liebe will mein Heiland sterben
foretaste of the style of the rest of the Passion. scoring or distinctive key. In the first half of solcher Plagen? / Ach! meine Snden haben (CD 2, track 28). Here the instrumental scoring
the Passion, the initial stage of the meditation dich geschlagen. for flute and two oboes da caccia, without
As a liturgical work, the St Matthew Passion
(recognition of ones sins) is foremost. The first continuo gives a moment of stillness within
aims not only to narrate the Biblical story, but The second part of the Passion continues to
aria of the piece, sung after a woman anoints the onward-driving narrative. As the soprano
also to help members of the congregation assert the need for repentance. After Peter has
Jesuss feet with oil, emphasises humanitys explains why Jesus is sentenced to death
meditate on the significance of Christs denied that he ever knew Christ, his remorse is
guilt for its sins: Bu und Reu / Knirscht das Da die ewige Verderben / Und die Strafe des
sacrifice. Scholars such as Eric Chafe and Elke expressed in the aria Erbarme dich (CD 2, track
Sndenherz entzwei (CD 1, track 10). The Gerichts / Nicht auf meiner Seele bliebe (So
Axmacher have traced resemblances between 15). Here the obbligato violin is entrusted with
aria is in F sharp minor, a key that Bachs that eternal destruction and the punishment of
Picanders libretto and sermons on Christs a theme that is both beseeching (particularly
contemporary Johann Mattheson described judgement would not remain upon my soul)
Passion by Martin Luther and subsequent in the opening leap of a minor sixth) and also
as misanthropic and causing great affliction; it is evident we have reached the second stage
theologians such as Heinrich Mller. ornate. When the singer first enters, the vocal
and the obbligato flutes play many descending of Luthers meditation on the Passion.
Particularly relevant to Picanders libretto is line attempts to imitate the violins theme;
gestures, as if weighed down by sin.
Luthers 1519 meditation on Christs Passion, but soon the theme reverts to the violin. Bach After Jesus is found guilty at the trial, he is led
which outlines three stages of contemplation: Later in the first part, when Jesus is in implies that humankind is so broken that it away to be crucified. As he struggles under
firstly, for the believers to recognise that it was the Garden of Gethsemane, his fear at his cannot even follow the violins melody. the weight of the Cross, a bystander Simon
their sins that caused Christs death; secondly, impending death is expressed in the movement of Cyrene is conscripted to carry it. Simons
Some arias in the second half of the Passion,
to cleanse their conscience by casting their O Schmerz! Hier zittert das gequlte Herz (CD willingness to take this load is expressed in the
however, have a calmer or more confident
sins onto Christ; and thirdly, to imitate Christ 1, track 27). Here the key is F minor (associated aria Komm, ses Kreuz (CD 3, track 3). In later
note. In the midst of the anger and hurly-burly
and his willing submission to the Cross. by Mattheson with heartache), and the scoring versions of the Passion the obbligato is played
of Jesuss trial, Pilate asks Was hat er denn
includes the colourful combination of flutes by the viola da gamba, whose triple-stopping
Many of the arias in the St Matthew Passion can bels getan? / What evil has He done then?
and oboes da caccia. A chorale then enters in and awkward leaps suggest that Simons task
be associated with one of the three stages of (CD 2, track 26). A soprano recitative recounts
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 15

is a difficult one; in this 1727 version, however, limitations of Bachs performers (the aria may to communicate with all members of the
the sweeter sound of the lute is used, and have been too hard for the bass in choir I); but congregation regardless of their education.
the dotted rhythms are an echo of the French it also universalises the message of the arias, This communicative power is one of the
overture, associated with the arrival of royalty showing that the experience of repentance factors that make the St Matthew Passion
(even if here the king has been sentenced to is not specific to a single singer. Bach thereby such an exceptional musical experience.
death). The aria represents the third stage of aimed to involve the congregation in the
meditation on the Passion, namely that the Passion story and mould them spiritually.
believer is now prepared to follow Christ and
The congregation would also be drawn into Stephen Rose 2015
take up his Cross.
the Passion by the chorales. They would have Dr Stephen Rose is Reader in Music at Royal Holloway, University of London.
All the arias of the St Matthew Passion draw on recognised the tunes and words of these
aspects of the musical vocabulary of baroque German hymns, which were used regularly
opera, as for instance in the lamenting gestures in private devotion during the 18th century
of Erbarme dich. Yet Bachs conception of as well as in church services. It is unclear if
these arias is far from operatic, for he does not the congregation actually sang the chorales
assign them to named characters. Sometimes which are often stated in unsuitable keys
the aria is sung by a voice-type appropriate for for untrained voices, or with the melody
one of the Biblical personages, as with the bass shrouded by complicated harmonies but
who sings the words associated with Simon they doubtless would have recited the
of Cyrene. By contrast, Erbarme dich is sung words quietly to themselves during the
by an alto, not by the bass who sang Peters performance. By incorporating the popular
words in the preceding recitative. The change tone of the chorales as well as the ornate
of singer may have been required by the rhetoric of the arias, Bach and Picander aimed
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 17

R I C H A R D E G A R R : O H N O , not again started rehearsing, but I found the experience each having its own continuo line. This single
extremely rewarding in many ways. continuo line absolutely anchors the piece
This thought, assigned by the brilliant continuo, Charles Daniels and Gerald Finley within the same space it would be contrary
Douglas Adams to a bowl of petunias which is among the singers). I have conducted it many So, for me, the St Matthew has a long history,
to put either of the choirs or orchestras at any
repeatedly reincarnated throughout existence, times since (as with Handels Messiah) and and I felt very strongly, when AAM came to
distance from the continuo group. We placed
could very well apply to any performance or become more and more in awe of the musical record it, that I wanted to record the first
the two choirs and orchestras simply left and
recording of JS Bachs St Matthew Passion. As mind that created it. version; heretical as it may seem to say, in
right of the central continuo.
I have lived in the Netherlands for the past many ways I prefer the original 1727 score to
In 2007 I conducted 25 performances of Bachs own 1736 revision. Other extremely noticeable changes include
25 years, this is a particularly apt sentiment,
the piece in two completely contrasting the lack of the chorus O Mensch, bewein
since every Easter season literally hundreds of First, a few observations on this version. I
circumstances. The Dutch Bach Society asked at the end of Part One; originally written
performances of this work are (un)necessarily dont wish merely to give a list of differences.
me to perform it during the Sacred Easter for the second (1725) version of the St John
churned out to meet the eager demands of There are so many, both major and minor. We
period, specifically the first (1727) version, Passion, this chorus was later substituted for
a folk who seem to view the piece as actually are lucky to have a score of the first version,
which had never been performed in the the beautifully simple chorale heard in the
being Easter. it having being copied in about 1755 by
Netherlands at that time. The score of this original St Matthew Passion recorded here.
I first directed Bachs Great Passion as a version was just about to become available Johann Christoph Farlau (a student of Johann
This makes the first part feel totally different
student at Cambridge in Kings College Chapel through the publisher Brenreiter. It was a Christoph Altnickol, who was singing for
in balance. The opening of Part Two has a
in 1985 (the composers tercentenary) with challenge for both audience and players, Bach in Leipzig during the late 1740s). The
bass instead of an alto singing the Daughter
the University Bach Society as part of the who were so used to the familiar later (1736) reason why this earlier version was copied
of Zions words, thus underlining the works
celebrations there. I had an amazing team of version; generally, however, it was received will probably never be known, but thank
universality. Perhaps the most wonderful
instrumentalists and soloists, drawn from both with good grace. Then, from May to August goodness it survives. The major difference
colour change is the great bass aria Komm,
inside and outside the University, who were that year, I conducted 14 performances is that the entire structure is supported by
ses Kreuz (CD 3, track 3). Rather than the
not yet international stars (Andrew Manze of a staged production at Glyndebourne. only one continuo line the familiar version
somewhat tortured effect that we are used to
leading, David Watkin and John Butt playing The critics knives were out before we even entirely separates the choirs and orchestras,
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 19

with the accompanying viola da gamba toiling great soprano/alto duet before Sind Donner flexibility of tempo and dynamic equal to any
with large chordal gestures (which seems is a case in point (CD 1, track 35). The thorny found in the 19th century, although of course
to express the effort of carrying the Cross), problem of how to play the appoggiaturas in delivered with the sensibilities of the 17th and
we are given the easy, gentle colour of an the later version which always raises its ugly 18th centuries. This wonderful first version of
accompanying lute, softly caressing the same head in rehearsal is simply absent because perhaps the greatest religious work is certainly
music, shifting the emphasis to focus on the they too are absent. It makes this section sound not work in progress. It is different.
sweet relief of mankind at Jesuss act. much older and 17th (if not 16th) century.
I encourage the listener to delight in this
Less obvious but important symbolical scoring Often chromatic content is greater in the first difference. We are perhaps conditioned to
changes which are lost in the later version are version, as in some harmonies in the opening think that, if composers revisited their works
the assignment of the two great violin solos to chorus (no ripieno choir for the chorale and changed them, they always made things
opposite orchestras. So the pleadings of the melody here it is rescored for organ and better. How could Bach possibly make things
solo violin in Erbarme dich (CD 2, track 15) winds) and the bass line in Blute nur (CD 1, worse by tinkering? Of course he didnt,
are played from Orchestra II, accompanied by track 12). There are also occasional indications but conversely it is not the case that earlier
Orchestra I. Likewise Gebt mir meinen Jesum of tempo modification which were also versions are necessarily worse just different.
wieder! (CD 2, track 20) has the violin solo omitted later. In the tenors cry of O Schmerz!
Dont be a bowl of petunias.
from Orchestra I, accompanied by Orchestra II. (no recorders in this score only flutes!), the
chorale comments by the second choir are
There are many, many changes in the
marked un poco allegro (CD 1, track 27).
instrumental and musical details. In short,
Richard Egarr 2015
the early version is less decorated, purer and I encouraged all the players and singers
stronger in gesture. In many cases the later to take risks with timing and freedom of
musical lines are more highly decorated, expression, both in note, word and ornamental
smoother and busier. The opening of the deed. I feel this music is so rich and demands a
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 21

Richard Egarr, director & harpsichord.


J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 23

C D 1 PA R T O N E Jesus Jesus

Ihr wisset da nach zweien Tagen Ostern wird, You know that in two days it will be Passover,
1. Chor I & II Choir I & II und des Menschen Sohn wird berantwortet and the Son of Man will be handed over to be
Kommt, ihr Tchter, helft mir klagen, Come, daughters, help me lament, werden, da er gekreuziget werde. crucified.
Sehet! Wen? den Brutigam! behold! Whom? the Bridegroom! 3. Choral Chorale
Seht ihn! Wie? als wie ein Lamm. Behold Him! How? as a Lamb.
Herzliebster Jesu, was hast du verbrochen, Hearts beloved Jesus, how have You transgressed,
Sehet! Was? seht die Geduld. Behold! What? behold the patience.
Da man ein solch scharf Urteil hat that such a harsh sentence has been
Seht! Wohin? auf unsre Schuld. Look! Where? at our guilt.
gesprochen? pronounced?
Sehet ihn aus Lieb und Huld See Him, out of love and graciousness,
Was ist die Schuld, in was fr Missetaten What is the crime, of what kind of misdeed
Holz zum Kreuze selber tragen. bear the wood for the Cross Himself.
Bist du geraten? are You accused?
(O Lamm Gottes unschuldig, (O innocent Lamb of God,
Am Stamm des Kreuzes geschlachtet, slaughtered on the trunk of the Cross, 4. Evangelista Evangelist
Allzeit erfunden geduldig, patient at all times, Da versammleten sich die Hohenpriester und Then the high priests and the scribes and the
Wiewohl du warest verachtet. however You were scorned. Schriftgelehrten und die ltesten im Volk in elders of the people gathered in the palace of
All Snd hast du getragen, You have borne all sins, den Palast des Hohenpriesters, der da hie the high priest, who was named Caiaphas, and
Sonst mten wir verzagen. otherwise we would have to despair. Kaiphas, und hielten Rat, wie sie Jesum mit took council how with deception they could
Erbarm dich unser, o Jesu.) Have mercy on us, o Jesus.) Listen griffen und tteten. Sie sprachen aber: seize Jesus and kill Him. They said, however:
2. Evangelista Evangelist 5. Chor I & II Choir I & II
Da Jesus diese Rede vollendet hatte, sprach er When Jesus had finished this speech, He said to Ja nicht auf das Fest, auf da nicht ein Aufruhr Not, indeed, during the festival, so that there
zu seinen Jngern: His disciples: werde im Volk. will not be an uproar among the people.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 25

6. Evangelista Evangelist geprediget wird in der ganzen Welt, da wird will tell, in her memory, what she has done.
man auch sagen zu ihrem Gedchtnis, was sie
Da nun Jesus war zu Bethanien, im Hause Now when Jesus was in Bethany, in the house
getan hat.
Simonis des Ausstzigen, trat zu ihm ein Weib, of Simon the leper, a woman came to Him with
die hatte ein Glas mit kstlichem Wasser und a cup filled with valuable water; and she poured 9. Recitativo (alto) Recitative (alto)
go es auf sein Haupt, da er zu Tische sa. Da it upon His head as he sat at the table. When
Du lieber Heiland du, O You dear Saviour,
das seine Jnger sahen, wurden sie unwillig und His disciples saw this, they were against it
Wenn deiner Jnger tricht streiten, when Your disciples foolishly protest
sprachen: and said:
Da diese fromme Weib that this virtuous woman
7. Chor I Choir I Mit Salben deinen Leib prepares Your body
Zum Grabe will bereiten, with ointment for the grave,
Wozu dienet dieser Unrat? Dieses Wasser htte What purpose does this foolishness serve? This
So lasse mir inzwischen zu, in the meantime let me,
mgen teuer verkauft und den Armen gegeben water could have been sold for a high price and
Von meiner Augen Trnenflssen with the flowing tears from my eyes,
werden. given to the poor.
Ein Wasser auf sein Haupt zu gieen! pour a water upon Your head!
8. Evangelista Evangelist
10. Aria (alto) Aria (alto)
Da das Jesus merkete, sprach er zu ihnen: When Jesus heard this, He said to them:
Bu und Reu, Bu und Reu Repentance and regret, repentance and regret
Jesus Jesus Knirscht das Sndenherz entzwei. rip the sinful heart in two.
Was bekmmert ihr das Weib? Sie hat ein gut Why do you trouble this woman? She has done Das die Tropfen meiner Zhren Thus the drops of my tears,
Werk an mir getan. Ihr habet allezeit Armen a good deed for Me. You will have the poor with Angenehme Spezerei, desirable spices,
bei euch, mich aber habt ihr nicht allezeit. Da you always, but you will not always have Me. Treuer Jesu, dir gebren. are brought to You, loving Jesus.
sie dies Wasser hat auf meinen Leib gegossen, She has poured this water on My body because 11. Evangelista Evangelist
hat sie getan, da man mich begraben wird. I will be buried. Truly I say to you: wherever this
Da ging hin der Zwlfen einer mit Namen Judas Then one of the twelve, named Judas Iscariot,
Wahrlich, ich sage euch: Wo dies Evangelium Gospel will be preached in the whole world they
Ischarioth zu den Hohenpriestern und sprach: went to the high priests and said:
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 27

Judas Judas 15. Evangelista Evangelist

Was wollt ihr mir geben? Ich will ihn euch What will you give me? I will betray Him Er sprach: He said:
verraten. to you.
Jesus Jesus
Evangelista Evangelist
Gehet hin in die Stadt zu einem und sprecht Go into the city to a certain person and say
Und sie boten ihm dreiig Silberlinge. Und And they offered him thirty silver pieces. zu ihm: Der Meister lt dir sagen: Meine Zeit to him: the Master says to you: My time is
von dem an suchte er Gelegenheit, da er ihn And from then on he sought opportunity ist hier, ich will bei dir die Ostern halten mit here, I will hold Passover in your house with
verriete. to betray Him. meinen Jngern. my disciples.

12. Aria (soprano) Aria (soprano) Evangelista Evangelist

Blute nur, du liebes Herz! Bleed out, You loving heart! Und die Jnger tten, wie ihnen Jesus befohlen And the disciples did as Jesus had
Ach! ein Kind, das du erzogen, Alas! A child that You raised, hatte, und bereiteten das Osterlamm. Und am commanded them, and prepared the
Das an deiner Brust gesogen, that nursed at Your breast, Abend satzte er sich zu Tische mit den Zwlfen. Passover lamb. And in the evening He sat at
Droht den Pfleger zu ermorden, threatens to murder its caretaker, Und da sie aen, dinner with the twelve. And as they ate,
Denn es ist zur Schlange worden. since it has become a serpent. sprach er: He said:

13. Evangelista Evangelist Jesus Jesus

Aber am ersten Tage der sen Brot traten die But on the first day of unleavened bread the Wahrlich, ich sage euch: Einer unter euch wird Truly I say to you: one among you will
Jnger zu Jesu und sprachen zu ihm: disciples came to Jesus and said to Him: mich verraten. betray Me.

14. Chor I Choir I 16. Evangelista Evangelist

Wo willst du, da wir dir bereiten das Where do You want us to prepare to eat the Und sie wurden sehr betrbt und huben an, ein And they were very troubled and began,
Osterlamm zu essen? Passover lamb? jeglicher unter ihnen, und sagten zu ihm: each one among them, to say to Him:
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 29

17. Chor I Choir I Evangelista Evangelist

Herr, bin ichs? Lord, is it I? Da antwortete Judas, der ihn verriet, und Then Judas, who betrayed Him, answered and
sprach: said:
18. Choral Chorale
Judas Judas
Ich bins, ich sollte ben, It is I, I should atone,
An Hnden und an Fen bound hand and foot Bin ichs, Rabbi? Is it I, Rabbi?
Gebunden in der Hll. in hell.
Evangelista Evangelist
Die Geieln und die Banden The scourges and the bonds
Und was du ausgestanden, and what you endured, Er sprach zu ihm: He said to him:
Das hat verdienet meine Seel. my soul has earned. Jesus Jesus
19. Evangelista Evangelist Du sagests. You say it.
Er antwortete und sprach: He answered and said: Evangelista Evangelist
Jesus Jesus Da sie aber aen, nahm Jesus das Brot, While they ate, however, Jesus took the bread,
Der mit der Hand mit mir in die Schssel He who has dipped his hand in the bowl with dankete und brachs und gabs den Jngern blessed and broke it and gave it to the disciples
tauchet, der wird mich verraten. Des Me will betray Me. The Son of Man will indeed und sprach: and said:
Menschen Sohn gehet zwar dahin, wie von pass away as it stands written of Him; yet woe Jesus Jesus
ihm geschrieben stehet; doch wehe dem to the man through whom the Son of Man is
Nehmet, esset, das ist mein Leib. Take, eat, this is My body.
Menschen, durch welchen des Menschen betrayed! It would be better for him if this man
Sohn verraten wird! Es wre ihm besser, da had never been born. Evangelista Evangelist
derselbige Mensch noch nie geboren wre. Und er nahm den Kelch und dankete, gab And He took the cup and blessed it, gave it to
ihnen den und sprach: them and said:
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 31

Jesus Jesus Ist dir gleich die Welt zu klein, although the world is too small for You,
Ei, so sollst du mir allein ah, You alone shall be for me
Trinket alle daraus; das ist mein Blut des neuen Drink from this, all of you; this is My blood of
Mehr als Welt und Himmel sein. more than heaven and earth.
Testaments, welches vergossen wird fr viele the new covenant, which is poured out for
zur Vergebung der Snden. Ich sage euch: many for the forgiveness of sins. I say to you: 22. Evangelista Evangelist
Ich werde von nun an nicht mehr von diesem from now on I will not drink again from this fruit
Und da sie den Lobgesang gesprochen hatten, And when they had spoken the benediction,
Gewchs des Weinstocks trinken bis an den Tag, of the vine until the day when I drink again with
gingen sie hinaus an den lberg. Da sprach they went out to the Mount of Olives. Then
da ichs neu trinken werde mit euch in meines you in My Fathers kingdom.
Jesus zu ihnen: Jesus said to them:
Vaters Reich.
Jesus Jesus
20. Recitativo (soprano) Recitative (soprano)
In dieser Nacht werdet ihr euch alle rgern an Tonight you will all be angry at Me. For it is
Wiewohl mein Herz in Trnen schwimmt, Although my heart is swimming in tears,
mir. Denn es stehet geschrieben: written: I will strike the shepherd, and the
Da Jesus von mir Abschied nimmt, since Jesus takes leave of me,
Ich werde den Hirten schlagen, und die Schafe sheep of the flock will be scattered.
So macht mich doch sein Testament erfreut: yet His Testament brings me joy:
der Herde werden sich zerstreuen. Wenn ich When, however, I rise again, I shall go before
Sein Fleisch und Blut, o Kostbarkeit, His flesh and blood, O preciousness,
aber auferstehe, will ich vor euch hingehen in you into Galilee.
Vermacht er mir in meine Hnde. He bequeaths to my hands.
Galilam.
Wie er es auf er Welt mit denen Seinen Just as in the world, among His own,
Nicht bse knnen meinen, He could not wish them harm, 23. Choral Chorale
So liebt er sie bis an das Ende. just so He loves them to the end. Erkenne mich, mein Hter, Acknowledge me, my Guardian,
21. Aria (soprano) Aria (soprano) Mein Hirte, nimm mich an! my Shepherd, take me in!
Von dir, Quell aller Gter, From You, source of all goodness,
Ich will dir mein Herze schenken, I will give You my heart;
Ist mir viel Guts getan. has much good come to me.
Senke dich, mein Heil, hinein! sink within, My Saviour!
Dein Mund hat mich gelabet Your mouth has nourished me
Ich will mich in dir versenken; I will sink into You;
Mit Milch und ser Kost, with milk and sweet sustenance,
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 33

Dein Geist hat mich begabet Your spirit has lavished upon me Evangelista Evangelist
Mit mancher Himmelslust. much heavenly joy.
Desgleichen sagten auch alle Jnger. All the other disciples also said the same.
24. Evangelista Evangelist
25. Choral Chorale
Petrus aber antwortete und sprach zu ihm: Peter answered, however, and said to him:
Es dient zu meinen Freuden It serves to give me joy
Petrus Peter Und kommt mir herzlich wohl, and does my heart good
Wenn ich in deinem Leiden, when in Your sufferings,
Wenn sie auch alle sich an dir rgerten, so will Even though everyone will be angry at You, yet
Mein Heil, mich finden soll. my Saviour, I can find myself.
ich doch mich nimmermehr rgern. I will never be angry.
Ach, mcht ich, o mein Leben, Ah, if only I could, O my life,
Evangelista Evangelist An deinem Kreuze hier here at Your Cross
Jesus sprach zu ihm: Jesus said to him: Mein Leben von mir geben, give my life away,
Wie wohl geschhe mir! what good fortune that would be!
Jesus Jesus
26. Evangelista Evangelist
Wahrlich, ich sage dir: in dieser Nacht, ehe der Truly, I say to you: tonight, before the cock
Hahn krhet, wirst du mich dreimal verleugnen. crows, you will deny Me three times. Da kam Jesus mit ihnen zu einem Hofe, der Then Jesus came with them to a garden, which
hie Gethsemane, und sprach zu seinen was called Gethsemane, and spoke to His
Evangelista Evangelist
Jngern: disciples:
Petrus sprach zu ihm: Peter said to him:
Jesus Jesus
Petrus Peter
Setzet euch hie, bis da ich dort hingehe und Sit here while I go over there and pray.
Und wenn ich mit dir sterben mte, so will ich Even if I must die with You, I will not deny You. bete.
dich nicht verleugnen.
Evangelista Evangelist

Und nahm zu sich Petrum und die zween And He took Peter and the two sons of
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 35

Shne Zebedi und fing an zu trauern und zu Zebedee with Him, and began to mourn and 28. Aria (tenore) & Chor II Aria (tenor) & Choir II
zagen. Da sprach Jesus zu ihnen: despair. Then Jesus said to them:
Ich will bei meinem Jesu wachen, I will watch with my Jesus,
Jesus Jesus So schlafen unsre Snden ein. So our sins fall asleep.
Meinen Tod my death
Meine Seele ist betrbt bis an den Tod, bleibet My soul is troubled even to death; stay here
Bet seine Seelennot; is atoned for by His souls anguish;
hie und wachet mit mir! and watch with Me!
Sein Trauren machet mich voll Freuden. His sorrow makes me full of joy.
27. Recitativo (tenore) & Chor II Recitative (tenor) & Choir II Drum mu uns sein verdienstlich Leiden Therefore His deserved suffering
O Schmerz! Hier zittert das gequlte Herz; O pain! Here the tormented heart trembles; Recht bitter und doch se sein. must be truly bitter and yet sweet to us.
Wie sinkt es hin, wie bleicht sein Angesicht! how it sinks down, how His face pales! 29. Evangelista Evangelist
Was ist die Ursach aller solcher Plagen? What is the cause of all this trouble?
Und ging hin ein wenig, fiel nieder auf sein And he went away a bit, fell down on His face
Der Richter fhrt ihn vor Gericht. The Judge leads Him before judgement.
Angesicht und betete und sprach: and prayed and said:
Da ist kein Trost, kein Helfer nicht. No comfort, no helper is there.
Ach! meine Snden haben dich geschlagen; Alas! My sins have struck You down; Jesus Jesus
Er leidet alle Hllenqualen, He suffers all the torments of Hell,
Mein Vater, ists mglich, so gehe diese Kelch My Father, if it is possible, let this cup pass from
Er soll vor fremden Raub bezahlen. He must pay for the crimes of others.
von mir; doch nicht wie ich will, sondern wie Me; yet not as I will it, rather as you wish.
Ich, ach, Herr Jesu, habe dies verschuldet, I, alas, Lord Jesus, have earned this,
du willt.
Was du erduldet. that you endure.
Ach, knnte meine Liebe dir, Ah! Could my love for You, 30. Recitativo (basso) Recitative (bass)
Mein Heil, dein Zittern und dein Zagen my Saviour, diminish or bring aid Der Heiland fllt vor seinem Vater nieder; The Saviour falls down before His Father;
Vermindern oder helfen tragen, to Your trembling and Your despair, Dadurch erhebt er sich und alle through this He lifts up Himself and everyone
Wie gerne blieb ich hier! how gladly would I stay here! Von unserm Falle from our fall
Hinauf zu Gottes Gnade wieder. to Gods grace again.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 37

Er ist bereit, He is ready, Anfechtung fallet! Der Geist ist willig, aber das fall into temptation! The spirit is willing, but the
Den Kelch, des Todes Bitterkeit to drink the cup of Fleisch ist schwach. flesh is weak.
Zu trinken, deaths bitterness,
Evangelista Evangelist
In welchen Snden dieser Welt in which the sins of this world
Gegossen sind und hlich stinken, are poured and which stink horribly, Zum andernmal ging er hin, betete und For a second time He went away, prayed and
Weil es dem lieben Gott gefllt. since it is pleasing to our loving God. sprach: said:

31. Aria (basso) Aria (bass) Jesus Jesus

Gerne will ich mich bequemen, Gladly will I force myself Mein Vater, ists nicht mglich, da dieser Kelch My Father, if it is not possible that this cup pass
Kreuz und Becher anzunehmen, to take on the Cross and the Chalice, von mir gehe, ich trinke ihn denn, so geschehe away from Me, then I will drink it;
Trink ich doch dem Heiland nach. yet I drink after the Saviour. dein Wille. thus may Your will be done.
Denn sein Mund, For His mouth, 33. Choral Chorale
Der mit Milch und Honig flieet, which flows with milk and honey,
Was mein Gott will, das gscheh allzeit, What my God wills always occurs,
Hat den Grund has sweetened the grounds
Sein Will, der ist der beste, His will is the best,
Und des Leidens herbe Schmach and the bitter taste of sorrow,
Zu helfen den er ist bereit, He is ready to help those
Durch den ersten Trunk verset. through His first sip.
Die an ihn glauben feste. who believe firmly in Him.
32. Evangelista Evangelist Er hilft aus Not, der fromme Gott, He gives aid in need, this righteous God,
Und er kam zu seinen Jngern und fand sie And He came back to His disciples and found Und zchtiget mit Maen. and punishes with measure.
schlafend und sprach zu ihnen: them sleeping, and said to them: Wer Gott vertraut, fest auf ihn baut, Who trusts in God, builds upon Him firmly,
Den will er nicht verlassen. God will never abandon.
Jesus Jesus
34. Evangelista Evangelist
Knnet ihr denn nicht eine Stunde mit mir Couldnt you then remain awake with Me one
wachen? Wachet, und betet, da ihr nicht in hour? Stay awake, and pray, so that you do not Und er kam und fand sie aber schlafend, und And He came back and found them sleeping,
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 39

ihre Augen waren voll Schlafs. Und er lie nevertheless, and their eyes were full of sleep. Judas Judas
sie und ging abermal hin und betete zum And He left them and went away another
Gegret seist du, Rabbi! Greetings to You, Rabbi!
drittenmal und redete dieselbigen Worte. time and prayed for the third time, and spoke
Da kam er zu seinen Jngern und sprach zu the same words. Then He came back to His Evangelista Evangelist
ihnen: disciples and said to them: Und kssete ihn. Jesus aber sprach zu ihm: And kissed Him. However, Jesus said to him:
Jesus Jesus Jesus Jesus
Ach! Wollt ihr nun schlafen und ruhen? Siehe, Alas! Do you wish to sleep and rest now? Mein Freund, warum bist du kommen? My friend, why did you come?
die Stunde ist hie, da des Menschen Sohn in Behold, the hour has come, when the Son of
Evangelista Evangelist
der Snder Hnde berantwortet wird. Stehet Man is to be handed over into the hands of
auf, lasset uns gehen; siehe, er ist da der mich sinners. Get up, let us go; see, he who betrays Da traten sie hinzu und legte die Hnde an Then they stepped forward and laid hands on
verrt. Me is here. Jesum und griffen ihn. Jesus and seized Him.

Evangelista Evangelist 35. Aria (soprano, alto), Chor II & I Aria (soprano, alto), Choir II & I

Und als er noch redete, siehe, da kam Judas, And as He was speaking, behold, there came So ist mein Jesus nun gefangen. Thus my Jesus is now captured.
der Zwlfen einer, und mit ihm einer groe Judas, one of the twelve, and with him a large Lat ihn, haltet, bindet nicht! Leave Him, stop, dont bind Him!
Schar mit Schwerten und mit Stangen von den troop from the high priest and the elders of Mond und Licht ist vor Schmerzen untergangen, Moon and light for sorrow have set,
Hohenpriester und ltesten des Volks. Und der the people with swords and spears. And the Weil mein Jesus ist gefangen. since my Jesus is captured.
Verrter hatte ihnen ein Zeichen gegeben und betrayer had given them a sign and said: Sie fhren ihn, er ist gebunden. They take Him away, He is bound.
gesagt: Welchen ich kssen werde, der ists, den The one that I will kiss is Him; seize Him! 36. Sind Blitze, sind Donner in Wolken Are lightning and thunder extinguished in
greifet! Und alsbald trat er zu Jesu und sprach: And just then he stepped forward to Jesus and verschwunden? the clouds?
said: Erffne den feurigen Abgrund, o Hlle, Open the fiery abyss, o Hell,
Zertrmmre, verderbe, verschlinge, zerschelle crush, destroy, devour, smash
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 41

Mit pltzlicher Wut with sudden rage ich doch tglich bei euch gesessen und habe sat among you and have taught in the Temple,
Den falschen Verrter, das mrdrische Blut! the false betrayer, the murderous blood! gelehret im Tempel, und ihr habt mich nicht and you did not arrest Me. However, all of this
gegriffen. Aber das ist alles geschehen, da has happened in order to fulfil the writings of
37. Evangelista Evangelist
erfllet wrden die Schriften der Propheten. the prophets.
Und siehe, einer aus denen, die mit Jesu And behold, one of those who were with Jesus
Evangelista Evangelist
waren, reckete die Hand aus, und schlug des stretched out his hand and struck a servant of
Hohenpriesters Knecht und hieb ihm ein Ohr the high priest, and cut off his ear. Then Jesus Da verlieen ihn alle Jnger und flohen. Then all the disciples deserted Him and fled.
ab. Da sprach Jesus zu ihm: said to him:
38. Choral Chorale
Jesus Jesus
Jesum la ich nicht von mir, I will not let go of my Jesus,
Stecke dein Schwert an seinen Ort; denn wer Put your sword back in its place; for whoever Geh ihm ewig an der Seiten; I will walk beside Him forever;
das Schwert nimmt, der soll durchs Schwert takes the sword will perish through the sword. Christus lt mich fr und fr Christ shall for ever and ever have me
umkommen. Oder meinest du, da ich nicht Or do you think that I could not ask My Father Zu dem Lebensbchlein leiten. guided to the springs of life.
knnte meinen Vater bitten, da er mir to send Me more than twelve legions of Selig, wer mit mir so spricht: Blessed, whoever says with me:
zuschickte mehr denn zwlf Legion Engel? Wie angels? How would the scripture be fulfilled Meinen Jesum la ich nicht. I will not let go of my Jesus.
wrde aber die Schrift erfllet? Es mu also then? It must happen thus.
gehen.

Evangelista Evangelist

Zu der Stund sprach Jesus zu den Scharen: At the time Jesus said to the crowd:

Jesus Jesus

Ihr seid ausgegangen als zu einem Mrder, mit You have come out as if to a murderer, with
Schwerten und mit Stangen, mich zu fahen; bin swords and spears to take me; yet I have daily
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 4433

Detail from The Passion of Christ (c.1470) by Hans Memling (1430-1494). Getty Images
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 45

C D 2 PA R T T W O er she, wo es hinaus wollte. Die Hohenpriester The high priests, however, and the elders and
aber und ltesten und der ganze Rat suchten the entire council sought false witness against
falsche Zeugnis wider Jesum, auf da sie ihn Jesus, so that they could put Him to death, and
1. Aria (basso) & Chor II Aria (bass) & Choir II tteten, und funden keines. found none.
Ach, nun ist mein Jesus hin! Alas, now my Jesus is gone! 3. Choral Chorale
Wo ist denn dein Freund hingegangen, Where, then, has your beloved gone,
Mir hat die Welt trglich gericht The world has judged me deceitfully,
O du Schnste unter den Weibern? O most beautiful among women?
Mit Lgen und mit falschem Gdicht, with lies and false statements,
Ist es mglich, kann ich schauen? Is it possible, can I behold it?
Viel Netz und heimlich Strikke. many traps and secret snares.
Wo hat sich dein Freund hingewandt? Which way has your beloved turned?
Herr, nimm mein wahr Lord, perceive me truthfully
Ach! mein Lamm in Tigerklauen, Alas! My lamb in the claws of a tiger;
In dieser Gfahr, in this danger;
Ach! wo ist mein Jesus hin? Alas! Where has my Jesus gone?
Bht mich fr falschen Tcken! protect me from malicious falsehoods!
So wollen wir mit dir ihn suchen. We will seek Him with you.
Ach! was soll ich der Seele sagen, Alas! What shall I say to the soul, 4. Evangelista Evangelist
Wenn sie mich wird ngstlich fragen: when she asks me anxiously:
Und wiewohl viel falsche Zeugen herzutraten, And although many false witnesses came
Ach! wo ist mein Jesus hin? Alas! Where has my Jesus gone?
funden sie doch keins. Zuletzt traten herzu forward, they found none. Finally two false
2. Evangelista Evangelist zween falsche Zeugen und sprachen: witnesses came forward and said:

Die aber Jesum gegriffen hatten, fhreten But after they had arrested Jesus, they brought Testis I & II Witnesses I & II
ihn zu dem Hohenpriester Kaiphas, dahin die Him to the high priest Caiaphas, where the
Er hat gesagt: Ich kann den Tempel Gottes He has said: I can destroy the temple of God
Schriftgelehrten und ltesten sich versammlet scribes and the elders had gathered. Peter,
abbrechen und in dreien Tagen denselben and in three days build it up again.
hatten. Petrus aber folgete ihm nach von ferne however, followed Him from afar to the palace
bauen.
bis in den Palast des Hohenpriesters und ging of the high priest, and went inside and sat with
hinein und satzte sich bei die Knechte, auf da the servants, so he could see how it came out.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 47

Evangelista Evangelist Leid ich wider meine Schuld Although I suffer, contrary to my guilt,
Schimpf und Spott, shame and scorn,
Und der Hohepriester stund auf und sprach And the high priest stood up and said to Him:
Ei, so mag der liebe Gott indeed, dear God shall
zu ihm:
Meines Herzens Unschuld rchen. revenge the innocence of my heart.
Pontifex High Priest
7. Evangelista Evangelist
Antwortest du nichts zu dem, das diese wider Do you answer nothing to this, that they say
Und der Hohepriester antwortete und sprach And the high priest answered and said to Him:
dich zeugen? against You?
zu ihm:
Evangelista Evangelist
Pontifex High Priest
Aber Jesus schwieg stille. But Jesus was silent.
Ich beschwre dich bei dem lebendigen Gott, I abjure You by the living God to tell us whether
5. Recitativo (tenore) Recitative (tenor)
da du uns sagest, ob du seiest Christus, der You are the Christ, the Son of God!
Mein Jesus schweigt My Jesus is silent Sohn Gottes?
Zu falschen Lgen stille, at false lies,
Evangelista Evangelist
Um uns damit zu zeigen, in order to show us
Da sein erbarmensvoller Wille that His merciful will Jesus sprach zu ihm: Jesus said to him:
Vor uns zum Leiden sei geneigt, is bent on suffering for us,
Jesus Jesus
Und da wir in dergleichen Pein and that we, in the same trouble,
Ihm sollen hnlich sein should be like Him Du sagests. Doch sage ich euch: von nun an You say it. Yet I say to you: from now on it
Und in Verfolgung stille schweigen. and keep silent under persecution. wirds geschehen, da ihr sehen werdet des will come to pass that you will see the Son of
Menschen Sohn sitzen zur Rechten der Kraft Man sitting at the right hand of power, and
6. Aria (tenore) Aria (tenor)
und kommen in den Wolken des Himmels. approaching in the clouds of heaven.
Geduld, Geduld! Patience, patience!
Wenn mich falsche Zungen stechen. When false tongues pierce.
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Evangelista Evangelist 11. Choral Chorale

Da zerri der Hohepriester seine Kleider und Then the high priest tore his garments and said: Wer hat dich so geschlagen, Who has struck you thus,
sprach: Mein Heil, und dich mit Plagen my Saviour, and with torments
So bel zugericht? so evilly used You?
Pontifex High Priest
Du bist ja nicht ein Snder You are not at all a sinner
Er hat Gott gelstert; was drfen wir He has blasphemed God; what further witness Wie wir und unsre Kinder, like us and our children,
weiter Zeugnis? Siehe, itzt habt ihr seine do we need? Behold, now you have heard his Von Missetaten weit du nicht. You know nothing of transgressions.
Gotteslsterung gehret. Was dnket euch? blasphemy. What do you think?
12. Evangelista Evangelist
Evangelista Evangelist
Petrus aber sa drauen im Palast; und es trat Peter, however, sat outside the palace; and a
Sie antworteten und sprachen: They answered and said: zu ihm eine Magd und sprach: maid came up to him and said:
8. Chor I & II Choir I & II Ancilla I Maid I
Er ist des Todes schuldig! He is worthy of death! Und du warest auch mit dem Jesus aus Galila. And you were also with that Jesus of Galilee
9. Evangelista Evangelist Evangelista Evangelist
Da speieten sie aus in sein Angesicht und Then they spat in His face and struck Him with Er leugnete aber vor ihnen allen und sprach: He denied it, however, before them all and said:
schlugen ihn mit Fusten. Etliche aber schlugen fists. Some of them, however, struck Him in the
Petrus Peter
ihn ins Angesicht und sprachen: face and said:
Ich wei nicht, was du sagest. I dont know what you are saying.
10. Chor I & II Choir I & II
Evangelista Evangelist
Weissage uns, Christe, wer ists, der dich schlug? Prophesy to us, Christ, who is it who strikes
You? Als er aber zur Tr hinausging, sahe ihn eine As he was going out of the door, however,
andere und sprach zu denen, another one saw him and said to those who
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die da waren: were near: Evangelista Evangelist

Ancilla II Maid II Und alsbald krhete der Hahn. Da dachte Petrus And just then the cock crew. Then Peter
an die Worte Jesu, da er zu ihm sagte: Ehe remembered the words of Jesus, when He said
Dieser war auch mit dem Jesu von Nazareth. This one was also with that Jesus from Nazareth.
der Hahn krhen wird, wirst du mich dreimal to him: Before the cock crows, you will deny
Evangelista Evangelist verleugnen. Und ging heraus und weinete Me three times. And he went out and wept
Und er leugnete abermal und schwur dazu: And He denied again, and swore to it: bitterlich. bitterly.

Petrus Peter 15. Aria (alto) Aria (alto)

Ich kenne des Menschen nicht. I do not know the man. Erbarme dich, mein Gott, Have mercy, my God,
Um meiner Zhren Willen! for the sake of my tears!
Evangelista Evangelist
Schaue hier, Herz und Auge Look here, heart and eyes
Und ber eine kleine Weile traten hinzu, die da And after a little while people standing around Weint vor dir bitterlich. weep bitterly before You.
stunden, und sprachen zu Petro: came up and said to Peter: Erbarme dich, erbarme dich! Have mercy, have mercy!
13. Chor II Choir II 16. Choral Chorale
Wahrlich, du bist auch einer von denen; denn Truly you are also one of them; your speech Bin ich gleich von dir gewichen, Although I have been separated from You,
deine Sprache verrt dich. gives you away. Stell ich mich doch wieder ein; yet I return again;
14. Evangelista Evangelist Hat uns doch dein Sohn verglichen even so Your Son set the example for us
Durch sein Angst und Todespein. through His anguish and mortal pain.
Da hub er an sich zu verfluchen und zu Then he began to curse
Ich verleugne nicht die Schuld, I do not deny my guilt,
schwren: and swear:
Aber deine Gnad und Huld but Your grace and mercy
Petrus Peter Ist viel grer als die Snde, are much greater than the sin
Ich kenne des Menschen nicht. I do not know the man. Die ich stets bei mir befinde. that I constantly discover in me.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 53

17. Evangelista Evangelist 19. Evangelista Evangelist

Des Morgens aber hielten alle Hohenpriester The next day, however, all the high priests and Und er warf die Silberlinge in den Tempel, hub And He threw the silver pieces into the temple
und die ltesten des Volks einen Rat ber the elders of the people held a council about sich davon, ging hin und erhngete sich selbst. and left, and went away and hanged himself.
Jesum, da sie ihn tteten. Und bunden Jesus so that they could put Him to death. Aber die Hohenpriester nahmen die Silberlinge However, the high priests took the silver pieces
ihn, fhreten ihn hin und berantworteten And they bound Him, led Him out and turned und sprachen: and said:
ihn dem Landpfleger Pontio Pilato. Da das Him over to the Governor, Pontius Pilate. When
Pontifex I & II High Priests I & II
sahe Judas, der ihn verraten hatte, da er Judas, who betrayed Him, saw that He was
verdammt war zum Tode, gereuete es ihn, und condemned to death, he felt remorse and Es taugt nicht, da wir sie in den Gotteskasten It will not do to put them into the coffers of
brachte herwieder die dreiig Silberlinge den brought back the thirty silver pieces to the high legen, denn es ist Blutgeld. God, since it is blood money.
Hohenpriestern und ltesten und sprach: priests and the elders and said: 20. Aria (basso) Aria (bass)
Judas Judas Gebt mir meinen Jesum wieder! Give me my Jesus back!
Ich habe bel getan, da ich unschuldig Blut I have done evil by betraying innocent blood. Seht das Geld, den Mrderlohn, See the money, the murderers fee,
verraten habe. Wirft euch der verlorne Sohn tossed at your feet by the
Zu den Fen nieder! lost son!
Evangelista Evangelist
21. Evangelista Evangelist
Sie sprachen: They said:
Sie hielten aber einen Rat und kauften einen They held a council, however, and bought
18. Chor I & II Choir I & II
Tpfersakker darum zum Begrbnis der Pilger. a potters field with them for the burial of
Was gehet uns das an? Da siehe du zu! How does that concern us? See to it yourself! Daher ist derselbige Akker genennet der pilgrims. Therefore this same field is called
Blutakker bis auf den heutigen Tag. Da ist the Field of Blood to this very day. Thus was
erfllet, das gesaget ist durch den Propheten fulfilled what was spoken through the Prophet
Jeremias, da er spricht: Sie haben genommen Jeremiah, who said: They have taken thirty
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dreiig Silberlinge, damit bezahlet ward der silver pieces, the price of Him who was bought Evangelista Evangelist
Verkaufte, welchen sie kauften von den Kindern from the children of Israel, and have given them And He answered him not even one word,
Und er antwortete ihm nicht auf ein Wort,
Israel, und haben sie gegeben um einen for a potters field, as the Lord has commanded so that even the Governor was greatly amazed.
also, da sich auch der Landpfleger sehr
Tpfersakker, als mir der Herr befohlen hat. me. Jesus, however, stood before the Governor;
verwunderte.
Jesus aber stund vor der Landpfleger; und der and the Governor questioned Him and said:
Landpfleger fragte ihn und sprach: 22. Choral Chorale

Pilatus Pilate Befiehl du deine Wege, Commit your path,


Und was dein Herze krnkt, and whatever troubles your heart,
Bist du der Jden Knig? Are you the King of the Jews? to the most faithful caretaker,
Der allertreusten Pflege,
Evangelista Evangelist Des, der den Himmel lenkt, He, who directs the heavens,
Der Wolken, Luft und Winden who to the clouds, air, and winds
Jesus aber sprach zu ihm: Jesus, however, said to him:
Gibt Wege, Lauf, und Bahn, gives path, course, and passage,
Jesus Jesus Er will auch Wege finden He will also find ways
Du sagests. You say it. Da dein Fu gehen kann. for your feet to follow.

Evangelista Evangelist 23. Evangelista Evangelist

Und da er verklagt war von den Hohenpriestern And to the accusations from the high priests Auf das Fest aber hatte der Landpfleger At the festival, however, the Governor had a
und ltesten, antwortete er nichts. Da sprach and the elders he answered nothing. Then Gewohnheit, dem Volk einen Gefangenen custom of releasing a prisoner to the people,
Pilatus zu ihm: Pilate said to him: loszugeben, welchen sie wollten. Er hatte whichever they wanted. He had, however,
aber zu der Zeit einen Gefangenen, einen at the time a most unusual prisoner named
Pilatus Pilate
sonderlichen von andern, der hie Barrabas. Barabbas. And as they were gathered together,
Hrest du nicht, wie hart sie dich verklagen? Do you not hear how harshly they accuse You? Und da sie versammlet waren, sprach Pilatus Pilate said to them:
zu ihnen:
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 57

Pilatus Pilate Pilatus Pilate

Welchen wollt ihr, da ich euch losgebe? Which one do you want me to release to you? Welchen wollt ihr unter diesen zweien, den ich Which one of the two do you want me to
Barrabam oder Jesum, von dem gesaget wird, Barabbas or Jesus, of whom it is said, He is the euch soll losgeben? release to you?
er sei Christus? Christ? Evangelist
Evangelista
Evangelista Evangelist They said:
Sie sprachen:
Denn er wute wohl, da sie ihn aus Neid For he knew well that they had handed Him Choir I & II
Chor I & II
berantwortet hatten. Und da er auf dem over out of envy. And while he sat upon the
Richtstuhl sa, schickete sein Weib zu ihm und judgement seat, his wife sent to him and her Barrabam! Barabbas!
lie ihm sagen: message said: Evangelista Evangelist
Uxor Pilati Pilates Wife Pilatus sprach zu ihnen: Pilate said to them:
Habe du nichts zu schaffen mit diesem Have nothing to do with this righteous man; Pilatus Pilate
Gerechten; ich habe heute viel erlitten im I have suffered much in a dream today on His
Was soll ich denn machen mit Jesu, von dem What shall I do then with Jesus, of whom it is
Traum von seinetwegen! account!
gesagt wird, er sei Christus? said, He is the Christ?
Evangelista Evangelist
Evangelista Evangelist
Aber die Hohenpriester und die ltesten But the high priests and the elders convinced
Sie sprachen alle: They all said:
berredeten das Volk, da sie um Barrabam the people that they should ask for Barabbas
bitten sollten und Jesum umbrchten. Da and convict Jesus. So when the Governor 24. Chor I & II Choir I & II
antwortete nun der Landpfleger und sprach answered and said to them: La ihn kreuzigen! Let Him be crucified!
zu ihnen:
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25. Choral Chorale Von einer Snde wei er nichts, He knows nothing of a single sin,
Da das ewige Verderben so that eternal destruction
Wie wunderbarlich ist doch diese Strafe! How strange is this punishment!
Und die Strafe des Gerichts and the punishment of judgement
Die gute Hirte leidet fr die Schafe, The Good Shepherd suffers for the sheep.
Nicht auf meiner Seele bliebe. would not remain upon my soul.
Die Schuld bezahlt der Herre, der Gerechte, The Lord, the righteous One, atones for the
Fr seine Knechte. crime on His servants behalf. 29. Evangelista Evangelist

26. Evangelista Evangelist Sie schrieen aber noch mehr und sprachen: They screamed even more and said:

Der Landpfleger sagte: The Governor said: 30. Chor I & II Choir I & II

Pilatus Pilate La ihn kreuzigen! Let Him be crucified!

Was hat er denn bels getan? What evil has He done then? 31. Evangelista Evangelist

27. Recitativo (soprano) Recitative (soprano) Da aber Pilatus sahe, da er nichts schaffete, When Pilate saw, however, that he achieved
sondern da ein viel grer Getmmel ward, nothing, rather that a much greater riot
Er hat uns allen wohlgetan, He has done good things for all of us,
nahm er Wasser und wusch die Hnde vor dem occurred, he took water and washed his hands
Den Blinden gab er das Gesicht, He gave sight to the blind,
Volk und sprach: before the people and said:
Die Lahmen macht er gehend, He made the lame to walk,
Er sagt uns seines Vaters Wort, He told us His Fathers word, Pilatus Pilate
Er trieb die Teufel fort, He drove out the devil, I am innocent of the blood of this righteous
Ich bin unschuldig an dem Blut dieses
Betrbte hat er aufgericht, He has strengthened the troubled, man, see to it yourselves!
Gerechten, sehet ihr zu!
Er nahm die Snder auf und an, He took sinners in and embraced them,
Sonst hat mein Jesus nichts getan. other than that, my Jesus has done nothing! Evangelista Evangelist

28. Aria (soprano) Aria (soprano) Da antwortete das ganze Volk und sprach: Then all the people answered and said:

Aus Liebe will mein Heiland sterben, Out of love my Saviour wants to die,
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32. Chor I & II Choir I & II O so nehmt mein Herz hinein! O then take my heart as well!
Aber lat es bei den Fluten, Yet let it, for the flow,
Sein Blut komme ber uns und unsre Kinder. Let His blood be on us and on our children.
Wenn die Wunden milde bluten, when the wounds gently bleed,
33. Evangelista Evangelist Auch die Opferschale sein. be the offering-bowl as well.
Da gab er ihnen Barrabam los; aber Jesum lie Then he released Barabbas to them; but Jesus 36. Evangelista Evangelist
er geieln und berantwortete ihn, da er he had scourged and handed Him over to be
Da nahmen die Kriegsknechte des Landpflegers Then the soldiers of the Governor took Jesus
gekreuziget wrde. crucified.
Jesum zu sich in das Richthaus und sammleten with them into the courthouse and gathered
34. Recitativo (alto) Recitative (alto) ber ihn die ganze Schar und zogen ihn aus around Him the entire troop; and undressed
Erbarm es Gott! Forgive this, God! und legeten ihm einen Purpurmantel an und Him and put a purple mantle on Him; and they
Hier steht der Heiland angebunden. Here stands the Saviour bound. flochten eine dornene Krone und satzten sie wove a crown of thorns and set it upon His
O Geielung, o Schlg, o Wunden! O scourging, o blows, o wounds! auf sein Haupt, und ein Rohr in seine rechte head, and a reed in His right hand, and they
Ihr Henker, haltet ein! You hangmen, stop! Hand, und beugeten die Knie vor ihm und bowed before Him and mocked Him, saying:
Erweichet euch der Seelen Schmerz, Doesnt the souls anguish, spotteten ihn und sprachen:
Der Anblick solches Jammers nicht? the sight of such horror soften you? 37. Chor I & II Choir I & II
Ach ja! ihr habt ein Herz, Alas indeed! You have such hearts
Gegret seist du, Jdenknig! Hail to You, King of the Jews!
Das mu der Martersule gleich that are like the whipping posts themselves
Und noch viel hrter sein. and even much harder. 38. Evangelista Evangelist
Erbarmt euch, haltet ein! Have mercy, stop! And they spat on Him and took the reed and
Und speieten ihn an und nahmen das Rohr und
35. Aria (alto) Aria (alto) schlugen damit sein Haupt. struck His head with it.

Knnen Trnen meiner Wangen If the tears on my cheeks


Nichts erlangen, can do nothing,
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39. Choral Chorale C D 3 PA R T T wo ( C O N T D )


O Haupt, voll Blut und Wunden, O Head, full of blood and wounds,
Voll Schmerz und voller Hohn! full of suffering and shame! Evangelist
1. Evangelista
O Haupt, zu Spott gebunden O Head, bound in mockery
Mit einer Dornenkron! with a crown of thorns! Und da sie ihn verspottet hatten, zogen sie ihm And when they had mocked Him, they took
O Haupt, sonst schn gezieret O Head, once beautifully adorned den Mantel aus und zogen ihm seine Kleider off the mantle and put His clothes back on;
Mit hchster Ehr und Zier, with the highest honour and beauty, an und fhreten ihn hin, da sie ihn kreuzigten. and led Him out to be crucified. And as they
Jetzt aber hoch schimpfieret: now rather supremely defiled: Und indem sie hinausgingen, funden sie einen were going out, they found a man from Cyrene
Gegrsset seist du mir! be greeted by me! Menschen von Kyrene mit Namen Simon; den named Simon; they compelled him to carry His
zwungen sie, da er ihm sein Kreuz trug. cross for Him.

2. Recitativo (basso) Recitative (bass)

Ja, freilich will in uns das Fleisch und Blut Yes, willingly are flesh and blood
Zum Kreuz gezwungen sein; compelled to the Cross;
Je mehr es unsrer Seele gut, the better it is for our souls,
Je herber geht es ein. the bitterer it feels.

3. Aria (basso) Aria (bass)

Komm, ses Kreuz, so will ich sagen, Come, sweet Cross, this I want to say:
Mein Jesu, gib es immer her! My Jesus, give it always to me!
Wird mein Leiden einst zu schwer, If my suffering becomes too heavy one day,
So hilfst du mir es selber tragen. You Yourself will help me bear it.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 65

4. Evangelista Evangelist du Gottes Sohn, so steig herab vom Kreuz! the Son of God, climb down from the Cross!

Und da sie an die Sttte kamen mit Namen And when they had come to the place named 6. Evangelista Evangelist
Golgatha, das ist verdeutschet Schdelsttt, Golgotha, which is translated the Place of the In the same way the high priests also mocked
Desgleichen auch die Hohenpriester spotteten
gaben sie ihm Essig zu trinken mit Gallen Skull, they gave Him vinegar to drink mixed Him, together with the scribes and the elders,
sein samt den Schriftgelehrten und ltesten
vermischet; und da ers schmeckete, wollte with gall; and when He tasted it, He would not saying:
und sprachen:
ers nicht trinken. Da sie ihn aber gekreuziget drink it. When they had crucified Him, however,
hatten, teilten sie seine Kleider und wurfen das they divided up His clothing and tossed lots 7. Chor I & II Choir I & II
Los darum, auf das erfllet wrde, das gesaget over them, so that what was spoken through Andern hat er geholfen und kann ihm selber He has helped others and He cannot help
ist durch den Propheten: Sie haben meine the Prophets was fulfilled: They have divided nicht helfen. Ist er der Knig Israel, so steige er Himself. If He is the King of Israel, let Him climb
Kleider unter sich geteilet, und ber mein my clothing among them, and over my robe nun vom Kreuz, so wollen wir ihm glauben. Er down now from the Cross, and we will believe
Gewand haben sie das Los geworfen. Und they have cast lots. And they sat around and hat Gott vertrauet, der erlse ihn nun, lstets in Him. He has trusted in God to rescue Him
sie saen allda und hteten sein. Und oben kept watch. And over His head they lifted up a ihn; denn er hat gesagt: now; He lied, because He has said:
zu seinem Hupten hefteten sie die Ursach written sentence of death, namely: Ich bin Gottes Sohn. I am the Son of God.
seines Todes geschrieben, nhmlich: Dies ist This is Jesus, the King of the Jews. And there
8. Evangelista Evangelist
Jesus, der Jdenknig. Und da wurden zween were two murderers crucified with Him, one
Mrder mit ihm gekreuziget, einer zur Rechten to His left and one to His right. But those who Desgleichen schmheten ihn auch die Mrder, In the same way He was reviled by the
und einer zur Linken. Die aber vorbergingen, passed by cursed at Him and shook their heads, die mit ihm gekreuziget waren. murderers who were crucified with Him.
lsterten ihn und schttelten ihre Kpfe und saying: 9. Recitativo (alto) Recitative (alto)
sprachen:
Ach Golgatha, unselges Golgatha! Alas, Golgotha, unhappy Golgotha!
5. Chor I & II Choir I & II Der Herr der Herrlichkeit The Lord of Glory
Der du den Tempel Gottes zerbrichst und You who can destroy the temple of God and build Mu schimpflich hier verderben, must shamefully perish here,
bauest ihn in dreien Tagen, hilf dir selber! Bist it up again in three days, help Yourself! If You are Der Segen und das Heil der Welt the blessing and salvation of the world
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 67

Wird als ein Fluch ans Kreuz gestellt. is placed on the Cross as a curse. Jesus Jesus
Der Schpfer Himmels und der Erden From the Creator of heaven and earth
Eli, Eli, lama asabthani? Eli, Eli, lama sabachtani?
Soll Erd und Luft entzogen werden. earth and air shall be withdrawn.
Die Unschuld mu hier schuldig sterben, The innocent must die here guilty; Evangelista Evangelist
Das gehet meiner Seele nah; this touches my soul deeply; Das ist: Mein Gott, mein Gott, warum hast du That is: My God, my God, why have You
Ach Golgatha, unselges Golgatha! Alas, Golgotha, unhappy Golgotha! mich verlassen? Etliche aber, die da stunden, forsaken Me? Some of those, however, who
10. Aria (alto) & Chor II Aria (alto) & Choir II da sie das hreten, sprachen sie: were standing by, when they heard this, said:

Sehet, Jesus hat die Hand Look, Jesus has stretched out His hands 12. Chor I Choir I
Uns zu fassen ausgespannt, to embrace us, Der rufet dem Elias! He is calling Elijah!
Kommt! Wohin? In Jesu Armen come! Where? In Jesus arms
13. Evangelista Evangelist
Sucht Erlsung, nehmt Erbarmen, seek redemption, receive mercy,
Suchet! Wo? In Jesu Armen. seek it! Where? In Jesus arms. Und bald lief einer unter ihnen, nahm einen And one of them quickly ran, took a sponge
Lebet, sterbet, ruhet hier, Live, die, rest here, Schwamm und fllete ihn mit Essig, und and filled it with vinegar,
Ihr verlanen Kchlein ihr, you forsaken chicks, steckete ihn auf ein Rohr und trnkete ihn. and put it on a reed for Him to drink.
Bleibet! Wo? In Jesu Armen. stay! Where? In Jesus arms. Die andern aber sprachen: But the others said:

11. Evangelista Evangelist 14. Chor II Choir II

Und von der sechsten Stunde an war eine And from the sixth hour there was a darkness Halt! La sehen, ob Elias komme und ihm Stop! Lets see whether Elijah comes and helps
Finsternis ber das ganze Land bis zu der over the entire land until the ninth hour. helfe. Him.
neunten Stunde. Und um die neunte Stunde And at the ninth hour Jesus cried out loudly 15. Evangelista Evangelist
schriee Jesus laut und sprach: and said:
Aber Jesus schriee abermal laut und verschied. But Jesus cried out loudly once again and died.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 69

16. Choral Chorale 18. Chor I & II Choir I & II

Wenn ich einmal soll scheiden, When I must depart one day, Wahrlich, dieser ist Gottes Sohn gewesen. Truly, this was the Son of God.
So scheide nicht von mir, do not part from me then,
19. Evangelista Evangelist
Wenn ich den Tod soll leiden, when I must suffer death,
So tritt du denn herfr! come to me then! Und es waren viel Weiber da, die von ferne And there were many women there, watching
Wenn mir am allerbngsten When the greatest anxiety zusahen, die da waren nachgefolget aus Galila, from a distance, who had followed Him from
Wird um das Herze sein, will constrict my heart, und hatten ihm gedienet, unter welchen war Galilee and had served Him, among whom
So rei mich aus den ngsten then wrest me out of the horror Maria Magdalena, und Maria die Mutter Jacobi were Mary Magdalene, and Mary the mother of
Kraft deiner Angst und Pein. by the power of your anguish and pain. und Joses, und die Mutter der Kinder Zebedi. James and Joseph, and the mother of the sons
Am Abend aber kam ein reicher Mann von of Zebedee. In the evening, however, came a
17. Evangelista Evangelist
Arimathia, der hei Joseph, welcher auch ein rich man from Arimathea, named Joseph, who
Und siehe da, der Vorhang im Tempel zerri And behold, the veil of the temple was torn in Jnger Jesu war, der ging zu Pilato und bat ihn was also a disciple of Jesus; he went to Pilate
in zwei Stck von oben an bis unten aus. Und two pieces from top to bottom. And the earth um den Leichnam Jesu. Da befahl Pilatus, man and asked him for Jesus body. Then Pilate
die Erde erbebete, und die Felsen zerrissen, shook, and the cliffs were rent, and the graves sollte ihm ihn geben. ordered that it be given to him.
und die Grber tten sich auf, und stunden opened up, and many bodies of saints arose,
20. Recitativo (basso) Recitative (bass)
auf viel Leiber der Heiligen, die da schliefen, who were sleeping, and came out of their
und gingen aus den Grbern nach seiner graves after His resurrection and came into Am Abend, da es khle war, In the evening, when it was cool,
Auferstehung und kamen in die heilige Stadt the Holy City and appeared to many people. Ward Adams Fallen offenbar; Adams fall was made apparent;
und erschienen vielen. Aber der Hauptmann The Captain, however, and those with him Am Abend drcket ihn der Heiland nieder. in the evening the Saviour bowed Himself down.
und die bei ihm waren und bewahreten who were guarding Jesus, when they saw the Am Abend kam die Taube wieder, In the evening the dove came back,
Jesum, da sie sahen das Erdbeben und was da earthquake and what happened then, they Und trug ein lblatt in dem Munde. bearing an olive leaf in its mouth.
geschah, erschraken sie sehr und sprachen: were terrified and said: O schne Zeit! O Abendstunde! O lovely time! O evening hour!
Der Friedensschlu ist nun The pact of peace with God
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 71

mit Gott gemacht, has now been made, der da folget nach dem Rsttage, kamen die followed after the Sabbath day, the high priests
Denn Jesus hat sein Kreuz vollbracht. since Jesus has completed His Cross. Hohenpriester und Phariser smtlich zu Pilato and Pharisees came all together to Pilate and
Sein Leichnam kmmt zur Ruh, His body comes to rest, und sprachen: said:
Ach! liebe Seele, bitte du, Ah! dear soul, ask,
23. Chor I & II Choir I & II
Geh, lasse dir den toten Jesum schenken, go, have them give you the dead Jesus,
O heilsames, o kstlichs Angedenken! O salutary, o precious remembrance! Herr, wir haben gedacht, da dieser Verfhrer Lord, we have remembered that this deceiver
sprach, da er noch lebete: Ich will nach dreien said, when He was still alive: I will rise again
21. Aria (basso) Aria (bass)
Tagen wieder auferstehen. Darum befiehl, da after three days. Therefore order that the tomb
Mache dich, mein Herze, rein, Make yourself pure, my heart, man das Grab verwahre bis an den dritten be guarded until the third day, so that His
Ich will Jesum selbst begraben. I want to bury Jesus myself. Tag, auf da nicht seine Jnger kommen und disciples do not come and steal Him, and say
Denn er soll nunmehr in mir For from now on He shall have in me, stehlen ihn, und sagen zu dem Volk: Er ist to the people, He has arisen from the dead;
Fr und fr forever and ever, auferstanden von den Toten, und werde der and the newest fraud would be worse than the
Seine se Ruhe haben. His sweet rest. letzte Betrug rger denn der erste! first one!
Welt, geh aus, la Jesum ein! World, get out, let Jesus in!
24. Evangelista Evangelist
22. Evangelista Evangelist
Pilatus sprach zu ihnen: Pilate said to them:
Und Joseph nahm den Leib und wickelte ihn in And Joseph took the body, and wrapped it in a
Pilatus Pilate
ein rein Leinwand, und legte ihn in sein eigen pure shroud, and laid it in his own new tomb,
neu Grab, welches er hatte in einen Fels hauen, which he had carved out of a single rock, and Da habt ihr die Hter; gehet hin und You have guards there; go and guard it as you
und wlzete einen groen Stein vor die Tr rolled a large stone before the opening of the verwahrets, wie ihrs wisset! see fit!
des Grabes, und ging davon. Es war aber allda tomb and went away. But Mary Magdalene Evangelista Evangelist
Maria Magdalena und die andere Maria, die and the other Mary were there, and they sat
Sie gingen hin und verwahreten das Grab mit They went forth and protected the tomb with
satzten sich gegen das Grab. Des andern Tages, opposite the tomb. On the next day, that
Htern und versiegelten den Stein. guards and put a seal on the stone.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 73

25. Recitativo (soprano, alto, tenore, basso) Recitative (soprano, alto, tenor, bass) & Soll dem ngstlichen Gewissen shall, for the anxious conscience,
& Chor II Choir II Ein bequemes Ruhekissen be a comfortable pillow
Und der Seelen Ruhstatt sein. and the resting place for the soul.
Nun ist der Herr zur Ruh gebracht. Now the Lord is brought to rest.
Ruhet sanfte, sanfte ruht! Rest gently, gently rest!
Mein Jesu, gute Nacht! My Jesus, good night!
Hchst vergngt Highly contented,
Die Mh ist aus, die unsre Snden ihm The weariness is over, that our sins have
Schlummern da die Augen ein. there the eyes fall asleep.
gemacht. given Him.
Mein Jesu, gute Nacht! My Jesus, good night!
O selige Gebeine, O blessed bones,
Seht, wie ich euch mit Bu und Reu beweine, see, how I weep over You with repentance and
Translation Pamela Dellal 2015
regret, courtesy of Emmanuel Music, Boston MA, USA
Da euch mein Fall in solche Not gebracht! since my fall has brought such anguish upon You!
Mein Jesu, gute Nacht! My Jesus, good night!
Habt lebenslang vor euer Leiden tausend Dank, Lifelong, thousand thanks to You for Your suffering,
Da ihr mein Seelenheil so wert geacht. since You held my souls salvation so dear.
Mein Jesu, gute Nacht! My Jesus, good night!

26. Chor I & II Choir I & II

Wir setzen uns mit Trnen nieder We sit down with tears
Und rufen dir im Grabe zu: and call to You in the grave:
Ruhe sanfte, sanfte ruh! rest gently, gently rest!
Ruht, ihr ausgesognen Glieder! Rest, you exhausted limbs!
Ruhet sanfte, ruhet wohl! Rest gently, rest well!
Euer Grab und Leichenstein Your grave and headstone
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 75

William Thorp, violin.


J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 77

R ichard E garr director & harpsichord


The AAMs Music Director Richard Egarr is a the Hague Philharmonic. He also conducts
brilliant harpsichordist and equally skilled on the Philadelphia, Royal Concertgebouw and
the organ, fortepiano and modern piano. He London Symphony orchestras.
is an accomplished conductor, and his zeal for
As a soloist he has performed throughout
music-making has led to his being described as
Europe, Japan and the USA. His acclaimed solo
the Bernstein of early music by USA National
recording output includes a cycle of JS Bachs
Public Radio.
keyboard works as well as music by Couperin,
He trained as a choirboy at York Minster, at Purcell and Mozart. For many years he formed
Chethams School of Music in Manchester and an unequalled duo (Gramophone) with
as organ scholar at Clare College, Cambridge. He violinist Andrew Manze, with whom he has
later studied with Gustav and Marie Leonhardt. recorded music from Biber to Schubert.

Egarr was appointed Music Director of the AAM Richard Egarr is Visiting Artist at the Juilliard
in 2006, and shortly thereafter he established School in New York, and also teaches at the
the Choir of the AAM. Opera and oratorios lie at Amsterdam Conservatoire.
the heart of his repertoire. He is involved with
various other historically-informed orchestras
including Bostons Handel and Haydn Society.

Marco Borggreve
Outside the period-instrument world, he is Egarrs energy and sustained
Associate Artist with the Scottish Chamber vitality is breath-taking.
Orchestra and Principal Guest Conductor of BBC Music Magazine
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 79

J A M E S G I LC H R I S T E VA N G E L I S Ta M Atth E W R O S E J E S U S
James Gilchrist began his working life as a Matthew Rose studied at the Curtis Institute of

Clive Barda
www.operaomnia.co.uk
doctor, turning to a career in music in 1996. Music in the United States before joining the
Jette Parker Young Artist Programme at the
On the concert platform he performs music
Royal Opera House, Covent Garden.
from Monteverdi to new commissions;
notable collaborations include the Royal Opera engagements include Sparafucile and
Concertgebouw Orchestra, The Sixteen and Sarastro (Royal Opera House, Covent Garden),
English National Opera. Gilchrist enjoys a Leporello and Nick Shadow (Glyndebourne),
vibrant and long-standing association with the Talbot (Metropolitan Opera), Bottom (La
Academy of Ancient Music. Scala, ROH, Glyndebourne, Lyon, Houston and
Metropolitan Opera), Claggart (English National
A versatile and prolific recitalist, Gilchrists
Opera) and Mozarts Figaro (Bayerische
imaginative programming takes him to major
Staatsoper).
recital venues across the world. He performs Recitals include the Amsterdam
regularly with pianists Anna Tilbrook and Julius Concert highlights include the LSO/Colin Concertgebouw, Edinburgh, Brighton, Chester
Drake, and harpist Alison Nicholls. Davis, LPO/Nzet-Sguin, Boston Symphony and Cheltenham International Festivals and
Orchestra/Dutoit, Los Angeles Philharmonic/ Londons Wigmore Hall.
Gilchrists recordings include works by JS
Dudamel, Swedish Radio Orchestra/Harding
Bach, Britten, Grainger, Rachmaninov and Recordings include Winterreise with pianist
and the Accademia Nazionale di Santa
to particular critical acclaim Schuberts Gary Matthewman and Schwanengesang with
Cecilia/Pappano.
complete song cycles. pianist Malcolm Martineau (Stone Records).
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 81

A S H L E Y R I C H E S P I L AT U S
Ashley Riches was a member of the Jette

Debbie Scanlon & Ben Cole


Parker Young Artists Programme at the Royal
Opera House, Covent Garden, and studied at
the Guildhall School of Music & Drama.

Roles at the ROH include Morals in Bizets


Carmen, Mandarin in Puccinis Turandot,
Baron Douphol in Verdis La Traviata, Officier in
Poulencs Dialogues des Carmlites and Osmano in
Cavallis LOrmindo at the Wanamaker Playhouse.

Riches performs regularly on the concert


platform and has given song recitals at
Wigmore Hall, Barbican Hall and the City of
London Festival. He has recorded Poulencs
Chansons Gaillardes with Graham Johnson for
Hyperion and the role of Mercury in Daniel
Purcells The Judgment of Paris.

James Gilchrist, Evangelista.


J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 83

E L I Z A B E T H WAT T S S O P R A N O S A R A H C O N N O L LY A LT O
Elizabeth Watts won the 2006 Kathleen One of the superlative singers of her generation,

Marco Borggreve

Peter Warren
Ferrier Award and the Rosenblatt Song Prize Sarah Connolly has appeared at the Royal Opera
at the 2007 BBC Cardiff Singer of the World House, Covent Garden, La Scala, the Metropolitan
competition. She is a former BBC Radio 3 New Opera, Bayerische Staatsoper, Paris Opera and at
Generation Artist. the Aix-en-Provence and Glyndebourne Festivals,
and is noted particularly for the roles of Octavian,
In concert Watts sings with modern and
Komponist, Didon, Romo, Sesto, Brangne,
period orchestras including the LSO, LPO,
Fricka, Ariodante, Serse and Giulio Cesare.
BBC Symphony, Philharmonia, Netherlands
Philharmonic, Akademie fr Alte Musik, Concert appearances include the Aldeburgh,
The English Concert and AAM. In opera she Edinburgh, Lucerne, Salzburg and Tanglewood
has appeared with leading UK and European Festivals and the BBC Proms where, in 2009,
companies in roles including Mozarts Countess, she was a memorable guest soloist at the Last
She was made CBE in the 2010 New Years
Susanna and Pamina; Marzelline in Beethovens Night. Much in demand with the worlds great
Honours List, presented with the Distinguished
Fidelio; and Almirena in Handels Rinaldo. orchestras, she is closely associated with such
Musician Award by the Incorporated Society
conductors as Bolton, Chailly, Andrew Davis,
Critically acclaimed recordings include Schubert of Musicians in 2011 and was the recipient of
Elder, Harding, Herreweghe, Jurowski,
Lieder (Sony), Bach Cantatas (Harmonia Mundi) the Royal Philharmonic Societys 2012
Nzet-Sguin and Rattle.
and Strauss Lieder (Hyperion). Singer Award.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 85

THOMAS HOBBS TENOR C H R I S T O P H E R M A LT M A N B A S S


Thomas Hobbs is in demand with many leading Winner of the Lieder Prize at the 1997 Cardiff

Benjamin Ealovega

Pia Clodi
baroque and early music ensembles, appearing Singer of the World competition, Christopher
throughout Europe and the US as a soloist in key Maltman studied singing at the Royal Academy
works from the 16th, 17th and 18th centuries. of Music.
Hobbs works frequently with, among others, the
This season he sings Don Giovanni at the Royal
acclaimed ensembles Collegium Vocale Gent
Opera House, Covent Garden, and Deutsche
and Ensemble Pygmalion.
Staatsoper, Berlin; Il barbiere di Siviglia at the
Recent highlights include Evangelista in JS Bachs Metropolitan Opera, New York; and returns to
St Matthew Passion and St John Passion with the the Bayerische Staatsoper, Munich, Los Angeles
Choir of Kings College, Cambridge, Opera, Vienna State Opera and Frankfurt Opera.
Le Concert Lorrain and Ensemble Pygmalion;
Recent operatic roles include Telemachus in The A renowned recitalist and concert performer,
arias in the Passions with the Academy of
Return of Ulysses for English National Opera and he has appeared with major orchestras across
Ancient Music, CVG and Ex Cathedra; JS
Apollo and Shepherd in Monteverdis Orfeo with Europe and the USA.
Bachs Mass in B minor with CVG and Le
the Academy of Ancient Music.
Concert Lorrain; JS Bachs Magnificat with the His discography includes the three Schubert
Nederlandse Bachvereniging; the Christmas Engagements in 2014-15 include further tours song cycles for Wigmore Live, Schumanns
Oratorio with the Australian Chamber Orchestra; with CVG, Bach cantatas with the Nederlandse Dichterliebe and Liederkreis Op.24 and songs
and Handels Israel in Egypt with the Choir of Bachverenigning and Ensemble Pygmalion, and by Brahms, Warlock, Holst, Somervell, Debussy,
Kings College, Cambridge. the Christmas Oratorio with Le Concert Lorrain. Poulenc and Faur.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 87

A cademy of A ncient M usic The AAM enjoys ongoing relationships with a aam.co.uk since its launch in 2011; and in
superlative roster of guest artists. Alongside 2013 AAM Records was launched with an
the stewardship of Richard Egarr, regular guest acclaimed disc surveying the development of
The Academy of Ancient Music is renowned Kirkby, and the first-ever recordings on period directors and artists include violinist Alina the symphony in the 18th century Birth of the
as one of the worlds finest orchestras, instruments of Mozarts complete symphonies Ibragimova, mezzo-soprano Sarah Connolly, symphony: Handel to Haydn.
thrilling audiences with its fresh, engaging and Beethovens piano concertos. counter-tenor Iestyn Davies, conductor
The AAM is Associate Ensemble at the Barbican
performances of baroque and classical music. Bernard Labadie and the Choir of Kings
In 2006 the harpsichordist and conductor Centre in London and Orchestra-in-Residence
Playing on period instruments and inspired College, Cambridge.
Richard Egarr succeeded Christopher at the University of Cambridge.
by the soundworlds composers might have The AAM is dedicated to providing enriched
Hogwood as Music Director. Since then Egarr Visit aam.co.uk to find out more.
known, the AAM has changed the perceptions experiences of baroque and classical music
has toured with the orchestra to major concert
of a generation of music-lovers through for a worldwide audience. In 2009 it featured
halls throughout the Far East, USA, Australia
its concerts and recordings of music from in the worlds first live global classical choral
and Europe. His recordings with the AAM have
Monteverdi to Beethoven. cinecast, in which Handels Messiah was
won Edison, Gramophone and MIDEM awards,
Founded in 1973 by the late Christopher and include a cycle of Handels complete streamed to thousands of cinemas worldwide;
Hogwood, the AAM has since performed the instrumental music Opp.17 and the and in summer 2013 it accompanied the
world over, and is known to millions worldwide world-premiere recording of music by 17th National Gallerys exhibition Vermeer and
for its discography of over 300 CDs, among century English composer Christopher Music as Resident Ensemble, the first time that
them Brit, Gramophone and MIDEM award- Gibbons. musical performance had been featured as an
winners. Highlights include discs of Handel ongoing part of a major London art exhibition.
In June 2012 Egarr directed the AAM in a Neat and stylish music-making that delivered
operas starring David Daniels, Dame Joan Millions of tracks from the AAMs discography
performance of Handels Water Music as part of impact, power and distinction
Sutherland, Cecilia Bartoli and Dame Emma have been streamed via the AAMplayer at
the Queens Thames Diamond Jubilee Pageant. The Guardian, 2014
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 89 89

ORCHESTRA I

VIOLIN I O B O E D A M O R E
Pavlo Beznosiuk (Mathuys Hofmans, Antwerp, 1676) Andreas Helm (Alberto Ponchio, Vicenza, 2013; after J Eichentopf, Leipzig, c.1720)
Iona Davies (Anonymous, Tyrolean, c.1750) Lars Henriksson (Alfredo Bernardini, Amsterdam, 2011; after J Eichentopf, Leipzig, c.1720)
Stephen Pedder (Sebastian Dallinger, Vienna, 1783)
OBOE DA CACCIA
VIOLIN II Andreas Helm (Henri Gohin, Boissy lAillerie, 2001; after J Eichentopf, Leipzig, c.1725)
Rebecca Livermore (Francois Goutenoyre, Lyon, 1682)
Lars Henriksson (Wolfgang Kube, Berlin, 2003; after J Eichentopf, Leipzig, c.1725)
Liz MacCarthy (Andrea Castagneri, Paris, 1750)
Persephone Gibbs (Amati workshop, Cremona, c.1680) LU T E
William Carter (Martin Haycock, rebuilt by Klaus Jacobsen, London, 2009; after Hans Frei,
VIOLA
Bologna, c.1520)
Jane Rogers (Jan Pawlikowski, Krakow, 2008; after Guarnerius, Cremona)

F LU T E
Rachel Beckett (Martin Wenner, Singen, 2004; afterCarlo Palanca, Torino,c.1750)
Guy Williams (Martin Wenner, Singen, 2003; after Carlo Palanca, Torino, c.1750)

OBOE
Andreas Helm (Paolo Grazzi, Verona, 2002; after Thomas Stanesby Jr, London, 1720)
Lars Henriksson (Pau Orriols, 2006; after Thomas Stanesby Jr, London, 1720)
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 91

ORCHESTRA II continuo

VIOLIN I C E L LO
Rodolfo Richter (Nicolo Amati, Cremona, 1642) Tomasz Pokrzywinski (Bastian Muthesius, Berlin, 2006; after Stradivarius Servais,
Sijie Chen (Joan Carol Klotz, Mittenwald, c.1760) Cremona, 1701)
Marianna Szcs (Roland Ross, Guildford, 1979)
D ouble B ass
VIOLIN II Judith Evans (Anonymous, Italy, c.1750)
William Thorp (Anonymous, English, c.1750)
Joanna Lawrence (Anonymous, French/Flemish, c.1740) BASSOON
Christiane Eidsten Dahl (Jan Pawlikowski, Krakow, 2003; after Stradivari, Cremona, 1715) Ursula Leveaux (Peter de Koningh, The Netherlands, 1987; after Prudent, Paris, c.1720)

VIOLA H arpsichord
Ricardo Cuende Isuskiza (Jan Pawlikowski, Krakow, 2011; after Guarnerius, Cremona) Richard Egarr (Double-manual by Malcolm Greenhalgh, 2005; after a Franco-Flemish original)
Jan Waterfield (Single-manual by William Schofield, 1988; revised by Malcolm Greenhalgh,
F LU T E London, 2001; after Marc Ducornet, Paris)
Christine Garratt (Roderick Cameron, Scotland, 1997; after Jacob Denner, Nuremberg, c.1720)
Brinley Yare (Martin Wenner, Singen, 2010; after Carlo Palanca, Torino, c.1750) C hamber O rgan
Alastair Ross (Chamber organ by Henk Klop, Garderen; 8 principal, 8 gedact, 4 octave,
OBOE 2 fifteenth)
Gail Hennessy (Toshi Hasegawa, Deventer, 2005; after Jacob Denner, Nuremberg, c.1720)
Leo Duarte (Sand Dalton, San Francisco, 2011; after J Eichentopf, Leipzig, c.1720)

Tuning: A=415
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 93

CHOIR I CHOIR II
SOPRANO SOPRANO
Elizabeth Drury Nina Bennet
Philippa Hyde Emma Brain-Gabbott
Anna Whyte Helen Groves

A LT O A LT O
Michal Czerniawski Christopher Field
Lucy Goddard Susanna Spicer

TENOR TENOR
Matthew Sandy Edmund Hastings
Michael Solomon Williams Stuart Jackson

BASS BASS
Richard Bannan Michael Bundy
Richard Latham Samuel Queen
Charles Pott Philip Tebb

The Choir of the AAM was founded by Richard Egarr in 2007, and has since performed at concert
halls throughout the world. In 2008 it won the Choir of the Year award at the Beijing Classical
Elites; and its debut recording the first ever of works by 17th century English composer
Christopher Gibbons was released in 2012. Academy of Ancient Music, Choir of the AAM.
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 95

AAM RECORDS aam.co.uk/recordings JS BACH


S T J O H N PA S S I O N
Another day, another orchestra own-label. But wait, because this is something special. AAM002, released March 2014
The ambitious roster of forthcoming releases, including the Bach Passions with stellar Richard Egarr director & harpsichord
casts, should be worth waiting for. CLASSICAL MUSIC MAGAZINE, OCTOBER 2013 Choir of the AAM

James Gilchrist is an incisive and emotional


BIRTH OF THE SYMPHONY storyteller.
H A N D E L T O H AY D N THE OBSERVER
AAM001, released October 2013
Richard Egarr director & harpsichord Nominated, best baroque vocal recording
2014 GRAMOPHONE AWARDS

CLASSICAL MUSIC MAGAZINE JS BACH


ORCHESTRAL SUITES
Disc of the Week AAM003, released November 2014
BBC RADIO 3 Richard Egarr director & harpsichord

A striking success Expertly led by harpsichordist Richard Egarr, and superbly played,
it programmes an attractive selection of symphonies by five 18th-century composers FINE MUSIC MAGAZINE
to illustrate the title Birth of the symphony. The contents prove enjoyable both in
sequence and as historical display case. Exuberant and full of vitality.
BBC MUSIC MAGAZINE BBC RADIO 3
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 97

97

T H A N K you JS BACH St MAT THEW Passion


AAM004
This recording was supported by a member of the AAM Society as a gift
to his children.
& 2015 Academy of Ancient Music
For four decades, much-loved recordings from the Academy of Ancient Music have 11b Kings Parade, Cambridge CB2 1SJ, UK
brought baroque and classical music to millions of people worldwide.
Recorded at Saint Jude-on-the-Hill, London, UK, 20-27 April 2014.
Legendary AAM recordings with the likes of Cecilia Bartoli, Dame Emma Kirkby
and Dame Joan Sutherland have won numerous awards and feature among
Philip Hobbs producer & engineer
BBC Music Magazines top 25 recordings of all time.
Julia Thomas editor
Today, such recordings are not possible without the financial assistance of our supporters. Malcolm Greenhalgh keyboard technician
Gary Haslam (www.process.agency) design and artwork
Visit aam.co.uk/support to find out how you can help AAM Records carry forward the
Patrick Harrison (www.patrickharrison.com) cover image
orchestras distinguished recording tradition for the benefit of music-lovers everywhere.
Academy of Ancient Music (Helena Gavrielides) photography (unless stated)
John McMunn and Erica Rees production assistants

Performing edition Brenreiter-Verlag Karl Vtterle GmbH & Co KG, Kassel

All rights of the producer and of the owner of the work reproduced reserved.
Unauthorised copying, hiring, lending, public performance and broadcasting
of this record prohibited.

aam.co.uk
J S B A C H S T m att h e w PA S S I O N ACADEMY OF ANCIENT MUSIC 99

Saint Jude-on-the-Hill, London, UK.


AAM004
& 2015 Academy of Ancient Music
All rights of the producer and of the owner of the work reproduced reserved.
Unauthorised copying, hiring, lending, public performance and broadcasting of this record prohibited.
www.aam.co.uk