St John Passion Britten Sinfonia Daniel Hyde conductor
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St John Passion
Daniel Hyde conductor
Britten Sinfonia
Bach St John Passion
Britten Sinfonia Singers
FIRST VIOLINS FLUTES SOPRANOS
Marcus Barcham Thomas Hancox Julia Doyle
Stevens Sarah O’Flynn Marie-Antoinette Stabentheiner
Ruth Ehrlich Anita Monserrat
Katherine Shave OBOES & COR
ANGLAIS ALTOS
SECOND VIOLINS Peter Facer Helen Charlston
Miranda Dale Emma Feilding Jess Dandy
Nicola Goldscheider Hugh Cutting
Alexandra Caldon OBOE D’AMORE
Emma Feilding TENORS
VIOLAS Gwilym Bowen - Evangelist
Clare Finnimore BASSOON Nick Pritchard
Sascha Bota Sarah Burnett Ruairi Bowen
Bridget Carey James Micklethwaite
ORGAN
CELLOS Stephen Farr BASSES
Jonathan Rees Alex Ashworth
Caroline Dearnley VIOLA DA GAMBA William Gaunt - Jesus
Jonathan Rees Malachy Frame
DOUBLE BASS
Stephen Williams
Britten Sinfonia is #HereForCulture thanks to the Government’s Culture Recovery FundJS
Bach (1685-1750)
St John Passion (1724)
When Bach arrived in Leipzig in 1723 to take Passion. The city was keen to continue the
up the position of Cantor at the Thomasschule tradition, as was Bach, for whom the passions
– the school attached to St Thomas’ Church, became yet another creative outlet for his
one of the two biggest churches in Leipzig – abundance of ideas. As his first year at Leipzig
he began one of the most productive and drew to an end, Bach celebrated with the
meaningful phases of his musical life. Leaving unveiling of his St John Passion – his first
behind his role of Kapellmeister at the small, major undertaking in his new role, and the first
provincial court of Anhalt-Cöthen, Bach had of at least three passion settings he would
moved to a thriving cultural centre of over compose during his time there (we know that
30,000 residents, with responsibility for the score of his St Mark Passion has been
teaching music to the 50 pupils of the lost).
Thomasschule as well as overseeing the music
in Leipzig’s four largest churches. Bach had Often referred to as ‘the little Passion’, most
not been the first choice for the position, but notably by Robert Schumann, the St John
negotiations with the frontrunner – Carl Phillip Passion has often been overlooked during the
Telemann – fell through so, after offering it to course of history in favour of the longer and
several more candidates, the committee more elaborate setting of the Passion
settled on Bach. Honoured to have been given according to St Matthew. Its neglect owes
such a huge opportunity, and keen to prove much to the circumstances of the revival of
his worth to his new employers, Bach attacked the St Matthew Passion, which was overseen
his new role with zeal. In his first year alone, by Felix Mendelssohn at a concert under his
he composed 60 liturgical cantatas for direction in 1829. Having been unperformed
performance in the churches’ Sunday services between Bach’s death in 1750 and the 1829
– a feat which he repeated twice more in the concert, the St Matthew Passion elicited an
two years that followed. In a letter to his unprecedented response from the audience,
employers at Mühlhausen 15 years earlier, and just a year after Mendelssohn’s concert
Bach had lamented that he had not been able both the full and vocal scores of the work
to achieve there his ultimate aim: ‘a well- were published in Berlin for the first time. This
regulated or orderly church music, to the glory signified the start of a more widespread Bach
of God’. Here at Leipzig, Bach’s goal at last revival, something which would do much for
became a reality. the reputation of the St John Passion too –
but it was the St Matthew Passion that
While composition for the regular Sunday received more lasting recognition.
services and the preparation of the choir for
these occasions absorbed most of Bach’s While the St Matthew Passion is a sprawling
energies, he was also required to produce work that lasts more than three hours in
new music for the annual passion service on performance, the ‘little’ St John Passion clocks
Good Friday – one of the most important in at just a little more than two. Nevertheless,
occasions in the liturgical calendar. While even the length of the St John would have
sung passions had been performed elsewhere surprised Bach’s congregation, who had never
in Europe for centuries, in Leipzig they were a heard anything so substantial in the church
new innovation, having been introduced to the before. Its style would also have come as a
city just a few years earlier by Bach’s surprise, sounding far more operatic and
predecessor, Johann Kuhnau, with his St Mark ornate than the music they were accustomedto hearing as part of the traditional service. new, extended chorale settings, but these
This was not to everyone’s tastes, since many were reinstated in his revision of 1728. In his
Lutherans believed that such operatic music final revisions of 1749, Bach restored much of
belonged in the theatre and was not suitable the work to its original 1724 incarnation,
for conveying the solemnity of God’s work. although his most significant amendment was
Others, including Bach himself, found that this to add more bulk to the instrumentation,
more elaborate and emotive form of adding a contrabassoon for a weightier
expression helped to convey the pathos of the bottom line and increasing the number of
passion story – without distancing itself too continuo parts to five – suggesting that he
much from the original biblical text. Bach’s had a large number of excellent keyboard
compromise, which contributed to the largely instruments at his disposal in Leipzig. Above
warm reception of the work, was to stay true all, the many modifications Bach made to the
to the original Gospel by retaining the text in St John Passion over such an extended period
its entirety and delivering this in the form of indicate a preoccupation with the work that
recitatives, alongside traditional chorale he afforded to no other, and a desire to
refrains (which would have been familiar to his perfect it ‘to the Glory of God’. His attention to
congregation), while using more modern detail suggests he felt an affinity with its
poetry for the work’s arias. Without message that is not seen elsewhere.
challenging the Gospel’s message, Bach uses
these breaks in the text of the Gospel to While the St Matthew Passion is a more
create a space for reflection – interpolating monumental, contemplative piece, the St John
the arias and chorales between the narration Passion is arguably a more dramatic work,
and inviting the congregation to ‘meditate’ on which places greater emphasis on conveying
what they have just heard. the tension and humanity of the passion story.
Schumann called it ‘much bolder, more
In fact, Bach experimented with the layout of powerful, more poetic that the one from
the St John Passion over many years, never Matthew’s Gospel’, and its message is
quite reaching a stage where he was ultimately more uplifting. It is a work of hope
completely happy with its framework. No other and promise that looks forward to the
composition in his catalogue received quite prospect of a glorious resurrection, in spite of
the same level of repeated attention. While the suffering and sorrow of the Good Friday
the St Matthew Passion received only minor story. Despite this more philosophical outlook,
revisions after its first performance in 1727, there is an element of urgency in in the music,
Bach continued to amend and adapt the St and a very real sense that Bach hoped to
John Passion over the course of 25 years, recreate the drama of the Gospel’s narrative.
right up to the year before he died (1749, its With fewer arias here than in the St Matthew
fifth documented performance during his Passion, this leaves less time for solo
lifetime). While some of his revisions were contemplation and drives the story onwards,
rather minor – for example, changing the while the frequent turba choruses (which
nuances of a particular line of text to create a deliver the crowd scenes) reinforce the sense
more modern translation – others were of congregational storytelling.
considerably more substantial, involving the
replacement of whole movements. In 1725, While the turba choruses add drama and even
just a year after the first performance, Bach – at times – hysteria to the narrative, the
replaced the opening and final movements words of John’s Gospel are delivered rather
‘Herr, unser Herrscher’ and ‘Ruht wohl’ with more plaintively by a single tenor, theEvangelist, who recounts the sequence of for word – but they were later reinstated). events from Christ’s arrest in the Garden of Gethsemane to his eventual crucifixion and Such elegant touches are what elevate Bach’s burial. Bach’s triumph is to meld these solo work from a straightforward musical rendering and chorus parts in a way that gestures of the Passion story to a complex, multi- towards – but never quite attains – the status layered dramatic piece of richness and of an opera, giving Jesus’ words to a bass poignance. It is a work which delivers the soloist, while other, smaller roles (Peter, Mary intensity and emotion of Christ’s trial and and Pilate, among others) are sung by other crucifixion with a directness and subtlety solo voices, often from within the chorus. The never heard before, a work which represented opening chorus, with its dissonant woodwind a dramatic step forwards in the composition and undulating strings, has all the hallmarks of of liturgical music, and one which would an overture or curtain-raiser, setting a sombre influence generations of composers for many and despondent mood for the Evangelist’s first years to come. entry. But when Jesus faces trial at the start of Part Two (Bach’s congregation would have Programme note © Jo Kirkbride endured an hour-long sermon between the two parts), Bach recourses to John’s original Gospel – affording this scene the same extensive treatment that it is given in the biblical text. Moreover, he allows space here for a bass arioso and tenor aria (‘Betrachte, meine Seel, mit ängstlichem Vergnügen’ and ‘Erwäge, wie sein blutgefärbter Rücken’) to give the congregation more time to reflect on Christ’s sacrifice, which was given selflessly for the good of all people. When Jesus is crucified, Bach also takes a moment to step outside the Gospel text to deliver a truly human message: an alto soloist sings the aria ‘Es ist vollbracht’ (‘It is finished’), one of the most poignant moments in the work and one which paints Christ as a glorious figure, even in death. Elsewhere, Bach uses ornamentation more familiar from operatic arias to add an expressive intensity to the text. He also uses his artistic licence and borrows – on two climactic occasions – from Matthew’s Gospel, firstly to depict Peter’s penitent weeping on realising that he has betrayed Jesus, and later to include the earthquake that marks Jesus’ death, both of which add weight to the dramatic drive of the music. (Interestingly, Bach removed these additions in his third revision of the work – perhaps due a scrupulous desire to depict the Gospel word
Saffron Hall Saffron Hall is an award-winning concert hall uniquely located on the campus of Saffron Walden County High School. Built with the generous support of the Yellow Car Charitable Trust, Saffron Hall has become a vibrant, pioneering model of cultural provision and arts education since its opening in November 2013. The hall is a dual-use space, operating as both the school hall – for assemblies, parents evenings, exams, school concerts and productions – and also as a world-class performance space, hosting some of the finest cultural experiences in the country, including both world-class and local soloists, folk and jazz ensembles, orchestras, dance groups and opera. The critically acclaimed acoustic attracts world-renowned artists to the stage including the London Philharmonic Orchestra, Bryn Terfel, Kathryn Tickell, The Sixteen, Richard Thompson, Britten Sinfonia, The Hallé, Nicola Benedetti and Jess Gillan, to name a few. Saffron Hall’s schools and community programme brings opportunities to experience and participate in the performing arts to people of all ages and backgrounds. Work in this area includes a programme of performances, open rehearsals, side-by-side workshops, and masterclasses for both primary and secondary school students, and pioneering community initiatives including Together in Sound, a music therapy project for people living with dementia and their companions.
Britten
Sinfonia
In 1992, Britten Sinfonia was established as a to the US, Asia and much of Europe. It is a
bold reimagining of the conventional image of BBC Radio 3 Broadcast Partner and has
an orchestra. A flexible ensemble comprising award-winning recordings on the Hyperion and
the UK’s leading soloists and chamber Harmonia Mundi labels.
musicians came together with a unique vision:
to collapse the boundaries between old and Recent and current collaborators include
new; to collaborate with composers, Keaton Henson and dancer/choreographer
conductors and guest artists across the arts, Pam Tanowitz with commissions from Thomas
focussing on the musicians rather than Adès, Gerald Barry, Shiva Freshareki, Emily
following the vision of a principal conductor; Howard, Brad Mehldau and Mark-Anthony
and to create involving, intelligent music Turnage. The orchestra was a commissioning
events that both audiences and performers partner in a groud-breaking partnership
experience with an unusual intensity. between minimalist composer Steve Reich
and visual artist Gerhard Richter in a new
The orchestra is named after Benjamin Britten, work that was premiered in October 2019.
in part a homage to its chosen home of the
east of England, where Britten’s roots were Outside the concert hall, Britten Sinfonia
also strong. But Britten Sinfonia also embodies musicians work on creative and theraputic
its namesake’s ethos. Its projects are projects with pre-school children, teenagers,
illuminating and distinctive, characterised by young carers, people suffering from dementia,
their rich diversity of influences and artistic life-time prisoners and older people at risk of
collaborators; and always underpinned by a isolation. The orchestra’s annual OPUS
commitment to uncompromising quality, competition offers unpublished composers the
whether the orchestra is performing in New chance to receive a professional commission
York’s Lincoln Center on in Lincolnshire’s and unearths new, original and exciting UK
Crowland Abbey. Britten Sinfonia musicians compositional talent. Members of Britten
are deeply rooted in the communities with Sinfonia Academy, the orchestra’s youth
which they work, with an underlying chamber ensemble for talented young
philosophy of finding ways to reach even the performers, have performed in museums,
most excluded individuals and groups. improvised with laptop artists, led family
workshops and appeared at Latitude Festival.
Today Britten Sinfonia is heralded as one of
the world’s leading ensembles and its
philosophy of adventure and reinvention has
inspired a new movement of emerging
chamber groups. It is an Associate Ensemble
at London’s Barbican, Resident Orchestra at
Saffron Hall in Essex and has residencies in
Norwich and Cambridge. It performs an annual
chamber music series at London’s Wigmore
Hall and appears regularly at major UK
festivals including the Aldeburgh, Brighton,
Norfolk & Norwich Festivals and the BBC
Proms. The orchestra has performed a live
broadcast to more than a million people
worldwide from the Sistine Chapel, and touredDaniel Hyde Daniel Hyde is a versatile musician: a world- As an ensemble player he has appeared with class conductor and organist, a natural leader Phantasm, Britten Sinfonia, The Tallis Scholars, and a broad-minded academic. Daniel has Aurora Orchestra, Gabrieli Consort and the held the prestigious post of Director of Music Academy of St Martin in the Fields, amongst at King’s College, Cambridge since October others. 2019. As part of this role Daniel is responsible for one of the world’s most renowned choirs; working with the choristers and scholars of the Choir of King’s College, Cambridge is a nurturing and inspirational role, well-suited to Daniel as a world-class choral trainer. Born in the UK, schooled as a chorister at Durham Cathedral, he was made a Fellow of the Royal College of Organists at the age of 17 and won the organ scholarship to King’s College, Cambridge, later taking up the position of Director of Music at Jesus College, Cambridge. In 2009, he became Informator Choristarum at Magdalen College, Oxford, where he was also an Associate Professor. In 2016 Daniel moved to the USA where he became Organist and Director of Music at Saint Thomas Church, Fifth Avenue, New York City. As a choral and orchestral conductor, Daniel has worked with many of the world’s leading ensembles including the BBC Singers, the London Bach Choir, Britten Sinfonia, the Orchestra of the Age of Enlightenment, the Academy of St Martin in the Fields, the Orchestra of St Luke’s and New York Baroque Incorporated. Danielís broad-ranging discography can be found on the Opus Arte, Linn, Naxos and EMI and Priory labels, with future releases planned for the King’s College label. A phenomenal organist, Daniel has performed throughout the world giving recitals. He has appeared at the BBC Proms on numerous occasions, and made his solo debut there in 2010, performing Bach’s Canonic Variations at the organ of the Royal Albert Hall.
Singers
Sopranos Altos
Julia Doyle Helen Charlston
A specialist soprano in Baroque repertoire, Helen Charlston was a Choral Scholar at
Julia Doyle has performed all over the world Trinity College, Cambridge and won First Prize
with ensembles including Tafelmusik, in the 2018 Handel Singing Competition.
Australian Chamber Orchestra and RPO, with Acclaimed for her musical interpretation and
conductors including Sir John Eliot Gardiner, presence, Helen Charlston is cementing
Stephen Layton, Philippe Herreweghe and herself as a key performer in the next
Richard Tognetti. Her discography includes generation of singers. She was a Rising Star
Handel’s Messiah with Britten Sinfonia and for Orchestra of the Age of Enlightenment
Polyphony, Bach’s Magnificat with Dunedin 2017-19 and last season she made debuts
Consort and Lutheran Masses with The with the Academy of Ancient Music,
Sixteen. Cambridge Handel Opera Company,
Queensland Symphony Orchestra and the
Marie-Antoinette Stabentheiner Concertgebouw Chamber Orchestra.
Austrian soprano Marie-Antoinette
Stabentheiner is a graduate of the University Jess Dandy
of Music and Performing Arts in Vienna. She Jess Dandy has been praised for her
has performed all over Europe as a consort instrument of velvety plangent timbre, and her
singer and soloists, specialising in artistic maturity of remarkable immediacy. She
renaissance, baroque and contemporary has appeared on the concert platform with
repertoire, and has appeared with La Grande the Orchestre rèvolutionnaire et romantique,
Chapelle, New London Baroque and Company The English Concert, Florilegium, BBC National
of Music. Orchestra & Chorus of Wales, The Academy of
Ancient Music, The Dunedin Consort, BBC
Symphony Orchestra, and Les Arts florissants;
Anita Monserrat
collaborating with conductors including Sir
A graduate of Music at Trinity College,
John Eliot Gardiner, Harry Bicket, Trevor
Cambridge, where she was a member of
Pinnock, John Butt William Christie, Kristian
Trinity College Choir, Anita has recently
Bezuidenhout and Stephen Layton.
performed with Tenebrae Choir at the BBC
Proms, Wigmore Hall and on BBC Four’s
Culture in Quarantine series. She is currently Hugh Cutting
pursuing her vocal studies at the Royal Hugh Cutting is a British countertenor,
Academy of Music. currently in his second year of the Master of
Performance course at the Royal College of
Music where he is a Leverhulme Arts Scholar.
Recent concert performances have included
Messiah in Hereford Cathedral, a solo lute
song appearance on the BBC Early Music
Show, BWV 11 Ascension Oratorio with Ashley
Solomon and RCM Baroque Orchestra and
Chorus, Bach’s Passions and cantatas (solos)
with The Oxford Bach Soloists and Choir of St
John’s College, Cambridge.Tenors Gwilym Bowen - Evangelist Ruairi Bowen Gwilym studied at Trinity College, Cambridge Ruairi was a Choral Scholar at King’s College, and the Royal Academy of Music, and has Cambridge, and is now establishing himself as sung Bach, Monteverdi and Handel with John a soloist in a wide range of repertoire. He has Butt/Dunedin Consort/BBC NOW, Stephen recently made his debut at Wigmore Hall and Layton/Polyphony/OAE, Richard Egarr/AAM, Leipzig Bachfest, and was a finalist in the CBSO, Seattle Symphony, Melbourne London Handel Singing Competition in Symphony, Concerto Copenhagen and the December 2020. He has performed Bach with Australian Chamber Orchestra. His recordings Sir John Eliot Gardiner and the English include Mass in B Minor on Hyperion and Baroque Soloists at the Royal Concertgebouw, Handel’s Brockes Passion with AAM and the Wiener Musikverein, the Barbican, and Richard Egarr, and sings in Britten’s A other recent engagements include Stanford Midsummer Night’s Dream at the Grange with BBC NOW and Vaughan Williams’ A Festival this year. Costwold Romance in Lebanon. Nick Pritchard James Micklethwaite Nick Pritchard was a Choral Scholar at New James Micklethwaite was a Choral Scholar at College, Oxford and is currently a Samling King’s College, Cambridge and is now studying Artists and member of OAE’s ‘Rising Stars’ for a Masters in Vocal Studies at the Royal scheme. He has performed with orchestras College of Music. James has played the role such as BBC NOW, Philharmonia Orchestra, of Hippolyte in Rameau’s Hippolyte et Aricie in Dunedin Consort and The English Concert. RCM Opera Scenes, has appeared with RCM Operatic roles include Lysander A Midsummer colleagues in a performance of Elgar’s The Night’s Dream under Ryan Wigglesworth Apostles in the Royal Festival Hall with the (Aldeburgh), Prologue The Turn of the Screw London Philharmonic Orchestra, and has and Ferrando Cosi fan tutti for Opera Holland appeared as soloist in Mozart’s Requiem and Park and Nevill Holt Opera, Amphinomus Il Coronation Mass, Haydn’s Nelson Mass and ritorno d’Ulisse in patria under Christian Handel’s Messiah. Curnyn for the Royal Opera House, and Matthew in Mark Simpson’s Pleasure for Opera North, Aldeburgh and The Royal Opera.
BASSES Alex Ashworth Malachy Frame Since studies at St John’s College, Cambrdige Malachy studied at Gonville and Caius and the Royal Academy of Music, Alex College, Cambridge and the Royal Academy of Ashworth has worked with many of Britain’s Music. His operatic roles have included main opera companies, including Aeneas in Purcell’s Dido and Aeneas, Glyndebourne Festival Opera, Scottish Opera Guglielmo in Mozart’s Cosí fan tutte, Slook in and Welsh National Opera. He is an Rossini's La Cambiale di Matrimonio, and accomplished interpreter of oratorio, Masetto in Mozart’s Don Giovanni. As a appearing in many of Londonís major venues; concert soloist, recent performances have including The Royal Festival Hall, The Barbican included Britten's War Requiem, Orff’s Carmina and The Royal Albert Hall (for the BBC Proms). burana, Bach’s Christmas Oratorio, Magnificat, He has sung Berlioz with Sir Colin Davis, St John Passion, and St Matthew Passion, Haydn with Sir Roger Norrington, and many Brahms’ Ein Deutsches Requiem, Handel’s Bach and Handel performances with Sir John Messiah and Alexander’s Feast, and Vaughan- Eliot Gardiner. Williams’ Five Mystical Songs. William Gaunt - Jesus William Gaunt was born in Yorkshire and began his musical education there as a chorister at Ripon Cathedral, later winning a choral scholarship to King’s College, Cambridge. He performs regularly with many of the UK’s most prominent ensembles, including The Gabrieli Consort, The King’s Consort and Tenebrae. As a soloist recent performances include Bach St Matthew and St John Passions and B minor Mass, Handel Messiah and Dixit Dominus, Puccini Messa di Gloria, Rossini Petite Messe Solennelle and Stabat Mater, and Stravinsky Les Noces. Recordings include Fauré Requiem with the London Symphony Orchestra and Monteverdi Vespers with the Orchestra of the Age of Enlightenment.
Text JS Bach St John Passion (1724) PART ONE PART ONE Chorus Chorus Herr, unser Herrscher, dessen Ruhm in allen Lord, our Redeemer, whose glory is in all the Landen herrlich ist! world, Zeig uns durch deine Passion, show us in this thy Passion daß du, der wahre Gottessohn, that thou, the true Son of God, zu aller Zeit, auch in der größten Niedrigkeit, hast conquered death and tribulation. verherrlicht worden bist! Evangelist Evangelist Jesus ging mit seinen Jüngern über den Bach Jesus went forth with his disciples across the Kidron, da war ein Garten, darein ging Jesus Kidron valley, where there was a garden, und seine Jünger. Judas aber, der ihn verriet, which he and his disciples entered. Now wußte den Ort auch, denn Jesus versammlete Judas, who betrayed him, also knew the place, sich oft daselbst mit seinen Jüngern. Da nun for Jesus often met there with his disciples. Judas zu sich hatte genommen die Schar und So Judas, procuring a band of soldiers and der Hohenpriester und Pharisäer Diener, some officers from the chief priests and the kommt er dahin mit Fakkeln, Lampen und mit Pharisees, went there with lanterns and Waffen. Als nun Jesus wußte alles, was ihm torches and weapons. Then Jesus, knowing all begegnen sollte, ging er hinaus und sprach zu that was to befall him, came forward and said ihnen: to them: Jesus Jesus Wen suchet ihr? Whom seek ye? Evangelist Evangelist Sie antworteten ihm: They answered him: Chorus Chorus Jesum von Nazareth! Jesus of Nazareth! Evangelist Evangelist Jesus spricht zu ihnen: Jesus said to them: Jesus Jesus Ich bins. I am he. Evangelist Evangelist Judas aber, der ihn verriet, stund auch bei And Judas also, who betrayed him, stood with ihnen. Als nun Jesus zu ihnen sprach: Ich bins, them. As soon then as he had said unto them wichen sie zurück und fielen zu Boden. Da ‘I am he’, they went backward and fell to the fragete er sie abermal: ground. Then asked he them again:
Jesus Jesus
Wen suchet ihr? Whom seek ye?
Evangelist Evangelist
Sie aber sprachen: And they said:
Chorus Chorus
Jesum von Nazareth. Jesus of Nazareth.
Evangelist Evangelist
Jesus antwortete: Jesus answered:
Jesus Jesus
Ich habs euch gesagt, daß ichs sei, suchet ihr I have told you that I am he; if therefore ye
denn mich, so lasset diese gehen! seek me, let these go their way.
Chorale Chorale
O große Lieb, O Lieb ohn alle Maße, O wondrous love quite limitless,
die dich gebracht auf diese Marterstraße! that brought thee here by sin and grief
surrounded.
Ich lebte mit der Welt in Lust und Freuden, I live with all the pleasure of this world,
und du mußt leiden. and thou must die.
Evangelist Evangelist
Auf daß, das Wort erfüllet würde, welches er That the saying might be fulfilled, which he
sagte: Ich habe der keine verloren, die du mir spake, ‘Of them which thou gavest me have I
gegeben hast. Da hatte Simon Petrus ein lost none’. Then Simon Peter having a sword
Schwert und zog es aus und schlug nach des drew it, and smote the high priest’s servant,
Hohenpriesters Knecht und hieb ihm sein and cut off his right ear. The servant’s name
recht Ohr ab; und der Knecht hieß Malchus. was Malchus. Then said Jesus unto Peter:
Da sprach Jesus zu Petro:
Jesus Jesus
Stekke dein Schwert in die Scheide! Soll ich Put up thy sword into the sheath: the cup
den Kelch nicht trinken, den mir mein Vater which my Father hath given me, shall I not
gegeben hat? drink it?
Chorale Chorale
Dein Will gescheh, Herr Gott, zugleich Thy will, O Lord, our God, be done,
auf Erden wie im Himmelreich. on earth, as round thy heavenly throne.
Gib uns Geduld in Leidenszeit, In time of sorrow patience give,
gehorsam sein in Lieb und Leid; obedient ever make us live.
wehr und steur allem Fleisch und Blut, With thy restraining spirit fill
das wider deinen Willen tut! each heart that strives against thy will.Evangelist Evangelist
Die Schar aber und der Oberhauptmann und Then the band and the captain and officers of
die Diener der Jüden nahmen Jesum und the Jews took Jesus, and bound him, and led
bunden ihn und führeten ihn aufs erste zu him away to Annas first; for he was father in
Hannas, der war Kaiphas Schwäher, welcher law to Caiaphas, which was the high priest
des Jahres Hoherpriester war. Es war aber that same year. Now Caiaphas was he, which
Kaiphas, der den Jüden riet, es wäre gut, daß gave counsel to the Jews, that it was
ein Mensch würde umbracht für das Volk. expedient that one man should die for the
people.
Aria (Alto) Aria (Alto)
Von den Stricken meiner Sünden From the bondage of transgression
mich zu entbinden, my holy Saviour frees me,
wird mein Heil gebunden. from all taint of deadly sickness
Mich von allen Lasterbeulen fully heals me,
völlig zu heilen, läßt er sich verwunden. bearing himself the grievous wound.
Evangelist Evangelist
Simon Petrus aber folgete Jesu nach und ein And Simon Peter followed Jesus, and so did
ander Jünger. another disciple.
Aria (Soprano) Aria (Soprano)
Ich folge dir gleichfalls mit freudigen I follow thee too, my Saviour,
Schritten und lasse dich nicht, with joyful steps.
mein Leben, mein Licht. I will not forsake thee,
Befördre den Lauf my Life and my Light.
und höre nicht auf, Hasten my steps and draw me to thy side.
selbst an mir zu ziehen, zu schieben,
zu bitten!
Evangelist Evangelist
Derselbige Jünger war dem Hohenpriester That disciple was known unto the high priest,
bekannt und ging mit Jesu hinein in des and went in with Jesus into the palace of the
Hohenpriester Palast. Petrus aber stund high priest. But Peter stood at the door
draußen für der Tür. Da ging der andere without. Then went out that other disciple,
Jünger, der dem Hohenpriester bekannt war, which was known unto the high priest, and
hinaus und redete mit der Türhüterin und spake unto her that kept the door, and
führete Petrum hinein. Da sprach die Magd, brought in Peter. Then saith the damsel that
die Türhüterin, zu Petro: kept the door unto Peter:
Maid Maid
Bist du nicht dieses Menschen Jünger einer? Art not thou also one of this man’s disciples?
Evangelist Evangelist
Er sprach: He saith:Peter Peter Ich bins nicht. I am not. Evangelist Evangelist Es stunden aber die Knechte und Diener und And the servants and officers stood there, hatten ein Kohlfeu’r gemacht (denn es war who had made a fire of coals; for it was cold: kalt) und wärmeten sich. Petrus aber stund bei and they warmed themselves: and Peter stood ihnen und wärmete sich. Aber der with them, and warmed himself. The high Hohepriester fragte Jesum um seine Jünger priest then asked Jesus of his disciples, and of und um seine Lehre. Jesus antwortete ihm: his doctrine. Jesus answered him: Jesus Jesus Ich habe frei, öffentlich geredet vor der Welt. I spake openly to the world; I ever taught in Ich habe allezeit gelehret in der Schule und in the synagogue, and in the temple, whither the dem Tempel, da alle Juden Jews always resort; and in secret have I said zusammenkommen, und habe nichts im nothing. Why askest thou me? ask them which Verborgnen geredt. Was fragest du mich heard me, what I have said unto them: behold, darum? Frage die darum, die gehöret haben, they know what I said. was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe. Evangelist Evangelist Als er aber solches redete, gab der Diener And when he had thus spoken, one of the einer, die dabeistunden, Jesu einen officers which stood by struck Jesus with the Bakkenstreich und sprach: palm of his hand, saying, Officer Officer Solltest du dem Hohenpriester also Answerest thou the high priest so? antworten? Evangelist Evangelist Jesus aber antwortete: Jesus answered him: Jesus Jesus Hab ich übel geredt, so beweise es, daß es If I have spoken evil, bear witness of the evil: böse sei, hab ich aber recht geredt, was but if well, why smitest thou me? schlägest du mich? Chorale Chorale Wer hat dich so geschlagen, O Lord, who dares to smite thee? mein Heil, und dich mit Plagen And falsely to indict thee, so übel zugericht’t? deride and mock thee so? Du bist ja nicht ein Sünder, For thou art not a sinner, wie wir und unsre Kinder, unlike us and our children, von Missetaten weißt du nicht. thou hast done nought amiss.
Ich, ich und meine Sünden, It is I, with my sins
die sich wie Körnlein finden that are as countless
des Sandes an dem Meer, as the sands by the sea,
die haben dir erreget which have brought thee thy misery,
das Elend, das dich schläget, and the host of torments that ye bear.
und das betrübte Marterheer.
Evangelist Evangelist
Und Hannas sandte ihn gebunden zu dem Now Annas had sent him bound unto
Hohenpriester Kaiphas. Simon Petrus stund Caiaphas the high priest. And Simon Peter
und wärmete sich, da sprachen sie zu ihm: stood and warmed himself. They said
therefore unto him:
Chorus Chorus
Bist du nicht seiner Jünger einer? Art not thou also one of his disciples?
Evangelist Evangelist
Er leugnete aber und sprach: He denied it, and said:
Peter Peter
Ich bins nicht. I am not.
Evangelist Evangelist
Spricht des Hohenpriesters Knecht’ einer, ein One of the servants of the high priest, being
Gefreundter des, dem Petrus das Ohr his kinsman whose ear Peter cut off, saith:
abgehauen hatte:
Servant Servant
Sahe ich dich nicht im Garten bei ihm? Did not I see thee in the garden with him?
Evangelist Evangelist
Da verleugnete Petrus abermal, und alsobald Peter then denied again: and immediately the
krähete der Hahn. Da gedachte Petrus an die cock crew. And Peter remembered the saying
Worte Jesu und ging hinaus und weinete of Jesus and he went out and wept bitterly.
bitterlich.
Aria (tenor) Aria (tenor)
Ach, mein Sinn, wo willt du endlich hin, Ah, my soul, whither wilt thou fly?
wo soll ich mich erquikken? Where shall I seek for comfort?
Bleib ich hier, oder wünsch ich mir Shall I stay? Or depart and leave
Berg und Hügel auf den Rükken? the hills and mountains far behind me?
Bei der Welt ist gar kein Rat, In the world is no relief,
und im Herzen stehn die Schmerzen on my heart remains the burden
meiner Missetat, of my evil deed,
weil der Knecht den Herrn verleugnet hat. since the servant hath denied his Lord.Chorale Chorale Petrus, der nicht denkt zurück, Peter, faithless, thrice denies seinen Gott verneinet, that his Lord he knoweth; der doch auf ein’ ernsten Blick when he meets those earnest eyes, bitterlichen weinet. weeping, thence he goeth. Jesu, blikke mich auch an, If I am unrepentant wenn ich nicht will büßen look on me with kindness: wenn ich Böses hab getan, whenever I do wrong rühre mein Gewissen! rouse my inner conscience. PART TWO PART TWO Chorale Chorale Christus, der uns selig macht, kein Bös’ hat Christ who brings us joy and has done no begangen, wrong, der ward für uns in der Nacht als ein Dieb For our sake he was seized like a thief in the gefangen, night. geführt vor gottlose Leut und fälschlich He was taken before unbelievers and falsely verklaget, accused. verlacht, verhöhnt und verspeit, wie denn die He was derided, spat upon and vilely mocked Schrift saget. as it is written in the Scriptures. Evangelist Evangelist Da führeten sie Jesum von Kaipha vor das Then led they Jesus from Caiaphas unto the Richthaus, und es war frühe. Und sie gingen hall of judgment: and it was early; and they nicht in das Richthaus, auf daß sie nicht themselves went not into the judgment hall, unrein würden, sondern Ostern essen lest they should be defiled; but that they möchten. Da ging Pilatus zu ihnen heraus und might eat the passover. Pilate then went out sprach: unto them, and said: Pilate Pilate Was bringet ihr für Klage wider diesen What accusation bring ye against this man? Menschen? Evangelist Evangelist Sie antworteten und sprachen zu ihm: They answered and said unto him: Chorus Chorus Wäre dieser nicht ein Übeltäter, wir hätten dir If he were not a wrong-doer, we would not ihn nicht überantwortet. have delivered him up unto thee. Evangelist Evangelist Da sprach Pilatus zu ihnen: Then said Pilate unto them: Pilate Pilate So nehmet ihr ihn hin und richtet ihn nach Take ye him, and judge him according to your eurem Gesetze! law.
Evangelist Evangelist Da sprachen die Jüden zu ihm: The Jews therefore said unto him: Chorus Chorus Wir dürfen niemand töten. It is not lawful for us to put any man to death. Evangelist Evangelist Auf daß erfüllet würde das Wort Jesu, welches That the saying of Jesus might be fulfilled, er sagte, da er deutete, welches Todes er which he spake, signifying what death he sterben würde. Da ging Pilatus wieder hinein should die. Then Pilate entered into the in das Richthaus and rief Jesu und sprach zu judgment hall again, and called Jesus, and ihm: said unto him: Pilate Pilate Bist du der Jüden König? Art thou the King of the Jews? Evangelist Evangelist Jesus antwortete: Jesus answered him. Jesus Jesus Redest du das von dir selbst, oder habens dir Sayest thou this thing of thyself, or did others andere von mir gesagt? tell it thee of me? Evangelist Evangelist Pilatus antwortete: Pilate answered: Pilate Pilate Bin ich ein Jüde? Dein Volk und die Am I a Jew? Thine own nation and the chief Hohenpriester haben dich mir über antwortet: priests have delivered thee unto me: what was hast du getan? hast thou done? Evangelist Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Mein Reich ist nicht von dieser Welt; wäre My kingdom is not of this world: if my mein Reich von dieser Welt, meine Diener kingdom were of this world, then would my würden darob kämpfen, daß ich den Jüden servants fight, that I should not be delivered to nicht überantwortet würde; aber nun ist mein the Jews: but now is my kingdom not from Reich nicht von dannen. hence. Chorale Chorale Ach großer König, groß zu allen Zeiten, O mighty King, eternal is thy glory! wie kann ich gnugsam diese Treu ausbreiten? How can I express my allegiance to thee? Kein’s Menschen Herze mag indes ausdenken, No human heart can imagine a gift was dir zu schenken. which is fit to give thee.
Ich kann’s mit meinen Sinnen nicht erreichen, Neither can I find anything to compare
womit doch dein Erbarmen zu vergleichen. with thy merciful goodness.
Wie kann ich dir denn deine Liebestaten im What can I do for thee to be worthy
Werk erstatten? of thy loving deeds?
Evangelist Evangelist
Da sprach Pilatus zu ihm: Pilate therefore said unto him:
Pilate Pilate
So bist du dennoch ein König? Art thou a king then?
Evangelist Evangelist
Jesus antwortete: Jesus answered:
Jesus Jesus
Du sagstís, ich bin ein König. Ich bin dazu Thou sayest that I am a king. To this end was I
geboren und in die Welt kommen, daß ich die born, and for this cause came I into the world,
Wahrheit zeugen soll. Wer aus der Wahrheit that I should bear witness unto the truth.
ist, der höret meine Stimme. Every one that is of the truth heareth my
voice.
Evangelist Evangelist
Spricht Pilatus zu ihm: Pilate saith unto him:
Pilate Pilate
Was ist Wahrheit? What is truth?
Evangelist Evangelist
Und da er das gesaget, ging er wieder hinaus And when he had said this, he went out again
zu den Jüden und spricht zu ihnen: unto the Jews, and saith unto them,
Pilate Pilate
Ich finde keine Schuld an ihm. Ihr habt aber I find in him no fault at all. But ye have a
eine Gewohnheit, daß ich euch einen losgebe; custom, that I should release unto you one at
wollt ihr nun, daß ich euch der Jüden König the passover: will ye therefore that I release
losgebe? unto you the King of the Jews?
Evangelist Evangelist
Da schrieen sie wieder allesamt und sprachen: Then cried they all again, saying:
Chorus Chorus
Nicht diesen, sondern Barrabam! Not this man, but Barabbas.
Evangelist Evangelist
Barrabas aber war ein Mörder. Da nahm Now Barabbas was a robber. Then Pilate
Pilatus Jesum und geißelte ihn. therefore took Jesus, and scourged him.Arioso (bass) Arioso (bass)
Betrachte, meine Seel, mit ängstlichem Consider, O my soul, with fearful joy consider,
Vergnügen, mit bittrer Lust und hal with bitter anguish, in thy heart afflicted, thy
beklemmtem Herzen dein höchstes Gut in highest good is Jesusí sorrow: for thee, from
Jesu Schmerzen, wie dir auf Dornen, so ihn the thorns that pierce him, what heavenly
stechen, die Himmelschlüsselblumen blühn! flowers spring, thou canst the sweetest fruit
Du kannst viel süße Frucht von seiner Wermut his wormwood gather, then look for evermore
brechen, drum sieh ohn Unterlaß auf ihn! to him.
Aria (tenor) Aria (tenor)
Erwäge wie sein blutgefärbter Rükken in allen Consider how his bloodstained back brings
Stükken dem Himmel gleiche geht, daran, heaven before our eyes. When the floodwaters
nachdem die Wasserwogen von unsrer of our sin have receded, then appears the
Sündflut sich verzogen, der allerschönste rainbow as a sign of God’s mercy.
Regenbogen als Gottes Gnadenzeichen steht!
Evangelist Evangelist
Und die Kriegsknechte flochten eine Krone And the soldiers platted a crown of thorns,
von Dornen und satzten sie auf sein Haupt and put it on his head, and they put on him a
und legten ihm ein Purpurkleid an und purple robe, and said:
sprachen:
Chorus Chorus
Sie gegrüßet, lieber Jüdenkönig! Hail, King of the Jews!
Evangelist Evangelist
Und gaben ihm Bakkenstreiche. Da ging And they smote him with their hands. Pilate
Pilatus wieder heraus und sprach zu ihnen: therefore went forth again, and saith unto
them:
Pilate Pilate
Sehet, ich führe ihn heraus zu euch, daß ihr Behold, I bring him forth to you, that ye may
erkennet, daß ich keine Schuld an ihm finde. know that I find no fault in him.
Evangelist Evangelist
Also ging Jesus heraus und trug eine Then came Jesus forth, wearing the crown of
Dornenkrone und Purpurkleid. Und er sprach thorns, and the purple robe. And Pilate saith
zu ihnen: unto them:
Pilate Pilate
Sehet, welch ein Mensch! Da ihn die Behold the man! When the chief priests
Hohenpriester und die Diener sahen, schrieen therefore and officers saw him, they cried out,
sie und sprachen: saying,
Chorus Chorus
Kreuzige! Crucify him!Evangelist Evangelist Pilatus sprach zu ihnen: Pilate saith unto them: Pilate Pilate Nehmet ihr ihn hin und kreuziget ihn; denn ich Take ye him, and crucify him: for I find no fault finde keine Schuld an ihm! in him. Evangelist Evangelist Die Jüden antworteten ihm: The Jews answered him: Chorus Chorus Wir haben ein Gesetz, und nach dem Gesetz We have a law, and by our law he ought to soll er sterben; denn er hat sich selbst zu die, because he made himself the Son of God. Gottes Sohn gemacht. Evangelist Evangelist Da Pilatus das Wort hörete, fürchtet’ er sich When Pilate therefore heard that saying, he noch mehr und ging wieder hinein in das was the more afraid; And went again into the Richthaus, und spricht zu Jesu: judgment hall, and saith unto Jesus: Pilate Pilate Von wannen bist du? Whence art thou? Evangelist Evangelist Aber Jesus gab ihm keine Antwort. Da sprach But Jesus gave him no answer. Then saith Pilatus zu ihm: Pilate unto him: Pilate Pilate Redest du nicht mit mir? Weißest du nicht, das Speakest thou not unto me? Knowest thou ich Macht habe, dich zu kreuzigen, und Macht not that I have power to crucify thee, and have habe, dich loszugeben? power to release thee? Evangelist Evangelist Jesus antwortete: Jesus answered: Jesus Jesus Du hättest keine Macht über mich, wenn sie Thou couldest have no power at all against dir nicht wäre von oben herab gegeben; me, except it were given thee from above: darum, der mich dir überantwortet hat, der therefore he that delivered me unto thee hath hatís größ’re Sünde. the greater sin. Evangelist Evangelist Von dem an trachtete Pilatus, wie er ihn And from thenceforth Pilate sought to release losließe. him:
Chorale Chorale
Durch dein Gefängnis, Gottes Sohn, Thy bonds, O Son of God, most high,
muß uns die Freiheit kommen; have perfect freedom brought us;
Dein Kerker ist der Gnadenthron, thy prison is the divine throne,
die Freistatt aller Frommen; the haven for all believers;
denn gingst du nicht for if thou hadst not taken
die Knechtschaft ein, the bondage of a slave,
müßt unsre Knechtschaft ewig sein. we would for evermore be bound.
Evangelist Evangelist
Die Jüden aber schrieen und sprachen: But the Jews cried out, saying:
Chorus Chorus
Lässest du diesen los, so bist du des Kaisers If thou let this man go, thou art not Caesar’s
Freund nicht; denn wer sich zum Könige friend: whosoever maketh himself a king
machet, der ist wider den Kaiser. speaketh against Caesar.
Evangelist Evangelist
Da Pilatus das Wort hörete, führete er Jesum When Pilate therefore heard that saying, he
heraus and satzte sich auf den Richtstuhl, an brought Jesus forth, and sat down in the
der Stätte, die da heißet: Hochpflaster, auf judgment seat in a place that is called the
Ebräisch aber: Gabbatha. Es war aber der Pavement, but in the Hebrew, Gabbatha. And
Rüsttag in Ostern um die sechste Stunde, und it was the preparation of the passover, and
er spricht zu den Jüden: about the sixth hour: and he saith unto the
Jews:
Pilate Pilate
Sehet, das ist euer König! Behold your King!
Evangelist Evangelist
Sie schrieen aber: But they cried out:
Chorus Chorus
Weg, weg mit dem, kreuzige ihn! Away, away with him, crucify him.
Evangelist Evangelist
Spricht Pilatus zu ihnen: Pilate saith unto them:
Pilate Pilate
Soll ich euren König kreuzigen? Shall I crucify your King?
Evangelist Evangelist
Die Hohenpriester antworteten: The chief priest answered
Chorus Chorus
Wir haben keinen König denn den Kaiser. We have no king but Caesar.Evangelist Evangelist Da überantwortete er ihn, daß er gekreuziget Then delivered he him therefore unto them to würde. Sie nahmen aber Jesum und führeten be crucified. And they took Jesus, and led him ihn hin. Und er trug sein Kreuz und ging away. And he bearing his cross went forth into hinaus zur Stätte, die da heißet Schädelstätt, a place called the place of a skull, which is welche heißet auf Ebräisch: Golgatha. called in the Hebrew: Golgotha. Aria (bass, chorus) Aria (bass, chorus) Eilt, ihr angefochtnen Seelen, geht aus euren Haste, ye deeply wounded spirits, bring your Marterhöhlen – Wohin? – nach Golgatha! heavy burdens. Whither? To Golgotha! Take, O Nehmet an des Glaubens Flügel, flieht – take the wings of faith and fly. Whither? To the Wohin? – zum Kreuzeshügel, eure Wohlfahrt Cross of Jesus: there shall relief and healing blüht allda! be found. Evangelist Evangelist Allda kreuzigten sie ihn, und mit ihm zween Where they crucified him, and two other with andere zu beiden Seiten, Jesum aber mitten him, on either side one, and Jesus in the inne. Pilatus aber schrieb eine Überschrift und midst. And Pilate wrote a title, and put it on setzte sie auf das Kreuz, und war geschrieben: the cross. And the writing was, JESUS OF JESUS VON NAZARETH, DER JÜDEN KÖNIG. NAZARETH THE KING OF THE JEWS. This title Diese Überschrift lasen viel Jüden, denn die then read many of the Jews: for the place Stätte war nahe bei der Stadt, da Jesus where Jesus was crucified was nigh to the gekreuziget ist. Und es war geschrieben auf city: and it was written in Hebrew, and Greek, ebräische, griechische und lateinische and Latin. Then said the chief priests of the Sprache. Da sprachen die Hohenpriester der Jews to Pilate: Jüden zu Pilato: Chorus Chorus Schreibe nicht: der Jüden König, sondern daß Write not, The King of the Jews; but that he er gesaget habe: Ich bin der Jüden König. said, I am King of the Jews. Evangelist Evangelist Pilatus antwortet: Pilate answered: Pilate Pilate Was ich geschrieben habe, das habe ich What I have written I have written. geschrieben. Chorale Chorale In meines Herzens Grunde, Within our inmost being dein Nam und Kreuz allein thy Name and Cross alone, funkelt all Zeit und Stunde, shines there now and for always drauf kann ich fröhlich sein. so that I can rejoice. Erschein mir in dem Bilde When I am in need zu Trost in meiner Not, comfort and console me
wie du, Herr Christ, with this picture of thee so milde dich hast geblut’t zu Tod! so patiently enduring death itself. Evangelist Evangelist Die Kriegsknechte aber, da sie Jesum Then the soldiers, when they had crucified gekreuziget hatten, nahmen seine Kleider und Jesus, took his garments, and made four machten vier Teile, einem jeglichen parts, to every soldier a part; and also his Kriegesknechte sein Teil, dazu auch den Rock. coat: now the coat was without seam, woven Der Rock aber war ungenähet, von oben an from the top throughout. They said therefore gewürket durch und durch. Da sprachen sie among themselves: untereinander: Chorus Chorus Lasset uns den nicht zerteilen, sondern darum Let us not rend it, but cast lots for it, whose it losen, wes er sein soll. shall be: Evangelist Evangelist Auf daß erfüllet würde die Schrift, die da That the scripture might be fulfilled, which saget: ‘Sie haben meine Kleider unter sich saith, They parted my raiment among them, geteilet und haben über meinen Rock das Los and for my vesture they did cast lots. These geworfen.’ Solches taten die Kriegesknechte. things therefore the soldiers did. Now there Es stund aber bei dem Kreuze Jesu seine stood by the cross of Jesus his mother, and Mutter und seiner Mutter Schwester, Maria, his mother’s sister, Mary the wife of Cleophas, Kleophas Weib, und Maria Magdalena. Da nun and Mary Magdalene. When Jesus therefore Jesus seine Mutter sahe und den Jünger saw his mother, and the disciple standing by, dabei stehen, den er lieb hatte, spricht er zu whom he loved, he saith unto his mother: seiner Mutter: Jesus Jesus Weib, siehe, das ist dein Sohn! Woman, behold thy son! Evangelist Evangelist Darnach spricht er zu dem Jünger: Then saith he to the disciple: Jesus Jesus Siehe, das ist deine Mutter! Behold thy mother! Chorale Chorale Er nahm alles wohl He thought of everything in acht in der letzten Stunde, in his last hour, seine Mutter noch bedacht, and gave his mother setzt ihr ein’ Vormunde. one to protect her. O Mensch, mache Richtigkeit, Thou too should rightly act, Gott und Menschen liebe, loving God and man, stirb darauf ohn alles Leid, that thou canst die untroubled
und dich nicht betrübe! and without anxiety.
Evangelist Evangelist
Und von Stund an nahm sie der Jünger zu And from that hour that disciple took her unto
sich. Darnach, als Jesus wußte, daß schon his own home. After this, Jesus knowing that
alles vollbracht war, daß die Schrift erfüllet all things were now accomplished, that the
würde, spricht er: scripture might be fulfilled, saith:
Jesus Jesus
Mich dürstet! I thirst.
Evangelist Evangelist
Da stund ein Gefäße voll Essigs. Sie fülleten Now there was set a vessel full of vinegar: and
aber einen Schwamm mit Essig and legten ihn they filled a sponge with vinegar, and put it
um einen Isopen, und hielten es ihm dar zum upon hyssop, and put it to his mouth. When
Munde. Da nun Jesus den Essig genommen Jesus therefore had received the vinegar, he
hatte, sprach er: said:
Jesus Jesus
Es ist vollbracht! It is finished.
Aria (alto) Aria (alto)
Es ist vollbracht! O Trost vor die gekränkten It is accomplished: what comfort for suffering
Seelen! Die Trauernacht läflt nun die letzte human souls! I can see the end of the night of
Stunde zählen. Der Held aus Juda siegt mit sorrow. The hero from Judah ends his
Macht und schließt den Kampf. Es ist victorious fight. It is accomplished!
vollbracht!
Evangelist Evangelist
Und neiget das Haupt und verschied. And he bowed his head, and gave up the
ghost.
Aria & Chorale (bass, chorus) Aria & Chorale (bass, chorus)
Mein teurer Heiland, laß dich fragen, da du My dearest Saviour, let me ask thee, as thou
nunmehr ans Kreuz geschlagen und selbst art nailed to this cross and hast thyself said it
gesagt: Es ist vollbracht, bin ich vom Sterben is accomplished, am I released from death?
freigemacht? Kann ich durch deine Pein und Can I gain the heavenly kingdom through thy
Sterben das Himmelreich ererben? Ist aller suffering and death? Is it that the whole world
Welt Erlösung da? Du kannst vor Schmerzen is redeemed? Thou canst not speak for agony,
zwar nichts sagen; doch neigest du das Haupt but incline thy head to give a speechless ‘Yes!’
und sprichst stillschweigend: ja.
Jesu, der du warest tot, Jesus, thou wast dead
lebest nun ohn Ende, and now livest for ever,
in der letzten Todesnot bring me, in death’s extremity,
nirgend mich hinwende als zu dir, nowhere but to thee who hast paidder mich versühnt, the debt I owe to God. o du lieber Herre! My true and faithful master, Gib mir nur, was du verdient, give me only what thou hast won mehr ich nicht begehre! for how could there be more to wish for? Evangelist Evangelist Und siehe da, der Vorhang im Tempel zerriß in And behold, the curtain of the temple was zwei Stück von oben an bis unten aus. Und torn in two from top to bottom. There was an die Erde erbebete, und die Felsen zerrissen, earthquake, the rocks split, and the graves und die Gräber täten sich auf, und stunden opened and many of God’s people arose from auf viel Leiber der Heiligen. sleep. Arioso (Tenor) Arioso (Tenor) Mein Herz, indem die ganze Welt bei Jesu My heart, while the whole world shares Jesusí Leiden gleichfalls leidet, die Sonne sich in suffering, the sun in mourning, the veil rent, Trauer kleidet, der Vorhang reißt, der Fels the rocks split, the earth quaking, the graves zerfällt, die Erde bebt, die Gräber spalten, weil opening, because they see the Creator grow sie den Schöpfer sehn erkalten, was willst du cold in death, what wilt thou do for thy part? deines Ortes tun? Aria (Soprano) Aria (Soprano) Zerfließe, mein Herze, in Fluten der Zähren Dissolve then, heart, in floods of tears as thy dem Höchsten zu Ehren! Erzähle der Welt und tribute to our God. Tell earth and heaven the dem Himmel die Not: Dein Jesus ist tot! grievous news thy Jesus is dead! Evangelist Evangelist Die Jüden aber, dieweil es der Rüsttag war, The Jews therefore, because it was the daß nicht die Leichname am Kreuze blieben preparation, that the bodies should not remain den Sabbath über (denn desselbigen upon the cross on the sabbath day, (for that Sabbaths Tag war sehr gross), baten sie sabbath day was an high day,) besought Pilate Pilatum, daß ihre Beine gebrochen und sie that their legs might be broken, and that they abgenommen würden. Da kamen die might be taken away. Then came the soldiers, Kriegsknechte und brachen dem ersten die and brake the legs of the first, and of the Beine und dem andern, der mit ihm other which was crucified with him. But when gekreuziget war. Als sie aber zu Jesu kamen, they came to Jesus, and saw that he was da sie sahen, daß er schon gestorben war, dead already, they brake not his legs: But one brachen sie ihm die Beine nicht; sondern der of the soldiers with a spear pierced his side, Kriegsknechte einer eröffnete seine Seite mit and forthwith came there out blood and water. einem Speer, und also bald ging Blut und And he that saw it bare record, and his record Wasser heraus. Und der das gesehen hat, der is true: and he knoweth that he saith true, that hat es bezeuget, und sein Zeugnis ist wahr, ye might believe. For these things were done, und derselbige weiß, daß er die Wahrheit that the scripture should be fulfilled, A bone of saget, auf daß ihr gläubet. Denn solches ist him shall not be broken. And again another geschehen, auf daß die Schrift erfüllet würde: scripture saith, They shall look on him whom ‘Ihr sollet ihm kein Bein zerbrechen’. Und they pierced. abermal spricht eine andere Schrift: ‘Sie
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