ST JOHN PASSION REIMAGINED - Sydney Philharmonia Choirs
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ST JOHN PASSION
REIMAGINED
CONTENTS
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Welcome 4
About the Music 5
…and the Composers 8
Texts and Translations 10
Artist Biographies 26
Sydney Philharmonia Chamber Singers 30
Sydney Philharmonia Baroque Orchestra 31
Our Supporters 32
About Us 34
Sydney Philharmonia Choirs dedicates this performance
to the memory of dear friend and artistic colleague
Taryn Fiebig (1972–2021)
SYDNEY PHILHARMONIA CHOIRS PRESENTS
ST JOHN PASSION
REIMAGINED
ACKNOWLEDGEMENT OF COUNTRY
DEBORAH CHEETHAM and MATTHEW DOYLE
Tarimi Nulay – Long time living here†
JOHANN SEBASTIAN BACH
St John Passion: Part I
with
JOSEPH TWIST
Heaven, Tear Apart (Himmel reiße)*†
INTERVAL
St John Passion: Part II
with
BROOKE SHELLEY
Ein Bächlein im Bach*†
THE FIRST PAGE FROM BACH’S HANDWRITTEN SCORE OF THE PASSION ACCORDING TO JOHN (c.1738).
Elizabeth Scott conductor
Richard Butler tenor (Evangelist)
Andrew O’Connor bass-baritone (Christ)
Celeste Lazarenko soprano
Sian Sharp mezzo-soprano
Nicholas Jones tenor
David Greco baritone
Sydney Philharmonia Chamber Singers
Sydney Philharmonia Baroque Orchestra
Fiona Ziegler concertmaster
Easter Saturday, 3 April 2021, 1pm
The Concourse, Chatswood
* Premiere
† Commissioned as part of our 100 Minutes of New Australian Music centenary project
in 2020. We’re delighted to be performing these works in our 2021 season.
This performance will run for approximately
2 hours and 50 minutes including a 20-minute interval
WELCOME
It is an absolute honour for me to be conducting this awe-inspiring
work in a “re-imagination” that was originally designed to celebrate
the Sydney Philharmonia Choirs’ Centenary in 2020. During Bach’s
life, the St John Passion was an ever-evolving work, with several
revisions and changes made by the composer. It’s exciting to
maintain this tradition and to be able to incorporate reflections and
voices from Australian composers, inspired by the majesty and
power of Bach’s writing to reflect on events in their own lives.
My first real encounter with this great work was during my studies
in Hungary, when I was invited by a fellow student to be the soprano
soloist in her father’s church choir’s Good Friday performance of the
St John Passion in Haugesund, Norway. For a young Australian, so
far from home, the experience was life changing – I was so moved
by the power of the music, the collaboration of the choir and
orchestra and, of course, the opportunity to perform it in a country
of such beauty and such extremes. I was lucky enough to perform
the soprano solos again in Oberstdorf, Germany and, since returning
to Australia, I have prepared choirs for this work several times, as
well as (hopefully) converting hundreds of high-school students to
its power by conducting excerpts at a NSW Public Schools State
Music Camp.
For me, the St John Passion – from its opening chorus of restless
foreboding to its final chorus of acceptance and peace – is a
journey of discovery of the human condition experienced through
unfathomably exquisite music.
Thank you for joining us!
Elizabeth Scott
Music Director VOX
Acknowledgement of Country
Tarimi Nulay – Long time living here was the beginning of 2020 and we hope that this
commissioned for our Centenary year as a special piece will be part of our performances
choral Acknowledgement of Country to for many years to come. Deborah Cheetham
commence all concerts in the season. It was and Matthew Doyle have created a work that
premiered at the Dawn Chorus performance explores a profound cultural and spiritual
on the steps of the Sydney Opera House at reflection of the land on which we sing.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 4
DRAMA AND
REFLECTION
St John Passion
Reimagined
Imagine you’re a Leipzig Lutheran, it’s Good Friday in This performance of
1724, and you’re attending Vespers at the St Nicholas Bach’s St John Passion
Church. It will be a long service: in addition to the cantor incorporates two specially
Bach’s brand new setting of the Passion, there will be a
commissioned musical
sermon of half an hour or more in the middle, an old Latin
motet at the end and congregational chorale singing. But ‘reflections’. Joseph
Bach’s music will occupy the lion’s share of the time and Twist’s fiercely dramatic
there will be instruments in church again, following the Heaven, Tear Apart will be
aural austerity of Lent. In many ways, this first heard after the chorale
performance of the Passion according to St John will take ‘Wer hat dich so
on the character of a concert and it’s telling that the flyer geschlagen’ (No.11) in
Bach prepared announcing the venue (St Nicholas rather
Part I and Brooke
than the St Thomas Church) addresses its readers as
‘Auditoribus’ – the audience of listeners rather than the Shelley’s more reflective
congregation of worshippers. Perhaps your imagination Ein Bächlein im Bach will
doesn’t need to stretch very far after all as you sit here in be heard after the chorale
the Concourse for a concert on Easter Saturday, although ‘In meines Herzens
the seats today will be more comfortable. Grunde’ (No.26) in Part II.
In the century before Bach, the Good Friday recitation of
the Passion, or story of the Crucifixion, had been relatively
simple: the clergy chanting the parts of the Evangelist
and Christ, the choir providing the voice of the people and
minor characters, the congregation responding with
chorales or hymns. But by the end of the 17th century,
the Passion tradition had collided with the new genre of
the sacred oratorio – essentially biblical operas without
costumes, sets or staging that neatly sidestepped the
prohibition of opera during Lent. The Passion-oratorio
injected an exceptional level of drama and musical
complexity into the Good Friday liturgy and it was still a
relatively new phenomenon when Bach took on the role of
cantor in Leipzig in 1723. Perhaps this is why his wary
employers had made him agree to write works ‘which
would not be of an operatic nature, but would rather
excite the listener to greater piety’.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 5
THE MUSIC
A traditional opera features recitatives musical palette. Nowhere is this more
(speech-like singing) for the dialogue that apparent than in the arias with obbligato solo
moves the plot along, arias with more poetic lines for instruments such as the pair of violas
texts for the expression of emotion, and d’amore in the sensuous tenor aria ‘Erwäge’
choruses for scene-setting atmosphere and (Part II, No.20) or the viola da gamba, which
context. A Bach Passion-oratorio turns these matches the expressive power of the human
theatrical conventions to spiritual purpose. voice in the alto aria ‘Es ist vollbracht’ (Part II,
The Evangelist or Gospel author, in this case No.30). At the same time, the idea of personal
John, is the eyewitness and his narration is reflection that permeates Bach’s music has
written exclusively as recitative. The voice of been extended with two modern musical
Christ – a bass – is also written as recitative. reflections, commissioned for this program.
The remaining soloists take on small roles in
These commissions were originally intended
the narrative (Peter, Pilate, a maid, and so on)
for Sydney Philharmonia’s Centenary year.
but, more significantly, they sing arias that
And, during the course of the long delay, the
meditate on the drama of the story, as if
placement of the new works within the
offering personal responses and prayers. The
structure of Bach’s work has been given much
chorus divides its time between the role of the
thought. Joseph Twist’s piece, in using a text
crowd – its often savage music bringing
that Bach cut from his final libretto and
a visceral realism to the enactment of the
quoting directly from its musical material,
Crucifixion story and making it a real
almost demands to be placed in the same
protagonist in the drama – and the singing of
location in Part I. Meanwhile, Brooke Shelley
contemplative chorales.
alludes to motifs from throughout Bach’s work
Embracing both the immediacy of storytelling in a reflective way; for this reason, it has been
and more lyrical reflection, the St John placed – like a reminiscence – towards the
Passion emerges as a bold and exhilarating end of the performance.
fusion of drama and reflection, in which the
Joseph Twist composed Heaven, Tear Apart
participants – soloists and chorus alike –
while visiting his family in Australia over
appear as if contemporary witnesses. No one
Christmas 2019, as bushfires consumed so
could have argued against the spiritual intent
much of the country. The anger, frustration,
of this ‘sermon in sound’ or its fidelity to
devastation and chaos led him to the text of an
John’s gospel account, but such dramatic
aria (‘Himmel, reiße’) that Bach added to the
intensity – unprecedented in Leipzig
St John Passion for its second performance, in
churches – must have been shocking. This
1725, and then removed. Just as Bach had
afternoon we hear the St John Passion in a
done, Twist set the text for baritone soloist and
concert with a ‘congregation’ comprising
chorus; he also followed Bach’s lead in using
people of many faiths or perhaps none, the
the joyful serenity of a chorale (‘Jesu, deine
liturgical origin of the music abandoned. We
Passion’, sung by the chorus) as a foil for the
won’t be shocked and we may not be ‘excited
explosive drama of the solo line, with its
to greater piety’ but the directness of Bach’s
dramatic imagery of earthquakes and torment,
music, that sensation of contemporary
descending into fear and anguish before an
immediacy, remains as enthralling as ever.
ultimate expression of faith. The musical
Today’s performance harnesses the original motifs also echo Bach – there’s a sombre
sound world of the St John Passion through repeated ten-note ground bass in the
the use of a relatively small chorus of 37 orchestra, for example – although the style is
singers and period instruments that highlight contemporary, with distinct minimalistic
the richness and expressive power of Bach’s influences.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 6
THE MUSIC
In Ein Bächlein im Bach, Brooke Shelley ‘O comfort for the ailing soul!’ cries the oboe
reflects on Bach’s musical legacy, ‘treading oh as the choir introduces Handl’s chorale. Later,
so carefully’ in the shadow of Bach’s mastery. as the choir sings of flying to the Hill of the
(The title is a pun on names – Bach in German Cross, the woodwinds interrupt with their own
means ‘brook’, a Bächlein is a little brook – chorus: ‘Where to? Where to? Where to?’ The
and the water imagery is a literal take on the music ends with a premonition of the viola da
idea of ‘reflection’.) Her starting point was the gamba’s line in the aria ‘Es ist vollbracht!’
text and music of the Latin motet ‘Ecce,
These new works do not sound like Bach, but
quomodo moritur’ by the 16th-century
they pay tribute to the St John Passion,
Slovenian composer Jacob Handl, which
reflecting on the liturgical context in which it
traditionally followed the Passion in Bach’s
would have been heard, its musical gestures
Leipzig, together with the relentless eddies of
and its drama and poetry. And in the spirit of
sound heard in the strings at the very
Bach’s contemporary witnesses to the
beginning of the St John Passion.
Crucifixion, they offer responses to the world
On a personal level, the music is a reflection and events, both public and private,
on the grief and loss Shelley witnessed when contemporary and yet timeless.
the son of a dear friend ended his life. This
Yvonne Frindle © 2021
drew her to the text of the Passion itself –
fragments that spoke of ‘pain and suffering’
and ‘light and rest’ and which, in the music,
represent ‘little stabs of pain and flickers of
light’. Not all of these textual fragments are
sung, however. Throughout the score,
instrumental phrases have been composed
to the rhythms of words you won’t hear.
Bach’s Orchestra
The VIOLA D’AMORE is held under the chin like that’s played ‘on the leg’). Although the viola
a violin but is characterised by an extra-long da gamba frequently plays with the
peg box, which accommodates six or seven harpsichord, organ and lute as part of the
strings together with an equal number of basso continuo group, Bach gives it an
resonance strings that aren’t touched by the important solo in the alto aria ‘Es ist
bow but which vibrate in sympathy. Listen for vollbracht!’ (No.30 in Part II), capitalising on
the pair of violas d’amore in the bass arioso its mournful, almost vocal sound.
‘Betrachte, meine Seel’ and tenor aria
An OBOE DA CACCIA is literally a ‘hunting
‘Erwäge’ (Nos.19 and 20 in Part II).
oboe’ – it has a lower voice, the tenor of the
The VIOLA DA GAMBA is similar in appearance oboe family, and is curved with an obviously
to its younger cousin the cello but has some flared bell. Listen for the oboe da caccia in the
key differences: its shoulders slope away from soprano aria ‘Zerfließe’ (No.35 in Part II). The
the neck of the instrument, it has six or seven OBOE D’AMORE could be considered the alto of
strings instead of four, and the fingerboard has the oboe family and has a pear-shaped bell.
frets, like a guitar. The viola da gamba is held The oboe d’amore is heard in several choruses
between the knees (‘da gamba’ indicates a viol in Part II.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 7
THE MUSIC
The Composers
Johann Sebastian Bach (1675–1750)
Johann Sebastian Bach was born in 1685 to a
8)
aussmann (174
German musical dynasty and his upbringing
and training prepared him for a career that led
to renown as an organist during his lifetime.
After his death, his music was considered old-
fashioned, of interest mainly to connoisseurs,
H
EG
but the 19th century saw a revival of his
by
music, led by composers such as Felix
it
ra
rt
Po Mendelssohn, who conducted a landmark
performance of the St Matthew Passion in
1829. (He was to conduct the St John Passion
in 1833.) By the beginning of the 20th
century, Bach’s reputation as one of the
greatest of composers was unquestioned.
Bach’s career has been defined by three major
gston
periods of employment. In 1708 he became
a Kin
court organist and then conductor of the
tin
orchestra in Weimar. In 1717 Prince Leopold
ris
:K
of Anhalt-Cöthen offered him a post as
to
o
Ph Kapellmeister in his own court where,
supported by a music-loving prince and a very
fine orchestra, Bach composed many of his
virtuoso instrumental works, including the
Brandenburg concertos. In 1722 he applied
for the post of cantor at the school attached to
the Thomaskirche in Leipzig. Bach wasn’t the
Hegarty
town council’s first choice – they preferred
Telemann – but he won the job and spent the
han
remaining 27 years of his life in Leipzig:
iob
/S
teaching, performing, organising the musical
RN
C life of the church and composing his great
AB
series of church cantatas, his two passion
settings and other major choral works.
Deborah Cheetham (born 1964)
Deborah Cheetham AO – Yorta Yorta woman,
soprano, composer and educator – has been a
leader and pioneer in the Australian arts
ography
landscape for more than 25 years. In the 2014
Queen’s Birthday Honours List, she was
P hot
named an Officer of the Order of Australia
lim
(AO), for ‘distinguished service to the
a
lH
ca
Pa
s performing arts as an opera singer, composer
and artistic director, to the development of
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 8
THE MUSIC
Indigenous artists, and to innovation in (Evening of the Sky). She is currently working
performance’. In 2009 she established Short with Nick on an unnamed project, as well as a
Black Opera as a national not-for-profit opera number of commissions for other choirs.
company devoted to the development of
Joseph Twist (born 1982)
Indigenous singers. The following year she
produced her first opera, Pecan Summer. Composer-arranger Joseph Twist straddles film
This landmark work was Australia’s first music and concert music arenas. He works
extensively as a composer and arranger of music
Indigenous opera and has been a vehicle for
for film and television, including the
the development of a new generation of
internationally successful children’s animated
Indigenous opera singers. In 2015 she was series Bluey. He has worked as an arranger and
inducted onto the Honour Roll of Women in orchestrator for many renowned international
Victoria and in 2018 received an honorary artists and ensembles, including singer/
doctorate from the University of South songwriters Moby, Guy Sebastian, Missy Higgins,
Australia. In 2019 she received the Merlyn Josh Pyke, Megan Washington and Kate Miller-
Myer Prize to create a new work for the Heidke, bands like Eskimo Joe and The Wiggles,
Melbourne ensemble Syzygy. Her growing list jazz and cabaret artists like Sally Cameron,
of commissions includes works for the The Idea of North and Lady Sings it Better, and
Adelaide and Melbourne symphony orchestras, opera singers David Hobson and Teddy Tahu
the Australian String Quartet, West Australian Rhodes. His orchestrations have been performed
and recorded by the world’s greatest orchestras,
Symphony Orchestra String Quartet, Rubiks
including collaborations with the Los Angeles
Collective, Plexus Ensemble, Flinders Quartet
Philharmonic, the Colorado Symphony and the
and the Goldner Quartet. Hollywood Scoring Orchestra, as well as the
Brooke Shelley (born 1975) Australian symphony orchestras. He continues to
work as an orchestrator for major Hollywood
After formal training in piano, harpsichord and studio films in Los Angeles, including the
composition, and after completing a master’s upcoming new release Tom and Jerry.
degree majoring in Historical Musicology
(London), Brooke Shelley turned her attention His concert music is widely programmed,
particularly his choral works, with performances
to popular music, fusing Scandinavian metal
by the Choir of Trinity College Cambridge,
with sacred Renaissance music for the band
Chanticleer, VOCES8, The Idea of North, The
Resonaxis – possibly the only band in the Young New Yorkers’ Chorus, L.A. Choral Lab,
world with a classical organist (David Drury). Gondwana Voices, Sydney Children’s Choir,
Following the release of two CDs and an EP, National Youth Choir of Australia, Brisbane
she returned to composing sacred choral Chamber Choir, Sydney Chamber Choir, The
music, having sung with a number of church Australian Voices, Adelaide Chamber Singers and
choirs in Australia and the UK. Her choral many others. His work also appears on numerous
works have been performed by groups such as commercial recordings, including his own
the Choir of Trinity College at Melbourne album, Dancing With Somebody.
University, the Choir of St James’, the Choirs
of St John’s Cathedral in Brisbane, Adelaide
Chamber Singers, Sydney Antiphony and the
District Eight in Washington DC. She has also
provided improvised vocals for Nick Littlemore
(Pnau, Empire of the Sun) on projects such as
Elton John vs Pnau and White Shadows, and
they collaborated on The Two Leaves Project
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 9
TEXTS AND TRANSLATIONS
TARIMI NULAY – Long time living here
by Deborah Cheetham and Matthew Doyle
Tarimi nulay ngalawa yura Long time here live the people
garrabarra baraya yagu barrabugu dancing and singing today and tomorrow
ngyiningi ngara your way of knowing
ngyiningi berong your way of belonging
Deborah Cheetham Translated from Gadigal by Matthew Doyle
ST JOHN PASSION by J.S. Bach
PART I
1. CHORUS
Herr, unser Herrscher, Lord, our sovereign,
dessen Ruhm in allen Landen herrlich ist! whose fame is glorious in all lands!
Zeig uns durch deine Passion, Show us through your passion
daß du, der wahre Gottessohn, that you, the true son of God,
zu aller Zeit, in every age,
auch in der größten Niedrigkeit, even in the deepest humiliation,
verherrlicht worden bist! have been glorified!
2. EVANGELIST (TENOR)
Jesus ging mit seinen Jüngern über den Jesus went with his disciples across the
Bach Kidron, da war ein Garten, darein ging Kedron brook. There was a garden there, and
Jesus und seine Jünger. Judas aber, Jesus and his disciples went in. Now Judas,
der ihn verriet, wußte den Ort auch, denn who betrayed him, also knew the place, as
Jesus versammlete sich oft daselbst mit Jesus often met with his disciples in that very
seinen Jüngern. Da nun Judas zu sich hatte place. Judas, having gathered together a
genommen die Schar und der Hohenpriester detachment of soldiers and the servants of
und Pharisäer Diener, kommt er dahin mit the chief priests and the Pharisees, came to
Fackeln, Lampen und mit Waffen. Als nun the place bearing torches, lanterns and
Jesus wußte alles, was ihm begegnen sollte, weapons. Since Jesus knew everything that
ging er hinaus und sprach zu ihnen: was to happen to him, he went out and said
to them:
CHRIST (BASS)
Wen suchet ihr? Who are you looking for?
EVANGELIST
Sie antworteten ihm: They answered:
CHORUS
Jesum von Nazareth. Jesus of Nazareth!
EVANGELIST
Jesus spricht zu ihnen: Jesus said to them:
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 10THE WORDS
CHRIST
Ich bin’s. I am he.
EVANGELIST
Judas aber, der ihn verriet, stund’ auch bei Now Judas, who betrayed him, was also
ihnen. Als nun Jesus zu ihnen sprach: Ich standing with them. When Jesus said to
bins, wichen sie zurücke und fielen zu Boden. them, “I am he,” they drew back and fell to
Da fragete er sie abermal: the ground. Then he asked them again:
CHRIST
Wen suchet ihr? Who are you looking for?
EVANGELIST
Sie aber sprachen: They answered:
CHORUS
Jesum von Nazareth. Jesus of Nazareth!
EVANGELIST
Jesus antwortete: Jesus answered:
CHRIST
Ich habs euch gesagt, daß ichs sei, suchet ihr I have told you that I am he; if it is me you
denn mich, so lasset diese gehen! are looking for, then let these others go!
3. CHORALE
O große Lieb, o Lieb ohn alle Maße, O great love, o love beyond all measure,
die dich gebracht auf diese Marterstraße! that brought you to this martyr’s road!
Ich lebte mit der Welt in Lust und Freuden, I lived in the world in pleasure and joy,
und du mußt leiden! and you must suffer!
4. EVANGELIST
Auf daß das Wort erfüllet würde, welches er This was to fulfil the words that he had
sagte: Ich habe der keine verloren, die du mir spoken: ‘I have lost none of those you gave
gegeben hast. Da hatte Simon Petrus ein me.’ Now Simon Peter had a sword, and he
Schwert und zog es aus und schlug nach des drew it and struck at the High Priest’s
Hohenpriesters Knecht und hieb ihm sein servant, and cut off his right ear. The
recht Ohr ab; und der Knecht hieß Malchus. servant’s name was Malchus. Then Jesus said
Da sprach Jesus zu Petro: to Peter:
CHRIST
Stecke dein Schwert in die Scheide! Soll ich Put your sword in its sheath; am I not to
den Kelch nicht trinken, den mir mein Vater drink the cup my father has given me?
gegeben hat?
5. CHORALE
Dein Will gescheh, Herr Gott, zugleich Let your will be done, Lord God, both
auf Erden wie im Himmelreich. on earth and in heaven;
Gib uns Geduld in Leidenszeit, make us patient in the time of suffering,
Gehorsam sein in Lieb und Leid, obedient in love and suffering;
wehr und steur allem Fleisch und Blut, control and guide all flesh and blood
das wider deinen Willen tut! that acts against your will.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 11THE WORDS
6. EVANGELIST
Die Schar aber und der Oberhauptmann und But the soldiers and their commander and
die Diener der Jüden nahmen Jesum und the servants of the Jews took Jesus and
bunden ihn und führeten ihn aufs erste zu bound him and led him first to Annas, the
Hannas, der war Kaiphas Schwäher, welcher father-in-law of Caiaphas, who was the High
des Jahres Hohenpriester war. Es war aber Priest that year. Now it was Caiaphas who
Kaiphas, der den Juden riet, es wäre gut, daß had advised the Jews that it would be good
ein Mensch würde umbracht für das Volk. for one person to be killed for the people.
7. ALTO ARIA
Von den Stricken meiner Sünden To set me free from the bonds
mich zu entbinden, of my sins,
wird mein Heil gebunden. my Saviour is bound.
Mich von allen Lasterbeulen To heal me completely
völlig zu heilen, from all the ulcers of vice,
läßt er sich verwunden. he allows himself to be wounded.
8. EVANGELIST
Simon Petrus aber folgete Jesu nach und ein Now Simon Peter and another disciple
ander Jünger. followed Jesus.
9. SOPRANO ARIA
Ich folge dir gleichfalls mit freudigen I too follow you with joyful
Schritten steps,
und lasse dich nicht, and will not leave you,
mein Leben, mein Licht. my life, my light.
Befördre den Lauf Open the way
und höre nicht auf, and never cease
selbst an mir zu ziehen, zu schieben, to draw me on, to drive me forward,
zu bitten! to entreat me.
10. EVANGELIST
Derselbige Jünger war dem Hohenpriester This disciple was known to the High Priest,
bekannt und ging mit Jesu hinein in des and went with Jesus into the High Priest’s
Hohenpriesters Palast. Petrus aber stund palace. Peter stood outside at the door. Then
draußen für der Tür. Da ging der andere the other disciple, the one known to the High
Jünger der dem Hohenpriester bekannt war, Priest, went out and spoke to the woman who
hinaus und redete mit der Türhüterin und was keeping the door, and brought Peter
führete Petrum hinein. Da sprach die Magd, inside. Then the maid on duty at the door
die Türhüterin, zu Petro: said to Peter:
MAID (SOPRANO)
Bist du nicht dieses Menschen Jünger einer? Aren’t you one of this man’s disciples?
EVANGELIST
Er sprach: He said:
PETER (TENOR)
Ich bins nicht. I am not.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 12THE WORDS
EVANGELIST
Es stunden aber die Knechte und Diener und Now there were servants and guards standing
hatten ein Kohlfeu’r gemacht (denn es war there, and they had made a charcoal fire,
kalt) und wärmeten sich. Petrus aber stund because it was cold, and they were warming
bei ihnen und wärmete sich. Aber der themselves. Peter stood near them and
Hohepriester fragte Jesum um seine Jünger warmed himself. Now the High Priest asked
und um seine Lehre. Jesus about his disciples and his teaching.
Jesus antwortete ihm: Jesus answered:
CHRIST
Ich habe frei, öffentlich geredet für der Welt. I have spoken freely, openly for all the
Ich habe allezeit gelehret in der Schule und world to hear. I have always taught in the
in dem Tempel, da alle Juden zusammen synagogue and in the temple, where all
kommen, und habe nichts im Verborgnen the Jews meet together, and I have said
geredt. Was fragest du mich darum? Frage die nothing in secret. Why are you asking me
darum, die gehöret haben, was ich zu ihnen about it? Ask the people who heard me
geredet habe! Siehe, dieselbigen wissen, what I said to them: they know
was ich gesaget habe. what I said!
EVANGELIST
Als er aber solches redete, gab der Diener When he said this, one of the guards
einer, die dabeistunden, Jesu einen standing there slapped Jesus across the face
Backenstreich und sprach: and said:
GUARD (BASS)
Solltest du dem Hohenpriester also Is that how you answer the High Priest?
antworten?
EVANGELIST
Jesus aber antwortete: But Jesus replied:
CHRIST
Hab ich übel geredt, so beweise es, daß es If there is something wrong with what I said,
böse sei, hab ich aber recht geredt, was then show that it is wrong.
schlägest du mich? But if what I said is right, why do you hit me?
11. CHORALE
Wer hat dich so geschlagen, Who has hit you like this,
mein Heil, und dich mit Plagen my Saviour, and treated you
so übel zugericht’? so badly?
Du bist ja nicht ein Sünder, You are certainly not a sinner,
wie wir und unsre Kinder, as we and our children are;
von Missetaten weißt du nicht. you know nothing of wrongdoing.
Ich, ich und meine Sünden, I, I and my sins,
die sich wie Körnlein finden which are like the grains
des Sandes an dem Meer, of sand on a beach,
die haben dir erreget It is these which have brought down on you
das Elend, das dich schläget, the misery that assaults you
und das betrübte Marterheer. and the host of torments.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 13THE WORDS
HEAVEN, TEAR APART (Himmel reiße)
by Joseph Twist
BARITONE AND CHORUS
Himmel reiße, Welt erbebe, Heaven, tear apart, world, tremble!
Himmel reiße, Welt erbebe, Heaven, tear apart, world, tremble!
fallt in meinen Trauerton, Join me in my lament,
Sehet meine Qual und Angst, See my agony and fear,
was ich, Jesu, mit dir leide! How I suffer with you, Jesus!
Ja, ich zähle deine Schmerzen Yes, I count your pains,
Jesu, deine Passion Jesus, your passion
o zerschlagner Gottessohn, O broken Son of God
ist mir lauter Freude, is pure joy to me,
Ich erwähle Golgatha I choose Golgotha
vor dies schnöde Weltgebäude. before this world’s vile edifice.
Werden auf den Kreuzeswegen On the path of the cross
deine Dornen ausgesät, your thorns are sown,
Weil ich in Zufriedenheit Because I in contentment
mich in deine Wunden senke, sink into your wounds,
deine Wunden, Kron und Hohn your wounds, crown and scorn
meines Herzens Weide. are my heart’s consolation.
So erblick ich in dem Sterben, So I will recognise at my death,
wenn ein stürmend Wetter weht, when stormy weather blows,
Meine Seel auf Rosen geht, My soul walks on roses,
wenn ich dran gedenke; when I contemplate it;
Diesen Ort, dahin ich mich täglich This place to which I daily
durch den Glauben lenke. strive though faith.
in dem Himmel eine Stätt Grant me a place in
mir deswegen schenke! heaven because of it!
ST JOHN PASSION continued
12. EVANGELIST
Und Hannas sandte ihn gebunden zu dem And Annas sent him, bound, to the High
Hohenpriester Kaiphas. Simon Petrus stund Priest, Caiaphas. Simon Peter was standing
und wärmete sich, da sprachen sie zu ihm: warming himself, when they said to him:
CHORUS
Bist du nicht seiner Jünger einer? Aren’t you one of his disciples?
EVANGELIST
Er leugnete aber und sprach: But he denied it, and said:
PETER
Ich bins nicht. I am not.
EVANGELIST
Spricht des Hohenpriesters Knecht’ einer, ein One of the High Priest’s servants, a friend of
Gefreundter des, dem Petrus das Ohr the one whose ear Peter had cut off, said:
abgehauen hatte:
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 14THE WORDS
SERVANT
Sahe ich dich nicht im Garten bei ihm? Didn’t I see you in the garden with him?
EVANGELIST
Da verleugnete Petrus abermal, und alsobald Then Peter denied it again, and straight away
krähete der Hahn. Da gedachte Petrus an die the cock crowed. Then Peter remembered the
Worte Jesu und ging hinaus und weinete words of Jesus, and went outside and wept
bitterlich. bitterly.
13. TENOR ARIA
Ach, mein Sinn, Ah, my soul,
wo willt du endlich hin, where are you taking me?
wo soll ich mich erquicken? where should I find relief?
Bleib ich hier, Should I stay here
oder wünsch ich mir or wish myself
Berg und Hügel auf den Rücken? buried under mountains and hills?
Bei der Welt ist gar kein Rat, There is no help on earth,
und im Herzen and in my heart
stehn die Schmerzen lies the pain
meiner Missetat, of my wrongdoing,
weil der Knecht den Herrn verleugnet hat. because the slave has disowned his master.
14. CHORALE
Petrus, der nicht denkt zurück, Without thinking back, Peter
seinen Gott verneinet, denies his God;
der doch auf ein’ ernsten Blick yet at one grave glance
bitterlichen weinet. he weeps bitterly.
Jesu, blicke mich auch an, Look at me as well, Jesus,
wenn ich nicht will büßen; when I refuse to atone;
wenn ich Böses hab getan, when I have done wrong,
rühre mein Gewissen! stir my conscience.
INTERVAL
ST JOHN PASSION
PART II
15. CHORALE
Christus, der uns selig macht, Christ, who makes us joyful,
kein Bös’ hat begangen, committed no evil deed,
der ward für uns in der Nacht for our sake he was taken in the night
als ein Dieb gefangen, like a thief,
geführt für gottlose Leut taken before godless people
und fälschlich verklaget, and falsely accused,
verlacht, verhöhnt und verspeit, laughed at, mocked and spat upon,
wie denn die Schrift saget. as the scripture says.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 15THE WORDS
16. EVANGELIST
Da führeten sie Jesum von Kaipha vor das Then they led Jesus from the house of
Richthaus, und es war frühe. Und sie gingen Caiaphas to the Roman courthouse. It was
nicht in das Richthaus, auf daß sie nicht early in the morning. And they did not go
unrein würden, sondern Ostern essen into the courthouse, so as not to become
möchten. Da ging Pilatus zu ihnen heraus unclean, so that they would be able to eat
und sprach: the Passover meal. So Pilate went out to
them and said:
PILATE (BASS)
Was bringet ihr für Klage wider What charge do you bring against
diesen Menschen? this man?
EVANGELIST
Sie antworteten und sprachen zu ihm: They replied:
CHORUS
Wäre dieser nicht ein Übeltäter, wir hätten dir If he were not a criminal, we would not have
ihn nicht überantwortet. handed him over to you.
EVANGELIST
Da sprach Pilatus zu ihnen: Pilate said to them:
PILATE
So nehmet ihn ihr hin und richtet ihn nach Then take him away and judge him according
eurem Gesetze! to your laws.
EVANGELIST
Da sprachen die Jüden zu ihm: The Jews said to him:
CHORUS
Wir dürfen niemand töten. We are not allowed to put anyone to death.
EVANGELIST
Auf daß erfüllet würde das Wort Jesu, This was to fulfil the words Jesus had
welches er sagte, da er deutete, welches spoken, indicating the way he was to die.
Todes er sterben würde. Da ging Pilatus Then Pilate went back into the courthouse
wieder hinein in das Richthaus und rief and called Jesus, and said to him:
Jesu und sprach zu ihm:
PILATE
Bist du der Jüden König? Are you the King of the Jews?
EVANGELIST
Jesus antwortete: Jesus replied:
CHRIST
Redest du das von dir selbst, oder habens dir Are you asking this for yourself, or have
andere von mir gesagt? others spoken to you about me?
EVANGELIST
Pilatus antwortete: Pilate answered:
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 16THE WORDS
PILATE
Bin ich ein Jüde? Dein Volk und die Am I a Jew? Your people and the chief priests
Hohenpriester haben dich mir überantwortet; have handed you over to me; what have you
was hast du getan? done?
EVANGELIST
Jesus antwortete: Jesus answered:
CHRIST
Mein Reich ist nicht von dieser Welt, wäre My kingdom is not of this world; if it were,
mein Reich von dieser Welt, meine Diener my followers would fight to save me from
würden darob kämpfen, daß ich den Jüden being handed over to the Jews. But my
nicht überantwortet würde; aber nun ist kingdom is not from there now.
mein Reich nicht von dannen.
17. CHORALE
Ach großer König, groß zu allen Zeiten, Ah, great King, great for all time,
wie kann ich gnugsam diese Treu ausbreiten? how can I adequately display my loyalty?
Keins Menschen Herze mag indes ausdenken, For no human heart can conceive
was dir zu schenken. of a gift fit to offer you.
Ich kann’s mit meinen Sinnen nicht erreichen, My mind cannot find anything
womit doch dein Erbarmen zu vergleichen. to compare with your mercy.
Wie kann ich dir denn deine Liebestaten How can I repay your loving deeds
im Werk erstatten? with my own works?
18. EVANGELIST
Da sprach Pilatus zu ihm: Then Pilate said to him:
PILATE
So bist du dennoch ein König? So you are a king?
EVANGELIST
Jesus antwortete: Jesus replied:
CHRIST
Du sagst’s, ich bin ein König. Ich bin dazu You say it yourself: I am a king. I was born
geboren und in die Welt kommen, daß ich die and came into the world for this: to bear
Wahrheit zeugen soll. Wer aus der Wahrheit witness to the truth. Anyone who is of the
ist, der höret meine Stimme. truth hears my voice.
EVANGELIST
Spricht Pilatus zu ihm: Pilate said to him:
PILATE
Was ist Wahrheit? What is truth?
EVANGELIST
Und da er das gesaget, ging er wieder hinaus And with those words he went back out to the
zu den Jüden und spricht zu ihnen: Jews and said to them:
PILATE
Ich finde keine Schuld an ihm. Ihr habt I find no case against him. But you have a
aber eine Gewohnheit, daß ich euch einen custom that I release one prisoner to you; do
losgebe; wollt ihr nun, daß ich euch der you want me to release the king of the Jews?
Jüden König losgebe?
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 17THE WORDS
EVANGELIST
Da schrieen sie wieder allesamt und Again they all shouted out together:
sprachen:
CHORUS
Nicht diesen, sondern Barrabam! Not this one, but Barabbas!
EVANGELIST
Barrabas aber war ein Mörder. Da nahm Now Barabbas was a murderer. Then Pilate
Pilatus Jesum und geißelte ihn. had Jesus taken and flogged.
19. BASS ARIOSO
Betrachte, meine Seel, Contemplate, my soul,
mit ängstlichem Vergnügen, with fearful pleasure,
mit bittrer Lust und halb beklemmten Herzen with bitter joy and heart heavy-laden,
dein höchstes Gut in Jesu Schmerzen, your greatest good in the sufferings of Jesus:
wie dir auf Dornen, how on the thorns
so ihn stechen, which pierce him
die Himmelschlüsselblumen blühn! the flowers of heaven blossom for you!
Du kannst viel süße Frucht You can pick many a sweet fruit
von seiner Wermut brechen, from his wormwood,
drum sieh ohn Unterlaß auf ihn! therefore do not cease to gaze on him!
20. TENOR ARIA
Erwäge, wie sein blutgefärbter Rücken Consider how his back stained with blood
in allen Stücken in every way
dem Himmel gleiche geht, resembles heaven:
daran, nachdem die Wasserwogen when the rolling flood
von unsrer Sündflut sich verzogen, of our sins subsides,
der allerschönste Regenbogen the fairest of rainbows
als Gottes Gnadenzeichen steht! stands as a sign of God’s grace!
21. EVANGELIST
Und die Kriegsknechte flochten eine Krone And the soldiers plaited a crown of thorns
von Dornen und satzten sie auf sein Haupt and put it on his head, and laid a purple
und legten ihm ein Purpurkleid an und robe on him, and said:
sprachen:
CHORUS
Sei gegrüßet, lieber Jüdenkönig! Hail, King of the Jews!
EVANGELIST
Und gaben ihm Backenstreiche. Da ging And they slapped him across the face. Then
Pilatus wieder heraus und sprach zu ihnen: Pilate went back out and said to them:
PILATE
Sehet, ich führe ihn heraus zu euch, daß ihr Look, I am bringing him out to you to let you
erkennet, daß ich keine Schuld an ihm finde. know that I find no case against him.
EVANGELIST
Also ging Jesus heraus, und trug eine Then Jesus came out wearing a crown of
Dornenkrone und Purpurkleid. Und er sprach thorns and a purple robe. And he said to
zu ihnen: them:
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 18THE WORDS
PILATE
Sehet, welch ein Mensch! Behold the man!
EVANGELIST
Da ihn die Hohenpriester und die Diener When the chief priests and the guards saw
sahen, schrieen sie und sprachen: him, they screamed out:
CHORUS
Kreuzige! Crucify!
EVANGELIST
Pilatus sprach zu ihnen: Pilate said to them:
PILATE
Nehmet ihr ihn hin und kreuziget ihn; denn You take him and crucify him, for I find no
ich finde keine Schuld an ihm! case against him.
EVANGELIST
Die Jüden antworteten ihm: The Jews answered:
CHORUS
Wir haben ein Gesetz, und nach dem Gesetz We have a law, and according to that law he
soll er sterben, denn er hat sich selbst zu should die, because he has made himself out
Gottes Sohn gemacht. to be the Son of God.
EVANGELIST
Da Pilatus das Wort hörete, fürchtet’ er sich When Pilate heard this, he was more afraid
noch mehr und ging wieder hinein in das than ever, and went back into the courthouse
Richthaus, und spricht zu Jesu: and said to Jesus:
PILATE
Von wannen bist du? Where are you from?
EVANGELIST
Aber Jesus gab ihm keine Antwort. Da sprach But Jesus gave him no answer. Then Pilate
Pilatus zu ihm: said to him:
PILATE
Redest du nicht mit mir? Weißest du nicht, You won’t speak to me? Don’t you know that I
daß ich Macht habe, dich zu kreuzigen, und have the power to crucify you, and the power
Macht habe, dich loszugeben? to set you free?
EVANGELIST
Jesus antwortete: Jesus replied:
CHRIST
Du hättest keine Macht über mich, wenn sie You would have no power over me if it had
dir nicht wäre von oben herab gegeben; not been given to you from above. Therefore
darum, der mich dir überantwortet hat, der the one who handed me over to you has the
hat’s größ’re Sünde. greater sin.
EVANGELIST
Von dem an trachtete Pilatus, wie er ihn From that moment on, Pilate looked for a way
losließe. to release him.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 19THE WORDS
22. CHORALE
Durch dein Gefängnis, Gottes Sohn, Through your captivity, Son of God,
muß uns die Freiheit kommen; freedom must come to us.
dein Kerker ist der Gnadenthron, Your prison is the throne of grace,
die Freistatt aller Frommen; the land of asylum for all godly people.
denn gingst du nicht die Knechtschaft ein, For had you not entered into servitude,
müßt unsre Knechtschaft ewig sein. our servitude would have to have lasted
for ever.
23. EVANGELIST
Die Jüden aber schrieen und sprachen: But the Jews shouted out:
CHORUS
Lässest du diesen los, so bist du des Kaisers If you let this man go, it shows you are no
Freund nicht; denn wer sich zum Könige friend to Caesar, for whoever sets himself up
machet, der ist wider den Kaiser. as king is defying Caesar.
EVANGELIST
Da Pilatus das Wort hörete, führete er Jesum When Pilate heard this, he led Jesus out and
heraus, und satzte sich auf das Richtstuhl, an took his seat on the tribunal at the place
der Stätte, die da heißet: Hochpflaster, auf called The Pavement, which in Hebrew is
Ebräisch aber: Gabbatha. Es war aber der Gabbatha. Now it was the day of preparation
Rüsttag in Ostern um die sechste Stunde, for the Passover, about the sixth hour. He
und er spricht zu den Jüden: said to the Jews:
PILATE
Sehet, das ist euer König! Look, this is your king.
EVANGELIST
Sie schrieen aber: But they screamed:
CHORUS
Weg, weg mit dem, kreuzige ihn! Away with this man. Crucify him!
EVANGELIST
Spricht Pilatus zu ihnen: Pilate said to them:
PILATE
Soll ich euren König kreuzigen? Am I supposed to crucify your king?
EVANGELIST
Die Hohenpriester antworteten: The chief priests answered:
CHORUS
Wir haben keinen König denn den Kaiser. We have no king but Caesar.
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 20THE WORDS
Then he handed him over to be crucified.
EVANGELIST Now they took Jesus and led him away. And
Da überantwortete er ihn, daß er gekreuziget he carried his cross, and went out to the
würde. Sie nahmen aber Jesum und führeten place called the Place of the Skull, which in
ihn hin. Und er trug sein Kreuz, und ging Hebrew is called Golgotha.
hinaus zur Stätte, die da heißet Schädelstätt,
welche heißet auf Ebräisch: Golgatha.
Hurry, you assaulted souls,
24. BASS ARIA WITH CHORUS come out of your dens of misery,
Eilt, ihr angefochtnen Seelen, hurry – where? – to Golgotha!
geht aus euren Marterhöhlen, Take the wings of faith,
Eilt – wohin? – nach Golgatha! fly – where? – to the Hill of the Cross,
Nehmet an des Glaubens Flügel, that is where the flower of your happiness
flieht – wohin? – zum Kreuzeshügel, is blooming!
eure Wohlfahrt blüht allda!
They crucified him there, and with him two
25. EVANGELIST others, one on either side with Jesus in the
Allda kreuzigten sie ihn, und mit ihm zween middle. Now Pilate wrote a notice and had it
andere zu beiden Seiten, Jesum aber mitten put on the cross, and it read, ‘Jesus of
inne. Pilatus aber schrieb eine Überschrift Nazareth, King of the Jews’. Many Jews read
und satzte sie auf das Kreuz, und war this notice, because the place where Jesus
geschrieben: „Jesus von Nazareth, der Jüden was crucified was near the city. And it was
König.“ Diese Überschrift lasen viel Jüden, written in Hebrew, Greek and Latin. Then the
denn die Stätte war nahe bei der Stadt, da chief priests said to Pilate:
Jesus gekreuziget ist. Und es war geschrieben
auf ebräische, griechische und lateinische
Sprache. Da sprachen die Hohenpriester der
Jüden zu Pilato:
Don’t write ‘King of the Jews’, but that he
CHORUS said ‘I am the King of the Jews.’
Schreibe nicht: der Jüden König, sondern daß
er gesaget habe: Ich bin der Jüden König.
Pilate replied:
EVANGELIST
Pilatus antwortet:
What I have written, I have written.
PILATE
Was ich geschrieben habe, das habe ich
geschrieben.
In the depths of my heart,
26. CHORALE your name and cross alone
In meines Herzens Grunde, shine always,
dein Nam und Kreuz allein therefore I can be joyful.
funkelt all Zeit und Stunde, May they appear to me
drauf kann ich fröhlich sein. as comfort in my hour of need,
Erschein mir in dem Bilde as you, Lord Christ, so mild,
zu Trost in meiner Not, poured out your life’s blood.
wie du, Herr Christ, so milde
dich hast geblut’ zu Tod!
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 21THE WORDS
EIN BÄCHLEIN IM BACH
by Brooke Shelley
Ecce, quomodo moritur justus Behold how the just man dies
et nemo percipit corde. and no one takes it to heart.
Nehmet an des Glaubens Flügel, Take the wings of faith,
flieht…[Wohin?] zum Kreuzeshügel, fly… [Where?] to the Hill of the Cross,
ihr angefochtnen Seelen, eilt! Hurry, you contested souls!
Den Leib in seim Schlafkämmerlein My body in its tomb,
gar sanft ohn eigne Qual und Pein rest gently without anguish or pain,
ruhn bis am jüngsten Tage! until the day of judgement.
Et erit in pace memoria ejus. And his memory will be at peace.
Ruht wohl und bringt auch mich zur Ruh! Rest well and bring me also to rest!
Gib uns Geduld in Leidenszeit. Grant us patience in times of suffering.
ST JOHN PASSION continued
27. EVANGELIST
Die Kriegsknechte aber, da sie Jesum Now the soldiers who had crucified Jesus
gekreuziget hatten, nahmen seine Kleider und took his clothes and made four piles, one for
machten vier Teile, einem jeglichen each soldier. There was also a seamless
Kriegesknechte sein Teil, dazu auch den tunic, woven all in one piece. They said to
Rock. Der Rock aber war ungenähet von oben each other:
an gewürket durch und durch. Da sprachen
sie untereinander:
CHORUS
Lasset uns den nicht zerteilen, sondern Rather than tearing this, let’s cast lots to see
darum losen, wes er sein soll. who shall have it.
EVANGELIST
Auf daß erfüllet würde die Schrift, die da In this way the words of scripture were
saget: „Sie haben meine Kleider unter sich fulfilled: They have divided my clothes
geteilet und haben über meinen Rock das Los among themselves, and cast lots over my
geworfen. “ Solches taten die Kriegesknechte. tunic. That is what the soldiers did. Now
Es stund aber bei dem Kreuze Jesu seine standing near the cross of Jesus were his
Mutter und seiner Mutter Schwester, Maria, mother and his mother’s sister, Mary, the wife
Kleophas Weib, und Maria Magdalena. Da of Cleopas, and Mary Magdalene. When Jesus
nun Jesus seine Mutter sahe und den saw his mother and the disciple he loved
Jünger dabei stehen, den er lieb hatte, standing near her, he said to his mother:
spricht er zu seiner Mutter:
CHRIST
Weib, siehe, das ist dein Sohn! Woman, see, this is your son!
EVANGELIST
Darnach spricht er zu dem Jünger: Then he said to the disciple:
CHRIST
Siehe, das ist deine Mutter! See, this is your mother!
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28. CHORALE
Er nahm alles wohl in acht He paid attention to everything
in der letzten Stunde, in the last hour,
seine Mutter noch bedacht, he still thought of his mother,
setzt ihr ein’ Vormunde. and gave her a guardian.
O Mensch, mache Richtigkeit, O mortal, do what is right,
Gott und Menschen liebe, love God and other people,
stirb darauf ohn alles Leid, so that you die free from suffering
und dich nicht betrübe! and grief.
29. EVANGELIST
Und von Stund an nahm sie der Jünger zu And from that moment on she took the
sich. Darnach, als Jesus wußte, daß schon disciple into her house. After that, when
alles vollbracht war, daß die Schrift erfüllet Jesus knew that everything had now been
würde, spricht er: completed, so that the scripture might be
fulfilled, he said:
CHRIST
Mich dürstet!
I am thirsty.
EVANGELIST
Da stund ein Gefäße voll Essigs. Sie fülleten
aber einen Schwamm mit Essig und legten There was a jar full of vinegar there. They
ihn um einen Isopen, und hielten es ihm dar soaked a sponge with vinegar and put it on a
zum Munde. Da nun Jesus den Essig stick of hyssop and lifted it up to his mouth.
genommen hatte, sprach er: When Jesus had taken the vinegar, he said:
CHRIST
Es ist vollbracht! It is accomplished.
30. ALTO ARIA
Es ist vollbracht, It is accomplished;
O Trost vor die gekränkten Seelen! what comfort for suffering souls!
Die Trauernacht The last hours of the night of sorrow
läßt nun die letzte Stunde zählen. are approaching.
Der Held aus Juda siegt mit Macht Judah’s hero triumphs with strength
und schließt den Kampf. Es ist vollbracht! and wins the fight. It is accomplished!
31. EVANGELIST
Und neiget das Haupt und verschied. And he bowed his head and gave up
his spirit.
32. BASS ARIA WITH CHORALE
Mein teurer Heiland, laß dich fragen, My dear Saviour, let me ask you,
da du nunmehr ans Kreuz geschlagen now that you are nailed to the cross
und selbst gesagt: Es ist vollbracht, and have yourself said, ‘It is accomplished’:
bin ich vom Sterben frei gemacht? am I set free from death?
Kann ich durch deine Pein und Sterben Can I, through your pain and death,
das Himmelreich ererben? inherit the kingdom of heaven?
Ist aller Welt Erlösung da? Is this the redemption of the whole world?
Du kannst vor Schmerzen zwar nichts sagen; You cannot speak for the pain,
doch neigest du das Haupt yet you bow your head
und sprichst stillschweigend: Ja! and silently say: Yes!
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Jesu, der du warest tot, Jesus, you who were dead
lebest nun ohn Ende, now live for ever.
in der letzten Todesnot In the last hour of death,
nirgend mich hinwende let me turn nowhere
als zu dir, der mich versühnt, but to you, who have atoned for me,
o du lieber Herre! O my dearest Lord!
Gib mir nur, was du verdient, Give me only what you have earned,
mehr ich nicht begehre! I desire nothing more.
33. EVANGELIST
Und siehe da, der Vorhang im Tempel zerriß And behold, the curtain in the temple was
in zwei Stück von oben an bis unten aus. Und torn in two from top to bottom. And the earth
die Erde erbebete, und die Felsen zerrissen, quaked, and the rocks were torn apart and
und die Gräber täten sich auf, und stunden the graves opened up, and the bodies of
auf viele Leiber der Heiligen. many holy people rose from the dead.
34. TENOR ARIOSO
Mein Herz, in dem die ganze Welt My heart! while the whole world
bei Jesu Leiden gleichfalls leidet, shares in the suffering of Jesus,
die Sonne sich in Trauer kleidet, the sun dresses itself in mourning,
der Vorhang reißt, der Fels zerfällt, the curtain tears, the rocks fall to pieces,
die Erde bebt, die Gräber spalten, the earth quakes, the graves split open,
weil sie den Schöpfer sehn erkalten: as they see the Creator growing cold:
was willst du deines Ortes tun? what will you do for your part?
35. SOPRANO ARIA
Zerfließe, mein Herze, in Fluten der Zähren O my heart, melt in floods of tears
dem Höchsten zu Ehren. to honour the Most High.
Erzähle der Welt und dem Himmel die Not: Tell heaven and earth the terrible news:
Dein Jesus ist tot! your Jesus is dead.
36. EVANGELIST
Die Jüden aber, dieweil es der Rüsttag war, Now since it was the day of preparation, so
daß nicht die Leichname am Kreuze blieben that the bodies would not remain on the
den Sabbath über (denn desselbigen Sabbath cross during the Sabbath (for this Sabbath
Tag war sehr groß), baten sie Pilatum, daß was a very important one) the Jews asked
ihre Beine gebrochen und sie abgenommen Pilate to have the legs broken and the bodies
würden. Da kamen die Kriegsknechte und taken away. So the soldiers came and broke
brachen dem ersten die Beine und dem the legs of first one, then the other of the
andern, der mit ihm gekreuziget war. Als sie men who had been crucified with him. But
aber zu Jesu kamen, da sie sahen, daß er when they came to Jesus and saw that he
schon gestorben war, brachen sie ihm die was already dead, they did not break his legs;
Beine nicht; sondern der Kriegsknechte einer instead, the soldier opened his side with a
eröffnete seine Seite mit einem Speer, und spear, and immediately blood and water
alsobald ging Blut und Wasser heraus. Und flowed out. And he who saw this has testified
der das gesehen hat, der hat es bezeuget, to it, and his testimony is true, and he knows
und sein Zeugnis ist wahr, und derselbige that he is speaking the truth, so that you may
weiß, daß er die Wahrheit saget, auf daß ihr believe. For these things happened to fulfil
gläubet. Denn solches ist geschehen, auf daß the scripture: You shall not break a single
die Schrift erfüllet würde: “Ihr sollet ihm kein one of his bones. And in another place it is
Bein zerbrechen.” Und abermal spricht eine written: They will look upon the one whom
andere Schrift: “Sie werden sehen, in they have pierced.
welchen sie gestochen haben!”
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 24THE WORDS
37. CHORALE
O hilf, Christe, Gottes Sohn, O help us, Christ, Son of God,
durch dein bitter Leiden, through your bitter suffering
daß wir dir stets untertan so that, always subject to you,
all Untugend meiden, we may avoid all evil ways,
deinen Tod und sein Ursach meditate fruitfully
fruchtbarlich bedenken, on your death and what caused it,
dafür, wiewohl arm und schwach, and, though poor and weak,
dir Dankopfer schenken! make thank-offerings to you for it.
38. EVANGELIST
Darnach bat Pilatum Joseph von Arimathia, After that, Joseph of Arimathaea, who was a
der ein Jünger Jesu war (doch heimlich aus disciple of Jesus (but in secret, for fear of the
Furcht vor den Jüden), daß er möchte Jews), asked Pilate whether he might take
abnehmen den Leichnam Jesu. Und Pilatus away the body of Jesus. And Pilate gave his
erlaubete es. Derowegen kam er und nahm permission. So he came and took the body of
den Leichnam Jesu herab. Es kam aber auch Jesus away. Nicodemus came as well—the
Nikodemus, der vormals bei der Nacht zu one who had earlier come to Jesus in the
Jesu kommen war, und brachte Myrrhen und night—and brought a mixture of myrrh and
Aloen untereinander bei hundert Pfunden. Da aloes weighing a hundred pounds. They took
nahmen sie den Leichnam Jesu und bunden the body of Jesus and wrapped it with spices
ihn in leinen Tücher mit Spezereien, wie die in linen cloths, according to the Jewish burial
Jüden pflegen zu begraben. Es war aber an custom. Now at the place where he had been
der Stätte, da er gekreuziget ward, ein crucified, there was a garden, and in the
Garten, und im Garten ein neu Grab, in garden a new tomb, in which no-one had yet
welches niemand je geleget war. Da selbst hin been buried. There they lay Jesus, because of
legten sie Jesum, um des Rüsttags willen der the Jewish day of preparation, since the tomb
Jüden, dieweil das Grab nahe war. was close at hand.
39. CHORUS
Ruht wohl, ihr heiligen Gebeine, Rest in peace, O holy limbs,
die ich nun weiter nicht beweine, over which I no longer weep:
ruht wohl, und bringt auch mich zur Ruh! rest in peace, and bring me to peace also.
Das Grab, so euch bestimmet ist The tomb that has been set aside for you
und ferner keine Not umschließt, and contains no further distress
macht mir den Himmel auf, opens the heavens to me,
und schließt die Hölle zu. and closes hell.
40. CHORALE
Ach Herr, laß dein lieb Engelein O Lord, let your dear little angel
am letzten End die Seele mein carry my soul at the last
in Abrahams Schoß tragen, into the lap of Abraham;
den Leib in seim Schlafkämmerlein let my body in its little bedchamber
gar sanft ohn einge Qual und Pein rest gently, free from any pain or suffering,
ruhn bis am jüngsten Tage! until the day of judgement!
Alsdenn vom Tod erwecke mich, Then awaken me from death
daß meine Augen sehen dich that my eyes may see you
in aller Freud, o Gottes Sohn, with utter joy, O son of God,
mein Heiland und Genadenthron! my saviour and throne of grace!
Herr Jesu Christ, erhöre mich, Lord Jesus Christ, hear my prayer,
ich will dich preisen ewiglich! I would praise you for all eternity!
English translation (Bach) by Natalie Shea © 2000
SYDNEY PHILHARMONIA CHOIRS 2021 ///// 25You can also read
