The Bach Dynasty: JS Bach s St John Passion

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1 The Bach Dynasty: JS Bach s St John Passion Elin Manahan Thomas soprano James Laing counter-tenor Andrew Tortisetenor Marcus Farnsworth bass Andrew Kennedy Ashley Riches David Wilson-JohnsonChrist Choir of King s College, Cambridge Stephen Cleobury conductor Welcome! We ve been giving concerts and making recordings with the Choir of King s College, Cambridge for some time now but never before have we appeared together in London. We re delighted to be bringing this acclaimed collaboration to the capital for the first time, and are glad that you can join us for this very special concert. This isn t the only recent first for the AAM, however: last month we learnt that we d secured regular funding from Arts Council England for the first time in our history; and in February we travelled to Shanghai to give what is thought to be the first-ever performance of JS Bach s complete Brandenburg Concertos in China. Meanwhile, why not find out fascinating facts and essential analysis about the great man himself in the Faber Pocket Guide to Bach? It s on sale tonight at the CD sales desk in the foyer for just 6; and on 18 July you can hear the author, Sir Nicholas Kenyon, in discussion with AAM Music Director Richard Egarr before of our performance of JS Bach s cantatas at Wigmore Hall. Turn to the inside back cover of this programme for details. AAM website relaunched The AAM s website has just been relaunched! Visit to discover more about our music and musicians, access all the features you need to get the most from our performances, and listen to and watch the AAM from wherever you are in the world. And you can listen to tracks from the AAM s celebrated 300-CD discography for free on the AAMplayer including highlights from our recordings with the Choir of King s College, Cambridge. ACADEMY OF ANCIENT MUSIC, SEASON 1

2 Stephen Rose introduces a ground-breaking work When the St John Passion was first performed at the Nikolaikirche in Leipzig on Good Friday 1724, Bach s congregation would never have previously heard anything like it. The custom in Leipzig was to tell the story of Christ s trial and crucifixion using the simple setting of Johann Walter (c.1530), where the words of scripture were recited as in plainchant. The only change from this tradition occurred in 1721 and 1722, when Bach s predecessor, Johann Kuhnau, performed a more elaborate setting of the Passion according to St Mark, using instruments as well as voices, and intermingling the Biblical narrative with contemplative arias and chorales. Bach s St John Passion followed Kuhnau s model in some respects, but went much further than Kuhnau had dared. Bach s work was of a length never before encountered in Leipzig, and used a substantial ensemble including chorus, orchestra and several unusual instruments such as the viola d amore and viola da gamba. In addition, Bach s Passion was far more operatic in style, with vivid arias communicating the pathos and pain of Christ s trial and crucifixion. In the early eighteenth century it was highly contentious to write Passion music in an operatic style. Although some people argued that an operatic style allowed composers to arouse the emotions contained in the Passion story, other Lutherans preferred old-fashioned styles such as motets that conveyed solemnity and devotion. There was also disquiet at the way that many modern versions of the Passion such as the settings of Barthold Heinrich Brockes s libretto Der für die Sünde der Welt gemarterte und sterbende dispensed with the Biblical text altogether, instead putting the story into modern language (complete with the ornate metaphors beloved of Baroque poets). The polarized opinions aroused by pieces similar to the St John Passion can be sensed from two accounts of the time. Gottfried Ephraim Scheibel claimed in 1721 that performing Passions in an operatic style was a way to attract large congregations to church: The people certainly would not have come to church so promptly and in such numbers because of the preacher but rather presumably because of the music. The libretto was simply the account of Christ s suffering from one of the Gospels, into which frequent chorales and also two or three arias were introduced. I marvelled how diligently people listened and how devoutly they sang along; it was the moving music that contributed the most to this, and even though the service lasted more than four hours, everyone stayed until it was over. By contrast, Christian Gerber, an opponent of elaborate church music, reported in 1732 a hostile response to the innovations of composers such as Bach: But gradually the Passion story, which had formerly been sung in simple plainchant, humbly and reverently, began to be sung with many kinds of instruments in the most elaborate fashion... When this Passion music was performed for the first time in one of our great cities with twelve violins [i.e. strings], many oboes, bassoons and other instruments, many people were shocked and didn t know what to make of it. In the pew of a noble family in church, many ministers and noble ladies were present and sang the first Passion hymn from their books with great devotion, but when this theatrical music commenced, all these people were filled with the greatest amazement, looked at one another, and said, May God preserve us, children. It s as if a person were at the opera or the theatre. Everyone thoroughly disapproved of the music and registered justified complaints about it. But of course there were also such spirits as take pleasure in such vain aberrations, especially if they are of a sanguine nature and are given to voluptuousness. It is not known which performances Gerber and Scheibel describe, but their anecdotes give an idea of the mixed ways in which Bach s congregation 2 ACADEMY OF ANCIENT MUSIC, SEASON

3 probably responded to the St John Passion. In Leipzig, the church authorities did not want to follow the trend of Hamburg, where the Passion oratorios with librettos by Brockes had abandoned the scriptural text altogether. Instead the clergy seem to have instructed Bach to retain the entire Biblical text in the St John Passion. The Biblical words are set to recitative, with a tenor voice (the ) acting as narrator. In addition, Bach included two further layers of text, creating a rich poetic framework for the music. For the arias, he used free poetry in an up-to-date style; these texts were assembled by an unknown author (possibly Bach himself, or a local theologian). Many of the aria texts have close similarities with Brockes s Passion libretto, particularly in the elaborate metaphors. Thus in Erwäge, wie sein blutgefärbter Rücken, the bloodstains on Christ s back after the scourging are compared to the most beautiful of rainbows and described as a symbol of God s grace ( der allerschönste Regenbogen...Gottes Gnadenzeichen ). Or to take another example, in Betrachte, mein Seel the good that comes from s suffering is compared to a primrose flowering above thorns. The final element in the text of the St John Passion comprises strophes from chorales (German congregational hymns), probably chosen by Bach himself. The chorales comment on the action and voice the collective response of the congregation, using the familiar language of Lutheran hymnodists. For instance, the first chorale is sung after has freely identified himself to his captors, and expresses the selfsacrifice inherent in Christ s actions: O große Lieb, o Lieb ohn alle Maße ( O greatest love, O love without end ). The constant interplay between the three levels of text in the Passion the Bible, the ornate poetry for the arias, and the chorale texts multiplies the significance of the narrative, increasing its richness and poignance. The St John Passion had a complex genesis, in which four separate versions can be discerned. The first version was prepared for the performance in 1724, but a complete score of it does not survive. In 1725 Bach reworked the piece, adding a movement later used in the St Matthew Passion (the chorus O Mensch bewein ) and inserting two arias of extreme drama and vividness ( Zerschmettert mich, where musical representations of thunderbolts express Peter s anger at having forsaken ; and Ach windet euch nicht so, which depicts the writhing of souls and scourging of lashes). Another version of the Passion survives from 1733, and Bach began a further set of revisions in These final revisions were never completed, so the St John Passion (unlike the St Matthew Passion) never reached a definitive form. Consequently the modern-day performer has a degree of freedom in choosing which version to use, with implications for the scoring of individual movements. The Passion story is inherently dramatic with its scenes of anger and betrayal, and its narrative pushing inexorably to death and Bach s setting of the St John Passion has a strong sense of urgency. There are fewer arias than in the St Matthew Passion, restricting the opportunities for leisurely contemplation. Instead Bach s setting is characterised by the frequent interjections of the turba choruses (representing the crowd), which constantly push the action onward. Even in the initial set of recitatives recounting s arrest in the Garden of Gethsemane the turba chorus makes a dramatic entrance, calling for. Frequent modulations increase the tension and mean that the turba theme tends to return in a different key. The interventions by the chorus give a strong sense that the narrative is being pushed forward by forces outside s control partly by the crowd that has smelled his blood, and partly by his divine destiny. The arias of the St John Passion draw on operatic convention in order to convey the emotions being felt by individuals at various points in the ACADEMY OF ANCIENT MUSIC, SEASON 3

4 Detail from a triptych depicting Martin Luther giving a sermon (1547) by Lucas Cranach the Elder ( ). Luther s ability to make the Passion story come alive both dramatically and theologically was legendary; JS Bach s St John Passion shares this power, as well as inheriting Luther s doctrine. Church of St.Marien, Wittenberg, Germany / Giraudon / The Bridgeman Art Library 4 ACADEMY OF ANCIENT MUSIC, SEASON

5 story. Often the instrumental accompaniment and thematic material have symbolic or pictorial significance. Sometimes the motifs are overtly pictorial, as in Eilt, ihr angefochtnen Seelen, where the rushing upward scales illustrate the text s exhortation that we hasten to Golgotha ( eilt...nach Golgotha ). In other arias, by contrast, it is hard to describe the effect of Bach s music in words. In Erwäge, wie sein blutgefärbter Rücken, some listeners might interpret the dactylic motifs as suggesting the rhythms of scourging, or as merely illustrating the text s exhortation that we contemplate s bloodstained back. Bach also uses symbolic instrumentation in several arias: a viola da gamba solo in Es ist vollbracht ; a pair of violas d amore in Betrachte, meine Seel and Erwäge, wie sein blutgefärbter Rücken ; and an obbligato part for lute or harpsichord in Betrachte, meine Seel. Although Bach was always keen to experiment with unusual sonorities, here he also followed the standard scorings associated with funerals. The viola da gamba and the lute were both quiet instruments, increasing falling into obsolescence in an age that valued more powerful sounds. Their delicate timbre evoked the other-worldly experience of death, increasing the intensity of the pivotal arias in the Passion. At the moment of s crucifixion comes one of the most poignant arias in the Passion. Es ist vollbracht sets one of s Seven Last Words on the Cross: It is finished. Bach s aria isolates the two contrasting meanings inherent in this utterance. The aria starts Molt adagio with a lamenting obbligato played by a viola da gamba in the key of B minor; this suggests the despair and resignation in the words It is finished. By contrast, the middle section of the aria interprets these words triumphantly, as indicating that Christ s work on earth is gloriously completed. Here the key turns to D major, and the voice and strings imitate the fanfares of trumpets on the words Der Held aus Juda siegt mit Macht ( The hero from Judah triumphs with might ). With this aria, Bach reflects a central feature of John s Gospel, which portrays Christ as glorious and victorious, even in death. Despite the many operatic elements in the arias of the Passion, Bach also retained aspects of Lutheran musical traditions in the piece, notably in the chorales and in the large choruses at the start and near the end. The congregation would have recognised the tunes and words of the chorales, which were used regularly in private devotion during the eighteenth century as well as in church services. It is unclear if the congregation actually sang the chorales which are often stated in unsuitable keys for untrained voices, or with the melody shrouded by complicated harmonies but they doubtless would have recited the words quietly to themselves during the performance. Bach also asserted his Lutheran heritage in the extended choruses that act as the opening and penultimate movements. The opening chorus takes as its starting-point words from Psalm 8 Herr unser Herrscher, dessen Ruhm in allen Landen herrlich ist ( O Lord our governor, how excellent is thy name in all the world ) but the mood is one of foreboding, created by the swirling figures in the strings and the interlocking dissonance in the woodwind. Further agitation is caused by the pulsing pedal notes in the bass and the rising sequences in the voices. By contrast, the penultimate movement, Ruht wohl, is a gentle triple-time dance, with falling figures suggesting the lowering of Christ into the grave. Indeed, its key of C minor was associated by Baroque theorists with sleep (in this case, the sleep of death). By deploying his substantial ensemble in highly affective movements such as these choruses, Bach offered an unprecedented experience for his congregation in Leipzig. Stephen Rose 2011 Dr Stephen Rose is Lecturer in Music at Royal Holloway. His book The Musician in Literature in the Age of Bach has recently been published by Cambridge University Press. ACADEMY OF ANCIENT MUSIC, SEASON 5

6 Texts and translations PART ONE Herr, unser Herrscher, dessen Ruhm in allen Landen herrlich ist! Zeig uns durch deine Passion, daß du, der wahre Gottessohn, zu aller Zeit, auch in der größten Niedrigkeit, verherrlicht worden bist! Recitative ging mit seinen Jüngern über den Bach Kidron, da war ein Garten, darein ging und seine Jünger. Judas aber, der ihn verriet, wußte den Ort auch, denn versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Fakkeln, Lampen und mit Waffen. Als nun wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen: Wen suchet ihr? Sie antworteten ihm: Jesum von Nazareth! spricht zu ihnen: Ich bins. Judas aber, der ihn verriet, stund auch bei ihnen. Als nun zu ihnen sprach: Ich bins, wichen sie zurükke und fielen zu Boden. Da fragete er sie abermal: Wen suchet ihr? Sie aber sprachen: Jesum von Nazareth. antwortete: Ich habs euch gesagt, daß ichs sei, suchet ihr denn mich, so lasset diese gehen! O große Lieb, O Lieb ohn alle Maße, die dich gebracht auf diese Marterstraße! Ich lebte mit der Welt in Lust und Freuden, und du mußt leiden. Recitative Auf daß, das Wort erfüllet würde, welches er sagte: Ich habe der keine verloren, die du mir gegeben hast. Da hatte Simon Petrus ein Schwert und zog es aus und schlug nach des Hohenpriesters Knecht und hieb ihm sein recht Ohr ab; und der Knecht hieß Malchus. Da sprach zu Petro: Stekke dein Schwert in die Scheide! Soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat? Dein Will gescheh, Herr Gott, zugleich auf Erden wie im Himmelreich. Gib uns Geduld in Leidenszeit, gehorsam sein in Lieb und Leid; wehr und steur allem Fleisch und Blut, das wider deinen Willen tut! Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum und bunden ihn und führeten ihn aufs erste zu Hannas, der war Kaiphas Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Jüden riet, es wäre gut, daß ein Mensch würde umbracht für das Volk. Aria (Alto) Von den Stricken meiner Sünden mich zu entbinden, wird mein Heil gebunden. Mich von allen Lasterbeulen völlig zu heilen, läßt er sich verwunden. Simon Petrus aber folgete Jesu nach und ein ander Jünger. Aria (soprano) Ich folge dir gleichfalls mit freudigen Schritten und lasse dich nicht, mein Leben, mein Licht. Befördre den Lauf und höre nicht auf, selbst an mir zu ziehen, zu schieben, zu bitten! Derselbige Jünger war dem Hohenpriester bekannt und ging mit Jesu hinein in des Hohenpriester Palast. Petrus aber stund draußen vor der Tür. Da ging der andere Jünger, der dem Hohenpriester bekannt war, hinaus und redete mit der Türhüterin und führete Petrum hinein. Da sprach die Magd, die Türhüterin, zu Petro: Maid Bist du nicht dieses Menschen Jünger einer? Lord, our Redeemer, whose glory is in all the world, show us in this thy Passion that thou, the true Son of God, hast conquered death and tribulation. Recitative went forth with his disciples across the Kidron valley, where there was a garden, which he and his disciples entered. Now Judas, who betrayed him, also knew the place, for often met there with his disciples. So Judas, procuring a band of soldiers and some officers from the chief priests and the Pharisees, went there with lanterns and torches and weapons. Then, knowing all that was to befall him, came forward and said to them: Whom seek ye? They answered him: of Nazareth! Recitative said to them: I am he. And Judas also, which betrayed him, stood with them. As soon then as he had said unto them I am he, they went backward and fell to the ground. Then asked he them again: Whom seek ye? And they said: of Nazareth. Recitative answered: I have told you that I am he; if therefore ye seek me, let these go their way. O wondrous love quite limitless, that brought thee here by sin and grief surrounded. I live with all the pleasure of this world, and thou must die. Recitative That the saying might be fulfilled, which he spake, Of them which thou gavest me have I lost none. Then Simon Peter having a sword drew it, and smote the high priest s servant, and cut off his right ear. The servant s name was Malchus. Then said unto Peter: Put up thy sword into the sheath: the cup which my Father hath given me, shall I not drink it? Thy will, O Lord, our God, be done, on earth, as round thy heavenly throne. In time of sorrow patience give, obedient ever make us live. With thy restraining spirit fill each heart that strives against thy will. Then the band and the captain and officers of the Jews took, and bound him, and led him away to Annas first; for he was father in law to Caiaphas, which was the high priest that same year. Now Caiaphas was he, which gave counsel to the Jews, that it was expedient that one man should die for the people. Aria From the bondage of transgression my holy Saviour frees me, from all taint of deadly sickness fully heals me, bearing himself the grievous wound. And Simon Peter followed, and so did another disciple. Aria I follow thee too, my Saviour, with joyful steps. I will not forsake thee, my Life and my Light. Hasten my steps and draw me to thy side. That disciple was known unto the high priest, and went in with into the palace of the high priest. But Peter stood at the door without. Then went out that other disciple, which was known unto the high priest, and spake unto her that kept the door, and brought in Peter. Then saith the woman that kept the door unto Peter: Maid Art not thou also one of this man s disciples? 6 ACADEMY OF ANCIENT MUSIC, SEASON

7 Er sprach: Peter Ich bins nicht. Es stunden aber die Knechte und Diener und hatten ein Kohlfeu r gemacht (denn es war kalt) und wärmeten sich. Petrus aber stund bei ihnen und wärmete sich. Aber der Hohepriester fragte Jesum um seine Jünger und um seine Lehre. antwortete ihm: Ich habe frei, öffentlich geredet vor der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammenkommen, und habe nichts im Verborgnen geredt. Was fragest du mich darum? Frage die darum, die gehöret haben, was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe. Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesu einen Bakkenstreich und sprach: Officer Solltest du dem Hohenpriester also antworten? aber antwortete: Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber recht geredt, was schlägest du mich? Wer hat dich so geschlagen, mein Heil, und dich mit Plagen so übel zugericht t? Du bist ja nicht ein Sünder, wie wir und unsre Kinder, von Missetaten weißt du nicht. Ich, ich und meine Sünden, die sich wie Körnlein finden des Sandes an dem Meer, die haben dir erreget das Elend, das dich schläget, und das betrübte Marterheer. Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich, da sprachen sie zu ihm: Bist du nicht seiner Jünger einer? Er leugnete aber und sprach: Peter Ich bins nicht. Spricht des Hohenpriesters Knecht einer, ein Gefreundter des, dem Petrus das Ohr abgehauen hatte: Servant Sahe ich dich nicht im Garten bei ihm? Da verleugnete Petrus abermal, und alsobald krähete der Hahn. Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich. Aria (tenor) Ach, mein Sinn, wo willt du endlich hin, wo soll ich mich erquikken? Bleib ich hier, oder wünsch ich mir Berg und Hügel auf den Rükken? Bei der Welt ist gar kein Rat, und im Herzen stehn die Schmerzen meiner Missetat, weil der Knecht den Herrn verleugnet hat. Petrus, der nicht denkt zurück, seinen Gott verneinet, der doch auf ein ernsten Blick bitterlichen weinet. Jesu, blikke mich auch an, wenn ich nicht will büßen; wenn ich Böses hab getan, rühre mein Gewissen! He saith: Peter I am not. And the servants and officers stood there, who had made a fire of coals; for it was cold: and they warmed themselves: and Peter stood with them, and warmed himself. The high priest then asked of his disciples, and of his doctrine. answered him: I spake openly to the world; I ever taught in the synagogue, and in the temple, whither the Jews always resort; and in secret have I said nothing. Why askest thou me? ask them which heard me, what I have said unto them: behold, they know what I said. And when he had thus spoken, one of the officers which stood by struck with the palm of his hand, saying, Officer Answerest thou the high priest so? answered him: If I have spoken evil, bear witness of the evil: but if well, why smitest thou me? O Lord, who dares to smite thee? And falsely to indict thee, deride and mock thee so? For thou art not a sinner, unlike us and our children, thou hast done nought amiss. It is I, with my sins that are as countless as the sands by the sea, which have brought thee thy misery, and the host of torments that ye bear. Now Annas had sent him bound unto Caiaphas the high priest. And Simon Peter stood and warmed himself. They said therefore unto him: Art not thou also one of his disciples? He denied it, and said: Peter I am not. One of the servants of the high priest, being his kinsman whose ear Peter cut off, saith: Servant Did not I see thee in the garden with him? Peter then denied again: and immediately the cock crowed. And Peter remembered the saying of and he went out and wept bitterly. Aria Ah, my soul, whither wilt thou fly? Where shall I seek for comfort? Shall I stay? Or depart and leave the hills and mountains far behind me? In the world is no relief, on my heart remains the burden of my evil deed, since the servant hath denied his Lord. Peter, faithless, thrice denies that his Lord he knoweth; when he meets those earnest eyes, weeping, thence he goeth. If I am unrepentant look on me with kindness: whenever I do wrong rouse my inner conscience. Interval of 20 minutes ACADEMY OF ANCIENT MUSIC, SEASON 7

8 PART TWO Christus, der uns selig macht, kein Bös hat begangen, der ward für uns in der Nacht als ein Dieb gefangen, geführt vor gottlose Leut und fälschlich verklaget, verlacht, verhöhnt und verspeit, wie denn die Schrift saget. Da führeten sie Jesum von Kaipha vor das Richthaus, und es war frühe. Und sie gingen nicht in das Richthaus, auf daß sie nicht unrein würden, sondern Ostern essen möchten. Da ging Pilatus zu ihnen heraus und sprach: Was bringet ihr für Klage wider diesen Menschen? Sie antworteten und sprachen zu ihm: Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet. Da sprach Pilatus zu ihnen: So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze! Da sprachen die Jüden zu ihm: Wir dürfen niemand töten. Auf daß erfüllet würde das Wort Jesu, welches er sagte, da er deutete, welches Todes er sterben würde. Da ging Pilatus wieder hinein in das Richthaus and rief Jesu und sprach zu ihm: Bist du der Jüden König? antwortete: Redest du das von dir selbst, oder habens dir andere von mir gesagt? Pilatus antwortete: Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir über antwortet: was hast du getan? antwortete: Mein Reich ist nicht von dieser Welt; wäre mein Reich von dieser Welt, meine Diener würden darob kämpfen, daß ich den Jüden nicht überantwortet würde; aber nun ist mein Reich nicht von dannen. Ach großer König, groß zu allen Zeiten, wie kann ich gnugsam diese Treu ausbreiten? Kein s Menschen Herze mag indes ausdenken, was dir zu schenken. Ich kann s mit meinen Sinnen nicht erreichen, womit doch dein Erbarmen zu vergleichen. Wie kann ich dir denn deine Liebestaten im Werk erstatten? Da sprach Pilatus zu ihm: So bist du dennoch ein König? antwortete: Du sagst s, ich bin ein König. Ich bin dazu geboren und in die Welt kommen, daß ich die Wahrheit zeugen soll. Wer aus der Wahrheit ist, der höret meine Stimme. Spricht Pilatus zu ihm: Was ist Wahrheit? Und da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen: Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daß ich euch einen losgebe; wollt ihr nun, daß ich euch der Jüden König losgebe? Da schrieen sie wieder allesamt und sprachen: Nicht diesen, sondern Barrabam! Christ who brings us joy and has done no wrong, For our sake he was seized like a thief in the night. He was taken before unbelievers and falsely accused. He was derided, spat upon and vilely mocked as it is written in the Scriptures. Then led they from Caiaphas unto the hall of judgment: and it was early; and they themselves went not into the judgment hall, lest they should be defiled; but that they might eat the passover. then went out unto them, and said: What accusation bring ye against this man? They answered and said unto him: If he were not a wrong-doer, we would not have delivered him up unto thee. Then said unto them: Take ye him, and judge him according to your law. The Jews therefore said unto him: It is not lawful for us to put any man to death. That the saying of might be fulfilled, which he spake, signifying what death he should die. Then entered into the judgment hall again, and called, and said unto him: Art thou the King of the Jews? answered him. Sayest thou this thing of thyself, or did others tell it thee of me? answered: Am I a Jew? Thine own nation and the chief priests have delivered thee unto me: what hast thou done? answered: My kingdom is not of this world: if my kingdom were of this world, then would my servants fight, that I should not be delivered to the Jews: but now is my kingdom not from hence. O mighty King, eternal is thy glory! How can I express my allegiance to thee? No human heart can imagine a gift which is fit to give thee. Neither can I find anything to compare with thy merciful goodness. What can I do for thee to be worthy of thy loving deeds? therefore said unto him: Art thou a king then? answered: Thou sayest that I am a king. To this end was I born, and for this cause came I into the world, that I should bear witness unto the truth. Every one that is of the truth heareth my voice. saith unto him What is truth? And when he had said this, he went out again unto the Jews, and saith unto them, I find in him no fault at all. But ye have a custom, that I should release unto you one at the passover: will ye therefore that I release unto you the King of the Jews? Then cried they all again, saying: Not this man, but Barabbas. 8 ACADEMY OF ANCIENT MUSIC, SEASON

9 Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn. Arioso (bass) Betrachte, meine Seel, mit ängstlichem Vergnügen, mit bittrer Lust und hal beklemmtem Herzen dein höchstes Gut in Jesu Schmerzen, wie dir auf Dornen, so ihn stechen, die Himmelschlüsselblumen blühn! Du kannst viel süße Frucht von seiner Wermut brechen, drum sieh ohn Unterlaß auf ihn! Aria (tenor) Erwäge wie sein blutgefärbter Rükken in allen Stükken dem Himmel gleiche geht, daran, nachdem die Wasserwogen von unsrer Sündflut sich verzogen, der allerschönste Regenbogen als Gottes Gnadenzeichen steht! Und die Kriegsknechte flochten eine Krone von Dornen und satzten sie auf sein Haupt und legten ihm ein Purpurkleid an und sprachen: Sie gegrüßet, lieber Jüdenkönig! Und gaben ihm Bakkenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen: Sehet, ich führe ihn heraus zu euch, daß ihr erkennet, daß ich keine Schuld an ihm finde. Also ging heraus und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen: Sehet, welch ein Mensch! Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen: Kreuzige! Pilatus sprach zu ihnen: Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm! Die Jüden antworteten ihm: Wir haben ein Gesetz, und nach dem Gesetz soll er sterben; denn er hat sich selbst zu Gottes Sohn gemacht. Da Pilatus das Wort hörete, fürchtet er sich noch mehr und ging wieder hinein in das Richthaus, und spricht zu Jesu: Von wannen bist du? Aber gab ihm keine Antwort. Da sprach Pilatus zu ihm: Redest du nicht mit mir? Weißest du nicht, das ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben? antwortete: Du hättest keine Macht über mich, wenn sie dir nicht wäre von oben herab gegeben; darum, der mich dir überantwortet hat, der hat s größ re Sünde. Von dem an trachtete Pilatus, wie er ihn losließe. Durch dein Gefängnis, Gottes Sohn, muß uns die Freiheit kommen; Dein Kerker ist der Gnadenthron, die Freistatt aller Frommen; denn gingst du nicht die Knechtschaft ein, müßt unsre Knechtschaft ewig sein. Die Jüden aber schrieen und sprachen: Lässest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Könige machet, der ist wider den Kaiser. Da Pilatus das Wort hörete, führete er Jesum heraus and satzte sich auf den Richtstuhl, an der Stätte, die da heißet: Hochpflaster, auf Ebräisch aber: Gabbatha. Es war aber der Rüsttag in Ostern um die sechste Stunde, und er spricht zu den Jüden: Sehet, das ist euer König! Sie schrieen aber: Now Barabbas was a robber. Then therefore took, and scourged him. Arioso Consider, O my soul, with fearful joy consider, with bitter anguish, in thy heart afflicted, thy highest good is sorrow: for thee, from the thorns that pierce him, what heavenly flowers spring, thou canst the sweetest fruit his wormwood gather, then look for evermore to him. Aria Consider how his bloodstained back brings heaven before our eyes. When the floodwaters of our sin have receded, then appears the rainbow as a sign of God s mercy. And the soldiers platted a crown of thorns, and put it on his head, and they put on him a purple robe, and said: Hail, King of the Jews! And they smote him with their hands. therefore went forth again, and saith unto them, Behold, I bring him forth to you, that ye may know that I find no fault in him. Then came forth, wearing the crown of thorns, and the purple robe. And saith unto them: Behold the man! When the chief priests therefore and officers saw him, they cried out, saying, Crucify him! saith unto them: Take ye him, and crucify him: for I find no fault in him. The Jews answered him: We have a law, and by our law he ought to die, because he made himself the Son of God. When therefore heard that saying, he was the more afraid; And went again into the judgment hall, and saith unto : Whence art thou? But gave him no answer. Then saith unto him: Speakest thou not unto me? Knowest thou not that I have power to crucify thee, and have power to release thee? answered: Thou couldest have no power at all against me, except it were given thee from above: therefore he that delivered me unto thee hath the greater sin. And from thenceforth sought to release him: Thy bonds, O Son of God, most high, have perfect freedom brought us; thy prison is the divine throne, the haven for all believers; for if thou hadst not taken the bondage of a slave, we would for evermore be bound. But the Jews cried out, saying: If thou let this man go, thou art not Caesar s friend: whosoever maketh himself a king speaketh against Caesar. When therefore heard that saying, he brought forth, and sat down in the judgment seat in a place that is called the Pavement, but in the Hebrew, Gabbatha. And it was the preparation of the passover, and about the sixth hour: and he saith unto the Jews: Behold your King! But they cried out: ACADEMY OF ANCIENT MUSIC, SEASON 9

10 Weg, weg mit dem, kreuzige ihn! Spricht Pilatus zu ihnen: Soll ich euren König kreuzigen? Die Hohenpriester antworteten: Wir haben keinen König denn den Kaiser. Da überantwortete er ihn, daß er gekreuziget würde. Sie nahmen aber Jesum und führeten ihn hin. Und er trug sein Kreuz und ging hinaus zur Stätte, die da heißet Schädelstätt, welche heißet auf Ebräisch: Golgatha. Aria (bass, chorus) Eilt, ihr angefochtnen Seelen, geht aus euren Marterhöhlen Wohin? nach Golgatha! Nehmet an des Glaubens Flügel, flieht Wohin? zum Kreuzeshügel, eure Wohlfahrt blüht allda! Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und setzte sie auf das Kreuz, und war geschrieben: JESUS VON NAZARETH, DER JÜDEN KÖNIG. Diese Überschrift lasen viel Jüden, denn die Stätte war nahe bei der Stadt, da gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohenpriester der Jüden zu Pilato: Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König. Pilatus antwortet: Was ich geschrieben habe, das habe ich geschrieben. In meines Herzens Grunde, dein Nam und Kreuz allein funkelt all Zeit und Stunde, drauf kann ich fröhlich sein. Erschein mir in dem Bilde zu Trost in meiner Not, wie du, Herr Christ, so milde dich hast geblut t zu Tod! Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider und machten vier Teile, einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber war ungenähet, von oben an gewürket durch und durch. Da sprachen sie untereinander: Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll. Auf daß erfüllet würde die Schrift, die da saget: Sie haben meine Kleider unter sich geteilet und haben über meinen Rock das Los geworfen. Solches taten die Kriegesknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, Kleophas Weib, und Maria Magdalena. Da nun seine Mutter sahe und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter: Weib, siehe, das ist dein Sohn! Darnach spricht er zu dem Jünger: Siehe, das ist deine Mutter! Er nahm alles wohl in acht in der letzten Stunde, seine Mutter noch bedacht, setzt ihr ein Vormunde. O Mensch, mache Richtigkeit, Gott und Menschen liebe, stirb darauf ohn alles Leid, und dich nicht betrübe! Und von Stund an nahm sie der Jünger zu sich. Darnach, als wußte, daß schon alles vollbracht war, daß die Schrift erfüllet würde, spricht er: Mich dürstet! Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig and legten ihn um einen Isopen, und hielten es ihm dar zum Munde. Da nun den Essig genommen hatte, sprach er: Es ist vollbracht! Aria (alto) Es ist vollbracht! O Trost vor die gekränkten Seelen! Die Trauernacht läßt nun die letzte Stunde zählen. Der Held aus Juda siegt mit Macht und schließt den Kampf. Es ist vollbracht! Away, away with him, crucify him. saith unto them: Shall I crucify your King? The chief priest answered We have no king but Caesar. Then delivered he him therefore unto them to be crucified. And they took, and led him away. And he bearing his cross went forth into a place called the place of a skull, which is called in the Hebrew Golgotha: Aria Haste, ye deeply wounded spirits, bring your heavy burdens. Whither? To Golgotha! Take, O take the wings of faith and fly. Whither? To the Cross of : there shall relief and healing be found. Where they crucified him, and two other with him, on either side one, and in the midst. And wrote a title, and put it on the cross. And the writing was, JESUS OF NAZARETH THE KING OF THE JEWS. This title then read many of the Jews: for the place where was crucified was nigh to the city: and it was written in Hebrew, and Greek, and Latin. Then said the chief priests of the Jews to : Write not, The King of the Jews; but that he said, I am King of the Jews. answered: What I have written I have written. Within our inmost being thy Name and Cross alone, shines there now and for always so that I can rejoice. When I am in need comfort and console me with this picture of thee so patiently enduring death itself. Then the soldiers, when they had crucified, took his garments, and made four parts, to every soldier a part; and also his coat: now the coat was without seam, woven from the top throughout. They said therefore among themselves: Let us not rend it, but cast lots for it, whose it shall be: That the scripture might be fulfilled, which saith, They parted my raiment among them, and for my vesture they did cast lots. These things therefore the soldiers did. Now there stood by the crossof his mother, and his mother s sister, Mary the wife of Cleophas, and Mary Magdalene. When therefore saw his mother, and the disciple standing by, whom he loved, he saith unto his mother: Woman, behold thy son! Then saith he to the disciple: Behold thy mother! He thought of everything in his last hour, and gave his mother one to protect her. Thou too should rightly act, loving God and man, that thou canst die untroubled and without anxiety. And from that hour that disciple took her unto his own home. After this, knowing that all things were now accomplished, that the scripture might be fulfilled, saith: I thirst. Now there was set a vessel full of vinegar: and they filled a sponge with vinegar, and put it upon hyssop, and put it to his mouth. When therefore had received the vinegar, he said: It is finished. Aria It is accomplished: what comfort for suffering human souls! I can see the end of the night of sorrow. The hero from Judah ends his victorious fight. It is accomplished! 10 ACADEMY OF ANCIENT MUSIC, SEASON

11 Und neiget das Haupt und verschied. Aria & (bass, chorus) Mein teurer Heiland, laß dich fragen, da du nunmehr ans Kreuz geschlagen und selbst gesagt: Es ist vollbracht, bin ich vom Sterben freigemacht? Kann ich durch deine Pein und Sterben das Himmelreich ererben? Ist aller Welt Erlösung da? Du kannst vor Schmerzen zwar nichts sagen; doch neigest du das Haupt und sprichst stillschweigend: ja. Jesu, der du warest tot, lebest nun ohn Ende, in der letzten Todesnot nirgend mich hinwende als zu dir, der mich versühnt, o du lieber Herre! Gib mir nur, was du verdient, mehr ich nicht begehre! Und siehe da, der Vorhang im Tempel zerriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen. Arioso (Tenor) Mein Herz, indem die ganze Welt bei Jesu Leiden gleichfalls leidet, die Sonne sich in Trauer kleidet, der Vorhang reißt, der Fels zerfällt, die Erde bebt, die Gräber spalten, weil sie den Schöpfer sehn erkalten, was willst du deines Ortes tun? Aria (Soprano) Zerfließe, mein Herze, in Fluten der Zähren dem Höchsten zu Ehren! Erzähle der Welt und dem Himmel die Not: Dein ist tot! Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben den Sabbath über (denn desselbigen Sabbaths Tag war sehr gross), baten sie Pilatum, daß ihre Beine gebrochen und sie abgenommen würden. Da kamen die Kriegsknechte und brachen dem ersten die Beine und dem andern, der mit ihm gekreuziget war. Als sie aber zu Jesu kamen, da sie sahen, daß er schon gestorben war, brachen sie ihm die Beine nicht; sondern der Kriegsknechte einer eröffnete seine Seite mit einem Speer, und also bald ging Blut und Wasser heraus. Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr, und derselbige weiß, daß er die Wahrheit saget, auf daß ihr gläubet. Denn solches ist geschehen, auf daß die Schrift erfüllet würde: Ihr sollet ihm kein Bein zerbrechen. Und abermal spricht eine andere Schrift: Sie werden sehen, in welchen sie gestochen haben. O hilf, Christe, Gottes Sohn, durch dein bitter Leiden, daß wir dir stets untertan all Untugend meiden, deinen Tod und sein Ursach fruchtbarlich bedenken, dafür, wiewohl arm und schwach, dir Dankopfer schenken! Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu war (doch heimlich, aus Furcht vor den Jüden), daß er möchte abnehmen den Leichnam Jesu. Und Pilatus erlaubete es. Derowegen kam er und nahm den Leichnam Jesu herab. Es kam aber auch Nikodemus, der vormals bei der Nacht zu Jesu kommen war, und brachte Myrrhen und Aloen untereinander bei hundert Pfunden. Da nahmen sie den Leichnam Jesu und bunden ihn in leinen Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget ward, ein Garten, und im Garten ein neu Grab, in welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Rüsttags willen der Jüden, dieweil das Grab nahe war. Ruht wohl, ihr heiligen Gebeine, die ich nun weiter nicht beweine, ruht wohl und bringt auch mich zur Ruh! Das Grab, so euch bestimmet ist, und ferner keine Not umschließt, macht mir den Himmel auf und schließt die Hölle zu. Ach Herr, laß dein lieb Engelein am letzten End die Seele mein in Abrahams Schoß tragen, den Leib in sein m Schlafkämmerlein gar sanft, ohn ein ge Qual und Pein ruhn bis am jüngsten Tage! Alsdenn vom Tod er wekke mich, daß meine Augen sehen dich in aller Freud, o Gottes Sohn, mein Heiland und Genadenthron! Herr Jesu Christ, erhöre mich, ich will dich preisen ewiglich! And he bowed his head, and gave up the ghost. Aria & My dearest Saviour, let me ask thee, as thou art nailed to this cross and hast thyself said it is accomplished, am I released from death? Can I gain the heavenly kingdom through thy suffering and death? Is it that the whole world is redeemed? Thou canst not speak for agony, but incline thy head to give a speechless Yes!, thou wast dead and now livest for ever, bring me, in death s extremity, nowhere but to thee who hast paid the debt I owe to God. My true and faithful master, give me only what thou hast won for how could there be more to wish for? And behold, the curtain of the temple was torn in two from top to bottom. There was an earthquake, the rocks split, and the graves opened and many of God s people arose from sleep. Arioso My heart, while the whole world shares suffering, the sun in mourning, the veil rent, the rocks split, the earth quaking, the graves opening, because they see the Creator grow cold in death, what wilt thou do for thy part? Aria Dissolve then, heart, in floods of tears as thy tribute to our God. Tell earth and heaven the grievous news thy is dead! The Jews therefore, because it was the preparation, that the bodies should not remain upon the cross on the sabbath day, (for that sabbath day was an high day,) besought that their legs might be broken, and that they might be taken away. Then came the soldiers, and brake the legs of the first, and of the other which was crucified with him. But when they came to, and saw that he was dead already, they brake not his legs: But one of the soldiers with a spear pierced his side, and forthwith came there out blood and water. And he that saw it bare record, and his record is true: and he knoweth that he saith true, that ye might believe. For these things were done, that the scripture should be fulfilled, A bone of him shall not be broken. And again another scripture saith, They shall look on him whom they pierced. Help us, Christ, the Son of God, as thy loyal followers, to avoid wrongdoing and, with the thought of thy death and its cause, to bring thee thanksgiving for all that thou hast done, poor and weak though we may be. And after this Joseph of Arimathaea, being a disciple of, but secretly for fear of the Jews, besought that he might take away the body of : and gave him leave. He came therefore, and took the body of. And there came also Nicodemus, which at the first came to by night, and brought a mixture of myrrh and aloes, about an hundred pound weight. Then took they the body of, and wound it in linen clothes with the spices, as the manner of the Jews is to bury. Now in the place where he was crucified there was a garden; and in the garden a new sepulchre, wherein was never man yet laid. There laid they therefore because of the Jews preparation day; for the sepulchre was nigh at hand. Lie in peace, sacred body, for which I weep no longer, and bring me also to my rest. The grave that is thine and holds not further suffering, for me opens Heaven and closes Hell. O Lord, send thy cherubs in my last hour to bear my soul away to Abraham s bosom; let it rest there untouched by pain until the last day. Wake me then from Death s sleep, so that my joyful eyes may see thee, the Son of God, my Saviour. Grant me this and I will glorify thee throughout eternity. ACADEMY OF ANCIENT MUSIC, SEASON 11

12 Choir of King s College, Cambridge Founded in the fifteenth century, the Choir of King s College, Cambridge is one of the world s most renowned choral groups, with millions of people worldwide tuning in every Christmas Eve to A Festival of Nine Lessons and Carols. While the choir exists primarily to sing the daily services in King s College Chapel, its worldwide fame and reputation, enhanced by its many recordings, has led to invitations to perform around the globe. In recent seasons the Choir has travelled throughout Europe and to the US, South America, Australia and Asia-Pacific, performing in venues from Amsterdam s Concertgebouw to Singapore s Esplanade. The AAM has collaborated with the Choir for many years, and in 1999 the first AAM recording with King s was released JS Bach s Magnificat on EMI. Since then the relationship has gone from strength to strength, with a number of acclaimed concerts (including annual Passion performances) and recordings (including music by Handel and Purcell). The Choir also appears frequently with symphony orchestras: it has performed with the BBC Symphony Orchestra at the BBC Proms, and at the Barbican with the LSO, and gives an annual Christmas concert with the Philharmonia Orchestra at the Royal Albert Hall. The Choir s recording output includes a Grammy-nominated recording of Rachmaninov s Liturgy of St John Chrysostom. The Choir owes its existence to King Henry VI, who also built the college chapel. As the preeminent representative of the great British church music tradition, the Choir regards the singing of the daily services as its raison d être, and these are an important part of the lives of its sixteen choristers, fourteen choral scholars and two organ scholars. Chorister Alexander Banwell William Crane Laurence Cummins Joshua Curtis Andreas Eccles Williams George Gibbon William Hirtzel Christopher Howells Benjamin Lee Tim Manley Rupert Peacock Juhwan Sohn George Wimpeney Joseph Wong Peter Wood Alto Cameron Foote James Neville Tom Recknell Oliver El- Holiby Feargal Mostyn- Williams Peter Oakley Tenor Matthew Sandy Alexander Stobbs Thomas Crow David Bagnall Ruairi Bowen Bass Toby Young David Cane Benjamin Goble Daniel D Souza Benedict Oakley Robert Stephen Organ Scholar Ben-San Lau Parker Ramsay 12 ACADEMY OF ANCIENT MUSIC, SEASON

13 Stephen Cleobury conductor Stephen Cleobury is Director of Music at King s College, Cambridge and has in recent years conducted many concerts and recordings in collaboration with the AAM. Perhaps the most exciting project to date was the world's first-ever live transmission of a choral concert Handel s Messiah into cinemas across Europe and North America. Stephen works within a broad range of music, from Gregorian chant to newly-composed works. He has particularly championed contemporary music, and at King s has annually commissioned a carol for A Festival of Nine Lessons and Carols. In March 2005 he instigated the first Easter Festival at King s in which the AAM has played a prominent part, not least in the annual performance of one of JS Bach s Passions with the College Choir. The many premieres Stephen has given with the BBC Singers include Giles Swayne s Havoc at the Royal Albert Hall at the Proms and Edward Cowie s Gaia, both with the Endymion Ensemble. In 2004, also at the Proms, he gave the British premiere of Harrison Birtwistle s Ring Dance of the Nazarene. He frequently appears in this country and abroad as a conductor, leader of conducting workshops and solo organist, in venues ranging from Haderslev Cathedral in Denmark to Salt Lake's LDS Conference Center. Andrew Kennedy Andrew Kennedy studied at King's College, Cambridge and the Royal College of Music in London. He was a member of the Young Artists Programme at the Royal Opera House, Covent Garden, and of BBC Radio 3 s New Generation Artists Scheme. Andrew has appeared on the stages of ENO, the Royal Opera House, Glyndebourne and La Scala in performances of repertoire from Mozart to Britten. In concert he has performed Finzi s Intimations of Immortality with the BBC Symphony Orchestra, and Elgar s Spirit of England at the Last Night of the BBC Proms in Equally passionate about song repertoire, Andrew gives numerous recitals in Europe and the UK and appears regularly with the pianists Julius Drake, Roger Vignoles, Iain Burnside and Malcolm Martineau. Andrew's fast-growing discography includes four solo albums: Strauss Songs with Roger Vignoles; On Wenlock Edge with the Dante Quartet and Simon Crawford Philips; The Dark Pastoral with Julius Drake and Simon Russell Beale; and The Curlew with Simon Lepper. Andrew has won numerous prizes and awards, including the 2005 BBC Cardiff Singer of the World Rosenblatt Recital Prize. He is a Borletti-Buitoni Trust Award winner and he won the prestigious Royal Philharmonic Society Young Artists' Award in ACADEMY OF ANCIENT MUSIC, SEASON 13

14 Soloists Elin Manahan Thomas soprano Born in Swansea, Elin read Anglo-Saxon, Norse and Celtic at Clare College, Cambridge, before moving to the musical world. Her debut album Eternal Light entered the classical charts in 2007 at number two, and her recording of Pergolesi s Stabat Mater with Florilegium was BBC Music Magazine s Choice of the Month in Elin is the first singer ever to record JS Bach s Alles mit Gott, a birthday ode written in 1713 and discovered in Other recent performances include John Blow s Venus and Adonis in the Wigmore Hall; a British tour performing Handel with the AAM; solo recitals in the Cheltenham, Chester and Canterbury Festivals; Fauré s Requiem with the Royal Philharmonic Orchestra; and Vivaldi s Gloria at Snape Maltings with the City of London Sinfonia. Elin s operatic appearances range from Belinda in Dido and Aeneas with OAE to Berlioz Les Troyens. She is also greatly in demand as a presenter and broadcaster, both in English and in Welsh, for which she has twice been nominated for a BAFTA. She also hosts a weekly classical music show for Radio Cymru. James Laing counter-tenor James Laing was a choral scholar at Trinity College, Cambridge and studied at the Royal College of Music with Robin Blaze. Since then he has made appearances with, among others, the Classical Opera Company, the Early Opera Company, Glyndebourne Festival Opera and Opera North. His repertoire ranges from Purcell s Dido and Aeneas to Jonathan Dove s The Adventures of Pinocchio, and he has appeared in concert with, among others, the City of London Sinfonia, the Hallé, the Irish Chamber Orchestra, and, further afield, at the Blumental International Music Festival in Israel and the William Byrd Festival in the USA. James has recently performed with Garsington Opera as Zelim in Vivaldi s La verita in cimento, as Tolomeo in Handel s Giulio Cesare for Opera North, Alessandro in Handel s Tolomeo for English Touring Opera and Orfeo in Gluck s Orfeo ed Euridice with The Cannons Scholars at St John s Smith Square. He sang at Carnegie Hall with the Atlanta Symphony Orchestra as part of the Spring for Music festival. James performance in The Adventures of Pinocchio can be seen on Opus Arte DVD; and his recordings include Jonathan Dove s Tobias and the Angel on Chandos. Andrew Tortisetenor Andrew Tortise was a choral scholar at Wells Cathedral and Trinity College, Cambridge. Whilst at Cambridge he was active as both a tenor soloist and a piano accompanist. Andrew made his opera debut in Paris at the Théâtre des Champs-Élysée as Apollo in Semele in 2004, and recent appearances have included the lead tenor role in Mernier s Frühlings Erwachen at La Monnaie; Lucano in Poppea conducted by Emmanuelle Haïm; the tenor arias in JS Bach s St Matthew Passion in a new staged version by Katie Mitchell for Glyndebourne Festival Opera; and Robert in David Sawyer s new opera Skin Deep for Opera North and the Bregenz Festival. On the concert platform he has sung Haydn s The Seasons for the Huddersfield Choral Society with Martyn Brabbins; Mozart s Requiem for the Philharmonia Orchestra; Berlioz s L Enfance du Christ for ECO; and Britten s Serenade for Tenor, Horn and Strings with the AAM. He has appeared on tour with Sir John Eliot Gardiner singing Purcell and Monteverdi, and with Richard Egarr and the Orchestra of the Age of the Enlightenment singing Messiah. Andrew s recordings include Buxtehude s Membra Jesu Nostri for the Netherlands Bach Society, which was Gramophone Magazine s Editor s Choice and awarded the Diapason d Or. 14 ACADEMY OF ANCIENT MUSIC, SEASON

15 Marcus Farnsworth bass Marcus Farnsworth is currently on the opera course at the Royal Academy of Music. Among other accolades, he has been awarded the Sir Thomas Armstrong Prize and first prize in the 2009 Wigmore Hall International Song Competition. Marcus recent concert appearances include Handel s Messiah with Sir David Wilcocks at the Royal Albert Hall, Handel s Saul, Mozart s Requiem and Rossini s Petite Messe Solennelle. His performances of music by JS Bach include the Christmas Oratorio, Magnificat and Mass in B Minor. Marcus recently appeared in a recital at St John s Smith Square as part of Graham Johnson s Young Songmakers Almanac, and gave a joint recital with Sarah Connolly at the Oxford Lieder Festival. Current and future plans include Guglielmo in Mozart s Così fan tutte for the Royal Academy of Music and, as part of the Wigmore Hall Britten Festival in 2012, Tit for Tat with Malcolm Martineau and Canticles with Julius Drake and Mark Padmore. He will also give recitals as part of Julius Drake s Schumann Week at Middle Temple, London; at the National Portrait Gallery with Simon Lepper; and at the Oxford Lieder and Aldeburgh Festivals. Ashley Riches Ashley Riches was a member of the Choir of King s College, Cambridge under Stephen Cleobury, and he is currently studying as a scholar on the opera course at the Guildhall School of Music and Drama. His many awards include a Sybil Tutton Award administrated by the Musicians Benevolent Fund, an award from the Countess of Munster Musical Trust, the Myra Verney Recital Prize from the Worshipful Company of Musicians and the John Hosier Award. In 2009 he received an Ian Fleming award from the Musicians Benevolent Fund and was the winner of the Guildhall School Aria Competition. David Wilson-JohnsonChrist The British baritone David Wilson-Johnson was born in Northampton and studied at the Royal Academy of Music in London, having also read Modern Languages at St Catharine's College, Cambridge. Over a career spanning thirty years he has sung under many distinguished conductors including Pierre Boulez, Frans Brüggen, Nikolaus Harnoncourt, Gustav Leonhardt, Sir Charles Mackerras, André Previn and Sir Simon Rattle. David s operatic appearances include Boris Godunov, Arianna, Cosí fan tutte and Die Zauberflöte (all at the Royal Opera House, Covent Garden); Billy Budd (ENO, ROH, Opera Bastille); Tristan und Isolde (Monte Carlo); and Sir Michael Tippett's A Midsummer Marriage and Messiaen's St François d'assise for television. In recent years he has appeared at the BBC Proms in Tavener s The Whale and in the title role of Tippett s King Priam, as well as appearances in A Child of our Time with the Royal Philharmonic Orchestra and, with Charles Dutoit, in Berlioz Roméo et Juliette with the Philadelphia Orchestra and La Damnation de Faust with the Chicago Symphony Orchestra. His discography combines the traditional JS Bach with Gustav Leonhardt and Carl Maria Giulini, Beethoven with Sir Charles Mackerras and Schoenberg with Oliver Knussen with the contemporary including Tubular Bells with Mike Oldfield (as part of Angel Choir and Bootleg ), and the film Goodbye to Broad Street. ACADEMY OF ANCIENT MUSIC, SEASON 15

16 Academy of Ancient Music Back in 1973, most orchestras played old music in a modern style. Centuries of change had eroded the sound-worlds known to Bach, Handel, Haydn and Mozart: the instruments were different; the pitch was different; the number of players was different; the very essence and spirit of performances was different. But change was in the air. Wouldn t it be wonderful, people asked, if we could turn the clock back; if we could find out more about composers original intentions and get closer to the style in which music was originally performed? This was the spirit in which Christopher Hogwood founded the AAM. It was revolutionary. Centuries of convention were cut away and baroque and classical masterworks were heard anew. The stringed instruments in Hogwood s new orchestra had strings made of animal gut, not steel. The trumpets had no valves. The violins and violas didn t have chin-rests, and the cellists gripped their instruments between their legs rather than resting them on the floor. It wasn t just the instruments or the sound of the music which changed, though; it was how it felt. AAM performances were full of energy and passion and joy. From these beginnings, one of the world s great orchestras was born. Over the next three decades the AAM s fame spread to every corner of the globe as it built up a celebrated discography of well over 250 CDs Brit- and Grammy-award-winning recordings of the great baroque masterworks; opera releases starring Cecilia Bartoli, Dame Emma Kirkby and Dame Joan Sutherland; pioneering cycles of the Mozart and Beethoven symphonies. It performed live on every continent except Antarctica, inspiring music lovers worldwide with the passion and the power of its music-making. Richard Egarr a leading light in the next generation of early music specialists succeeded Hogwood in In his first four years as Music Director his recordings with the orchestra have won the Edison, Gramophone and MIDEM Awards; and he has directed hundreds of performances across four continents. The orchestra continues to work with a roster of guest directors including Pavlo Beznosiuk, Giuliano Carmignola, Paul Goodwin, Stephen Layton and Masaaki Suzuki, ensuring that new ideas and approaches continually inspire the group. In 2009 the AAM made history with the world s first-ever live choral cinecast : its performance of Handel s Messiah was beamed in real time from King s College Chapel, Cambridge to tens of thousands of people in over 250 cities around the globe. A band stuffed with the superstars of the historically- informed style of playing THE HERALD OCTOBER 2010 Today, the AAM s concert series in London and Cambridge lies at the heart of its work. This season s programme is based around The Bach Dynasty a major concert series exploring the music of JS Bach and his many composer-relatives. Other highlights include Mozart s early opera La Finta Giardiniera at the Barbican, and an intriguing programme showcasing the little-known baroque and classical music of South America. As well as tonight s performance with the Choir of King s College, Cambridge, this season the orchestra collaborates with artists including James Gilchrist, Rosemary Joshua, Elizabeth Watts, Steven Isserlis and Karina Gauvin. The AAM s international touring schedule in is as wide-ranging as it has ever been. Among this year s highlights are performances of JS Bach s Brandenburg Concertos and Haydn s The Creation at the Shanghai Concert Hall and in Perth, Australia; concerts with the star Korean soprano Sumi Jo at the National Centre for the Performing Arts in Beijing and around Singapore, South Korea and Taiwan; and performances in leading European venues including the Concertgebouw in Amsterdam and the Théatre des Champs-Elysées in Paris. 16 ACADEMY OF ANCIENT MUSIC, SEASON

17 Academy of Ancient Music Violin I Rodolfo Richter (d. viola d amore)* Bojan Čičić Rebecca Livermore Claire Duff Liz MacCarthy Violin II William Thorp (d. viola d amore) Joanna Lawrence Iona Davies Persephone Gibbs Cello Joseph Crouch* Imogen Seth-Smith* Double bass Judith Evans Flute Rachel Brown* Guy Williams Oboe Katharina Spreckelsen Lars Henriksson Lute William Carter Viola da gamba Reiko Ichise Organ Alastair Ross *Sponsored chairs Leader Lord and Lady Magan Principal cello Dr Christopher and Lady Juliet Tadgell Principal flute Christopher and Phillida Purvis Sub-principal viola Sir Nicholas and Lady Goodison Viola Rachel Byrt Marina Ascherson* Bassoon Siona Spillett Sub-principal cello Newby Trust Ltd Rachel Brown flute In profile Easter is often the busiest time of the year for many baroque musicians, but it s also a time for musical and spiritual enrichment and refreshment. My first ever professional work was playing in JS Bach s St Matthew Passion, and the thrill of being immersed in such rich sounds and being so moved sends a shiver down my spine even now. I can t forget the freezing cold churches where I could see my breath, or the sun streaming in so intensely at St John s, Smith Square that a lady in the front row fainted in the heat and James Gilchrist () leaped off the stage and offered his services as a doctor! But above all, the many cherished memories of Passions over the years are the wonderful oboe da caccia arias and the gamba and violin solos. Board of Directors Adam Broadbent Kay Brock LVO DL John Everett Matthew Ferrey John Grieves Christopher Hogwood CBE Heather Jarman Christopher Purvis CBE (Chairman) Dr Christopher Tadgell Sarah Miles Williams Development Board Adam Broadbent Kay Brock LVO DL Delia Broke Elizabeth de Friend John Everett Matthew Ferrey John Grieves Madelaine Gunders Annie Norton Christopher Purvis CBE Chris Rocker Terence Sinclair Dr Christopher Tadgell Madeleine Tattersall Sarah Miles Williams Alison Wisbeach Music Director Richard Egarr Emeritus Director Christopher Hogwood CBE Chief Executive Michael Garvey Orchestra Manager Andrew Moore Head of External Relations Simon Fairclough External Relations Manager: Communications Toby Chadd External Relations Manager: Development Anne Leone Administration Manager Samantha Fryer Finance Manager Elaine Hendrie ACADEMY OF ANCIENT MUSIC, SEASON 17

18 Supporting the Academy of Ancient Music We live in a world of worthy causes. Why support an orchestra like the AAM? For centuries, people have understood the importance of culture. The arts enrich society and change lives. They help to make life worth living. For centuries, people have also understood that culture is costly, and that it can only thrive if those who are in a position to sustain it do so generously. The music which the AAM performs only ever came into being because of a culture of patronage: Monteverdi was supported for much of his career by the Duke of Mantua; JS Bach composed many of his instrumental masterpieces while employed at the courts of Weimar and Köthen; and Haydn s 104 symphonies may never have been written had he not enjoyed the backing of the Esterházy family. The music of these great composers and of many others besides stands as testament not only to individual genius, but also to support from generous individuals which enabled them to realise their potential. Over the centuries, successive generations of philanthropists created and sustained the orchestras and choirs which kept this music alive. It is their legacy which we inherit today. For a time, it seemed that the need for support from generous individuals was a thing of the past. For better or worse, those days are long gone. Income from ticket sales will fall short of covering the full cost of sustaining the orchestra by at least 400,000 this year. The future of ancient music lies in the hands of a new generation of philanthropists. The AAM Society The AAM Society is the orchestra s closest group of regular supporters. Membership ranges from ,000+ per annum or from 100 per annum for Young Supporters given either as a lump sum or by regular donation. Members contributions provide the vital core funding required if the orchestra is to continue to perform. Society members enjoy a very close involvement with the life of the AAM. After performances in London, members dine with the director, soloists and AAM musicians. They have a chance to become a part of orchestral life behind the scenes by sitting in on rehearsals for concerts and recordings. At least once each year they have the opportunity to accompany the orchestra on an international tour recently, for example, a large group travelled with the AAM and Choir of King s College, Cambridge on a tour of the Netherlands. Those giving over 1,000 per year receive invitations to regular recitals and other special events held at the homes of fellow members. Those giving over 5,000 per year have the opportunity to sponsor a specific position in the orchestra, and are invited to join the Council of Benefactors, a forum which will meet annually to receive an update on the orchestra s performance from the Chief Executive and Chairman. Tax-efficient giving Because the AAM is a charity, gifts from UK taxpayers can be made in a tax- efficient manner under the Gift Aid scheme. The eventual cost of a gift to the donor can be as little as half of its value after Gift Aid to the AAM. The orchestra can claim back from HMRC the basic rate tax already paid by the donor, and higher and additional rate taxpayers can claim tax relief on the difference between the basic rate and the applicable rate of income tax. 18 ACADEMY OF ANCIENT MUSIC, SEASON

19 Membership level Minimum donation Value of donation to AAM after Gift Aid Final cost to additional rate (50%) taxpayer after tax relief Final cost to higher rate (40%) taxpayer after tax relief Equivalent monthly donation Young Supporter (under 40 only) Donor Benefactor Principal Benefactor 1,000 1, Patron 2,500 3,125 1, , Principal Patron 5,000 6,250 3,125 3, The Hogwood Circle 10,000 12,500 6,250 7, The Chairman s Circle 20,000 25,000 12,500 15,000 1, Gifts of shares Donors are encouraged to consider covering the cost of their AAM Society membership by making gifts of shares. Generous tax incentives are available to individuals who support charities in this manner. Donors are able to claim income tax relief on the value of shares and securities donated, and are also exempt from any tax on capital gains that would have arisen if the shares had been sold. In some circumstances the cost of the gift could be under 50% of the eventual value to the AAM. More information is available from the Head of External Relations, Simon Fairclough, on or s.fairclough@aam.co.uk. How to join To join the AAM Society, please complete and return the form on page 21 of this booklet. Leaving a legacy Over the last four decades the Academy of Ancient Music has brought joy and inspiration to millions of people. Our aim over the next is to begin to build up an endowment fund which will enable the orchestra to do so in perpetuity. Leaving a legacy is one of the most important and enduring ways in which you can support the AAM. Whether you give 5,000 or 5 million, your bequest will have a real impact in enabling the AAM to keep the music of the baroque and classical periods alive, and to enrich the lives of music lovers for generations to come. Legacies are highly tax efficient: the AAM s charitable status means that gifts are exempt from Inheritance Tax, and any legacy you bequeath may also reduce the overall tax liability due on your estate. Should you find yourself a beneficiary under a will, you may also wish to consider transferring part of your inheritance to the AAM using a Deed of Variation. Amounts transferred in this manner become freed of any Inheritance Tax otherwise due, affording the opportunity for the AAM to benefit from your generosity during your lifetime. The Head of External Relations, Simon Fairclough, is always happy to talk informally and in confidence with anyone considering making provision for the AAM in their will. He can be contacted on or s.fairclough@aam.co.uk. ACADEMY OF ANCIENT MUSIC, SEASON 19

20 AAM Funders & Supporters The AAM is indebted to the following trusts, companies, public bodies and individuals for their support of the orchestra s work: AAM Business Club Cambridge University Press Kleinwort Benson Royal Bank of Canada CHK Charities Ltd Dunard Fund John Ellerman Foundation Esmée Fairbairn Foundation Fidelity UK Foundation Goldsmiths Company Charity The Idlewild Trust The Michael Marks Charitable Trust Newby Trust Ltd Sir Siegmund Warburg s Voluntary Settlement Anthony Travis Charitable Trust Arts Council England through the Sustain programme Orchestras Live Cambridge City Council The AAM Society Special gifts The Academy of Ancient Music extends its grateful thanks to Lady Sainsbury of Turville, who has supported the orchestra s work at a particularly significant level this year. The Chairman s Circle (Donations 20,000 49,999 per annum) CHK Charities Ltd Dunard Fund The Hogwood Circle (Donations 10,000-19,999 per annum) Matthew Ferrey Lord and Lady Magan Christopher and Phillida Purvis * Mrs Julia Rosier Dr Christopher and Lady Juliet Tadgell Lady Linda Wong Davies (KT Wong Foundation) Principal Patrons (Donations 5,000 9,999 per annum) Sir Nicholas and Lady Goodison * Richard and Elena Bridges Christopher Hogwood CBE * Mrs Sheila Mitchell Newby Trust Ltd * Chris Rocker and Alison Wisbeach Terence and Sian Sinclair and other anonymous Principal Patrons Patrons (Donations 2,500 4,999 per annum) Adam and Sara Broadbent Mr and Mrs Graham Brown Richard and Elizabeth de Friend Mr and Mrs JE Everett John and Ann Grieves John and Joyce Reeve Mark West Sarah and Andrew Williams and other anonymous Patrons Principal Benefactors (Donations 1,000 2,499 per annum) Lady Alexander of Weedon George and Kay Brock Mrs D Broke Clive and Helena Butler Jo and Keren Butler Sir Charles Chadwyck- Healey Bt Kate Donaghy The Hon Simon Eccles Elma Hawkins and Charles Richter Lord Hindlip John McFadden and Lisa Kabnick * Mark and Liza Loveday Mr and Mrs C Norton Lionel and Lynn Persey Nigel and Hilary Pye * Mr and Mrs Charles Rawlinson Sir Konrad and Lady Schiemann * JG Stanford John and Madeleine Tattersall Marcellus and Katharine Taylor- Jones Stephen Thomas Mrs R Wilson Stephens Charles Woodward and other anonymous Principal Benefactors Benefactors (Donations ) Maureen Acland OBE * Dr Aileen Adams CBE Bill and Sue Blyth Claire Brisby and John Brisby QC * Mr and Mrs Edward Davies- Gilbert Charles Dumas Mr and Mrs Jean- Marie Eveillard Simon Fairclough Marshall Field Michael and Michele Foot Andrew and Wendy Gairdner William Gibson The Hon Mr and Mrs Philip Havers Professor Sean Hilton Dr and Mrs G and W Hoffman Heather Jarman * David and Linda Lakhdhir Susan Latham Tessa Mayhew Mr and Mrs Hideto Nakahara Rodney and Kusum Nelson- Jones Nick and Margaret Parker Timothy and Maren Robinson Bruno Schroder and Family Peter Thomson Peter and Margaret Wynn Julia Yorke and other anonymous Benefactors Donors (Donations ) Angela and Roderick Ashby- Johnson Elisabeth and Bob Boas * Mrs Nicky Brown Dr and Mrs S Challah David and Elizabeth Challen Stephen and Debbie Dance Derek and Mary Draper Beatrice and Charles Goldie Steven and Madelaine Gunders Gemma and Lewis Morris Hall Mrs Helen Higgs Lord and Lady Jenkin of Roding Alison Knocker Richard Lockwood Yvonne de la Praudière Robin and Jane Raw Annabel and Martin Randall Arthur L Rebell and Susan B Cohen Michael and Giustina Ryan Miss E M Schlossmann Michael Smith Rt Hon Sir Murray Stuart- Smith * Robin Vousden Pippa Wicks Paul F. Wilkinson and Associates Inc. and other anonymous Donors * denotes founder member Members of the AAM Bach Patrons Lady Alexander of Weedon Richard and Elena Bridges Mr and Mrs Graham Brown Jo and Keren Butler CHK Charities Ltd Elizabeth de Friend Matthew Ferrey Dunard Fund The Hon Simon Eccles Professor Sean Hilton Graham and Amanda Hutton Mark and Lisa Loveday Mrs Sheila Mitchell Mr and Mrs Charles Rawlinson John and Joyce Reeve Dr Christopher and Lady Juliet Tadgell John and Madeleine Tattersall Stephen Thomas Mark West Charles Woodward Cambridge Bach Supporters Cambridge Bach Friends and other anonymous AAM Bach Patrons Musical Revolutionaries Cottisford Trust William Gibson Michael and Giustina Ryan Robin Vousden 20 ACADEMY OF ANCIENT MUSIC, SEASON