St John Passion

Daniel Hyde conductorBritten Sinfonia

Bach St John Passion

Britten Sinfonia is #HereForCulture thanks to the Government’s Culture Recovery Fund

FIRST VIOLINSMarcus Barcham StevensRuth EhrlichKatherine Shave

SECOND VIOLINSMiranda DaleNicola GoldscheiderAlexandra Caldon

VIOLASClare FinnimoreSascha BotaBridget Carey

CELLOSJonathan ReesCaroline Dearnley

DOUBLE BASSStephen Williams

SOPRANOSJulia DoyleMarie-Antoinette StabentheinerAnita Monserrat

ALTOSHelen CharlstonJess DandyHugh Cutting

TENORSGwilym Bowen - EvangelistNick PritchardRuairi BowenJames Micklethwaite

BASSESAlex AshworthWilliam Gaunt - JesusMalachy Frame

SingersBritten SinfoniaFLUTESThomas HancoxSarah O’Flynn

OBOES & CORANGLAISPeter FacerEmma Feilding

OBOE D’AMOREEmma Feilding

BASSOONSarah Burnett

ORGANStephen Farr

VIOLA DA GAMBAJonathan Rees

J S Bach (1685-1750)

When Bach arrived in Leipzig in 1723 to takeup the position of Cantor at the Thomasschule– the school attached to St Thomas’ Church,one of the two biggest churches in Leipzig –he began one of the most productive andmeaningful phases of his musical life. Leavingbehind his role of Kapellmeister at the small,provincial court of Anhalt-Cöthen, Bach hadmoved to a thriving cultural centre of over30,000 residents, with responsibility forteaching music to the 50 pupils of theThomasschule as well as overseeing the musicin Leipzig’s four largest churches. Bach hadnot been the first choice for the position, butnegotiations with the frontrunner – Carl PhillipTelemann – fell through so, after offering it toseveral more candidates, the committeesettled on Bach. Honoured to have been givensuch a huge opportunity, and keen to provehis worth to his new employers, Bach attackedhis new role with zeal. In his first year alone,he composed 60 liturgical cantatas forperformance in the churches’ Sunday services– a feat which he repeated twice more in thetwo years that followed. In a letter to hisemployers at Mühlhausen 15 years earlier,Bach had lamented that he had not been ableto achieve there his ultimate aim: ‘a well-regulated or orderly church music, to the gloryof God’. Here at Leipzig, Bach’s goal at lastbecame a reality.

While composition for the regular Sundayservices and the preparation of the choir forthese occasions absorbed most of Bach’senergies, he was also required to producenew music for the annual passion service onGood Friday – one of the most importantoccasions in the liturgical calendar. Whilesung passions had been performed elsewherein Europe for centuries, in Leipzig they were anew innovation, having been introduced to thecity just a few years earlier by Bach’spredecessor, Johann Kuhnau, with his St Mark

Passion. The city was keen to continue thetradition, as was Bach, for whom the passionsbecame yet another creative outlet for hisabundance of ideas. As his first year at Leipzigdrew to an end, Bach celebrated with theunveiling of his St John Passion – his firstmajor undertaking in his new role, and the firstof at least three passion settings he wouldcompose during his time there (we know thatthe score of his St Mark Passion has beenlost).

Often referred to as ‘the little Passion’, mostnotably by Robert Schumann, the St JohnPassion has often been overlooked during thecourse of history in favour of the longer andmore elaborate setting of the Passionaccording to St Matthew. Its neglect owesmuch to the circumstances of the revival ofthe St Matthew Passion, which was overseenby Felix Mendelssohn at a concert under hisdirection in 1829. Having been unperformedbetween Bach’s death in 1750 and the 1829concert, the St Matthew Passion elicited anunprecedented response from the audience,and just a year after Mendelssohn’s concertboth the full and vocal scores of the workwere published in Berlin for the first time. Thissignified the start of a more widespread Bachrevival, something which would do much forthe reputation of the St John Passion too –but it was the St Matthew Passion thatreceived more lasting recognition.

While the St Matthew Passion is a sprawlingwork that lasts more than three hours inperformance, the ‘little’ St John Passion clocksin at just a little more than two. Nevertheless,even the length of the St John would havesurprised Bach’s congregation, who had neverheard anything so substantial in the churchbefore. Its style would also have come as asurprise, sounding far more operatic andornate than the music they were accustomed

St John Passion (1724)

to hearing as part of the traditional service.This was not to everyone’s tastes, since manyLutherans believed that such operatic musicbelonged in the theatre and was not suitablefor conveying the solemnity of God’s work.Others, including Bach himself, found that thismore elaborate and emotive form ofexpression helped to convey the pathos of thepassion story – without distancing itself toomuch from the original biblical text. Bach’scompromise, which contributed to the largelywarm reception of the work, was to stay trueto the original Gospel by retaining the text inits entirety and delivering this in the form ofrecitatives, alongside traditional choralerefrains (which would have been familiar to hiscongregation), while using more modernpoetry for the work’s arias. Withoutchallenging the Gospel’s message, Bach usesthese breaks in the text of the Gospel tocreate a space for reflection – interpolatingthe arias and chorales between the narrationand inviting the congregation to ‘meditate’ onwhat they have just heard.

In fact, Bach experimented with the layout ofthe St John Passion over many years, neverquite reaching a stage where he wascompletely happy with its framework. No othercomposition in his catalogue received quitethe same level of repeated attention. Whilethe St Matthew Passion received only minorrevisions after its first performance in 1727,Bach continued to amend and adapt the StJohn Passion over the course of 25 years,right up to the year before he died (1749, itsfifth documented performance during hislifetime). While some of his revisions wererather minor – for example, changing thenuances of a particular line of text to create amore modern translation – others wereconsiderably more substantial, involving thereplacement of whole movements. In 1725,just a year after the first performance, Bachreplaced the opening and final movements‘Herr, unser Herrscher’ and ‘Ruht wohl’ with

new, extended chorale settings, but thesewere reinstated in his revision of 1728. In hisfinal revisions of 1749, Bach restored much ofthe work to its original 1724 incarnation,although his most significant amendment wasto add more bulk to the instrumentation,adding a contrabassoon for a weightierbottom line and increasing the number ofcontinuo parts to five – suggesting that hehad a large number of excellent keyboardinstruments at his disposal in Leipzig. Aboveall, the many modifications Bach made to theSt John Passion over such an extended periodindicate a preoccupation with the work thathe afforded to no other, and a desire toperfect it ‘to the Glory of God’. His attention todetail suggests he felt an affinity with itsmessage that is not seen elsewhere.

While the St Matthew Passion is a moremonumental, contemplative piece, the St JohnPassion is arguably a more dramatic work,which places greater emphasis on conveyingthe tension and humanity of the passion story.Schumann called it ‘much bolder, morepowerful, more poetic that the one fromMatthew’s Gospel’, and its message isultimately more uplifting. It is a work of hopeand promise that looks forward to theprospect of a glorious resurrection, in spite ofthe suffering and sorrow of the Good Fridaystory. Despite this more philosophical outlook,there is an element of urgency in in the music,and a very real sense that Bach hoped torecreate the drama of the Gospel’s narrative.With fewer arias here than in the St MatthewPassion, this leaves less time for solocontemplation and drives the story onwards,while the frequent turba choruses (whichdeliver the crowd scenes) reinforce the senseof congregational storytelling.

While the turba choruses add drama and even– at times – hysteria to the narrative, thewords of John’s Gospel are delivered rathermore plaintively by a single tenor, the

Evangelist, who recounts the sequence ofevents from Christ’s arrest in the Garden ofGethsemane to his eventual crucifixion andburial. Bach’s triumph is to meld these soloand chorus parts in a way that gesturestowards – but never quite attains – the statusof an opera, giving Jesus’ words to a basssoloist, while other, smaller roles (Peter, Maryand Pilate, among others) are sung by othersolo voices, often from within the chorus. Theopening chorus, with its dissonant woodwindand undulating strings, has all the hallmarks ofan overture or curtain-raiser, setting a sombreand despondent mood for the Evangelist’s firstentry. But when Jesus faces trial at the startof Part Two (Bach’s congregation would haveendured an hour-long sermon between thetwo parts), Bach recourses to John’s originalGospel – affording this scene the sameextensive treatment that it is given in thebiblical text. Moreover, he allows space herefor a bass arioso and tenor aria (‘Betrachte,meine Seel, mit ängstlichem Vergnügen’ and‘Erwäge, wie sein blutgefärbter Rücken’) to givethe congregation more time to reflect onChrist’s sacrifice, which was given selflessly forthe good of all people. When Jesus iscrucified, Bach also takes a moment to stepoutside the Gospel text to deliver a trulyhuman message: an alto soloist sings the aria‘Es ist vollbracht’ (‘It is finished’), one of themost poignant moments in the work and onewhich paints Christ as a glorious figure, evenin death. Elsewhere, Bach uses ornamentationmore familiar from operatic arias to add anexpressive intensity to the text. He also useshis artistic licence and borrows – on twoclimactic occasions – from Matthew’s Gospel,firstly to depict Peter’s penitent weeping onrealising that he has betrayed Jesus, and laterto include the earthquake that marks Jesus’death, both of which add weight to thedramatic drive of the music. (Interestingly,Bach removed these additions in his thirdrevision of the work – perhaps due ascrupulous desire to depict the Gospel word

for word – but they were later reinstated).

Such elegant touches are what elevate Bach’swork from a straightforward musical renderingof the Passion story to a complex, multi-layered dramatic piece of richness andpoignance. It is a work which delivers theintensity and emotion of Christ’s trial andcrucifixion with a directness and subtletynever heard before, a work which representeda dramatic step forwards in the compositionof liturgical music, and one which wouldinfluence generations of composers for manyyears to come.

Programme note © Jo Kirkbride

Saffron HallSaffron Hall is an award-winning concert halluniquely located on the campus of SaffronWalden County High School. Built with thegenerous support of the Yellow Car CharitableTrust, Saffron Hall has become a vibrant,pioneering model of cultural provision and artseducation since its opening in November2013.

The hall is a dual-use space, operating as boththe school hall – for assemblies, parentsevenings, exams, school concerts andproductions – and also as a world-classperformance space, hosting some of the finestcultural experiences in the country, includingboth world-class and local soloists, folk andjazz ensembles, orchestras, dance groups andopera. The critically acclaimed acousticattracts world-renowned artists to the stageincluding the London Philharmonic Orchestra,Bryn Terfel, Kathryn Tickell, The Sixteen,Richard Thompson, Britten Sinfonia, The Hallé,Nicola Benedetti and Jess Gillan, to name afew.

Saffron Hall’s schools and communityprogramme brings opportunities to experienceand participate in the performing arts topeople of all ages and backgrounds. Work inthis area includes a programme ofperformances, open rehearsals, side-by-sideworkshops, and masterclasses for bothprimary and secondary school students, andpioneering community initiatives includingTogether in Sound, a music therapy project forpeople living with dementia and theircompanions.

BrittenSinfoniaIn 1992, Britten Sinfonia was established as abold reimagining of the conventional image ofan orchestra. A flexible ensemble comprisingthe UK’s leading soloists and chambermusicians came together with a unique vision:to collapse the boundaries between old andnew; to collaborate with composers,conductors and guest artists across the arts,focussing on the musicians rather thanfollowing the vision of a principal conductor;and to create involving, intelligent musicevents that both audiences and performersexperience with an unusual intensity.

The orchestra is named after Benjamin Britten,in part a homage to its chosen home of theeast of England, where Britten’s roots werealso strong. But Britten Sinfonia also embodiesits namesake’s ethos. Its projects areilluminating and distinctive, characterised bytheir rich diversity of influences and artisticcollaborators; and always underpinned by acommitment to uncompromising quality,whether the orchestra is performing in NewYork’s Lincoln Center on in Lincolnshire’sCrowland Abbey. Britten Sinfonia musiciansare deeply rooted in the communities withwhich they work, with an underlyingphilosophy of finding ways to reach even themost excluded individuals and groups.

Today Britten Sinfonia is heralded as one ofthe world’s leading ensembles and itsphilosophy of adventure and reinvention hasinspired a new movement of emergingchamber groups. It is an Associate Ensembleat London’s Barbican, Resident Orchestra atSaffron Hall in Essex and has residencies inNorwich and Cambridge. It performs an annualchamber music series at London’s WigmoreHall and appears regularly at major UKfestivals including the Aldeburgh, Brighton,Norfolk & Norwich Festivals and the BBCProms. The orchestra has performed a livebroadcast to more than a million peopleworldwide from the Sistine Chapel, and toured

to the US, Asia and much of Europe. It is aBBC Radio 3 Broadcast Partner and hasaward-winning recordings on the Hyperion andHarmonia Mundi labels.

Recent and current collaborators includeKeaton Henson and dancer/choreographerPam Tanowitz with commissions from ThomasAdès, Gerald Barry, Shiva Freshareki, EmilyHoward, Brad Mehldau and Mark-AnthonyTurnage. The orchestra was a commissioningpartner in a groud-breaking partnershipbetween minimalist composer Steve Reichand visual artist Gerhard Richter in a newwork that was premiered in October 2019.

Outside the concert hall, Britten Sinfoniamusicians work on creative and theraputicprojects with pre-school children, teenagers,young carers, people suffering from dementia,life-time prisoners and older people at risk ofisolation. The orchestra’s annual OPUScompetition offers unpublished composers thechance to receive a professional commissionand unearths new, original and exciting UKcompositional talent. Members of BrittenSinfonia Academy, the orchestra’s youthchamber ensemble for talented youngperformers, have performed in museums,improvised with laptop artists, led familyworkshops and appeared at Latitude Festival.

Daniel HydeDaniel Hyde is a versatile musician: a world-class conductor and organist, a natural leaderand a broad-minded academic. Daniel hasheld the prestigious post of Director of Musicat King’s College, Cambridge since October2019. As part of this role Daniel is responsiblefor one of the world’s most renowned choirs;working with the choristers and scholars ofthe Choir of King’s College, Cambridge is anurturing and inspirational role, well-suited toDaniel as a world-class choral trainer.

Born in the UK, schooled as a chorister atDurham Cathedral, he was made a Fellow ofthe Royal College of Organists at the age of17 and won the organ scholarship to King’sCollege, Cambridge, later taking up theposition of Director of Music at Jesus College,Cambridge. In 2009, he became InformatorChoristarum at Magdalen College, Oxford,where he was also an Associate Professor. In2016 Daniel moved to the USA where hebecame Organist and Director of Music atSaint Thomas Church, Fifth Avenue, New YorkCity.

As a choral and orchestral conductor, Danielhas worked with many of the world’s leadingensembles including the BBC Singers, theLondon Bach Choir, Britten Sinfonia, theOrchestra of the Age of Enlightenment, theAcademy of St Martin in the Fields, theOrchestra of St Luke’s and New York BaroqueIncorporated.

Danielís broad-ranging discography can befound on the Opus Arte, Linn, Naxos and EMIand Priory labels, with future releases plannedfor the King’s College label.

A phenomenal organist, Daniel has performedthroughout the world giving recitals. He hasappeared at the BBC Proms on numerousoccasions, and made his solo debut there in2010, performing Bach’s Canonic Variations atthe organ of the Royal Albert Hall.

As an ensemble player he has appeared withPhantasm, Britten Sinfonia, The Tallis Scholars,Aurora Orchestra, Gabrieli Consort and theAcademy of St Martin in the Fields, amongstothers.

SingersAltos

Helen CharlstonHelen Charlston was a Choral Scholar atTrinity College, Cambridge and won First Prizein the 2018 Handel Singing Competition.Acclaimed for her musical interpretation andpresence, Helen Charlston is cementingherself as a key performer in the nextgeneration of singers. She was a Rising Starfor Orchestra of the Age of Enlightenment2017-19 and last season she made debutswith the Academy of Ancient Music,Cambridge Handel Opera Company,Queensland Symphony Orchestra and theConcertgebouw Chamber Orchestra.

Jess DandyJess Dandy has been praised for herinstrument of velvety plangent timbre, and herartistic maturity of remarkable immediacy. Shehas appeared on the concert platform withthe Orchestre rèvolutionnaire et romantique,The English Concert, Florilegium, BBC NationalOrchestra & Chorus of Wales, The Academy ofAncient Music, The Dunedin Consort, BBCSymphony Orchestra, and Les Arts florissants;collaborating with conductors including SirJohn Eliot Gardiner, Harry Bicket, TrevorPinnock, John Butt William Christie, KristianBezuidenhout and Stephen Layton.

Hugh CuttingHugh Cutting is a British countertenor,currently in his second year of the Master ofPerformance course at the Royal College ofMusic where he is a Leverhulme Arts Scholar.Recent concert performances have includedMessiah in Hereford Cathedral, a solo lutesong appearance on the BBC Early MusicShow, BWV 11 Ascension Oratorio with AshleySolomon and RCM Baroque Orchestra andChorus, Bach’s Passions and cantatas (solos)with The Oxford Bach Soloists and Choir of StJohn’s College, Cambridge.

Sopranos

Julia DoyleA specialist soprano in Baroque repertoire,Julia Doyle has performed all over the worldwith ensembles including Tafelmusik,Australian Chamber Orchestra and RPO, withconductors including Sir John Eliot Gardiner,Stephen Layton, Philippe Herreweghe andRichard Tognetti. Her discography includesHandel’s Messiah with Britten Sinfonia andPolyphony, Bach’s Magnificat with DunedinConsort and Lutheran Masses with TheSixteen.

Marie-Antoinette StabentheinerAustrian soprano Marie-AntoinetteStabentheiner is a graduate of the Universityof Music and Performing Arts in Vienna. Shehas performed all over Europe as a consortsinger and soloists, specialising inrenaissance, baroque and contemporaryrepertoire, and has appeared with La GrandeChapelle, New London Baroque and Companyof Music.

Anita MonserratA graduate of Music at Trinity College,Cambridge, where she was a member ofTrinity College Choir, Anita has recentlyperformed with Tenebrae Choir at the BBCProms, Wigmore Hall and on BBC Four’sCulture in Quarantine series. She is currentlypursuing her vocal studies at the RoyalAcademy of Music.

Tenors

Gwilym Bowen - EvangelistGwilym studied at Trinity College, Cambridgeand the Royal Academy of Music, and hassung Bach, Monteverdi and Handel with JohnButt/Dunedin Consort/BBC NOW, StephenLayton/Polyphony/OAE, Richard Egarr/AAM,CBSO, Seattle Symphony, MelbourneSymphony, Concerto Copenhagen and theAustralian Chamber Orchestra. His recordingsinclude Mass in B Minor on Hyperion andHandel’s Brockes Passion with AAM andRichard Egarr, and sings in Britten’s AMidsummer Night’s Dream at the GrangeFestival this year.

Nick PritchardNick Pritchard was a Choral Scholar at NewCollege, Oxford and is currently a SamlingArtists and member of OAE’s ‘Rising Stars’scheme. He has performed with orchestrassuch as BBC NOW, Philharmonia Orchestra,Dunedin Consort and The English Concert.Operatic roles include Lysander A MidsummerNight’s Dream under Ryan Wigglesworth(Aldeburgh), Prologue The Turn of the Screwand Ferrando Cosi fan tutti for Opera HollandPark and Nevill Holt Opera, Amphinomus Ilritorno d’Ulisse in patria under ChristianCurnyn for the Royal Opera House, andMatthew in Mark Simpson’s Pleasure for OperaNorth, Aldeburgh and The Royal Opera.

Ruairi BowenRuairi was a Choral Scholar at King’s College,Cambridge, and is now establishing himself asa soloist in a wide range of repertoire. He hasrecently made his debut at Wigmore Hall andLeipzig Bachfest, and was a finalist in theLondon Handel Singing Competition inDecember 2020. He has performed Bach withSir John Eliot Gardiner and the EnglishBaroque Soloists at the Royal Concertgebouw,the Wiener Musikverein, the Barbican, andother recent engagements include Stanfordwith BBC NOW and Vaughan Williams’ ACostwold Romance in Lebanon.

James MicklethwaiteJames Micklethwaite was a Choral Scholar atKing’s College, Cambridge and is now studyingfor a Masters in Vocal Studies at the RoyalCollege of Music. James has played the roleof Hippolyte in Rameau’s Hippolyte et Aricie inRCM Opera Scenes, has appeared with RCMcolleagues in a performance of Elgar’s TheApostles in the Royal Festival Hall with theLondon Philharmonic Orchestra, and hasappeared as soloist in Mozart’s Requiem andCoronation Mass, Haydn’s Nelson Mass andHandel’s Messiah.

BASSES

Alex AshworthSince studies at St John’s College, Cambrdigeand the Royal Academy of Music, AlexAshworth has worked with many of Britain’smain opera companies, includingGlyndebourne Festival Opera, Scottish Operaand Welsh National Opera. He is anaccomplished interpreter of oratorio,appearing in many of Londonís major venues;including The Royal Festival Hall, The Barbicanand The Royal Albert Hall (for the BBC Proms).He has sung Berlioz with Sir Colin Davis,Haydn with Sir Roger Norrington, and manyBach and Handel performances with Sir JohnEliot Gardiner.

William Gaunt - JesusWilliam Gaunt was born in Yorkshire andbegan his musical education there as achorister at Ripon Cathedral, later winning achoral scholarship to King’s College,Cambridge. He performs regularly with manyof the UK’s most prominent ensembles,including The Gabrieli Consort, The King’sConsort and Tenebrae. As a soloist recentperformances include Bach St Matthew and StJohn Passions and B minor Mass, HandelMessiah and Dixit Dominus, Puccini Messa diGloria, Rossini Petite Messe Solennelle andStabat Mater, and Stravinsky Les Noces.Recordings include Fauré Requiem with theLondon Symphony Orchestra and MonteverdiVespers with the Orchestra of the Age ofEnlightenment.

Malachy FrameMalachy studied at Gonville and CaiusCollege, Cambridge and the Royal Academy ofMusic. His operatic roles have includedAeneas in Purcell’s Dido and Aeneas,Guglielmo in Mozart’s Cosí fan tutte, Slook inRossini's La Cambiale di Matrimonio, andMasetto in Mozart’s Don Giovanni. As aconcert soloist, recent performances haveincluded Britten's War Requiem, Orff’s Carminaburana, Bach’s Christmas Oratorio, Magnificat,St John Passion, and St Matthew Passion,Brahms’ Ein Deutsches Requiem, Handel’sMessiah and Alexander’s Feast, and Vaughan-Williams’ Five Mystical Songs.

PART ONEChorusHerr, unser Herrscher, dessen Ruhm in allenLanden herrlich ist! Zeig uns durch deine Passion, daß du, der wahre Gottessohn, zu aller Zeit, auch in der größten Niedrigkeit,verherrlicht worden bist!

EvangelistJesus ging mit seinen Jüngern über den BachKidron, da war ein Garten, darein ging Jesusund seine Jünger. Judas aber, der ihn verriet,wußte den Ort auch, denn Jesus versammletesich oft daselbst mit seinen Jüngern. Da nunJudas zu sich hatte genommen die Schar undder Hohenpriester und Pharisäer Diener,kommt er dahin mit Fakkeln, Lampen und mitWaffen. Als nun Jesus wußte alles, was ihmbegegnen sollte, ging er hinaus und sprach zuihnen:

JesusWen suchet ihr?

EvangelistSie antworteten ihm:

ChorusJesum von Nazareth!

EvangelistJesus spricht zu ihnen:

JesusIch bins.

EvangelistJudas aber, der ihn verriet, stund auch beiihnen. Als nun Jesus zu ihnen sprach: Ich bins,wichen sie zurück und fielen zu Boden. Dafragete er sie abermal:

PART ONEChorusLord, our Redeemer, whose glory is in all theworld, show us in this thy Passion that thou, the true Son of God, hast conquered death and tribulation.

EvangelistJesus went forth with his disciples across theKidron valley, where there was a garden,which he and his disciples entered. NowJudas, who betrayed him, also knew the place,for Jesus often met there with his disciples.So Judas, procuring a band of soldiers andsome officers from the chief priests and thePharisees, went there with lanterns andtorches and weapons. Then Jesus, knowing allthat was to befall him, came forward and saidto them:

JesusWhom seek ye?

EvangelistThey answered him:

ChorusJesus of Nazareth!

EvangelistJesus said to them:

JesusI am he.

EvangelistAnd Judas also, who betrayed him, stood withthem. As soon then as he had said unto them‘I am he’, they went backward and fell to theground. Then asked he them again:

TextJS Bach St John Passion (1724)

JesusWen suchet ihr?

EvangelistSie aber sprachen:

ChorusJesum von Nazareth.

EvangelistJesus antwortete:

JesusIch habs euch gesagt, daß ichs sei, suchet ihrdenn mich, so lasset diese gehen!

ChoraleO 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.

EvangelistAuf daß, das Wort erfüllet würde, welches ersagte: Ich habe der keine verloren, die du mirgegeben hast. Da hatte Simon Petrus einSchwert und zog es aus und schlug nach desHohenpriesters Knecht und hieb ihm seinrecht Ohr ab; und der Knecht hieß Malchus.Da sprach Jesus zu Petro:

JesusStekke dein Schwert in die Scheide! Soll ichden Kelch nicht trinken, den mir mein Vatergegeben hat?

ChoraleDein 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!

JesusWhom seek ye?

EvangelistAnd they said:

ChorusJesus of Nazareth.

EvangelistJesus answered:

JesusI have told you that I am he; if therefore yeseek me, let these go their way.

ChoraleO wondrous love quite limitless, that brought thee here by sin and griefsurrounded. I live with all the pleasure of this world, and thou must die.

EvangelistThat the saying might be fulfilled, which hespake, ‘Of them which thou gavest me have Ilost none’. Then Simon Peter having a sworddrew it, and smote the high priest’s servant,and cut off his right ear. The servant’s namewas Malchus. Then said Jesus unto Peter:

JesusPut up thy sword into the sheath: the cupwhich my Father hath given me, shall I notdrink it?

ChoraleThy 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 filleach heart that strives against thy will.

EvangelistDie Schar aber und der Oberhauptmann unddie Diener der Jüden nahmen Jesum undbunden ihn und führeten ihn aufs erste zuHannas, der war Kaiphas Schwäher, welcherdes Jahres Hoherpriester war. Es war aberKaiphas, der den Jüden riet, es wäre gut, daßein 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.

EvangelistSimon Petrus aber folgete Jesu nach und einander 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!

EvangelistDerselbige Jünger war dem Hohenpriesterbekannt und ging mit Jesu hinein in desHohenpriester Palast. Petrus aber stunddraußen für der Tür. Da ging der andereJünger, der dem Hohenpriester bekannt war,hinaus und redete mit der Türhüterin undführete Petrum hinein. Da sprach die Magd,die Türhüterin, zu Petro:

MaidBist du nicht dieses Menschen Jünger einer?

EvangelistEr sprach:

EvangelistThen the band and the captain and officers ofthe Jews took Jesus, and bound him, and ledhim away to Annas first; for he was father inlaw to Caiaphas, which was the high priestthat same year. Now Caiaphas was he, whichgave counsel to the Jews, that it wasexpedient that one man should die for thepeople.

Aria (Alto)From the bondage of transgression my holy Saviour frees me, from all taint of deadly sickness fully heals me, bearing himself the grievous wound.

EvangelistAnd Simon Peter followed Jesus, and so didanother disciple.

Aria (Soprano)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.

EvangelistThat disciple was known unto the high priest,and went in with Jesus into the palace of thehigh priest. But Peter stood at the doorwithout. Then went out that other disciple,which was known unto the high priest, andspake unto her that kept the door, andbrought in Peter. Then saith the damsel thatkept the door unto Peter:

MaidArt not thou also one of this man’s disciples?

EvangelistHe saith:

PeterIch bins nicht.

EvangelistEs stunden aber die Knechte und Diener undhatten ein Kohlfeu’r gemacht (denn es warkalt) und wärmeten sich. Petrus aber stund beiihnen und wärmete sich. Aber derHohepriester fragte Jesum um seine Jüngerund um seine Lehre. Jesus antwortete ihm:

JesusIch habe frei, öffentlich geredet vor der Welt.Ich habe allezeit gelehret in der Schule und indem Tempel, da alle Judenzusammenkommen, und habe nichts imVerborgnen geredt. Was fragest du michdarum? Frage die darum, die gehöret haben,was ich zu ihnen geredet habe! Siehe,dieselbigen wissen, was ich gesaget habe.

EvangelistAls er aber solches redete, gab der Dienereiner, die dabeistunden, Jesu einenBakkenstreich und sprach:

OfficerSolltest du dem Hohenpriester alsoantworten?

EvangelistJesus aber antwortete:

JesusHab ich übel geredt, so beweise es, daß esböse sei, hab ich aber recht geredt, wasschlägest du mich?

ChoraleWer hat dich so geschlagen,mein Heil, und dich mit Plagenso übel zugericht’t?Du bist ja nicht ein Sünder,wie wir und unsre Kinder,von Missetaten weißt du nicht.

PeterI am not.

Evangelist And the servants and officers stood there,who had made a fire of coals; for it was cold:and they warmed themselves: and Peter stoodwith them, and warmed himself. The highpriest then asked Jesus of his disciples, and ofhis doctrine. Jesus answered him:

JesusI spake openly to the world; I ever taught inthe synagogue, and in the temple, whither theJews always resort; and in secret have I saidnothing. Why askest thou me? ask them whichheard me, what I have said unto them: behold,they know what I said.

EvangelistAnd when he had thus spoken, one of theofficers which stood by struck Jesus with thepalm of his hand, saying,

OfficerAnswerest thou the high priest so?

EvangelistJesus answered him:

JesusIf I have spoken evil, bear witness of the evil:but if well, why smitest thou me?

ChoraleO 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.

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.

EvangelistUnd Hannas sandte ihn gebunden zu demHohenpriester Kaiphas. Simon Petrus stundund wärmete sich, da sprachen sie zu ihm:

ChorusBist du nicht seiner Jünger einer?

EvangelistEr leugnete aber und sprach:

PeterIch bins nicht.

EvangelistSpricht des Hohenpriesters Knecht’ einer, einGefreundter des, dem Petrus das Ohrabgehauen hatte:

ServantSahe ich dich nicht im Garten bei ihm?

EvangelistDa verleugnete Petrus abermal, und alsobaldkrähete der Hahn. Da gedachte Petrus an dieWorte Jesu und ging hinaus und weinetebitterlich.

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.

It is I, with my sinsthat are as countlessas the sands by the sea,which have brought thee thy misery,and the host of torments that ye bear.

EvangelistNow Annas had sent him bound untoCaiaphas the high priest. And Simon Peterstood and warmed himself. They saidtherefore unto him:

ChorusArt not thou also one of his disciples?

EvangelistHe denied it, and said:

PeterI am not.

EvangelistOne of the servants of the high priest, beinghis kinsman whose ear Peter cut off, saith:

ServantDid not I see thee in the garden with him?

EvangelistPeter then denied again: and immediately thecock crew. And Peter remembered the sayingof Jesus and he went out and wept bitterly.

Aria (tenor)Ah, my soul, whither wilt thou fly? Where shall I seek for comfort? Shall I stay? Or depart and leavethe 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.

ChoralePetrus, der nicht denkt zurück,seinen Gott verneinet,der doch auf ein’ ernsten Blickbitterlichen weinet.Jesu, blikke mich auch an,wenn ich nicht will büßenwenn ich Böses hab getan,rühre mein Gewissen!

PART TWOChoraleChristus, der uns selig macht, kein Bös’ hatbegangen,der ward für uns in der Nacht als ein Diebgefangen, geführt vor gottlose Leut und fälschlichverklaget,verlacht, verhöhnt und verspeit, wie denn dieSchrift saget.

EvangelistDa führeten sie Jesum von Kaipha vor dasRichthaus, und es war frühe. Und sie gingennicht in das Richthaus, auf daß sie nichtunrein würden, sondern Ostern essenmöchten. Da ging Pilatus zu ihnen heraus undsprach:

PilateWas bringet ihr für Klage wider diesenMenschen?

EvangelistSie antworteten und sprachen zu ihm:

ChorusWäre dieser nicht ein Übeltäter, wir hätten dirihn nicht überantwortet.

EvangelistDa sprach Pilatus zu ihnen:

PilateSo nehmet ihr ihn hin und richtet ihn nacheurem Gesetze!

ChoralePeter, faithless, thrice deniesthat his Lord he knoweth;when he meets those earnest eyes,weeping, thence he goeth.If I am unrepentantlook on me with kindness:whenever I do wrongrouse my inner conscience.

PART TWOChoraleChrist who brings us joy and has done nowrong,For our sake he was seized like a thief in thenight.He was taken before unbelievers and falselyaccused.He was derided, spat upon and vilely mockedas it is written in the Scriptures.

EvangelistThen led they Jesus from Caiaphas unto thehall of judgment: and it was early; and theythemselves went not into the judgment hall,lest they should be defiled; but that theymight eat the passover. Pilate then went outunto them, and said:

PilateWhat accusation bring ye against this man?

EvangelistThey answered and said unto him:

ChorusIf he were not a wrong-doer, we would nothave delivered him up unto thee.

EvangelistThen said Pilate unto them:

PilateTake ye him, and judge him according to yourlaw.

EvangelistDa sprachen die Jüden zu ihm:

ChorusWir dürfen niemand töten.

EvangelistAuf daß erfüllet würde das Wort Jesu, welcheser sagte, da er deutete, welches Todes ersterben würde. Da ging Pilatus wieder hineinin das Richthaus and rief Jesu und sprach zuihm:

PilateBist du der Jüden König?

EvangelistJesus antwortete:

JesusRedest du das von dir selbst, oder habens dirandere von mir gesagt?

EvangelistPilatus antwortete:

PilateBin ich ein Jüde? Dein Volk und dieHohenpriester haben dich mir über antwortet:was hast du getan?

EvangelistJesus antwortete:

JesusMein Reich ist nicht von dieser Welt; wäremein Reich von dieser Welt, meine Dienerwürden darob kämpfen, daß ich den Jüdennicht überantwortet würde; aber nun ist meinReich nicht von dannen.

ChoraleAch großer König, groß zu allen Zeiten,wie kann ich gnugsam diese Treu ausbreiten? Kein’s Menschen Herze mag indes ausdenken,was dir zu schenken.

EvangelistThe Jews therefore said unto him:

ChorusIt is not lawful for us to put any man to death.

EvangelistThat the saying of Jesus might be fulfilled,which he spake, signifying what death heshould die. Then Pilate entered into thejudgment hall again, and called Jesus, andsaid unto him:

PilateArt thou the King of the Jews?

EvangelistJesus answered him.

JesusSayest thou this thing of thyself, or did otherstell it thee of me?

EvangelistPilate answered:

PilateAm I a Jew? Thine own nation and the chiefpriests have delivered thee unto me: whathast thou done?

EvangelistJesus answered:

JesusMy kingdom is not of this world: if mykingdom were of this world, then would myservants fight, that I should not be delivered tothe Jews: but now is my kingdom not fromhence.

ChoraleO mighty King, eternal is thy glory!How can I express my allegiance to thee?No human heart can imagine a giftwhich is fit to give thee.

Ich kann’s mit meinen Sinnen nicht erreichen, womit doch dein Erbarmen zu vergleichen.Wie kann ich dir denn deine Liebestaten imWerk erstatten?

EvangelistDa sprach Pilatus zu ihm:

PilateSo bist du dennoch ein König?

EvangelistJesus antwortete:

JesusDu sagstís, ich bin ein König. Ich bin dazugeboren und in die Welt kommen, daß ich dieWahrheit zeugen soll. Wer aus der Wahrheitist, der höret meine Stimme.

EvangelistSpricht Pilatus zu ihm:

PilateWas ist Wahrheit?

EvangelistUnd da er das gesaget, ging er wieder hinauszu den Jüden und spricht zu ihnen:

PilateIch finde keine Schuld an ihm. Ihr habt abereine Gewohnheit, daß ich euch einen losgebe;wollt ihr nun, daß ich euch der Jüden Königlosgebe?

EvangelistDa schrieen sie wieder allesamt und sprachen:

ChorusNicht diesen, sondern Barrabam!

EvangelistBarrabas aber war ein Mörder. Da nahmPilatus Jesum und geißelte ihn.

Neither can I find anything to comparewith thy merciful goodness.What can I do for thee to be worthyof thy loving deeds?

EvangelistPilate therefore said unto him:

PilateArt thou a king then?

EvangelistJesus answered:

JesusThou sayest that I am a king. To this end was Iborn, 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 myvoice.

EvangelistPilate saith unto him:

PilateWhat is truth?

EvangelistAnd when he had said this, he went out againunto the Jews, and saith unto them,

PilateI find in him no fault at all. But ye have acustom, that I should release unto you one atthe passover: will ye therefore that I releaseunto you the King of the Jews?

EvangelistThen cried they all again, saying:

ChorusNot this man, but Barabbas.

EvangelistNow Barabbas was a robber. Then Pilatetherefore took Jesus, and scourged him.

Arioso (bass)Betrachte, meine Seel, mit ängstlichemVergnügen, mit bittrer Lust und halbeklemmtem Herzen dein höchstes Gut inJesu Schmerzen, wie dir auf Dornen, so ihnstechen, die Himmelschlüsselblumen blühn!Du kannst viel süße Frucht von seiner Wermutbrechen, drum sieh ohn Unterlaß auf ihn!

Aria (tenor)Erwäge wie sein blutgefärbter Rükken in allenStükken dem Himmel gleiche geht, daran,nachdem die Wasserwogen von unsrerSündflut sich verzogen, der allerschönsteRegenbogen als Gottes Gnadenzeichen steht!

EvangelistUnd die Kriegsknechte flochten eine Kronevon Dornen und satzten sie auf sein Hauptund legten ihm ein Purpurkleid an undsprachen:

ChorusSie gegrüßet, lieber Jüdenkönig!

EvangelistUnd gaben ihm Bakkenstreiche. Da gingPilatus wieder heraus und sprach zu ihnen:

PilateSehet, ich führe ihn heraus zu euch, daß ihrerkennet, daß ich keine Schuld an ihm finde.

EvangelistAlso ging Jesus heraus und trug eineDornenkrone und Purpurkleid. Und er sprachzu ihnen:

PilateSehet, welch ein Mensch! Da ihn dieHohenpriester und die Diener sahen, schrieensie und sprachen:

ChorusKreuzige!

Arioso (bass)Consider, O my soul, with fearful joy consider,with bitter anguish, in thy heart afflicted, thyhighest good is Jesusí sorrow: for thee, fromthe thorns that pierce him, what heavenlyflowers spring, thou canst the sweetest fruithis wormwood gather, then look for evermoreto him.

Aria (tenor)Consider how his bloodstained back bringsheaven before our eyes. When the floodwatersof our sin have receded, then appears therainbow as a sign of God’s mercy.

EvangelistAnd the soldiers platted a crown of thorns,and put it on his head, and they put on him apurple robe, and said:

ChorusHail, King of the Jews!

EvangelistAnd they smote him with their hands. Pilatetherefore went forth again, and saith untothem:

PilateBehold, I bring him forth to you, that ye mayknow that I find no fault in him.

EvangelistThen came Jesus forth, wearing the crown ofthorns, and the purple robe. And Pilate saithunto them:

PilateBehold the man! When the chief prieststherefore and officers saw him, they cried out,saying,

ChorusCrucify him!

EvangelistPilatus sprach zu ihnen:

PilateNehmet ihr ihn hin und kreuziget ihn; denn ichfinde keine Schuld an ihm!

EvangelistDie Jüden antworteten ihm:

ChorusWir haben ein Gesetz, und nach dem Gesetzsoll er sterben; denn er hat sich selbst zuGottes Sohn gemacht.

EvangelistDa Pilatus das Wort hörete, fürchtet’ er sichnoch mehr und ging wieder hinein in dasRichthaus, und spricht zu Jesu:

PilateVon wannen bist du?

EvangelistAber Jesus gab ihm keine Antwort. Da sprachPilatus zu ihm:

PilateRedest du nicht mit mir? Weißest du nicht, dasich Macht habe, dich zu kreuzigen, und Machthabe, dich loszugeben?

EvangelistJesus antwortete:

JesusDu hättest keine Macht über mich, wenn siedir nicht wäre von oben herab gegeben;darum, der mich dir überantwortet hat, derhatís größ’re Sünde.

EvangelistVon dem an trachtete Pilatus, wie er ihnlosließe.

EvangelistPilate saith unto them:

PilateTake ye him, and crucify him: for I find no faultin him.

EvangelistThe Jews answered him:

ChorusWe have a law, and by our law he ought todie, because he made himself the Son of God.

EvangelistWhen Pilate therefore heard that saying, hewas the more afraid; And went again into thejudgment hall, and saith unto Jesus:

PilateWhence art thou?

EvangelistBut Jesus gave him no answer. Then saithPilate unto him:

PilateSpeakest thou not unto me? Knowest thounot that I have power to crucify thee, and havepower to release thee?

EvangelistJesus answered:

JesusThou couldest have no power at all againstme, except it were given thee from above:therefore he that delivered me unto thee haththe greater sin.

EvangelistAnd from thenceforth Pilate sought to releasehim:

ChoraleDurch dein Gefängnis, Gottes Sohn,muß uns die Freiheit kommen;Dein Kerker ist der Gnadenthron,die Freistatt aller Frommen;denn gingst du nichtdie Knechtschaft ein,müßt unsre Knechtschaft ewig sein.

EvangelistDie Jüden aber schrieen und sprachen:

ChorusLässest du diesen los, so bist du des KaisersFreund nicht; denn wer sich zum Königemachet, der ist wider den Kaiser.

EvangelistDa Pilatus das Wort hörete, führete er Jesumheraus and satzte sich auf den Richtstuhl, ander Stätte, die da heißet: Hochpflaster, aufEbräisch aber: Gabbatha. Es war aber derRüsttag in Ostern um die sechste Stunde, under spricht zu den Jüden:

PilateSehet, das ist euer König!

EvangelistSie schrieen aber:

ChorusWeg, weg mit dem, kreuzige ihn!

EvangelistSpricht Pilatus zu ihnen:

PilateSoll ich euren König kreuzigen?

EvangelistDie Hohenpriester antworteten:

ChorusWir haben keinen König denn den Kaiser.

ChoraleThy 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.

EvangelistBut the Jews cried out, saying:

ChorusIf thou let this man go, thou art not Caesar’sfriend: whosoever maketh himself a kingspeaketh against Caesar.

EvangelistWhen Pilate therefore heard that saying, hebrought Jesus forth, and sat down in thejudgment seat in a place that is called thePavement, but in the Hebrew, Gabbatha. Andit was the preparation of the passover, andabout the sixth hour: and he saith unto theJews:

PilateBehold your King!

EvangelistBut they cried out:

ChorusAway, away with him, crucify him.

EvangelistPilate saith unto them:

PilateShall I crucify your King?

EvangelistThe chief priest answered

ChorusWe have no king but Caesar.

EvangelistDa überantwortete er ihn, daß er gekreuzigetwürde. Sie nahmen aber Jesum und führetenihn hin. Und er trug sein Kreuz und ginghinaus zur Stätte, die da heißet Schädelstätt,welche heißet auf Ebräisch: Golgatha.

Aria (bass, chorus)Eilt, ihr angefochtnen Seelen, geht aus eurenMarterhöhlen – Wohin? – nach Golgatha!Nehmet an des Glaubens Flügel, flieht –Wohin? – zum Kreuzeshügel, eure Wohlfahrtblüht allda!

EvangelistAllda kreuzigten sie ihn, und mit ihm zweenandere zu beiden Seiten, Jesum aber mitteninne. Pilatus aber schrieb eine Überschrift undsetzte sie auf das Kreuz, und war geschrieben:JESUS VON NAZARETH, DER JÜDEN KÖNIG.Diese Überschrift lasen viel Jüden, denn dieStätte war nahe bei der Stadt, da Jesusgekreuziget ist. Und es war geschrieben aufebräische, griechische und lateinischeSprache. Da sprachen die Hohenpriester derJüden zu Pilato:

ChorusSchreibe nicht: der Jüden König, sondern daßer gesaget habe: Ich bin der Jüden König.

EvangelistPilatus antwortet:

PilateWas ich geschrieben habe, das habe ichgeschrieben.

ChoraleIn meines Herzens Grunde,dein Nam und Kreuz alleinfunkelt all Zeit und Stunde,drauf kann ich fröhlich sein.

Erschein mir in dem Bildezu Trost in meiner Not,

EvangelistThen delivered he him therefore unto them tobe crucified. And they took Jesus, and led himaway. And he bearing his cross went forth intoa place called the place of a skull, which iscalled in the Hebrew: Golgotha.

Aria (bass, chorus)Haste, ye deeply wounded spirits, bring yourheavy burdens. Whither? To Golgotha! Take, Otake the wings of faith and fly. Whither? To theCross of Jesus: there shall relief and healingbe found.

EvangelistWhere they crucified him, and two other withhim, on either side one, and Jesus in themidst. And Pilate wrote a title, and put it onthe cross. And the writing was, JESUS OFNAZARETH THE KING OF THE JEWS. This titlethen read many of the Jews: for the placewhere Jesus was crucified was nigh to thecity: and it was written in Hebrew, and Greek,and Latin. Then said the chief priests of theJews to Pilate:

ChorusWrite not, The King of the Jews; but that hesaid, I am King of the Jews.

EvangelistPilate answered:

PilateWhat I have written I have written.

ChoraleWithin our inmost beingthy Name and Cross alone,shines there now and for alwaysso that I can rejoice.

When I am in needcomfort and console me

wie du, Herr Christ, so milde dich hast geblut’t zu Tod!

EvangelistDie Kriegsknechte aber, da sie Jesumgekreuziget hatten, nahmen seine Kleider undmachten vier Teile, einem jeglichenKriegesknechte sein Teil, dazu auch den Rock.Der Rock aber war ungenähet, von oben angewürket durch und durch. Da sprachen sieuntereinander:

ChorusLasset uns den nicht zerteilen, sondern darumlosen, wes er sein soll.

EvangelistAuf daß erfüllet würde die Schrift, die dasaget: ‘Sie haben meine Kleider unter sichgeteilet und haben über meinen Rock das Losgeworfen.’ Solches taten die Kriegesknechte.Es stund aber bei dem Kreuze Jesu seineMutter und seiner Mutter Schwester, Maria,Kleophas Weib, und Maria Magdalena. Da nunJesus seine Mutter sahe und den Jüngerdabei stehen, den er lieb hatte, spricht er zuseiner Mutter:

JesusWeib, siehe, das ist dein Sohn!

EvangelistDarnach spricht er zu dem Jünger:

JesusSiehe, das ist deine Mutter!

ChoraleEr 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,

with this picture of theeso patiently enduring death itself.

EvangelistThen the soldiers, when they had crucifiedJesus, took his garments, and made fourparts, to every soldier a part; and also hiscoat: now the coat was without seam, wovenfrom the top throughout. They said thereforeamong themselves:

ChorusLet us not rend it, but cast lots for it, whose itshall be:

EvangelistThat the scripture might be fulfilled, whichsaith, They parted my raiment among them,and for my vesture they did cast lots. Thesethings therefore the soldiers did. Now therestood by the cross of Jesus his mother, andhis mother’s sister, Mary the wife of Cleophas,and Mary Magdalene. When Jesus thereforesaw his mother, and the disciple standing by,whom he loved, he saith unto his mother:

JesusWoman, behold thy son!

EvangelistThen saith he to the disciple:

JesusBehold thy mother!

ChoraleHe 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

und dich nicht betrübe!

EvangelistUnd von Stund an nahm sie der Jünger zusich. Darnach, als Jesus wußte, daß schonalles vollbracht war, daß die Schrift erfülletwürde, spricht er:

JesusMich dürstet!

EvangelistDa stund ein Gefäße voll Essigs. Sie fülletenaber einen Schwamm mit Essig and legten ihnum einen Isopen, und hielten es ihm dar zumMunde. Da nun Jesus den Essig genommenhatte, sprach er:

JesusEs ist vollbracht!

Aria (alto)Es ist vollbracht! O Trost vor die gekränktenSeelen! Die Trauernacht läflt nun die letzteStunde zählen. Der Held aus Juda siegt mitMacht und schließt den Kampf. Es istvollbracht!

EvangelistUnd neiget das Haupt und verschied.

Aria & Chorale (bass, chorus)Mein teurer Heiland, laß dich fragen, da dununmehr ans Kreuz geschlagen und selbstgesagt: Es ist vollbracht, bin ich vom Sterbenfreigemacht? Kann ich durch deine Pein undSterben das Himmelreich ererben? Ist allerWelt Erlösung da? Du kannst vor Schmerzenzwar nichts sagen; doch neigest du das Hauptund sprichst stillschweigend: ja.

Jesu, der du warest tot,lebest nun ohn Ende,in der letzten Todesnotnirgend mich hinwende als zu dir,

and without anxiety.

EvangelistAnd from that hour that disciple took her untohis own home. After this, Jesus knowing thatall things were now accomplished, that thescripture might be fulfilled, saith:

JesusI thirst.

EvangelistNow there was set a vessel full of vinegar: andthey filled a sponge with vinegar, and put itupon hyssop, and put it to his mouth. WhenJesus therefore had received the vinegar, hesaid:

JesusIt is finished.

Aria (alto)It is accomplished: what comfort for sufferinghuman souls! I can see the end of the night ofsorrow. The hero from Judah ends hisvictorious fight. It is accomplished!

EvangelistAnd he bowed his head, and gave up theghost.

Aria & Chorale (bass, chorus)My dearest Saviour, let me ask thee, as thouart nailed to this cross and hast thyself said itis accomplished, am I released from death? Can I gain the heavenly kingdom through thysuffering and death? Is it that the whole worldis redeemed? Thou canst not speak for agony,but incline thy head to give a speechless ‘Yes!’

Jesus, thou wast deadand now livest for ever,bring me, in death’s extremity,nowhere but to thee who hast paid

der mich versühnt,o du lieber Herre!Gib mir nur, was du verdient,mehr ich nicht begehre!

EvangelistUnd siehe da, der Vorhang im Tempel zerriß inzwei Stück von oben an bis unten aus. Unddie Erde erbebete, und die Felsen zerrissen,und die Gräber täten sich auf, und stundenauf viel Leiber der Heiligen.

Arioso (Tenor)Mein Herz, indem die ganze Welt bei JesuLeiden gleichfalls leidet, die Sonne sich inTrauer kleidet, der Vorhang reißt, der Felszerfällt, die Erde bebt, die Gräber spalten, weilsie den Schöpfer sehn erkalten, was willst dudeines Ortes tun?

Aria (Soprano)Zerfließe, mein Herze, in Fluten der Zährendem Höchsten zu Ehren! Erzähle der Welt unddem Himmel die Not: Dein Jesus ist tot!

EvangelistDie Jüden aber, dieweil es der Rüsttag war,daß nicht die Leichname am Kreuze bliebenden Sabbath über (denn desselbigenSabbaths Tag war sehr gross), baten siePilatum, daß ihre Beine gebrochen und sieabgenommen würden. Da kamen dieKriegsknechte und brachen dem ersten dieBeine und dem andern, der mit ihmgekreuziget war. Als sie aber zu Jesu kamen,da sie sahen, daß er schon gestorben war,brachen sie ihm die Beine nicht; sondern derKriegsknechte einer eröffnete seine Seite miteinem Speer, und also bald ging Blut undWasser heraus. Und der das gesehen hat, derhat es bezeuget, und sein Zeugnis ist wahr,und derselbige weiß, daß er die Wahrheitsaget, auf daß ihr gläubet. Denn solches istgeschehen, auf daß die Schrift erfüllet würde:‘Ihr sollet ihm kein Bein zerbrechen’. Undabermal spricht eine andere Schrift: ‘Sie

the debt I owe to God.My true and faithful master,give me only what thou hast wonfor how could there be more to wish for?

EvangelistAnd behold, the curtain of the temple wastorn in two from top to bottom. There was anearthquake, the rocks split, and the gravesopened and many of God’s people arose fromsleep.

Arioso (Tenor)My heart, while the whole world shares Jesusísuffering, the sun in mourning, the veil rent,the rocks split, the earth quaking, the gravesopening, because they see the Creator growcold in death, what wilt thou do for thy part?

Aria (Soprano)Dissolve then, heart, in floods of tears as thytribute to our God. Tell earth and heaven thegrievous news thy Jesus is dead!

EvangelistThe Jews therefore, because it was thepreparation, that the bodies should not remainupon the cross on the sabbath day, (for thatsabbath day was an high day,) besought Pilatethat their legs might be broken, and that theymight be taken away. Then came the soldiers,and brake the legs of the first, and of theother which was crucified with him. But whenthey came to Jesus, and saw that he wasdead already, they brake not his legs: But oneof 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 recordis true: and he knoweth that he saith true, thatye might believe. For these things were done,that the scripture should be fulfilled, A bone ofhim shall not be broken. And again anotherscripture saith, They shall look on him whomthey pierced.

werden sehen, in welchen sie gestochenhaben’.

ChoraleO hilf, Christe, Gottes Sohn, durch dein bitterLeiden,daß wir dir stets untertan all Untugendmeiden, deinen Tod und sein Ursach fruchtbarlichbedenken,dafür, wiewohl arm und schwach, dirDankopfer schenken!

EvangelistDarnach bat Pilatum Joseph von Arimathia,der ein Jünger Jesu war (doch heimlich, ausFurcht vor den Jüden), daß er möchteabnehmen den Leichnam Jesu. Und Pilatuserlaubete es. Derowegen kam er und nahmden Leichnam Jesu herab. Es kam aber auchNikodemus, der vormals bei der Nacht zu Jesukommen war, und brachte Myrrhen und Aloenuntereinander bei hundert Pfunden. Danahmen sie den Leichnam Jesu und bundenihn in leinen Tücher mit Spezereien, wie dieJüden pflegen zu begraben. Es war aber ander Stätte, da er gekreuziget ward, ein Garten,und im Garten ein neu Grab, in welchesniemand je geleget war. Daselbst hin legtensie Jesum, um des Rüsttags willen der Jüden,dieweil das Grab nahe war.

ChorusRuht 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.

ChoraleAch Herr, laß dein lieb Engeleinam letzten End die Seele meinin Abrahams Schoß tragen,den Leib in sein’m Schlafkämmerlein

ChoraleHelp us, Christ, the Son of Godas thy loyal followers,to avoid wrongdoing and,with the thought of thy death and its causeto bring thee thank-offeringsfor all that thou hast done,poor and weak though we may be.

EvangelistAnd after this Joseph of Arimathaea, being adisciple of Jesus, but secretly for fear of theJews, besought Pilate that he might take awaythe body of Jesus: and Pilate gave him leave.He came therefore, and took the body ofJesus. And there came also Nicodemus, whichat the first came to Jesus by night, andbrought a mixture of myrrh and aloes, aboutan hundred pound weight. Then took they thebody of Jesus, and wound it in linen clotheswith the spices, as the manner of the Jews isto bury. Now in the place where he wascrucified there was a garden; and in thegarden a new sepulchre, wherein was neverman yet laid. There laid they Jesus thereforebecause of the Jews’ preparation day; for thesepulchre was nigh at hand.

ChorusLie 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 furthersuffering, for me opens Heaven and closes Hell.

ChoraleO Lord, send thy cherubs in my last hour to bear my soul away to Abraham’s bosom;let it rest there untouched by pain

gar sanft, ohn ein’ge Qual und Peinruhn bis am jüngsten Tage!Alsdenn vom Tod er wekke mich,daß meine Augen sehen dichin aller Freud, o Gottes Sohn,mein Heiland und Genadenthron!Herr Jesu Christ, erhöre mich,ich will dich preisen ewiglich!

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 thisand I will glorify theethroughout eternity.