MENDELSSOHN CLUB OF PHILADELPHIA Sunday | February 8, 2015 | 4pm Alan Harler Artistic Director
Girard College Chapel 2101 South College Avenue Philadelphia PA 19121
A NORTH AMERICAN PREMIERE
From the Chorus: Dear Friends, We are delighted to welcome you here today to share in one of the major highlights of Mendelssohn Club of Philadelphia’s 141-year history. Not only is this 1841 Mendelssohn revision of Bach’s St. Matthew Passion one of our most ambitious ventures to date, it has also been a career performance dream of our beloved Artistic Director Alan Harler. The chorus is thrilled to be able to share in making this dream become a reality, and to share in this culminating year of his most distinguished career. For almost three decades, Maestro Harler has led the chorus with his endearing way of teaching not only notes and rhythms, but also all the musical nuances that capture the greatness of the music being performed. The performers are encouraged to experience a total connection with the music through a deep understanding of the composer’s intent and the music’s historical context, which leads to inspired performances that deeply resonate with the audience. We are grateful to have had the privilege to share the creative process with such a warm, humble and talented conductor, and feel honored to also call him our dear friend. Today’s North American premiere of the Bach/Mendelssohn St. Matthew Passion highlights once again Mendelssohn Club’s penchant for pairing masterworks with new or relatively unknown compositions. Mendelssohn’s 1841 revision of Bach’s masterpiece, which, surprisingly, has never been presented in North America, continues in that tradition. It has been a wonderful journey seeing this project progress through intense research, interviews, a symposium, and audience engagement in preparation for today’s performance. Through it, and because of the tremendous dedication and commitment of the entire Mendelssohn Club organization, we hope you will be just as transformed by the beauty of this music as we have been. Ending this year’s season, we look forward to presenting our latest collaborative commission, TURBINE, written by composer Byron Au Yong and performed with the Leah Stein Dance Company in two performances, May 16 & 17 at 7:00 pm at the historic Fairmount Water Works, next to the Philadelphia Art Museum. And then, to culminate the year, we will be honoring Alan Harler with a special celebration on June 6. Watch our website for forthcoming details! Congratulations to Alan Harler on his 27 fabulous years directing Mendelssohn Club of Philadelphia! Come and be inspired! Carolyn Linarello Chorus President
Mendelssohn Club of Philadelphia Alan Harler, Artistic Director
Johann Sebastian Bach
St. Matthew Passion in the version of Felix Mendelssohn, Leipzig 1841 Passions-Musik nach dem Evangelisten Matthäus……………… J. S. Bach Part I
1 Chorus: Kommt, ihr Töchter, helft mir klagen 2 Recitative (Evangelist, Jesus) 3 Chorale: Herzliebster Jesu, was hast du verbrochen 4a Recitative (Evangelist) 4b Chorus: Ja, nicht auf das Fest 4c Recitative (Evangelist) 4d Chorus: Wozu dienet dieser Unrat 4e Recitative (Evangelist, Jesus) 5 Accompanied Recitative (alto) 6 Aria: Buß und Reu (alto) 7 Recitative (Evangelist, Judas) 8 Aria: Blute nur, du liebes Herz (soprano) 9a Recitative (Evangelist) 9b Chorus: Wo willst du, dass wir dir bereiten 9c Recitative (Evangelist, Jesus) 9d Recitative (Evangelist) 9e Chorus: Herr, bin ich’s 10 Chorale: Ich bin’s, ich sollte büßen 11 Recitative (Evangelist, Jesus) 12 Recitative (Evangelist, Jesus) 13 Chorale: Erkenne mich, mein Hüter 14 Recitative: (Evangelist, Jesus, Peter) 15 Recitative (Evangelist, Jesus) 16 Accompanied Recitative (tenor and chorus) 17 Aria: Ich will bei meinem Jesum wachen (tenor, chorus) 18 Recitative (Evangelist, Jesus) 19 Recitative (Evangelist, Jesus) 20 Chorale: Was mein Gott will, das g’scheh allzeit 21 Recitative (Evangelist, Jesus, Judas) 22a Aria: So ist mein Jesus nun gefangen (soprano, alto, chorus) 2
22b Chorus: Sind Blitze, sind Donner in Wolken verschwunden 23 Recitative (Evangelist, Jesus) 24 Chorale: O Mensch, bewein dein Sünde groß Intermission Part II 25 Aria: Ach, nun ist mein Jesus hin (alto and chorus) 26 Recitative (Evangelist) 27 Recitative (Evangelist, High Priest, Witnesses) 28a Recitative (Evangelist, High Priest, Jesus) 28b Chorus: Er ist des Todes schuldig 28c Recitative (Evangelist) 28d Chorus: Weissage uns 29 Chorale: Wer hat dich so geschlagen 30a Recitative (Evangelist, Peter, Maid) 30b Chorus: Wahrlich, du bist auch einer von denen 30c Recitative (Evangelist, Peter) 31 Aria: Erbarme dich, mein Gott (soprano) 32a Recitative (Evangelist, Judas) 32b Chorus: Was gehet uns das an? 32c Recitative (Evangelist, High Priests) 33 Aria: Gebt mir mein Jesum wieder (bass) 34 Recitative (Evangelist, Pilate, Jesus) 35a Recitative (Evangelist, Pilate, Chorus) 35b Chorus: Lass ihn kreuzigen 36 Recitative (Evangelist, Pilate) 37 Accompanied Recitative (soprano) 38 Aria: Aus Liebe will mein Heiland sterben (soprano) 39a Recitative (Evangelist) 39b Chorus: Lass ihn kreuzigen 39c Recitative (Evangelist, Pilate) 39d Chorus: Sein Blut komme über uns 39e Recitative (Evangelist) 40 Accompanied Recitative (alto) 41a Recitative (Evangelist) 41b Chorus: Gegrüßet seist du 41c Recitative (Evangelist) 42 Chorale: O Haupt voll Blut und Wunden 43 Recitative (Evangelist) 44a Recitative (Evangelist) 44b Chorus: Der du den Tempel Gottes zerbrichst 44c Recitative (Evangelist) 3
44d 44e 45 46a 46b 46c 46d 46e 47 48a 48b 48c 49 50 51a 51b 51c 52 53
Chorus: Andern hat er geholfen Recitative (Evangelist) Accompanied Recitative (alto) Recitative (Evangelist) Chorus: Der rufet den Elias Recitative (Evangelist) Chorus: Halt, lass sehen Recitative (Evangelist) Chorale: Wenn ich einmal soll scheiden Recitative (Evangelist) Chorus: Wahrhlich, dieser ist Gottes Sohn gewesen Recitative (Evangelist) Accompanied Recitative (bass) Aria: Mache dich, mein Herze, rein (bass) Recitative (Evangelist) Chorus: Herr, wir haben gedacht Recitative (Evangelist, Pilate) Accompanied Recitative (soprano, alto, tenor, bass, chorus) Chorus: Wir setzen uns mit Tränen nieder
Susanna Phillips, soprano Marietta Simpson, mezzo-soprano Yusuke Fujii, tenor Eric Owens, bass Andrew Bogard, bass-baritone Jessica Beebe, Margaret Nice (Maid 1, Maid 2) Jean Bernard Cerin, Ryan Tibbetts (High Priest 1, High Priest 2) Jennifer Beattie, Cory O’Niell Walker (Witness 1, Witness 2)
Alan Harler, conductor Mendelssohn Club Chorus Chamber Orchestra of Philadelphia Sunday, February 8, 2015 4:00 pm Girard College Chapel
Major funding for this concert provided by The Pew Center for Arts & Heritage The use of recording or photographic equipment during this concert is strictly prohibited. Please silence audible cell phones and alarms. 4
Program Notes If any concert can be said to have changed the musical landscape, it is Mendelssohn’s landmark revival of Bach’s monumental St. Matthew Passion on March 11, 1829. It was an auspicious date – 100 years to the day (according to the best available scholarship) since Bach first introduced the Passion to his congregation at the Thomaskirche in Leipzig. Two years in the making, the concert had generated intense anticipation, both by word of mouth – Mendelssohn was rehearsing the Passion with the Singakademie, whose members included the most socially well-connected people in Berlin – and through an extraordinary public relations campaign by Adolf Bernhard Marx, the influential editor of the Berliner Allgemeine Musikalische Zeitung (Berlin General Music News), who called the Passion “the greatest and holiest musical work of all peoples.” A thousand people were crammed into the Singakademie auditorium (which comfortably seated about 850), and an equal number were turned away at the door. The concert lived up to its billing, thrilling audience and performers alike and revealing an unknown side of Bach as a composer of music of profound beauty, great drama, and deep spirituality. The concert was repeated again on March 21 (Bach’s birthday) and a third time on April 18 (Good Friday, the holy day for which the Passion had been composed.) It was the catalyst that ignited a revival of interest in Bach’s music which has continued to this day. The idea of a Bach revival suggests that the composer had somehow fallen into obscurity, which isn’t quite accurate. As in his own lifetime, Sebastian Bach was mostly known as a virtuoso organist and teacher. (In the early 19th century, he was invariably called Sebastian Bach to distinguish him from his five sons who also became musicians.) He was largely represented by his keyboard music. His four-volume Keyboard Works had been published during his lifetime and The Well-Tempered Clavier was widely available in manuscript. Most keyboard players would have studied Bach, but more as exercises and examples in compositional style than as performance pieces. Bach’s sons did much to keep his musical tradition alive, but again more through exposing their pupils to his music than through performing it in concert. Of Bach’s incredible output of sacred choral music, almost none was published and very little was widely known. And even less had ever been heard in performance. Felix Mendelssohn was only twenty when he conducted the St. Matthew Passion, but he was already a musician of uncommon maturity. He was a virtuoso on both the piano and organ and in great demand as a soloist. He had already composed some twenty works which he deemed worthy of opus numbers, including two unqualified masterpieces (the Overture to A Midsummer Night’s Dream, and the Octet for Strings). He had even endured a rare public failure with his only professionally staged opera, The Wedding of Camacho. And he was in a unique position to bring Bach’s masterwork to the public, being an
Felix Mendelssohn 5
heir to Bach’s music and traditions through both family connections and his own musical training. Mendelssohn’s family was wealthy, socially well-connected, and highly musical, especially on his mother’s side. His great-aunt Sara was a virtuoso harpsichord player who studied with Wilhelm Friedemann Bach (the eldest son) and commissioned and premiered Carl Philipp Emanuel Bach’s (the second son) Concerto for Harpsichord and Piano. His great-aunt Fanny, grandmother Bella and his mother Lea were all talented keyboard players as well and studied with Johann Philipp Kirnberger, Sebastian Bach’s most distinguished student and the author of an influential textbook on the art of composition. The family hosted musical salons showcasing both local and visiting musicians and heavily featuring the music of Sebastian Bach. They had an unusally proprietary feeling about Bach and his music, and considered it their mission to present his music to the world. When Felix was eight, he and his equally talented older sister Fanny were sent for composition and theory lessons to Carl Friedrich Zelter, a highly respected teacher and director of the Singakademie zu Berlin. Zelter took an improbable path to becoming Prussia’s most influential musician. He was the son of a master stonemason who operated as a contractor for Berlin’s wealthy and socially well-connected. Zelter was drawn to music at an early age, and his father arranged piano and violin lessons but insisted that Zelter learn a trade because the life of a professional musician was precarious at best. Zelter obligingly was apprenticed, eventually becoming a master mason, but also kept up his musical activities on the side, playing in a theater orchestra and writing choral pieces which sometimes were performed. He took over the business upon his father’s death with the intent of using it to fund his musical career. But when he approached Kirnberger with the idea of studying with him, Kirnberger famously told him he needed to decide whether he was a house builder who occasionally wrote music, or a composer who occasionally built houses. Zelter’s choice was clear. The Singakademie was a unique ensemble in many ways. It was composed mostly of amateur singers, mostly from the wealthier strata of society, and met to learn and rehearse music but not necessarily to present it in public performance. Equally unusual was their dedication to music of the past, especially that of Bach. Under Zelter’s 30-year tutelage, the ensemble grew in size and reputation, and became the model for the many amateur ensembles that sprang up in the 19th century, including Mendelssohn Club. Zelter revered Bach and had aquired a vast collection Carl Friedrich Zelter of mansucripts for the Singakademie library, mostly through donations of collectors including the Mendelssohn family. He introduced a substantial number of Bach pieces to the chorus, including the St. John Passion and parts of the B-minor Mass and St. Matthew Passion. But while he revered Bach, he believed his music was not suitable for performance. It should be studied and appreciated by trained amateurs, but not placed 6
before a public which could not understand its nuances. So it was with great trepidation that Felix Mendelssohn approached him with the idea of presenting the Matthew Passion in concert. It was grandmother Bella who had a copy made from Zelter’s manuscript St. Matthew Passion and presented it to Felix on his 15th birthday. Felix was delighted and began an intense study of the score. By the time he was 18, he and his friend Eduard Devrient, eight years older and a leading baritone with the court opera, had evolved a plan to present the Passion using the forces of the Singakademie, with Mendelssohn conducting and Devrient singing the role of Jesus. In preparation, they gathered a small group of singers and instrumentalists and began regular reharsals at Mendelssohn’s house. They eventually went to Zelter and with no little difficulty won his grudging consent for the project. Mendelssohn carefully prepared the score and rehearsed the chorus, Devrient recruited soloists from his colleagues at the opera, and Eduard Rietz, a former court musician and Mendelssohn’s violin teacher, put together an orchestra. Mendelssohn had neither means nor intent to create a historically accurate recreation of Bach’s original performances. He used the full 150-member Singakademie, while Bach probably used no more than 30 singers, including soloists. There were no oboe d’amore or oboe da caccia players, so Mendelssohn substituted clarinets for the antique instruments. His score contained no figured bass for the recitatives, so he provided his own harmonizations (which turned out to differ from Bach’s in a number of places), and played the continuo himself on the keyboard rather than using the organ and strings that Bach had specified. Unaware of many Baroque musical conventions, he added Romantic markings for dynamics and shadings to support the dramatic and emotional content of the music. But the biggest change he made was to cut about one third of the numbers in the Passion. Mendelssohn was preparing the Passion for a concert performance, not a religious service, and his idea was to pare it down to its essential dramatic story. He cut some ten arias and six chorales, in the process reducing the Passion to a more manageable two hours of music. His concept seems drastic today, but his artistic vision was musically sound and captured the essence of Bach’s monumental Passion. It proved revelatory to his audiences, who had never experienced the power and emotional intensity with which Bach had imbued the Matthew Passion, and they responded to it. Mendelssohn presented the St. Matthew Passion again in 1841 at the historic Thomaskirche in Leipzig, where it had not been heard since the time of Bach. Mendelssohn made a few changes from the original Berlin performances. In Berlin, Devrient had secured the services of Anna Milder, the leading soprano of the day, and Mendelssohn had recast several alto recitatives and arias for soprano. He restored them to the alto soloist in Leipzig. In Berlin, he had played the continuo part on the keyboard, but here he set it for low strings, closer to Bach’s original scoring. And perhaps more confident in his audience, he restored a chorale and four arias that had been cut in the 1829 performance. It is this version which is being performed today. 7
The St. Matthew Passion is one of five passion settings Bach wrote, of which only two survive. Set for vocal soloists, double chorus and double orchestra, it was his largest and most intricate composition. It was first heard in a Good Friday service on April 11, 1727 at the Thomaskirche in Leipzig. Bach continued to revise the Passion over the next twenty years. He added the two large choral movements which bracket part one for a performance in 1736 and made smaller revisions for its last performance in 1742. He compiled the final version between 1743 and 1746. Bach clearly regarded the Passion as one of his great- Johann Sebastian Bach est accomplishments. He took exceptional care in preparing the autograph manuscript, drawing barlines with a straightedge and using red ink to highlight the scriptural texts and the chorale O Lamm Gottes (O Lamb of God) which appears as a cantus firmus in the opening movement. Good Friday was a major holy day in the Lutheran calendar. It was a day of rest – no work was done or business transacted – and people fasted until dusk. Everyone was expected to attend the afternoon service, which encompassed the canonical three hours that Jesus hung upon the cross. Two overarching themes run through the Good Friday service: admission of and repentence for our sins, and God’s love for man that he would make so great a sacrifice. Bach’s St. Matthew Passion was written to be an integral part of that church service. It was designed to draw the congregation into the Passion story, to provide an opportunity for reflection on those two themes, and to elicit a personal, emotional response to the events as they unfold. The contents, form and structure of the Matthew Passion, and the drama, angst and pathos with which Bach imbues the music, must all be understood in this context. Bach drew his text from three sources. The first is the Passion story from the Gospel of Matthew, which is set mostly as recitatives, where the text is presented with the cadence of ordinary speech. These are secco recitatives, accompanied only by the continuo (organ and low strings in this case), which punctuate the text with short chords. The words of Jesus, in contrast, are accompanied by long, sustained chords from the strings, a “halo” effect, until his final words on the cross, where his human nature finally asserts itself as he gives up his life. Bach provides these recitatives with an unexpected color and richness of expression, especially in the narration of the Evangelist, and in the long, legato lines of Jesus, which seem tinged with melancholy. The two choirs participate in the Gospel narrative as well, variously portraying the disciples, priests, guards and crowds of people. They are almost always agitated, and Bach takes full advantage of the double choirs for antiphonal or overlapping entrances and rapid-fire text to create very dramatic crowd scenes. Only once does the chorus portray a single person, softly pronouncing the words of the centurion after Jesus’ death: “Surely this man was the Son of God.” But the polyphonic character of the beautiful, arched melody suggests that the chorus is also speaking for the congregation. 8
The second source is original poetry written by Bach’s librettist Picander (pen name of poet Christian Friedrich Henrici). Bach generally sets these as solo accompanied recitatives, where the orchestra plays along, and solo arias. These are often placed at critical points in the middle of the narrative, suspending the action and leaving the moment frozen in time, while he distills a very personal emotional response out of it. It is a device which draws the congregation into the story and elicits their own emotional response to the moment. Sometimes one or both choirs are added, like a Greek chorus, providing elaboration or assent. These can be extraordinarily poignant moments, as in the penultimate movement of the Passion. Jesus has already been entombed, and the soloists bid farewell one by one with almost elegaic phrases, while the chorus softly echoes “My Jesus, good night” after each. The third source of material are the Lutheran chorales, or hymns, which are central to the structure of the St. Matthew Passion. Bach includes eight different chorales in the Passion, and all together they appear fifteen different times at key moments throughout the Passion story. They would have been very familiar to Bach’s congregation at the Thomaskirche, and they provide both an anchor point for the listeners as well as an opportunity for thought and introspection. Bach weaves a chorale into each of the large scale choral movements which frame part one of the Matthew Passion. The opening movement is drawn from Picander’s poetry and features a question and answer dialog between the two choruses – “Behold him!” “Who?” “The bridegroom.” “Behold him!” “How?” “As a lamb.” It introduces two Biblical metaphors for Christ, the long-awaited bridegroom and the innocent lamb, offered up in sacrifice, both of which will appear again and again throughout the Passion. Floating above this is the chorale O Lamm Gottes, unschuldig (O Lamb of God, guiltless) as a cantus firmus. Bach would have had this sung by his boys’ choir. Although Mendelssohn did have a boys’ choir available in Leipzig, he chose instead to set the chorale for the four principal soloists singing in unison octaves. The final movement of part one is really an extended choral fantasy on the hymn O Mensch, bewein dein Sünde groß (O Man, weep for your great sin). As in the opening movement, the chorale is again heard as cantus firmus, this time in the soprano voices. More often, the chorales appear by themselves, set in a straightforward fourpart harmony. None is heard more prominently than O Haupt voll Blut und Wunden (O Sacred Head, now wounded). Bach set all six verses and it appears five different times in the Passion. Bach tailors each appearance to a specific moment in the Passion not only by which verse he chooses to set, but by the harmonization and even the key of the chorale. The three appearances that Mendelssohn retained in his version serve as an illustration. The first appearance is immediately after Jesus predicts Peter’s denial of him, using the words “I will strike the shepherd and scatter the sheep.” The chorale answers with the words, “Redeem me, my savior; gather me up, my shepherd.” The chorale should end in what would be the comforting key of A major, but it ends on a half cadence, never actually resolving to A major, which creates a subtle feeling of unease and uncertainty. 9
The second appearance is just after the scene in which Jesus is dressed in a purple cloak and crown of thorns and is mocked, hit and spat upon by the soldiers. The chorale text reflects the moment, “O Head, full of blood and wounds, full of pain and scorn.” Bach sets the chorale in the dark, serious key of D minor, reflecting suffering and sorrow, but ends the chorale in a brighter F major, perhaps reflecting faith and resolve. You can see Mendelssohn’s hand most clearly in its final appearance, the final chorale of the Passion. It comes immediately after the death of Jesus. It is an intensely personal text – “When I must finally depart from this life, do not depart from me.” Mendelssohn sets this a cappella, something Bach would never have done, and marks the dynamic as pianissimo, both of which heighten its dramatic effect. And he makes one of his rare changes to the music itself. There are some very uncomfortable harmonic shifts in the third line, which ends with a suspension in the alto part that Bach resolves with a C#, creating a more reassuring A major chord. Mendelssohn changes the resolution to a C natural, creating a much darker and less reassuring A minor chord. – Michael Moore Program notes copyright © 2015 Mendelssohn Club of Philadelphia. All rights reserved.
ãÉåÇÉäëëçÜå=ãÉÇäÉó=OMNR= The ninth annual event blending glorious song & musical conversation, accompanied by delightful fare, held at the magnificent and historic Oaks Cloister in the Wissahickon Meet Artistic Director Alan Harler and Honorary Chairs Barbara Berry, Robert R. Berry, and Susan Berry-Gorelli. And hear selections of choral classics performed by members of Mendelssohn Club Chorus of Philadelphia.
Sunday, April 12, 4 pm
A very special afternoon, not to be missed — please mark your 2015 calendars now! Invitations will be mailed in mid-February. For more information and to purchase tickets, please visit www.mcchorus.org/wp/mendelssohn-medley. 10
Bach: St. Matthew Passion
version of Felix Mendelssohn, Leipzig 1841 1. Chorus
Kommt, ihr Töchter, helft mir klagen, Sehet – Wen? – den Bräutigam, Seht ihn – Wie? – als wie ein Lamm! Sehet, – Was? – seht die Geduld, Seht – Wohin? – auf unsre Schuld; Sehet ihn aus Lieb und Huld Holz zum Kreuze selber tragen!
Come, you daughters, help me to lament, See – Whom? – the bridegroom, See him – How? – like a lamb! See – What? – see his patience, See – Where? – our guilt; See how from love and grace He bears the wood of the cross himself!
O Lamm Gottes, unschuldig Am Stamm des Kreuzes geschlachtet, Allzeit erfunden geduldig, Wiewohl du warest verachtet. All Sünd hast du getragen, Sonst müßten wir verzagen. Erbarm dich unser, o Jesu!
O Lamb of God, innocent Slaughtered on the beam of the cross, Always found to be patient No matter how much you were despised. All our sins you have borne Otherwise we would have to despair. Have mercy on us, O Jesus!
2. Recitative [Tenor, Bass] Evangelista:
Da Jesus diese Rede vollendet hatte, sprach er zu seinen Jüngern:
When Jesus had finished this speech, he said to his disciples:
Ihr wisset, daß nach zweeen Tagen Ostern wird, und des Menschen Sohn wird überantwortet werden, daß er gekreuziget werde.
You know that after two days it will be Passover, and the son of man will be handed over so that he may be crucified.
3. Chorale Herzliebster Jesu, was hast du verbrochen, Daß man ein solch scharf Urteil hat gesprochen? Was ist die Schuld, in was für Missetaten bist du geraten? 4a. Recitative [Tenor]
Jesus, most dear to my heart, what have you done wrong, So that such a harsh judgement is pronounced? What is your guilt, in what sort of wrongdoing have you been caught?
Da versammelten sich die Hohenpriester und Schriftgelehrten und die Ältesten im Volk in dem Palast des Hohenpriesters, der da hieß Kaiphas, und hielten Rat, wie sie Jesum mit Listen griffen und töteten. Sie sprachen aber:
Then the chief priests gathered together and the scribes and the elders among the people in the palace of the high priest, who was called Caiaphas, and they held a council, how with cunning they might seize Jesus and put him to death. But they said:
4b. Chorus Ja nicht auf das Fest, auf daß nicht ein Aufruhr werde im Volk.
Certainly not during the festival, so that there is not a riot among the people. 11
4c. Recitative [Tenor] Evangelista:
Da nun Jesus war zu Bethanien, im Hause Simonis des Aussätzigen, trat zu ihm ein Weib, die hatte ein Glas mit köstlichem Wasser und goss es auf sein Haupt, da er zu Tische saß. Da das seine Jünger sahen, wurden sie unwillig und sprachen:
Now when Jesus was at Bethany, in the house of Simon the leper, there came to him a woman who had a jar with precious ointment and she poured it on his head, while he sat at the table. When his disciples saw this, they became indignant and said:
4d. Chorus Wozu dienet dieser Unrat? Dieses Wasser hätte mögen teuer verkauft und den Armen gegeben werden.
What is the purpose of such a waste? This ointment could have been sold at a high price and given to the poor.
4e. Recitative [Tenor, Bass] Evangelista:
Da das Jesus merkete, sprach er zu ihnen:
When Jesus noticed that, he said to them:
Was bekümmert ihr das Weib? Sie hat ein gut Werk an mir getan. Ihr habet allezeit Arme bei euch, mich aber habt ihr nicht allezeit. Da sie dies Wasser hat auf meinen Leib gegossen, hat sie getan, daß man mich begraben wird. Wahrlich ich sage euch: Wo dies Evangelium geprediget wird in der ganzen Welt, da wird man auch sagen zu ihrem Gedächtnis, was sie getan hat.
Why do you trouble the woman? She has done a good deed for me. You have the poor with you always, but you will not always have me. The reason why she poured ointment on my body is that she did this because I am going to be buried. Truly, I say to you: wherever the gospel is preached in the whole world, people will also talk in her memory about what she has done.
5. Accompanied Recitative [Alto] Du lieber Heiland du, Wenn deine Jünger töricht streiten, Daß dieses fromme Weib Mit Salben deinen Leib Zum Grabe will bereiten, So lasse mir inzwischen zu, Von meiner Augen Tränenflüssen Ein Wasser auf dein Haupt zu gießen!
You, dear saviour, you When your disciples foolishly quarrel Because this good woman With salve your body Wants to prepare for the tomb, Then let me meanwhile With floods of tears from my eyes Pour water on your head!
6. Aria [Alto] Buß und Reu Knirscht das Sündenherz entzwei, Daß die Tropfen meiner Zähren Angenehme Spezerei, Treuer Jesu, dir gebären.
Penance and remorse Grind my sinful heart in two, So the drops of my tears May produce pleasing spices for you, faithful Jesus.
Da ging hin der Zwölfen einer, mit Namen Judas Ischarioth, zu den Hohenpriestern und sprach:
Then one of the twelve, who was called Judas Iscariot, went to the chief priests and said:
7. Recitative [Tenor, Bass]
Was wollt ihr mir geben? Ich will ihn euch verraten.
What are you willing to give me? I shall betray him to you.
Und sie boten ihm dreißig Silberlinge. Und von dem an suchte er Gelegenheit, daß er ihn verriete.
And they offered him thirty pieces of silver. And from then on he sought an opportunity, so that he might betray him.
8. Aria [Soprano] Blute nur, du liebes Herz! Ach! ein Kind, das du erzogen, Das an deiner Brust gesogen, Droht den Pfleger zu ermorden, Denn es ist zur Schlange worden.
Bleed now, loving heart! Ah! A child, whom you reared, That sucked at your breast, Is threatening to murder its guardian For that child has become a serpent.
9a. Recitative [Tenor] Evangelista:
Aber am ersten Tage der süßen Brot traten die Jünger zu Jesu und sprachen zu ihm:
On the first day of unleavened bread the disciples came to Jesus and said to him:
9b. Chorus Wo willst du, daß wir dir bereiten, das Osterlamm zu essen?
Where do you want us to make preparations for you to eat the Passover lamb?
9c. Recitative [Tenor, Bass] Evangelista:
Gehet hin in die Stadt zu einem und sprecht zu ihm: “Der Meister lässt dir sagen: Meine Zeit ist hier, ich will bei dir die Ostern halten mit meinen Jüngern.”
Go into the city to a certain man and say to him: “The master wants us to tell you: My time has come, I shall with you keep the Passover with my disciples.”
Und die Jünger taten, wie ihnen Jesus befohlen hatte, und bereiteten das Osterlamm. Und am Abend satzte er sich zu Tische mit den Zwölfen. Und da sie aßen, sprach er:
And the disciples did what Jesus had ordered them, and they prepared the Passover lamb. And in the evening he sat at table with the twelve, and as they ate, he said:
Wahrlich, ich sage euch: Einer unter euch wird mich verraten.
Truly I say to you: one among you will betray me.
9d. Recitative [Tenor] Evangelista:
Und sie wurden sehr betrübt und huben an, ein jeglicher unter ihnen, und sagten zu ihm:
And they were very distressed and began each one among them to say to him:
9e. Chorus Herr, bin ich’s?
Lord, is it I? 13
10. Chorale Ich bin’s, ich sollte büßen, An Händen und an Füßen Gebunden in der Höll. Die Geißeln und die Banden Und was du ausgestanden, Das hat verdienet meine Seel.
I am the one, I should pay for this, With hands and feet Bound in hell. The scourges and the bonds And what you endured, My soul has deserved that.
11. Recitative [Tenor, Bass I, Bass II] Evangelista:
Er antwortete und sprach:
He answered and said:
Der mit der Hand mit mir in die Schüssel tauchet, der wird mich verraten. Des Menschen Sohn gehet zwar dahin, wie von ihm geschrieben stehet; doch wehe dem Menschen, durch welchen des Menschen Sohn verraten wird! Es wäre ihm besser, daß derselbige Mensch noch nie geboren wäre.
The one who dips his hand with me in the dish, it is he who will betray me. The son of man indeed goes on his way, as it is written of him; But woe to the man, through whom the son of man will be betrayed! It would be better for that same man if he had never been born.
Da antwortete Judas, der ihn verriet, und sprach:
Then Judas, who betrayed him, answered and said:
Bin ich’s, Rabbi?
Is it I, Rabbi?
Er sprach zu ihm:
He said to him:
You are saying it.
Da sie aber aßen, nahm Jesus das Brot, dankete und brach’s und gab’s den Jüngern und sprach:
As they were eating, Jesus took the bread, gave thanks and broke it and gave it to his disciples and said:
Nehmet, esset, das ist mein Leib.
Take, eat, this is my body.
Und er nahm den Kelch und dankte, gab ihnen den und sprach:
And he took the cup and gave thanks, gave it to them and said:
Trinket alle daraus; das ist mein Blut des neuen Testaments, welches vergossen wird für viele zur Vergebung der Sünden. Ich sage euch: Ich werde von nun an nicht mehr von diesem Gewächs des Weinstocks trinken bis an den Tag, da ich’s neu trinken werde mit euch in meines Vaters Reich.
Drink all of you from this; this is my blood of the new Testament, which will be shed for many for the forgiveness of sins. I say to you: from now on I will no more drink from this fruit of the vine until that day, when I shall drink it new with you in my father’s kingdom.
12. Recitative [Tenor, Bass] Evangelista:
Und da sie den Lobgesang gesprochen hatten, gingen sie hinaus an den Ölberg. Da sprach Jesus zu ihnen:
And when they had said the song of praise, they went from there to the Mount of Olives. Then Jesus said to them:
In dieser Nacht werdet ihr euch alle ärgern an mir. Denn es stehet geschrieben: Ich werde den Hirten schlagen, und die Schafe der Herde werden sich zerstreuen. Wenn ich aber auferstehe, will ich vor euch hingehen in Galiläam.
This night you will all be offended because of me. For it is written: I shall strike the shepherd and the sheep of the flock will be scattered. But when I rise again, I shall go from here before you into Galilee.
13. Chorale Erkenne mich, mein Hüter, Mein Hirte, nimm mich an! Von dir, Quell aller Güter, Ist mir viel Guts getan. Dein Mund hat mich gelabet Mit Milch und süßer Kost, Dein Geist hat mich begabet Mit mancher Himmelslust.
Recognise me, my guardian, My Shepherd, accept me! From you, source of all goodness Much good has been done for me. Your mouth has refreshed me With milk and sweet food, Your spirit has endowed me With many heavenly delights.
14. Recitative [Tenor, Bass I, Bass II] Evangelista:
Petrus aber antwortete und sprach zu ihm:
But Peter answered and said to him:
Wenn sie auch alle sich an dir ärgerten, so will ich doch mich nimmermehr ärgern.
Even if everybody else is offended because of you, yet I shall never be offended.
Jesus sprach zu ihm:
Jesus said to him:
Wahrlich, ich sage dir: In dieser Nacht, ehe der Hahn krähet, wirst du mich dreimal verleugnen.
Truly, I say to you: this night, before the cock crows, you will deny me three times.
Petrus sprach zu ihm:
Peter said to him:
Und wenn ich mit dir sterben müßte, so will ich dich nicht verleugnen.
Even if I had to die with you, I shall not deny you.
Desgleichen sagten auch alle Jünger.
The same said all his disciples.
15. Recitative [Tenor, Bass] Evangelista:
Da kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane, und sprach zu seinen Jüngern:
Then Jesus came with them to a place called Gethsemane, and said to his disciples:
Setzet euch hie, bis daß ich dort hingehe und bete.
Sit here, while I go over there and pray.
Und nahm zu sich Petrum und die zween Söhne Zebedäi und fing an zu trauern und zu zagen. Da sprach Jesus zu ihnen:
And he took with him Peter and the two sons of Zebedee and he began to grieve and be disheartened. Then Jesus said to them:
Meine Seele ist betrübt bis an den Tod, bleibet hie und wachet mit mir.
My soul is distressed even to death, stay here and keep watch with me.
16. Accompanied Recitative [Tenor, Chorus] O Schmerz! Hier zittert das gequälte Herz; Wie sinkt es hin, wie bleicht sein Angesicht! Was ist die Ursach aller solcher Plagen? Der Richter führt ihn vor Gericht. Da ist kein Trost, kein Helfer nicht. Ach! meine Sünden haben dich geschlagen! Er leidet alle Höllenqualen, Er soll für fremden Raub bezahlen. Ich, ach Herr Jesu, habe dies verschuldet, was du erduldet. Ach, könnte meine Liebe dir, Mein Heil, dein Zittern und dein Zagen Vermindern oder helfen tragen, Wie gerne blieb ich hier!
O sorrow! Here trembles his afflicted heart; How it sinks down, how pale his face! What is the cause of such torments? The judge leads him to judgement. There is no comfort, no help at all. Ah! my sins have struck you! He suffers all the torments of hell, He must pay for the robbery of others. I, O Lord Jesus, have deserved what you are suffering. Ah, if only for you my love could, My salvation, lessen your trembling and your discouragement Or help you to bear them, How willingly I would remain here!
17. Aria [Tenor, Chorus] Ich will bei meinem Jesu wachen. So schlafen unsre Sünden ein. Meinen Tod büßet seine Seelen Not; Sein Trauren machet mich voll Freuden. Drum muss uns sein verdienstlich Leiden Recht bitter und doch süße sein.
I shall keep watch by my Jesus. Then our sins go to sleep. For my death atonement is made by his soul’s distress; His grieving makes me full of joy. For this reason to us his suffering which benefits us Must be truly bitter and yet sweet.
18. Recitative [Tenor, Bass] Evangelista:
Und ging hin ein wenig, fiel nieder auf sein Angesicht und betete und sprach:
And he went forward a little, fell down on his face and prayed and said:
Mein Vater, ist’s möglich, so gehe dieser Kelch von mir; doch nicht wie ich will, sondern wie du willst.
My father, if it is possible, let this cup pass from me; yet not as I will, but rather as you will.
19. Recitative [Tenor, Bass] Evangelista:
Und er kam zu seinen Jüngern und fand sie schlafend und sprach zu ihnen:
And he came to his disciples and found them sleeping and said to them:
Könnet ihr denn nicht eine Stunde mit mir wachen? Wachet und betet, daß ihr nicht in Anfechtung fallet! Der Geist ist willig, aber das Fleisch ist schwach.
Could you not keep watch an hour with me? Keep watch and pray, so that you do not fall into temptation! The spirit is willing, but the flesh is weak.
Zum andernmal ging er hin, betete und sprach:
A second time he went away, prayed and said:
Mein Vater, ist’s nicht möglich, daß dieser Kelch von mir gehe, ich trinke ihn denn, so geschehe dein Wille.
My father, if it is not possible that this cup should pass from me, unless I drink it, then your will be done.
20. Chorale Was mein Gott will, das g’scheh allzeit, Sein Will, der ist der beste, Zu helfen dem ist er bereit, Der an ihn gläubet feste. Er hilft aus Not, der fromme Gott, Und züchtiget mit Maßen. Wer Gott vertraut, fest auf ihn baut, Den will er nicht verlassen. 21. Recitative [Tenor, Bass I, Bass II]
May what my God wills happen always His will is what is best, For he is ready to help those Who believe firmly in him. He helps them in their distress, the righteous God, And chastises in measure. The person who trusts God, builds firmly on him, He will not abandon.
Und er kam und fand sie aber schlafend, und ihre Augen waren voll Schlafs. Und er ließ sie und ging abermal hin und betete zum drittenmal und redete dieselbigen Worte. Da kam er zu seinen Jüngern und sprach zu ihnen:
And he came and found them sleeping, and their eyes were full of sleep. And he left them and went away again and prayed for a third time and said the same words. Then he came to his disciples and said to them:
Ach! wollt ihr nun schlafen und ruhen? Siehe, die Stunde ist hier dass des Menschen Sohn in der Sünder Hände überantwortet wird. Stehet auf, lasset uns gehen; siehe, er ist da, der mich verrät.
Ah! Do you want now to sleep and rest? See, the hour is here, when the son of man will be given over into the hands of sinners. Arise, let us go; see, here he is, the man who betrays me.
Und als er noch redete, siehe, da kam Judas, der Zwölfen einer, und mit ihm eine große Schar mit Schwertern und mit Stangen von den Hohenpriestern und Ältesten des Volks. Und der Verräter hatte ihnen ein Zeichen gegeben und gesagt: “Welchen ich küssen werde, der ist’s, den greifet!” Und alsbald trat er zu Jesu und sprach:
And as he was still speaking, see, there came Judas, one of the Twelve, and with him a great crowd with swords and with clubs from the chief priests and elders of the people. And the traitor gave them a sign and said: “The man I shall kiss, that’s him, seize him!” And at once he went up to Jesus and said:
Gegrüßet seist du, Rabbi!
Greetings to you, Rabbi!
Und küssete ihn. Jesus aber sprach zu ihm:
And he kissed him. Jesus said to him:
Mein Freund, warum bist du kommen?
My friend, why have you come?
Da traten sie hinzu und legten die Hände an Jesum und griffen ihn.
Then they came to him and laid hands on Jesus and seized him.
22a. Aria (Duet) [Soprano, Alto, Chorus] So ist mein Jesus nun gefangen. Mond und Licht ist vor Schmerzen untergangen; Weil mein Jesus ist gefangen. Sie führen ihn, er ist gebunden.
So my Jesus is now captured. Moon and light have set in sorrow, Since my Jesus is captured. They lead him away, he is bound.
Laßt ihn, haltet, bindet nicht!
Let him go, stop, do not bind him!
22b. Chorus Sind Blitze, sind Donner in Wolken verschwunden? Eröffne den feurigen Abgrund, o Hölle, Zertrümmre, verderbe, verschlinge, zerschelle Mit plötzlicher Wut Den falschen Verräter, das mördrische Blut!
Have lightning, has thunder vanished in the clouds? Open your fiery abyss, O Hell, Smash, destroy, swallow up, dash to pieces With sudden fury The false betrayer, the murderous blood!
23. Recitative [Tenor, Bass] Evangelista:
Und siehe, einer aus denen, die mit Jesu waren, reckete die Hand aus und schlug des Hohenpriesters Knecht und hieb ihm ein Ohr ab. Da sprach Jesus zu ihm: 18
And see, one of those who were with Jesus, stretched out his hand and struck a servant of the high priest and cut off one of his ears. Then Jesus said to him:
Stecke dein Schwert an seinen Ort; denn wer das Schwert nimmt, der soll durchs Schwert umkommen. Oder meinest du, daß ich nicht könnte meinen Vater bitten, daß er mir zuschickte mehr denn zwölf Legion Engel? Wie würde aber die Schrift erfüllet? Es muß also gehen.
Put up your sword in its place; for whoever takes up the sword will perish by the sword. Or do you think that I could not ask my father to send me more than twelve legions of Angels? But how would the Scripture be fulfilled? It must go in this way.
Zu der Stund sprach Jesus zu den Scharen:
At that hour Jesus said to the crowds:
Ihr seid ausgegangen als zu einem Mörder, mit Schwerten und mit Stangen, mich zu fahen; bin ich doch täglich bei euch gesessen und habe gelehret im Tempel, und ihr habt mich nicht gegriffen. Aber das ist alles geschehen, daß erfüllet würden die Schriften der Propheten.
You have come out as if I were a murderer with swords and clubs to seize me; yet I sat daily among you and have taught in the temple and you did not seize me. But all this has happened so the writings of the prophets may be fulfilled.
Evangelista: Da verließen ihn alle Jünger und flohen.
Evangelist: Then all his disciples abandoned him and fled.
24. Chorale O Mensch, bewein dein Sünde groß, Darum Christus seins Vaters Schoß Äußert und kam auf Erden; Von einer Jungfrau rein und zart Für uns er hie geboren ward, Er wollt der Mittler werden. Den Toten er das Leben gab Und legt darbei all Krankheit ab, Bis sich die Zeit herdrange, Daß er für uns geopfert würd, Trüg unsrer Sünden schwere Bürd Wohl an dem Kreuze lange.
Oh man, bewail your great sin, For this Christ from his father’s bosom Went forth and came to earth; Of a virgin pure and gentle He was born here for us, He was willing to become the mediator. To the dead he gave life And in this way put aside all illness Until it came to the time That he would be sacrificed for us, Bear the heavy burden of our sins For a long time indeed on the cross.
Second Part 25. Aria [Alto, Chorus] Ach! nun ist mein Jesus hin! Wo ist denn dein Freund hingegangen, O du Schönste unter den Frauen? Ist es möglich, kann ich schauen? Wo hat sich dein Freund hingewandt? Ach! mein Lamm in Tigerklauen, Ach! wo ist mein Jesus hin? So wollen wir mit dir ihn suchen. Ach! was soll ich der Seele sagen Wenn sie mich wird ängstlich fragen? Ach! wo ist mein Jesus hin?
Ah! Now has my Jesus gone! Where then is your friend gone, O you most beautiful among women? Is it possible, can I behold it? Where is your friend turned to? Ah! my lamb in tiger’s claws, Ah! where has my Jesus gone? Then we shall seek him with you. Ah! what shall I say to my soul When it shall ask me anxiously? Ah! where has my Jesus gone? 19
26. Recitative [Tenor] Evangelista:
Die aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas, dahin die Schriftgelehrten und Ältesten sich versammelt hatten. Die Hohenpriester aber und Ältesten und der ganze Rat suchten falsche Zeugnis wider Jesus auf daß sie ihn töteten, und funden keines.
But those who had seized Jesus led him to the high priest Caiaphas, where the scribes and elders had gathered together. The chief priests and the elders and the whole council sought false witness against Jesus to put him to death, and they found none.
27. Recitative [Tenor I, Alto, Tenor II, Bass] Evangelista:
Zuletzt traten herzu zween falsche Zeugen und sprachen:
Finally two false witnesses came forward and said:
Testis I, II:
Witness I, II:
Er hat gesagt: Ich kann den Tempel Gottes abbrechen und in dreien Tagen denselben bauen.
He has said: I can break down God’s temple and in three days build it again.
Und der Hohepriester stund auf und sprach zu ihm:
And the high priest stood up and said to him:
Antwortest du nichts zu dem, das diese wider dich zeugen?
Do you answer nothing to what these men testify against you?
Aber Jesus schwieg stille.
But Jesus remained silent.
28a. Recitative [Tenor, Bass I, Bass II] Evangelista:
Und der Hohepriester antwortete und sprach zu ihm:
And the high priest answered and said to him:
Ich beschwöre dich bei dem lebendigen Gott, daß du uns sagest, ob du seiest Christus, der Sohn Gottes?
I adjure you by the living God, to tell us whether you are Christ, the son of God?
Jesus sprach zu ihm:
Jesus said to him:
Du sagest’s. Doch sage ich euch: Von nun an wird’s geschehen, daß ihr sehen werdet des Menschen Sohn sitzen zur Rechten der Kraft und kommen in den Wolken des Himmels.
You have said it. But I say to you: From now on it will happen that you will see the son of man sitting on the right hand of the power and coming on at the clouds of heaven.
Da zerriss der Hohepriester seine Kleider und sprach:
Then the high priest tore his garments and said:
Er hat Gott gelästert; was dürfen wir weiter Zeugnis? Siehe, itzt habt ihr seine Gotteslästerung gehöret. Was dünket euch?
He has blasphemed God. What need have we for further witness? See, you have heard his blasphemy against God. What do you think?
Sie antworteten und sprachen:
They answered and said:
28b. Chorus Er ist des Todes schuldig!
He is guilty of death!
28c. Recitative [Tenor] Evangelista:
Da speieten sie aus in sein Angesicht und schlugen ihn mit Fäusten. Etliche aber schlugen ihn ins Angesicht und sprachen:
Then they spat in his face and struck him with their fists. But some struck him in the face and said:
28d. Chorus Weissage uns, Christe, wer ist’s, der dich schlug?
Prophesy to us, Christ, who is it who has struck you?
29. Chorale Wer hat dich so geschlagen, Mein Heil, und dich mit Plagen So übel zugericht’? Du bist ja nicht ein Sünder Wie wir und unsre Kinder; Von Missetaten weißt du nichts.
Who has struck you in this way, My saviour, and with torments Treated you so badly? You are certainly not a sinner Like us and our children; Of wrongdoing you know nothing.
30a. Recitative [Tenor, Soprano, Bass] Evangelista:
Petrus aber saß draußen im Palast; und es trat zu ihm eine Magd und sprach:
But Peter sat outside in the palace; and a maid came up to him and said:
Und du warest auch mit dem Jesu aus Galiläa.
And you also were with Jesus from Galilee.
Er leugnete aber vor ihnen allen und sprach:
But he denied it before them all and said:
Ich weiß nicht, was du sagest.
I don’t know what you’re saying.
Als er aber zur Tür hinausging, sahe ihn eine andere und sprach zu denen, die da waren:
But when he went to the door, another maid saw him and said to those who were there: 21
Dieser war auch mit dem Jesu von Nazareth.
This man was also with Jesus of Nazareth.
Und er leugnete abermal und schwur dazu:
But he denied it again and swore an oath to it:
Ich kenne des Menschen nicht.
I do not know the man.
Und über eine kleine Weile traten hinzu, die da stunden, und sprachen zu Petro:
And after a short while those who were standing there came up to him and said to Peter:
30b. Chorus Wahrlich, du bist auch einer von denen; denn deine Sprache verrät dich.
You really are one of them; your speech gives you away.
30c. Recitative [Tenor, Bass] Evangelista:
Da hub er an, sich zu verfluchen und zu schwören:
Then he began to curse and swear an oath:
Ich kenne des Menschen nicht.
I do not know the man.
Und alsbald krähete der Hahn. Da dachte Petrus an die Worte Jesu, da er zu ihm sagte: Ehe der Hahn krähen wird, wirst du mich dreimal verleugnen. Und ging heraus und weinete bitterlich.
And at once the cock crew. Then Peter thought of Jesus’ words, when he said to him: Before the cock crows, you will deny me three times. And he went out and wept bitterly.
31. Aria [Alto] Erbarme dich, Mein Gott, um meiner Zähren willen! Schaue hier, Herz und Auge weint vor dir Bitterlich.
Have mercy, My God, for the sake of my tears! Look here, My heart and eyes weep before you Bitterly.
32a. Recitative [Tenor, Bass] Evangelista:
Des Morgens aber hielten alle Hohepriester und die Ältesten des Volks einen Rat über Jesum, daß sie ihn töteten. Und bunden ihn, führeten ihn hin und überantworteten ihn dem Landpfleger Pontio Pilato. Da das sahe Judas, der ihn verraten hatte, daß er verdammt war zum Tode, gereuete es ihn und brachte her wieder die dreißig Silberlinge den Hohenpriestern und Ältesten und sprach:
In the morning all the chief priests and the elders of the people held a council about Jesus, so that they might put him to death. And they bound him, let him out and handed him over to the governor Pontius Pilate. When Judas, who had betrayed him, saw this, that he was condemned to death, he felt remorse and brought back the thirty pieces of silver to the chief priests and the elders and said:
Ich habe übel getan, daß ich unschuldig Blut verraten habe.
I have done evil, in that I have betrayed innocent blood.
32b. Chorus Was gehet uns das an? Da siehe du zu! 32c. Recitative [Tenor, Bass I, Bass II]
What’s that to do with us? See to it yourself!
Und er warf die Silberlinge in den Tempel, hub sich davon, ging hin und erhängete sich selbst. Aber die Hohenpriester nahmen die Silberlinge und sprachen:
And he threw the silver pieces into the temple, departed, went away and hanged himself. But the chief priests took the silver pieces and said:
Pontifex I, II:
High Priest I, II:
Es taugt nicht, daß wir sie in den Gotteskasten legen, denn es ist Blutgeld.
It is not proper to put the money in the holy Treasury, since it is blood money.
33. Aria [Bass] Gebt mir meinen Jesum wieder! Seht, das Geld, den Mörderlohn, Wirft euch der verlorne Sohn Zu den Füßen nieder! Gebt mir meinen Jesum wieder!
Give me back my Jesus! See, the money, the wages of murder, Is thrown by the lost son Down at your feet! Give me back my Jesus!
34. Recitative [Tenor, Bass I, Bass II] Evangelista:
Sie hielten aber einen Rat und kauften einen Töpfersacker darum zum Begräbnis der Pilger. Jesus aber stund vor dem Landpfleger; und der Landpfleger fragte ihn und sprach:
But they held a council and bought a potter’s field for the burial of pilgrims. But Jesus stood before the governor; and the governor questioned him and said:
Bist du der Juden König?
Are you the king of the Jews?
Jesus aber sprach zu ihm:
But Jesus said to him:
You are saying this.
Und da er verklagt war von den Hohenpriestern und Ältesten, antwortete er nichts.
And when he was accused by the chief priests and elders, he answered nothing.
35a. Recitative [Tenor, Bass, and Chorus] Evangelista:
Auf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen
At the festival the governor had a custom of releasing to the people a prisoner,
loszugeben, welchen sie wollten. Er hatte aber zu der Zeit einen Gefangenen, einen sonderlichen vor andern, der hieß Barrabas. Aber die Hohenpriester und die Ältesten überredeten das Volk, daß sie um Barrabam bitten sollten und Jesum umbrächten. Da antwortete nun der Landpfleger und sprach zu ihnen:
whomever they wished. At that time, he had a prisoner, one who stood out among the rest, and was called Barabbas. But the chief priests and the elders persuaded the people that they should ask for Barabbas and destroy Jesus. Then the governor answered and said to them:
Welchen wollt ihr unter diesen zweien, den ich euch soll losgeben?
Which of these two do you wish me to release for you?
Pilatus sprach zu ihnen:
Pilate said to them:
Was soll ich denn machen mit Jesu, von dem gesagt wird, er sei Christus?
What should I do with Jesus, of whom it is said that he is the Christ?
Sie sprachen alle:
They all said:
35b. Chorus Laß ihn kreuzigen!
Let him be crucified!
36. Recitative [Tenor, Bass] Evangelista:
Der Landpfleger sagte:
The governor said:
Was hat er denn Übels getan?
What evil has he done?
37. Accompanied Recitative [Soprano] Er hat uns allen wohlgetan, Den Blinden gab er das Gesicht, Die Lahmen macht er gehend, Er sagt uns seines Vaters Wort, Er trieb die Teufel fort, Betrübte hat er aufgericht’, Er nahm die Sünder auf und an. Sonst hat mein Jesus nichts getan.
He has done good to all of us: To the blind he gave sight The lame he made able to walk He told to us his father’s word He drove out the devils, He raised up those who are distressed, He received and accepted sinners Nothing else has my Jesus done.
38. Aria [Soprano] Aus Liebe, Aus Liebe will mein Heiland sterben, Von einer Sünde weiß er nichts. Daß das ewige Verderben 24
Out of love, Out of love my saviour is willing to die, Of any sin he knows nothing. So that eternal ruin
Und die Strafe des Gerichts Nicht auf meiner Seele bliebe.
And the punishment of judgment May not remain upon my soul.
39a. Recitative [Tenor] Evangelista:
Sie schrieen aber noch mehr und sprachen:
But they cried all the more and said:
39b. Chorus Laß ihn kreuzigen!
Let him be crucified!
39c. Recitative [Tenor, Bass] Evangelista:
Da aber Pilatus sahe, daß er nichts schaffete, sondern daß ein viel großer Getümmel ward, nahm er Wasser und wusch die Hände vor dem Volk und sprach:
But when Pilate saw that he was achieving nothing, but instead the commotion was becoming greater, he took water and washed his hands in front of the people and said:
Ich bin unschuldig an dem Blut dieses Gerechten, sehet ihr zu.
I am innocent of the blood of this just man. See to it yourselves.
Da antwortete das ganze Volk und sprach:
Then the whole people answered and said:
39d. Chorus Sein Blut komme über uns und unsre Kinder.
His blood be upon us and our children.
Da gab er ihnen Barrabam los; aber Jesum ließ er geißeln und überantwortete ihn, daß er gekreuziget würde.
Then he released Barabbas for them; but Jesus he had scourged and handed him over to be crucified.
39e. Recitative [Tenor]
40. Accompanied Recitative [Alto] Erbarm es Gott! Hier steht der Heiland angebunden O Geißelung, o Schläg, o Wunden! Ihr Henker, haltet ein! Erweichet euch Der Seelen Schmerz, Der Anblick solches Jammers nicht? Ach ja! ihr habt ein Herz, Das muss der Martersäule gleich Und noch viel härter sein. Erbarmt euch, haltet ein!
Have mercy, God! Here stands the saviour, bound, O scourging, O blows, O wounds! You executioners, stop! Are you not softened by The soul’s agony, The sight of such misery? Ah yes! You have a heart That must be like the post used for torture And even far harder still. Have mercy, stop!
41a. Recitative [Tenor] Evangelista:
Da nahmen die Kriegsknechte des Landpflegers Jesum zu sich in das Richthaus und sammelten über ihn die ganze Schar
Then the soldiers of the governor took Jesus into the hall and gathered the whole band around him and they 25
und zogen ihn aus und legeten ihm einen Purpurmantel an und flochten eine dornene Krone und setzten sie auf sein Haupt und ein Rohr in seine rechte Hand und beugeten die Knie vor ihm und spotteten ihn und sprachen:
stripped him and put on him a purple cloak and plaited a crown of thorns and set it on his head and a reed in his right hand and bowed their knees before him and mocked him and said:
Gegrüßet seist du Judenkönig!
Hail to you, King of the Jews!
41c. Recitative [Tenor] Evangelista:
Und speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt.
And they spat on him and took the reed and with it struck him on the head.
42. Chorale O Haupt voll Blut und Wunden, Voll Schmerz und voller Hohn, O Haupt, zu Spott gebunden Mit einer Dornenkron, O Haupt, sonst schön gekrönet Mit höchster Ehr und Zier, Jetzt aber so verhöhnet, Gegrüßet seist du mir!
O head full of blood and wounds, Full of sorrow and full of scorn, O head bound in mockery With a crown of thorns, O head once beautifully crowned With greatest honour and adornment, But now most shamefully derided, Let me greet you!
43. Recitative [Tenor] Evangelista:
Und da sie ihn verspottet hatten, zogen sie ihm den Mantel aus und zogen ihm seine Kleider an und führeten ihn hin, daß sie ihn kreuzigten. Und indem sie hinausgingen, funden sie einen Menschen von Kyrene mit Namen Simon; den zwungen sie, daß er ihm sein Kreuz trug.
And when they had mocked him, they took off the cloak and put his own clothes on him and led him out to be crucified. And as they went along they found a man from Cyrene who was called Simon, whom they compelled to carry his cross.
44a. Recitative [Tenor] Evangelista:
Da sie ihn aber gekreuziget hatten, teilten sie seine Kleider und wurfen das Los darum. Und da wurden zween Mörder mit ihm gekreuziget, einer zur Rechten und einer zur Linken. Die aber vorübergingen, lästerten ihn und schüttelten ihre Köpfe und sprachen:
Then they crucified him, and divided up his clothing and drew lots for it. And two murderers were crucified with him, one on his right and one on his left. But those who passed by reviled him and shook their heads and said:
44b. Chorus Der du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, hilf dir selber! Bist du Gottes Sohn, so steig herab vom Kreuz!
You who destroy God’s temple and build it in three days, help yourself! If you are God’s son, then come down from the cross!
44c. Recitative [Tenor] Evangelista:
Desgleichen auch die Hohenpriester spotteten sein samt den Schriftgelehrten und Ältesten und sprachen:
In the same way the chief priests also derided him together with the scribes and elders and said:
44d. Chorus Andern hat er geholfen und kann sich selber nicht helfen. Ist er der König Israels, so steige er nun vom Kreuz, so wollen wir ihm glauben. Er hat Gott vertrauet, der erlöse ihn nun, lüstet’s ihn; denn er hat gesagt: Ich bin Gottes Sohn.
He helped others and he cannot help himself. If he is the king of Israel, then let him now come down from the cross, and we will believe in him. He trusted in God, let him deliver him, if he delights in him; For he said: I am God’s son.
44e. Recitative [Tenor] Evangelista:
Desgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren.
In the same way also the murderers, who were crucified with him, reviled him.
45. Accompanied Recitative [Alto] Ach Golgatha, unselges Golgatha! Der Herr der Herrlichkeit muss schimpflich hier verderben, Der Segen und das Heil der Welt Wird als ein Fluch ans Kreuz gestellt. Der Schöpfer Himmels und der Erden. Soll Erd und Luft entzogen werden. Die Unschuld muss hier schuldig sterben, Das gehet meiner Seele nah; Ach Golgatha, unselges Golgatha!
Ah Golgotha, accursed Golgotha! The Lord of glory must shamefully perish here, The blessing and salvation of the world Is put on the cross as a curse. From the creator of the heaven and the earth The Earth and the air will be taken away The innocent must here die as guilty, That touches my soul deeply; Ah Golgotha, accursed Golgotha!
46a. Recitative [Tenor, Bass] Evangelista:
Und von der sechsten Stunde an war eine Finsternis über das ganze Land bis zu der neunten Stunde. Und um die neunte Stunde schriee Jesus laut und sprach:
And from the sixth hour there was darkness over the whole land until the ninth hour. And at the ninth hour Jesus cried aloud and said:
Eli, Eli, lama asabthani?
Eli, Eli, lama asabthani?
Das ist: Mein Gott, mein Gott, warum hast du mich verlassen? Etliche aber, die da stunden, da sie das höreten, sprachen sie:
That is: my God, my God, why have you forsaken me? But some, who were standing there, when they heard this, said:
46b. Chorus Der rufet dem Elias!
He is calling on Elijah!
46c. Recitative [Tenor] Evangelista:
Und bald lief einer unter ihnen, nahm einen Schwamm und füllete ihn mit Essig, und steckete ihn auf ein Rohr, und tränkete ihn. Die andern aber sprachen:
And one of them quickly ran, took a sponge and dipped it in vinegar, and put it on a reed and gave it to him to drink. But the others said:
46d. Chorus Halt! laß sehen, ob Elias komme und ihm helfe?
Wait! Let’s see if Elijah comes and helps him?
46e. Recitative [Tenor] Evangelista:
Aber Jesus schriee abermal laut und verschied.
But Jesus again gave a loud cry and left this life.
47. Chorale Wenn ich einmal soll scheiden, So scheide nicht von mir, Wenn ich den Tod soll leiden, So tritt du dann herfür! Wenn mir am allerbängsten Wird um das Herze sein So reiß mich aus den Ängsten Kraft deiner Angst und Pein!
When I one day must depart from here Then do not depart from me, When I must suffer death Then step forward next to me! When most full of fear I am in my heart, Then snatch me from my fears By the strength of your agony and pain!
48a. Recitative [Tenor] Evangelista:
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, die da schliefen, und gingen aus den Gräbern nach seiner Auferstehung und kamen in die heilige Stadt und erschienen vielen. Aber der Hauptmann und die bei ihm waren und bewahreten Jesum, da sie sahen das Erdbeben und was da geschah, erschraken sie sehr und sprachen:
And see, the veil in the temple was torn into two pieces from the top to the bottom. And the earth quaked, and the rocks split, and the graves were opened, and there rose up many bodies of holy people who were sleeping there, and they went from the graves after their rising and came into the holy city and appeared to many. But the captain and those who were with him and were guarding Jesus, when they saw the earthquake and what had happened, they were very afraid and said:
48b. Chorus Wahrlich, dieser ist Gottes Sohn gewesen. 48c. Recitative [Tenor] Evangelista: Am Abend aber kam ein reicher Mann von Arimathia, der hieß Joseph, welcher auch ein Jünger Jesu war, der ging zu Pilato und bat ihn um den Leichnam Jesu. Da befahl Pilatus, man sollte ihm ihn geben. 28
This man really was the son of God. Evangelist: But in the evening came a rich man from Arimathea, who was called Joseph and who also was a disciple of Jesus. He went to Pilate and asked him for Jesus’s corpse. Then Pilate gave orders that it should be given to him.
49. Accompanied Recitative [Bass] Am Abend, da es kühle war, Ward Adams Fallen offenbar; Am Abend drücket ihn der Heiland nieder. Am Abend kam die Taube wieder Und trug ein Ölblatt in dem Munde. O schöne Zeit! O Abendstunde! Der Friedensschluss ist nun mit Gott gemacht, Denn Jesus hat sein Kreuz vollbracht. Sein Leichnam kömmt zur Ruh. Ach! liebe Seele, bitte du, Geh, lasse dir den toten Jesum schenken, O heilsames, o köstlich’s Angedenken!
In the evening, when it was cool, The fall of Adam was manifest; In the evening the Saviour presses down on him. In the evening the dove returned And carried an olive branch in its mouth. O beautiful time! O evening hour! The peace treaty with God is now made For Jesus has brought to fulfillment his cross. His corpse comes to rest. Ah! Dear soul, pray, Go, let them give you the dead Jesus, O salutary, O precious remembrance!
Mache dich, mein Herze, rein, Ich will Jesum selbst begraben.
Make yourself pure, my heart, I want to bury Jesus himself within me.
50. Aria [Bass]
51a. Recitative [Tenor] Evangelista:
Und Joseph nahm den Leib und wickelte ihn in ein rein Leinwand und legte ihn in sein eigen neu Grab, welches er hatte lassen in einen Fels hauen, und wälzete einen großen Stein vor die Tür des Grabes und ging davon. Des andern Tages, der da folget nach dem Rüsttage, kamen die Hohenpriester und Pharisäer sämtlich zu Pilato und sprachen:
And Joseph took the body and wrapped it in a clean linen cloth and laid it in his own new grave which had been carved for him in a rock, and he rolled a great stone in front of the door of the grave and went away. On the next day, the one that followed the day of rest, the chief priests and Pharisees came together to Pilate and said:
51b. Chorus Herr, wir haben gedacht, daß dieser Verführer sprach, da er noch lebete: Ich will nach dreien Tagen wieder auferstehen. Darum befiehl, daß man das Grab verwahre bis an den dritten Tag, auf daß nicht seine Jünger kommen und stehlen ihn und sagen zu dem Volk: Er ist auferstanden von den Toten, und werde der letzte Betrug ärger denn der erste! 51c. Recitative [Tenor, Bass]
Lord, we have remembered that this deceiver said, while he was still alive: I shall rise again after three days. Therefore give orders that the tomb should be guarded until the third day so that his disciples do not come and steal his body and say to the people: “He has risen from the dead,” and the last deception would be worse than the first!
Pilatus sprach zu ihnen:
Pilate said to them:
Da habt ihr die Hüter; gehet hin und verwahret’s, wie ihr’s wisset!
You have guards of your own; go away and keep watch as best you can!
Sie gingen hin und verwahreten das Grab mit Hütern und versiegelten den Stein.
They went away and kept watch over the grave with guards and sealed the stone. 29
52. Accompanied Recitative [Bass, Tenor, Alto, Soprano, Chorus] Nun ist der Herr zur Ruh gebracht. Mein Jesu, gute Nacht!
Now is the Lord brought to peace. My Jesus, goodnight!
Die Müh ist aus, die unsre Sünden ihm gemacht. Mein Jesu, gute Nacht!
The trouble is over, which our sins caused for him. My Jesus, goodnight!
O selige Gebeine, Seht, wie ich euch mit Buß und Reu beweine,
O sacred limbs, See how I weep for you with penance and remorse That my fall has brought you into such distress! My Jesus, goodnight!
dass euch mein Fall in solche Not gebracht! Mein Jesu, gute Nacht! Habt lebenslang Vor euer Leiden tausend Dank, Dass ihr mein Seelenheil so wert geacht’. Mein Jesu, gute Nacht! 53. Chorus Wir setzen uns mit Tränen nieder und rufen dir im Grabe zu Ruhe sanfte, sanfte ruh! Ruht, ihr ausgesognen Glieder! Euer Grab und Leichenstein Soll dem ängstlichen Gewissen Ein bequemes Ruhekissen Und der Seelen Ruhstatt sein. Höchst vergnügt schlummern da die Augen ein.
As long as life lasts Have a thousand thanks for your suffering For having valued so highly the salvation of my soul. My Jesus, goodnight! We sit down with tears And call to you in your tomb Rest gently, gently rest, Rest, exhausted limbs. Your grave and tombstone For our anguished conscience shall be A pillow that gives peace and comfort And the place where our souls find rest With the greatest content there our eyes will close in sleep. English translation by Francis Browne (2008) Contribution for the Bach Cantata Website (www.bach-cantatas.com)
Mendelssohn Club would like to acknowledge Artistic Advisor Koji Otsuki, and Project Consultants Masaaki Suzuki and Hiromi Hoshino for their invaluable expertise offered throughout this project. Additionally, we offer our sincere thanks to Rebecca Thornburgh for serving as Interim Executive Director for the majority of this project.
Mendelssohn Club of Philadelphia receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency.
Mendelssohn Club of Philadelphia Mendelssohn Club of Philadelphia, one of America’s oldest musical ensembles, is performing in its 141st consecutive season. It began in 1874 as an eight-voice male chorus founded by William Wallace Gilchrist, one of the most important musical figures in nineteenth century Philadelphia. The chorus rapidly expanded, and was able to provide more than three hundred singers for the 1916 American premiere of Mahler’s Eighth Symphony with the Philadelphia Orchestra under the direction of Leopold Stokowski. Since then, Mendelssohn Club has earned a prestigious reputation by giving the first performance outside the Soviet Union of Shostakovich’s Thirteenth Symphony and the Philadelphia premieres of Brahms’ German Requiem, Prokofiev’s Ivan the Terrible, Scriabin’s First Symphony, Bartók’s Cantata Profana, and the full orchestral version of Britten’s War Requiem, among many others. Under the dynamic leadership of Artistic Director Alan Harler, the 140-voice Mendelssohn Club is known for its professional productions of choral/ orchestral programs, as well as performances in guest engagements with prominent area orchestras. Harler’s programs combine new or rarely heard works with more traditional works in order to enhance the presentation of each and to provide the audience with a familiar context for the new experience. Dedicated to the ongoing vitality of the choral art, Mendelssohn Club and Alan Harler have made a significant commitment to the commissioning of new choral music, and have commissioned and premiered fifty-five new works since 1990. This commitment has earned Mendelssohn Club two ASCAP/Chorus America Awards for Adventurous Programming. Mendelssohn Club has also been honored with an award from the Philadelphia Commission on Human Relations for “bringing the community together in song” through Harler’s multicultural concert programming.
J. L. Shipman
Mendelssohn Club also explores interdisciplinary concert presentations and, in May 2005, presented the Philadelphia premiere of Richard Einhorn’s 1994 cantata Voices of Light with the 1928 silent film masterpiece by Carl Dreyer,
Maestro Alan Harler leads the Mendelssohn Club Chorus, the Chamber Orchestra of Philadelphia and baritone Sanford Sylvan in the world premiere of Andrea Clearfield’s The Golem Psalms in May, 2006.
The Passion of Joan of Arc. The November 2006 co-production of Carmina Burana with the Leah Stein Dance Company was the first dance collaboration in Mendelssohn Club’s recent history. This collaboration continued in 2009 with battle hymns, with a score by David Lang and a choreography for the full chorus and nine professional dancers, and last season’s immersive multimedia presentation Anthracite Fields, with a score by Julia Wolfe, choreography for the full chorus, and scenography and projection by Jeff Sugg. Alan Harler became Mendelssohn Club’s twelfth Music Director in 1988 and was named Artistic Director in 2009. Maestro Harler served for three decades as Laura H. Carnell Professor and Chairman of Choral Music at Temple University’s Esther Boyer College of Music. He has appeared at the Festival Casals in San Juan, Puerto Rico and the Aspen Choral Institute, and has given master classes and conducted performances in Taiwan, China and South Africa. He currently serves as a Conducting Mentor with the Conductors Guild, making himself available for consultation with young conductors internationally.
J. L. Shipman
Alan Harler, Artistic Director
Alan Harler is a strong advocate for new American music. He was founder and director of the Contemporary Vocal Ensemble of Indiana University. During his tenure with Mendelssohn Club, he has commissioned and premiered 55 new compositions including such major works as David Lang’s battle hymns (2009), Jennifer Higdon’s On the Death of the Righteous (2008), Andrea Clearfield’s The Golem Psalms (2006), James Primosch’s Fire-Memory/ River-Memory (1998), Roberto Sierra’s Lux æterna (1996), Charles Fussell’s Specimen Days (1992) and Robert Moran’s Requiem: Chant du Cygne (1990). He conducted Mendelssohn Club in a critically acclaimed recording of the Moran Requiem for Argo/London Records in 1994. In 2012, Innova Records released a CD featuring the Higdon, Primosch, and Clearfield commissions for large chorus and orchestra. With the Temple University Concert Choir, he presented many Philadelphia premieres, including Moran’s Hagoromo, Alfred Schnittke’s Requiem, and Arvo Pärt’s Passio Domini Nostri Jesu Christi Secundum Joannem. Maestro Harler has prepared choruses for many of the country’s leading conductors, including Riccardo Muti, Klaus Tennstedt, Charles Dutoit, Zubin Mehta, Rafael Frühbeck de Burgos, Lorin Maazel, David Robertson, and Wolfgang Sawallisch. In 2004, Alan Harler received the Emanuel Kardon Foundation Award for “contributing to the vitality and excellence of the Philadelphia arts community.” In 2007, Harler received the Elaine Brown Award for Lifelong Service to Choral Music, given by the American Choral Director’s Association. In 2009, he was honored with Chorus America’s prestigious Michael Korn Founders Award for Development of the Professional Choral Art, and the Musical Fund Society of Philadelphia’s Honorary Lifetime Membership for a Distinguished Contribution to the Musical Life of Philadelphia. 32
Susanna Phillips, soprano Alabama-born soprano Susanna Phillips, recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award, continues to establish herself as one of today’s most sought-after singing actors and recitalists. Phillips returned to the Metropolitan Opera this season for a seventh consecutive season starring as Antonia in Bartlett Sher’s production of Les Contes D’Hoffmann under the baton of James Levine, as well as a reprise of her house debut role of Musetta in La Bohème. Additional engagements include Countess in Le Nozze di Figaro with Paul McCreesh and the Gulbenkian Orchestra in Lisbon and the title role in Handel’s Agrippina with Boston Baroque under Martin Pearlman. Phillips’ 2014-15 orchestral engagements are highlighted by a performance of Fauré’s Requiem with the Dallas Symphony Orchestra with Jaap van Zweden and a return to the San Francisco Symphony for Mahler’s Fourth Symphony with Michael Tilson Thomas. Additional performances include Strauss’ Four Last Songs at the opening night gala of the Louisiana Philharmonic’s season and with the Mexico National Symphony Orchestra, a “Rival Queens” program with Elizabeth Futral and Music of the Baroque conducted by Jane Glover, and Haydn’s Die Schöpfung with Oratorio Society of New York. Her 2013-14 season was highlighted by what the New York Times called a “breakthrough night” as Fiordiligi in Così fan tutte at the Metropolitan Opera which also marked the return of music director James Levine, as well as performances of Rosalinde in a new production of Die Fledermaus which premiered on New Year’s Eve, and Musetta in La Bohème. Highlights of Phillips’s previous seasons include numerous additional Metropolitan Opera appearances as Donna Anna in Don Giovanni, Pamina in Julie Taymor’s production of The Magic Flute, Musetta in La Bohème (both in New York and on tour in Japan), and as a featured artist in the Met’s Summer Recital Series in both Central Park and Brooklyn Bridge Park. She also appeared at Carnegie Hall for a special concert performance as Stella in Previn’s A Streetcar Named Desire opposite Renée Fleming – a role she went on to perform to rave reviews at Lyric Opera of Chicago. She made her Santa Fe Opera debut as Pamina, and subsequently performed a trio of other Mozart roles with the company as Fiordiligi in Così fan tutte, Countess Almaviva in Le Nozze di Figaro, and Donna Elvira in Don Giovanni. As a member of the Ryan Opera Center, Phillps sang the female leads in Roméo et Juliette and Die Fledermaus. Additional roles include Elmira in Reinhard Keiser’s The Fortunes of King Croesus, Euridice in Orfeo ed Euridice, and the title role in Lucia di Lammermoor, the Countess in Le Nozze di Figaro, and Donna Anna, as well as appearances with the Dallas Opera, Minnesota Opera, Fort Worth Opera Festival, Boston Lyric Opera and Opera Birmingham. In August 2011, Phillips was featured at the opening night of the Mostly Mozart Festival, which aired live on Live From Lincoln Center on PBS. The same 33
year saw the release of Paysages, her first solo album on Bridge Records. The following year saw her European debut as Pamina in Die Zauberflöte at the Gran Teatro del Liceu Barcelona. Highly in demand by the world’s most prestigious orchestras, Phillips has appeared with the Royal Stockholm Philharmonic under Alan Gilbert, Chicago Symphony Orchestra, San Francisco Orchestra, Philadelphia Orchestra, Oratorio Society of New York, Santa Fe Symphony, Santa Barbara Symphony, St. Louis Symphony, Orchestra of St. Luke’s, and Santa Fe Concert Association. Other recent concert and oratorio engagements include Carmina Burana, Beethoven’s Ninth Symphony, Mahler’s Fourth Symphony, Mozart’s Coronation Mass, the Fauré Requiem and the Mozart Requiem, and Handel’s Messiah. She made her Carnegie Hall debut with Skitch Henderson, Rob Fisher, and the New York Pops. Following her Baltimore Symphony Orchestra debut under Marin Alsop, the Baltimore Sun proclaimed: “She’s the real deal.” As resident artist at the 2010 and 2011 Marlboro Music Festivals, she was part of the Marilyn Horne Foundation Gala at Carnegie Hall, made her New York solo recital debut at Lincoln Center’s Alice Tully Hall, and appeared at the Kennedy Center in Washington, DC under the auspices of the Vocal Arts Society. Phillips has won four of the world’s leading vocal competitions: Operalia (both First Place and the Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Awards, and the George London Foundation Awards Competition. She has also claimed the top honor at the Marilyn Horne Foundation Competition, and has won first prizes from the American Opera Society Competition and the Musicians Club of Women in Chicago. Philips has received grants from the Santa Fe Opera and the Sullivan Foundation, and is a graduate of Lyric Opera of Chicago’s Ryan Opera Center. She holds two degrees from The Juilliard School and continues collaboration with her teacher Cynthia Hoffmann.
Marietta Simpson, mezzo-soprano Marietta Simpson, whose deeply expressive, richly beautiful voice has made her one of the most sought-after mezzo-sopranos today, has sung with major orchestras throughout the United States, under many of the world’s greatest conductors, including the late Robert Shaw in her Carnegie Hall debut in 1988 as soloist in Brahms’ Alto Rhapsody with the Atlanta Symphony Orchestra. In 2014-15 she sings as soloist in Bach’s St. Matthew Passion with the Mendelssohn Club of Philadelphia. Recently Marietta Simpson appeared as Queenie in Showboat with Houston Grand Opera, as soloist in Mahler’s Symphony No. 3 with Louisiana Philharmonic Orchestra under Carlos-Miguel Prieto, in Beethoven’s Symphony No. 9 34
with Chamber Orchestra of Philadelphia, soloist in Messiah with the United States Naval Academy, and in Bruckner’s Te Deum and Tippett’s A Child of Our Time, both with Collegiate Chorale. Other highlights include her performances as soloist in Messiah at Washington National Cathedral, also Bethel’s First AME Church; in Beethoven’s Missa Solemnis with Richmond Symphony; in Tippett’s A Child of Our Time with Utah Symphony; Mahler’s Rückert Lieder with the Memphis Symphony Orchestra; Beethoven’s Symphony No. 9 with the Columbus Symphony Orchestra; Verdi’s Requiem with the Louisville Orchestra; Messiah with Cincinnati Symphony Orchestra, also Detroit Symphony; Mendelssohn’s Die Erste Walpurgisnacht and Bach’s St. Matthew Passion, both with Alabama Symphony; an appearance in recital at the Kennedy Center; as soloist in Beethoven’s Symphony No. 9 with the Boston Symphony Orchestra at Tanglewood under Kurt Masur; and in “Summertime Songs with the Philadelphia Orchestra” at Mann Center for the Performing Arts. As a concert artist, Marietta Simpson made her New York Philharmonic debut under Kurt Masur in Mendelssohn’s Elijah, followed by performances of Beethoven’s Missa Solemnis and Symphony No. 9, and Bach’s St. John Passion, also under Masur. She sang in Carnegie Hall’s commemoration of the 250th anniversary of Messiah, and performed Beethoven’s Symphony No. 9 with the New Jersey Symphony Orchestra, under Zdenek Macal, for the inauguration of the New Jersey Performing Arts Center in Newark. Both events were nationally televised. She toured in Poland, Germany and Russia with Helmuth Rilling and the Stuttgart Bachakadamie Orchestra and Chorus, and has sung at the Prague and Brno Festivals, as well as many festivals in the United States, including Grant Park, Ojai, and at the Mann Music Center. Among Ms. Simpson’s concert highlights are her performances of Handel’s Messiah with the Philadelphia Orchestra, Milwaukee Symphony Orchestra under Nicholas McGegan, and with Lyric Opera of Chicago; Beethoven’s Symphony No. 9 with the Chicago Symphony Orchestra under Daniel Barenboim; and Szymanowski’s Stabat Mater in a debut with the Vienna Philharmonic conducted by Sir Simon Rattle, which she also reprised under Rattle with the Berlin Philharmonic. She has also sung Mozart’s Requiem with St. Louis Symphony under David Robertson; Elgar’s Sea Pictures with Louisville Orchestra under Raymond Leppard; Beethoven’s Symphony No. 9 with Phoenix Symphony under Michael Christie; Mahler’s Das Lied von der Erde with Greater Pensacola Symphony; and the world premiere of a new work entitled The Thread, composed by J. Mark Scearce to text by Toni Morrison, with Nashville Chamber Orchestra. On the operatic stage, Ms. Simpson made her debut at Lyric Opera of Chicago singing the role of Addie in Marc Blitzstein’s opera Regina, a role which she later reprised at both the Kennedy Center and Bard SummerScape Festival; and her debut at the Royal Opera House, Covent Garden in Trevor Nunn’s production of Porgy and Bess, which was filmed for British television. She has also toured Europe with Lorin Maazel and the Pittsburgh Symphony in concert performances of Porgy and Bess. She has also appeared as Maria in Porgy and Bess for Washington National Opera, Opera Birmingham, Los Angeles Opera and Opera Pacific and as Dominga de Adviento in the world 35
premiere of Peter Eotvos’s opera, Love and Other Demons, with Glyndebourne Festival Opera. She was a member of the Houston Opera Studio for several seasons, has sung roles with Mobile and Minnesota Operas, and New York City Opera. Ms. Simpson can be seen on Video Artists International’s complete version of Handel’s Messiah with Robert Shaw and the Atlanta Symphony Orchestra, shown seasonally on PBS television. She has recorded Vivaldi’s Gloria, Bach’s Magnificat, Schubert Masses No. 2 and No. 6, Beethoven’s Mass in C, Bach’s B Minor Mass, Janacek’s Glagolitic Mass, Mahler’s Symphony No. 8, and both Dvorák’s and Szymanowski’s Stabat Mater on the Telarc label, also with Robert Shaw and the Atlanta Symphony Orchestra. She can be heard on the EMI recording of Porgy and Bess, conducted by Sir Simon Rattle; and on the Grammy Award-winning recording of William Bolcom’s Songs of Innocence and Experience, with Leonard Slatkin conducting, on the Naxos label. A native of Philadelphia, Ms. Simpson graduated from Temple University and received her Master’s Degree in Music from the State University of New York at Binghamton. She is currently an associate professor of voice at Indiana University.
Yusuke Fujii, tenor The Japanese tenor Yusuke Fujii started singing from the age of fourteen. He studied with Togawa Kanako, Olga Luo-roller, Makoto Okuda, Edagawa Kazuya, Hirokazu Suzuki, Chieko Teratani, and Brian Parsons. He studied in Akira Miura choral teaching method. He graduated from the Hiroshima University Faculty of Education. He graduated from the Tokyo University of the Arts Department of Music Vocal Department doctoral studies and the School of Music Studies master’s program. Thus far, Yusuke Fujii has appeared as a soloist primarily in vocal works, including the Evangelist in J.S. Bach’s JohannesPassion, George Frederic Handel’s Messiah, Haydn’s The Creation, Mozart’s Requiem, Dvorak’s Stabat Mater, and Robert Schumann’s Pilgrimage of the Rose. He has performed under conductors including Kotaro Sato, Kenichiro Kobayashi, Junichi Hirokami, Shigeo Genda, and Rolf Beck, and has appeared with the Japan Philharmonic Orchestra, Kanagawa Philharmonic Orchestra, and Orchestra Ensemble Kanazawa, among others. With Masaaki Suzuki and the Bach Collegium Japan, he appeared in a large number of performances or recordings at home and abroad as a soloist, including as a soloist in Israel in Egypt in the 2007 Handel Project and in Felix Mendelssohn’s Paulus in 2012. In May 2009, he appeared at the New National Theatre in the Coronation of Poppea by Monteverdi.
Eric Owen, bass-baritone A native of Philadelphia, bass-baritone Eric Owens has a unique reputation as an esteemed interpreter of classic works and a champion of new music. Equally at home in orchestral, recital, and opera performances, Owens brings his poise, expansive voice, and instinctive acting faculties to stages around the world. Owens has been recognized with multiple honors, including the 2003 Marian Anderson Award, a 1999 ARIA award, second prize in the Plácido Domingo Operalia Competition, the Metropolitan Opera National Council Auditions, and the Luciano Pavarotti International Voice Competition. Mr. Owens began his 2014-2015 season by rejoining Sir Simon Rattle, Peter Sellars, and the Berlin Philharmonic for highly anticipated performances of Bach’s St. Matthew Passion at the Lucerne Festival, as well as additional performances at The BBC Proms festival and New York’s Park Avenue Armory as part of Lincoln Center’s White Light Festival. Mr. Owens opened his operatic season by returning to Lyric Opera of Chicago, where he has been appointed as their Community Ambassador, for performances of Gershwin’s Porgy and Bess directed by Francesca Zambello. He will also appear in his title role debut of Der fliegende Holländer with the Washington National Opera conducted by Phillipe Auguin. Owens makes additional role debuts this season as King Philip II in Verdi’s Don Carlo at Opera Philadelphia, Scarpia in Puccini’s Tosca with Leonard Slatkin and the Detroit Symphony Orchestra, and the title role in Verdi’s Macbeth at the Glimmerglass Festival where he returns as an Artist in Residence. Symphonic highlights of the season include performances of Ravel’s L’enfant et les sortileges with the Swedish Radio Symphony under the baton of Esa-Pekka Salonen. Owens and Salonen then bring L’enfant et les sortileges and Debussy’s Pelléas et Mélisande, in which Owens makes his role debut as Golaud, to the United States for performances with the Chicago Symphony Orchestra. Owens can also be seen in performance with the Chicago Symphony Orchestra under Riccardo Muti in Beethoven’s Ninth Symphony. Owens began his 2013-2014 season in Berlin, performing in Bach’s St. Matthew Passion with the Berliner Philharmonic and Sir Simon Rattle. After mentoring the next generation of opera stars at the American Singers’ Opera Project at the Kennedy Center with friend and collaborator Renée Fleming, Owens appeared as Sarastro in Mozart’s The Magic Flute at the Metropolitan Opera. He made his role debut as Vodnik in Rusalka at Lyric Opera of Chicago at the start of 2014. In the spring, of 2014, Owens joined what director Peter Sellars called his “dream cast” of Handel’s Hercules with the Canadian Opera Company as the title role alongside Alice Coote, David Daniels, and Richard Croft. 2013-2014 also saw a duo recital with soprano Susanna Phillips presented by the Chicago Symphony Orchestra. Owens has created an uncommon niche for himself in the ever-growing body of contemporary opera works through his determined tackling of new and challenging roles. He received great critical acclaim for portraying the 37
title role in the world premiere of Elliot Goldenthal’s Grendel with the Los Angeles Opera, and again at the Lincoln Center Festival, in a production directed and designed by Julie Taymor. Owens also enjoys a close association with John Adams, for whom he performed the role of General Leslie Groves in the world premiere of Doctor Atomic at the San Francisco Opera, and of the Storyteller in the world premiere of A Flowering Tree at Peter Sellars’s New Crowned Hope Festival in Vienna and later with the Los Angeles Philharmonic. Doctor Atomic was later recorded and received the 2012 Grammy for Best Opera Recording. Owens made his Boston Symphony Orchestra debut under the baton of David Robertson in Adams’s Nativity oratorio El Niño. Owens’s career operatic highlights include his San Francisco Opera debut in Otello conducted by Donald Runnicles; his Royal Opera, Covent Garden, debut in Norma; Aida at Houston Grand Opera; Rigoletto, Il Trovatore, and La Bohème at Los Angeles Opera; Die Zauberflöte for his Paris Opera (Bastille) debut; and Ariodante and L’Incoronazione di Poppea at the English National Opera. He sang Collatinus in a highly acclaimed Christopher Alden production of Britten’s The Rape of Lucretia at Glimmerglass Opera. A former member of the Houston Grand Opera Studio, Owens has sung Sarastro, Mephistopheles in Faust, Frère Laurent, Angelotti in Tosca, and Aristotle Onassis in the world premiere of Jackie O (available on the Argo label) with that company. Owens is featured on two Telarc recordings with the Atlanta Symphony: Mozart’s Requiem and scenes from Strauss’ Elektra and Die Frau ohne Schatten, both conducted by Donald Runnicles. He is featured on the Nonesuch Records release of A Flowering Tree. Owens began his musical training as a pianist at the age of six, followed by formal oboe study at age eleven under Lloyd Shorter of the Delaware Symphony and Louis Rosenblatt of the Philadelphia Orchestra. He studied voice while an undergraduate at Temple University, and then as a graduate student at the Curtis Institute of Music. He currently studies with Armen Boyajian. He serves on the Board of Trustees of both the National Foundation for Advancement in the Arts and Astral Artistic Services.
Andrew Bogard, bass-baritone
Bass-baritone Andrew Bogard is currently pursuing his Master of Music degree from the Curtis Institute of Music, where he is a student of Marlena Malas. He has been heard at Opera Philadelphia as the First Priest/Second Armored Guard in Mozart’s Die Zauberflöte, Maestro in Golijov’s Ainadamar, as The Abbott in Britten’s Curlew River at Ballet Opera Pantomime (Montreal), as Alidoro in Rossini’s La Cenerentola, Dulcamara in L’elisir d’amore, Spencer Coyle in Britten’s Owen Wingrave, Sarastro in Die Zauberflöte, Dr. Reischmann in Henze’s Elegy for Young Lovers, and Mephistopheles in Gounod’s Faust at the Curtis Institute of Music. At the Chautauqua Music Festival, Andrew sang le Marquis de la Force in Dialogue of the Carmelites, Leporello in Don Giovanni, Dulcamara in Donizetti’s L’elisir d’amore, Simone in Gianni Schicchi, Reverend Hale in The Crucible, and Colline in La Boheme. As an oratorio soloist, he has appeared in The Messiah with the Park Avenue Chamber Orchestra and Marion Civic Orchestra, and as Raphael/Adam in The Creation with Symphony in C. He won first place in the 2014 Mario Lanza Scholarship Competition, and was a Mid-Atlantic regional finalist and encouragement award recipient in the 2014 MET Competition. 38
Koji Otsuki, Artistic Advisor Koji Otsuki is a versatile conductor and performer specializing in the music of J. S. Bach. A former student of Alan Harler and Masaaki Suzuki, he serves as overall project consultant and artistic adviser to the conductor for the project. In addition to being a conducting instructor at Temple University, he is also head music librarian and Bach cantata coach at the Marlboro Music Festival where he collaborates with world-class musicians. His Bach lectures and master classes have been received with enthusiasm and are sought-after internationally. He is founding director of the Gamut Bach Ensemble. Orchestra 1
Emilie-Anne Gendron concertmaster Aisha Dossumova Nina Vieru Azer Damirov Elena Chernova-Davis Gergana Haralampleva
Yoshihiko Nakano principal Adelya Shagidullina Michael Davis Ardath Belzer
Violin II Eunice Kim principal Kate Y. Suk Nikita Morozov Hannah Ji Abigail Fayette Piotr Filochowski
Cello Paul Wiancko principal Will Chow Elizabeth Thompson Bass Tomoya Aomori principal
Valissa Willwerth Beverly Shin Laura Park Natasha Colkett Brandon Garbot Antony Verner
Joseph Kauffman William Hakim Alison Avery Mihaela Matei
Violin II S. Tavani Yumi Oshima Alexandra Switala Mugurel Radu Set Rodriguez Jody Rajesh
Flute Eva Friedman Mary Schmidt Oboe Alexandra von der Embse principal Terence Belzer Clarinet Robert Huebner principal Amy Christmas Halteman Organ Michael Stairs
Flute Susanna Loewy Oboe Michelle Farah Matthew Shipp
Lynne Beiler Susan Lerner James Holesovsky Bass Heather Miller Lardin
Understudy for Susanna Phillips: Rachel Sterrenberg Understudy for Marietta Simpson: Jennifer Beattie Understudy for Yusuke Fujii: Mingjie Lie Understudy for Eric Owens: Andrew Bogard 39
Mendelssohn Club Chorus Soprano Joan Dwyer Aspan Jessica Beebe Elizabeth Benjamin Barbara Berry Rachelle E. Brisson Caitlin Butler Rachel Castro-Diephouse Lillie Ann Claitt Judy Ann Curtis Ana del Puerto Lauren Eliza Darkes Jean Dowdall Roberta Fischer Lindsay Jackson Emily Grace Kane Julianna Kelley Lynn Kirby Alexandra Lastowski Megan Lee Carolyn Linarello Jennifer Loux Ilene Meyers Miller Sybille V. Pierre Gabrielle Rinkus Roberta L. Rote Julia Richie Sammin Margaret C. Satell Lee Scarborough-Kirk Lizzy Schwartz Linda Anne Shashoua Christina King Smith Linda W. Spitko Erin Swanson Alice McKillip Thornburgh Rebecca Thornburgh Sallie Van Merkensteijn Kathryn Wadsworth Laura Yavru-Sakuk Alto Brenda B. Bary, Ph.D. Jennifer Beattie Shahara M. Benson Sonja C. Bontrager
Linda D. Carpenter Christine Chaapel Katie Conklin Erin M. Donovan Robin Eaton Ellie Elkinton Emily Erb Carol Everett Sara Gao Karen H. Gildea Anne F. Gold Emily Guendelsberger Katherine Haas Jennifer Hay Amber Nicole Johnson Bobbie Konover Deborah L. Laird Allison Levine Susan M. Lin Priscilla Lo Florence Moyer Maggie Nice Margaret Oravetz Kelly Seymour Jennifer Sheffield Maria Sisto Jean L. Sugars Rebecca C. Test Jane Uptegrove Tenor Andrew Beck Stephen Bennett Matthew G. Borkowski Frank Cassel Kyle Connor Mark Davidson Josh Dearing Joshua Edwards Nathan P. Gibney Brad Gragilla Josh Hartman William J. Horan Nicandro Iannacci Robert Laird John P. Leonard John H. Luttenberger, III
Simon Mosbah Daniel S. Ojserkis Ben Perkins Mark Pinzur Bob Rodgers Nathanael Russell Roy Schmidt Joseph Scholl John E. Spitko, Jr. Jared Susco Evan B. Towle Regis William Wagner, IV Cory O’Niell Walker Bass David G. Alpern Stephen F. Barsky Evan Birnholz Jean Bernard Cerin John Curtis Tom Elkinton Timothy Erdmann Donald Gilchrist Steven Glasser Dwayne Grannum Donald Hunt Alexander Irvine Philip H. Jones Gabor Kari Jon Kochavi John Kohlhas Changho Lee Martin Levitas Michael Moore Matt Nabinger Larry Passmore Bob Ranando Cleveland Rea James Scarborough-Kirk Joel Sheffield Daniel Simpson Thomas D. Sutton Ryan Tibbetts Richard J. Tolsma AJ Walker Austen Wilson
Mendelssohn Club makes its concert programs available in Braille for audience members who are visually impaired. Requests must be made at least one week in advance by calling Mendelssohn Club at 215.735.9922 or visiting our website at www.mcchorus.org. 40
MENDELSSo HN CLUB ..
Staff Alan Harler Artistic Director
Carolyn Linarello Bradford J. Sandler Carol F. Spinelli David B. Thornburgh Amanda Schkeeper ex officio Caroline H. West
Ryan Tibbetts Assistant Conductor Donald St. Pierre Composer-in-Residence Rehearsal Accompanist
Honorary Advisory Council George G. Smith III
Amanda Schkeeper Executive Director Elena Grace Smith Production Manager Katie Ringwood Stage Manager Sharon Torello Marketing Manager and Photography Michael Stiles Development Associate and Executive Assistant Board of Directors Charlotte E. Sibley Chair Eleanor M. Elkinton Vice-chair Michael B. Schaedle Secretary Matthew M. Schreck Treasurer Dr. Jeffrey M. Cornelius Florence T. Gardner Alan Harler ex officio Landon Y. Jones Kendra E. Lawton Martin Levitas
Chorus Management Council Carolyn Linarello Chorus President Mark Pinzur Vice-President Elizabeth Benjamin Secretary Martin Levitas Singer Delegate Frank Cassel Robin Eaton Karen Gildea Nathan Russell Program Editor Michael Moore Braille Programs John H. Luttenberger, III Personnel Manager Bobbie Konover Music Librarians Carolyn Linarello Sallie van Merkensteijn Singer Directory Photographer Lauren Linarello Designer John Kohlhas
Mendelssohn Club of Philadelphia PO Box 59522, Philadelphia, PA 19102 215.735.9922
MENDELSSOHN CLUB THANKS THE FOLLOWING ORGANIZATIONS AND INDIVIDUAL DONORS WHOSE GENEROUS CONTRIBUTIONS MAKE OUR SEASON POSSIBLE. (FRQWULEXWLRQVWKURXJK-DQ) Institutional Giving The Aaron Copland Fund for New Music The Archie W. & Grace Berry Foundation Citizens for the Arts Environetics, Inc. George G. & Elizabeth G. Smith Foundation Grainger Matching Gifts Program Musical Fund Society Foundation In support of Julia Wolfe’s Anthracite Fields National Endowment for the Arts In support of Julia Wolfe’s Anthracite Fields New Music USA, Commissioning Music/USA Program In support of Julia Wolfe’s Anthracite Fields PayUSA, Inc. PECO Pennsylvania Council on the Arts The Pew Center for Arts & Heritage In support of Julia Wolfe’s Anthracite Fields In support of the Bach-Mendelssohn Project Maestro’s Society Platinum Patron ($10,000+) Thomas D. & Eleanor M. Elkinton Gold Patron ($5,0009,999) Brian G. Kight In memory of Duane Kight Kristen Phillips & Matt Schreck Margaret C. Satell Charlotte Sibley and Leif Magnusson George G. Smith, III Silver Patron ($2,5004,999) -HͿUH\&RUQHOLXV
Philadelphia Cultural Fund The Presser Foundation In support support of of Julia the Bach-Mendelssohn In Wolfe’s AnthraciteProject and forand General Operating Support Fields General Operating Support The William Penn Foundation In Kind Contributions Above the Fold Media The Anthracite Heritage Museum Art in the Age 0DULORX%XͿXP Flying Fish Brewing Company John & Jennifer Kohlhas Lauren Linarello Michael Moore Richard Tolsma Productions Matthew Schreck Carol & Steve Spinelli Charlotte Sibley & Leif Magnusson Lyn Tate Rebecca Thornburgh Sally & Andy Williams
Robin Eaton In memory of Lorraine Eaton Janet Wilson Smith Carol & Steve Spinelli Caroline West & Jonathan Sprague
Sallie van Merkensteijn Bradford J. & Lisa Sandler Michael Schaedle & Maria Sisto David & Rebecca McKillip Thornburgh Sally & Andy Williams
Bronze Patron ($1,0002,499) Anonymous Dr. Joshua Atkins & Priscilla Lo Judy Borie Ann Marie Dimino Florence Gardner Don & Dorie Gilchrist Landon Jones & Beth Vaccaro John & Jenifer Kohlhas Martin Levitas & Roberta Rote
Chorister’s Circle Diva ($500-999) D. James & Emily Baker Steve Barsky & Rebecca Test )UDQ+ -HͿUH\1 Barton Louise & Harris &OHDUÀHOG Elizabeth H. Gemmill Caroline Goodman Moshe Kam Bobbie Konover
Alan & Edina Lessack In memory of Rose Salus Tom & Barbara Mercer Rosa & Bernie Meyers James Roy Schmidt, Jr. & Kirsten Olson Jean L. Sugars Judith Sussholtz Thomas Sutton & Andrea Casher Sharon Torello Virtuoso ($250-499) Joan & Paul Aspan Richard and Jane Baron Frank Cassel & Chris Clyde Chris Chaapel Rosetta & Dr. Lawyer Chapman Jeffrey Gelles & Sharon Gornstein Bill and Karen Gildea Steven & Lynne Glasser Kathy Haas Kendra Lawton Carolyn Linarello Ilene & Steven Miller In honor of Roberta Rote In honor of Janelle McCoy & Derek Smythe Michael & Rita Moore Dan & Amy Ojserkis Lawrence H. Passmore Mark & Maxine Pinzur Cleveland Rea Jerry & Stephen Reid In memory of Duane Kight Robert & Pat Rodgers John & Linda Spitko Elizabeth A. Van Steenwyk Roslyn S. Tate Kathryn Wadsworth Louis Willig Soloist ($100-249) Anonymous Carolyn and Tim Adams Lawrence Baker Vilma Barr Brenda B. Bary & James McGlinchey
Elissa Becker In honor of Janelle McCoy & Derek Smythe Elizabeth Benjamin Beverly Bennett Luis O. & Clara V. Biava Linda & Raymond Brisson In honor of Janelle McCoy & Derek Smythe Baird & Carol Brown Peter & Miriam Burwasser Linda Carpenter Joseph P. & Arlene Carrello Susan Cassel Anthony P. Checchia Alvin & Lillie Claitt George Cooney George Corson Gail & Tom Crane In honor of Janelle McCoy & Derek Smythe Karen Cromley Harriet L. Dichter & John H. Shapiro Marc Dinardo and Elizabeth Drum Edwin C. Dreby & Margaret Mansfield Roberta Fischer Sonya C. Garfinkle & Jacob L. Friesen Anne Gold Shannon Gorman In honor of Janelle McCoy & Derek Smythe Janet Grace Neil and Teresa Gutekunst Roberta Hacker In honor of Janelle McCoy & Derek Smythe Nadine Haines and Alfred O’Neill Matt Hartman & Toni Stefano Gwen Hauser Susan & Douglas Heckrotte Gayl & Herb Henze Alice Hershberger
D. Alicia & Peter Hickok Mark F. & Geryld J. Huxsoll In honor of Janelle McCoy & Derek Smythe Lisa Illman Gay Johnson Ann & Philip Jones Landon Y. & Sarah Jones Sara Jones In honor of Janelle McCoy & Derek Smythe Gary King & Eleanor Kazdan Susan Kelly Lynn & Sean Kirby Richard & Maria Klafter Jon & Cheryl Kochavi Mary Ellen Krober Harriette Land Eugene Leff Susan Lin Robert & Carol Lockyer John H. Luttenberger, III In memory of Duane Kight In honor of Janelle McCoy & Derek Smythe Jan and Bill Lutz Wallace & Henrietta Martindale Irene McHenry & Randy Granger Constance Moore Eleanor Murdoch Jeffrey Nemeth Alfred O’Neill & Nadine Haines Daniel Pantano Mark Putnam & Linda Reichert Terri Radway Paul Rardin In honor of Janelle McCoy & Derek Smythe Sunil & Rebekah Reddi Catherine Reeve In honor of Janelle McCoy & Derek Smythe Harriet Rubenstein Jean and Parvin Sharpless Robert G. & Karen M. Sharrar 43
Jonne and Corey Smith Michal Jane Smith In honor of Janelle McCoy & Derek Smythe Bruce & Margaret Tharp In honor of Janelle McCoy & Derek Smythe Mr. & Mrs. Chaunce Thompson, Jr. In memory of Duane Kight Gladys & Jack Thonus Ryan & Katharine Tibbetts In honor of Janelle McCoy & Derek Smythe Kim Tomlinson & Dr. Laura Stanton Joan Mintz Ulmer In honor of Janelle McCoy & Derek Smythe Jane Uptegrove Michael Vogelman Dick & Cheryl Wade Paul Welde & Janet Grace Lawrence Weisberg & Rebecca Johnson Barbara Willig Caryl L. Wolf Janet Yamron Vocalist (up to $99) Concha Alborg Ashley Alden David, Ellen, & Emma Alpern Peter Barsky Judith Beck Kim Chapman Belin Shahara Benson Jeffrey Bishop Michael Blaakman Frank & Sandra Bontempo Sonja Bontrager Annelore Butler Rachel & David CastroDiephouse Christine Cayer Wilmagene Clark In honor of Janelle McCoy & Derek Smythe
Warren M. & Ellen W. Cohen Harrington E. Crissey, Jr. Suzann Crumbock John and Helen Davies Allison & Roy DeCaro Ray DiSandro Sr. Renee Donovan Steven Elkinton Rebecca Erdmann Michelle Fabian Becky Fisher Pamela Floyd Pamela Freyd John & Eugenia Gerdes Leslie & David Glickman In honor of Roberta Rote Michele Godin Scott N. Grayson Dr. Regina Gordon & Carol Grey John & Mary Ellen Hagner Emily Harting Allan Hasbrouck Caroline Hausserman Jennifer Hay Marion Heacock Shepard & Betsy Holcombe Amey Hutchins & Dylan Steinberg Laura Jackson Lindsay Jackson Gay Johnson Emily Kane Grace Karschner David Katz Kathryn Keeler & Grant Greapentrog Julianna Kelley Wayne Kressley Jan Krzywicki & Susan Nowicki Martha Lask Alexandra Lastowski Gerald Paul Leude Peter & Lisa Levasseur In honor of Janelle McCoy & Derek Smythe Allison Levine Erin Levine
Natalie Levkowich Elizabeth Lindsay Jennifer Loux Linda Lynn Meghan Machnik Donald Maloney Suzanne Marx Barbara A. & Joseph P. McLaughlin Deborah Mielewski LaNeshe Miller-White & Tim White In honor of Janelle McCoy & Derek Smythe Susan Mills Rosemary & Jeffrey Moller Charles Nelsen Carolyn O’Neill Irene Palmer Fran & Bill Paullin Jane Pepper William Phillips Roma Popewiny In honor of Janelle McCoy & Derek Smythe Laura Pritchard Jamal Patterson Nathan & Jody Pierce In honor of Janelle McCoy & Derek Smythe Sherry Pierce In honor of Janelle McCoy & Derek Smythe Hannah Ritchie Poole Sameer Rao Robert Ranando & Roy Harker Ashley Ratka Marion Rector Ann Riggan Cynthia Roberts Patricia Roberts Julia and Kyle Sammin William Sanderson Matthew Satell In honor of Margaret C. Satell Stuart & Lori Scherr Ed Scholl Joel Sheffield Lesley and James Shepard
Susan Sheridan Rachel Simon Daniel Simpson David L. Simpson Robert Spiller & Susan Walla John Spitko Sr. Barbara Supplee
Jared Susco & Christopher Stearns Judith Sussholtz Ralph Swan Michael & Cynthia Swanson Valerie Sweeney John J. Taggart Gladys & Jack Thonus
Becky & Paul Tkacs Margaret Tsukaguchi In honor of Janelle McCoy & Derek Smythe John Murray Wilson & Vera Wilson Patricia Wood Peter Zutte
Duane Kight Memorial Fund Contributions given in memory of Duane Kight, devoted singer and dear friend. Brian Kight in honor of Louis Gross, Dick Liberty, Sallie Van Merkensteijn, Ann Marie Dimino, Alan Harler and Janelle McCoy Stephen F. Barsky & Rebecca C. Test Brenda B. Bary Kathleen Butler Ann Marie Dimino
Jean Dowdall Thomas D. & Eleanor M. Elkinton Florence Gardner Alan Harler Haverford College Helen Jang Philip Jones John H. Luttenberger, III Robert Ranando Ashley Ratka
Cleveland Rea, Jr. & Stephanie Judson Jerry & Stephen Reid Margaret C. Satell Bruce & Meg Tharp Chaunce Thompson, Jr. Rebecca McKillip Thornburgh Sallie Van Merkensteijn
Many thanks to the following contributors to Mendelssohn Club’s fundraising event, The 8th Annual Mendelssohn Medley, held on April 6, 2014. Medley Honorary Chair Julia Wolfe Medley Sponsors Environetics , Inc. PayUSA, Inc. Medley Patron Circle Kathryn & Patrick Carpenter Frank Cassel Susan Cassel Jeff Cornelius* Robin Eaton Thomas D.* & Eleanor M. Elkinton* Mary Ellen Hagner Mary Ellen Krober Miyo Moriuchi Lisa* & Bradford Sandler* Margaret C. Satell Michael Schaedle* & Maria Sisto* Matthew Schreck* & Kristen Phillips* Charlotte Sibley* & Leif Magnusson* Janet Wilson Smith Carol* & Steve Spinelli, Jr.* Dr. Laura Stanton Caroline West* & Jonathan Sprague* Lyn Tate* Medley Friends Circle Carolyn Adams Margaret Anderson Barbara Berry & George Cooney Bob Berry Natalie Bielak Judy Borie Marilou* & Peter Buffum* Alvin* & Lillie Claitt* Louise & Harris Clearfield Karen Cromley Nancy DeLucia & Matt Scott Martha & Dr. Jay Eshleman 46
Janet Fink Don* & Dorie Gilchrist* Steven Glasser Julian Gorelli Teresa & Neil Gutekunst Marion Heacock Alice Herschberger Landon Jones* & Beth Vaccaro* Sarah & Lanny Jones, Jr. Susan Kohlhas Bobbie Konover* Kendra Lawton* Jerry Leube Martin Levitas** & Roberta Rote** Carolyn Linarello* Phyllis Linn Bill & Jan Lutz Wallace & Henrietta Martindale Eleanor Murdoch Robert Reid Theresa & John Rollins Kathy Rue Karen Scholnick Jean & Parvin Sharpless James & Lesley Shepard Judy Sussholtz David* & Rebecca McKillip Thornburgh* Rich Tolsma Heidi White Janet Yamron Medley In Kind Supporters and Donors Adventure Aquarium Ashley Alden D. James & Emily Baker Barnes Foundation Belleview Salon and Spa Tom & Janice Biron Sonja Bontrager* Brandywine River Museum Carol & Baird Brown Peter & Marilou Buffum Chaddsford Winery Rosetta & Dr. Lawyer Chapman Alvin & Lillie Claitt
Cunningham Piano Allison & Aurelio DeCaro Paul DuSold Eastern State Penitentiary Josh Edwards Thomas D. & Eleanor M. Elkinton Carl Ellinwood Florence Gardner* Trina Gardner Elizabeth J. Gemmill Ghost Tours of New Hope Girard College Grim Philly Tours Alan Harler Allen & Alexis Harris Dr. Russell Harris & John Casavecchia Josh Hartman Gwen Hauser Jennifer Hay Gayl & Herb Henze Alicia D.* & Peter Hickok* Inis Nua Theatre Company Inn at Montchanin Interact Theater Ron Jaworski Rebecca Johnson & Lawrence Weiseberg Beth Vaccaro & Landon Jones David Katz John Kohlhas Lantern Theater Kendra Lawton John Leonard Martin Levitas & Roberta Rote Carolyn & Bernard Linarello* Elizabeth Lindsay Robert & Carol Lockyer Longwood Gardens Chef Amy Lutz David & Rebecca McKillip Thornburgh Rosemary & Jeffrey Moller Michael Moore Florence Moyer
National Constitution Center Alfred O’Neill Opera Philadelphia Meg Oravetz Philadelphia Art Museum Philadelphia Chocolate Tours Philadelphia Eagles Philadelphia Phillies Kristen Phillips & Matt Schreck Mark & Maxine Pinzur
Please Touch Museum Carol & Steve Spinelli Quintessence Theater Starr Restaurants group Donald St. Pierre Randolph’s Fine Jewelry Tim Stopper The Red Store Sunset World Rosenbach Museum and Erin Swanson Library Walt Disney World Co. Shofuso Japanese House Paul Welde & Janet Grace and Gardens Willow Creek Winery Charlotte Sibley & Lief Winterthur Magnusson Patricia Wood Chistina King-Smith Derek Smythe * Members of the Medley Committee ** Chairs of the Medley Committee
Contributions in Honor of Ellie Elkinton’s Eleven-Year Board Chairwomanship D. James & Emily Baker Jane & Richard Baron Judith Beck Thomas D. Elkinton Steven Elkinton Gay Johnson Philip & Ann Jones
Martin Levitas & Roberta Rote Barbara & Joseph McLaughlin, Jr Eleanor Murdoch Charlotte Sibley & Leif Magnusson
Original artists, Original music.
LiveConnections presents performing artists who write their own original music.
Carol & Steve Spinelli Jared Susco & Chris Stearns Ryan Tibbetts Dick & Cheryl Wade
“Breathtaking” —Philadelphia Weekly
November 6, 2014 andrew lipke & the aizuri Quartet with Denice Frohman November 23, 2014 michi Wiancko & Judd greenstein February 6, 2015 Performer-songwriters from curtis March 20, 2015 Flutronix & ryan matthews April 16, 2015 uri caine & Prism Quartet May 7, 2015 Jason Vieaux & the al-Bustan takht Ensemble
Alan Harler New Ventures Fund Under the leadership of Artistic Director Alan Harler, Mendelssohn Club has become a chorus whose audiences know to expect the unexpected. The Alan Harler New Ventures Fund was established in 2007 in honor of Alan Harler’s first 20 years as Mendelssohn Club’s Artistic Director, to assure the continuation of his landmark initiatives and adventurous programming. To contribute to the Alan Harler New Ventures Fund please use any of the payment methods outlined on our website (www.mcchorus.org). The Mendelssohn Club Board of Trustees has allocated portions of this growing fund to a number of significant ventures: the March 2009 commissioned piece by Pulitzer Prize-winning composer Jennifer Higdon, On the Death of the Righteous, paired with the Verdi Requiem; battle hymns, the June 2009 collaboration with the Leah Stein Dance Company and Pulitzer Prize-winning composer David Lang; and the 2011 commission of Rollo Dilworth’s Rain Sequence, which was supported by a special gift to the Alan Harler New Ventures Fund. The Fund also supported the production of Metamorphosis, a commercially produced CD featuring three recent Mendelssohn Club commissioned works: Higdon’s On the Death of the Righteous, Andrea Clearfield’s Golem Psalms, and James Primosch’s Fire-Memory/River-Memory. Contributors to the Alan Harler New Ventures Fund Anonymous D. James & Emily Baker Jane & Richard Baron Rebecca C. Test & Stephen F. Barsky Fran Barton Brenda Bary & James McGlinchey Kathryn & Patrick Carpenter Joseph Carrello Frank Cassel Christine Chaapel Rosetta Chapman Lillie A. Claitt Harriet Dichter & John J. Schapiro Ann Marie Dimino Jean & George Dowdall Margaret Mansfield & Edwin Dreby Robin Eaton Thomas D. & Eleanor M. Elkinton Christopher & Melissa Elkinton Steve Elkinton Lynn & Jeffrey Faust Donald R. Gilchrist Karen H. Gildea Steven Glasser 48
Carole Haas Gravagno Anne Gold Jennifer Hay Gay Johnson Philip & Ann Jones Moshe Kam Eleanor Kazdan Duane W. Kight Jon Kochavi Bobbie Konover Carolyn & Bernard Linarello Jennifer Loux John H. Luttenberger, III Nick Marini Barbara A. McLaughlin Thomas Mercer Ilene Miller Eleanor Murdoch Meg Oravertz Kristen Phillips & Matt Schreck Maxine & Mark Pinzer Leanne M. Porter Andrew C. Price Terri Radway Sandy Rea Gene Leff & Michele Richman Martin Levitas & Roberta Rote
Margaret C. Satell Michael Schaedle & Maria Sisto Anna Shaffer Linda Shashoua Joel B. Sheffield Charlotte Sibley & Leif Magnusson Christina King Smith Janet Wilson Smith Carol & Steve Spinelli John & Linda Spitko Jean Sugars Jared Susco & Chris Stearns Judith Sussholtz Thomas D. Sutton Nyssa Taylor Gladys M. Thonus Rebecca & David Thornburgh Ryan Tibbetts Becky Tkacs Jane Uptegrove Sallie Van Merkensteijn Elizabeth A. Van Steenwyk Cheryl Wade Kay Wadsworth
Mendelssohn Club of Philadelphia Commissions and Premieres under Artistic Director Alan Harler 2015
Byron Au Yong – TURBINE Commissioned for performance at Philadelphia’s historic Water Works in collaboration with the Leah Stein Dance Company.
Donald St. Pierre – Tomorrow Shall Be My Dancing Day Based on the traditional folk carol
Julia Wolfe – Anthracite Fields Folk cantata commissioned for chorus and folk/classical chamber orchestra, with choreography for the chorus by Leah Stein
Donald St. Pierre – Watchman, Tell Us of the Night Setting of the traditional carol for soprano solo, chorus and brass
Jeremy Gill – Before the Wresting Tides Based on the poetry of Hart Crane and commissioned for performance with Beethoven’s Choral Fantasy
Donald St. Pierre – In the Company of Angels Cantata with a text taken from the writings of Emanuel Swedenborg
Thomas Whitman – At War’s End Setting for chamber chorus
Robert Moran – Angele Dei World premiere of Moran’s setting of St. Anselm’s Prayer to One’s Guardian Angel for chorus and chamber orchestra
Robert Moran – Trinity Requiem Written for the 10th anniversary of the 9/11 tragedy; originally commissioned by Trinity Wall Street for treble voices and now reset for full chorus and treble voices.
Donald St. Pierre – Morning Has Broken A cantata inspired by the famous hymn, with a text by Thomas Traherne
Andrea Clearfield – Tse Go La Based on folk music used in the Buddhist traditions of Nepal and collected by the composer
Rollo Dilworth – Rain Sequence A traditional spiritual and settings of poems by Langston Hughes and Paul Laurence Dunbar
Donald St. Pierre – Three Carols Settings of three traditional English carols
Robert S. Cohen – Sleep, Little Baby, Sleep Setting of a poem by Christina Georgina Rossetti
Donald St. Pierre – A Visit From St. Nicholas Setting of the famous Christmas poem by Clement C. Moore
David Lang – battle hymns Commissioned with the Leah Stein Dance Company for performance at the historic Armory of the First Troop Philadelphia City Cavalry
Peter Hilliard – Consider Krakatau Commissioned with the Philadelphia Gay Men’s Chorus and Anna Crusis Women’s Choir for a concert event sponsored by the Equality Forum 49
Robert Maggio – Into the Light Commissioned with the Philadelphia Gay Men’s Chorus and Anna Crusis Women’s Choir for a concert event sponsored by the Equality Forum
Cynthia Folio – Voyage: I, Too, Can Sing a Dream Commissioned with the Philadelphia Gay Men’s Chorus and Anna Crusis Women’s Choir for a concert event sponsored by the Equality Forum
Jennifer Higdon – On the Death of the Righteous Commissioned for performance with the Verdi Requiem; text taken from a sermon of John Donne
Anthony Mosakowski – Resonet in Laudibus Setting of the famous medieval Christmas carol premiered at the From Heaven on High holiday concerts
Pauline Oliveros – Urban ECHO: Circle Told Improvisational soundscape performed in collaboration with the Leah Stein Dance Company at the Live Arts Festival / Philly Fringe
Maurice Wright – Vox Humana For chorus and bass soloist with electroacoustic sound
Donald St. Pierre – Caído se la ha un Clavel / A Carnation Has Fallen Setting of a Nativity poem by the Spanish writer Luis de Góngora
Donald St. Pierre – little tree Setting of a Christmas poem by e. e. cummings
Jan Krzywicki – Fortuna Commissioned to be paired with Carl Orff’s Carmina Burana
Andrea Clearfield – The Golem Psalms Music based on the legend of the Golem of Prague with an original libretto by Ellen Frankel, scored for baritone solo, chorus and orchestra
Donald St. Pierre – A New Song Based on a traditional Norwegian folk hymn
Kim D. Sherman – The Happiest and Unhappiest of Men Text taken from the writings of Beethoven and set for chorus and orchestra 2004
Donald St. Pierre – Agnus Dei Commissioned to complete the text of Mozart’s unfinished Mass in C minor
Jay Krush – Fanfare Felix Processional written for Mendelssohn Club’s 130th Anniversary Season
Donald St. Pierre– Billings with Brass Arrangements of hymns by William Billings
Charles Fussell – High Bridge Large scale work for soprano, alto, tenor and bass soli, chorus and orchestra and based on the poetry of Hart Crane
Donald St. Pierre – Love Came Down at Christmas Text taken from the poetry of Christina Rossetti and set for chorus and children’s choir
Donald St. Pierre – Memento mori Written to be paired with Stravinsky’s Les Noces
Donald St. Pierre – Ite missa est Commissioned to be performed with Beethoven’s Mass in C Major
Alice Parker – Sing Now of Peace Written for Mendelssohn Club’s 125th Anniversary
Jay Krush – A Fanfare for the Chorus Processional written for Mendelssohn Club’s 125th Anniversary performance of the Verdi Requiem
James Primosch – Fire-Memory/River-Memory Text based on the poetry of Denise Levertov and set for chorus and orchestra
Donald St. Pierre – Songs of Sweet Accord Commissioned to be paired with Britten’s Ceremony of Carols; American folk hymns set for men’s voices
Roberto Sierra – Lux æterna Commissioned to be performed with the Brahms German Requiem
Donald St. Pierre – Shepherd Based on an American folk hymn
Jan Krzywicki – Lute Music Composed for the Eastern European multicultural holiday concert Golden Voices of the East
Shui-Lung Ma – America, Our Home Written for the 125th Anniversary of Philadelphia’s Chinatown celebration
Jonathan B. Holland – Symphony (of Light) Written for the African-American multicultural concert The Forgotten Generation
Robert Moran – Winni ille Pu Set for chorus and orchestra with a text taken from a Latin version of the famous A. A. Milne stories
Kim D. Sherman – A Winter Solstice Ritual A choral processional written for the 1994 holiday concerts
Cynthia Folio – Touch the Angel’s Hand Text taken from Fra Giovanni’s famous letter of consolation and set for chorus and orchestra
Robert Stern – Returning the Song Composed for the Chinese multicultural program Voices From the Bamboo Grove
Charles Fussell – Invocation Text taken from a poem by May Sarton; Mendelssohn Club’s performance was featured on NPR’s First Art program
Ricky Ian Gordon – Towards Independence Music taken from the play of the same name, which was premiered at Philadelphia’s American Music Theater Festival
Jack Délano – La Rosa y el Colibrí Set for chorus and solo trumpet and written for the Hispanic multicultural concert Songs of the New World
Charles Fussell – Specimen Days Large scale work for baritone, chorus and orchestra and based on the writings of Walt Whitman; commercially recorded on the Koch International label
Jan Krzywicki – Poem A choral vocalise inspired by the poetry of Robert Frost
Byung Chul Choi – The Apostle Song Commissioned for the Korean multicultural program An American Seoul Robert Moran – Agnus Dei and Ite missa est :ULWWHQWRFRPSOHWHWKHWH[WRI0R]DUW·VXQÀQLVKHG0DVVLQ&PLQRU 1990
Osvaldo Golijov – Cantata de los Inocentes Written for performance with Britten’s St. Nicholas Cantata Robert Moran – Requiem: Chant du Cygne Written to be paired with the Mozart Requiem with text drawn from Mozart’s last words; critically acclaimed recording by Alan Harler and Mendelssohn Club on the Argo label
S TA R R I N G
ERIC OWENS “ONE OF THE GREATEST BASS-BARITONES IN THE WORLD.” –Bloomberg News
A P R I L 2 4 , 2 6 M , 2 9 , M AY 1 , 3 M , 2 0 1 5 ACADEMY OF MUSIC PA R T O F T H E K I M M E L C E N T E R F O R T H E P E R F O R M I N G A R T S
O R D E R Y O U R T I C K E T S T O D AY OPERAPHILA.ORG | 215.893.1018
S M P. M C C H O R U S . O R G Major support provided by The Pew Center for Arts & Heritage
Mendelssohn Club Chorus Chamber Orchestra of Philadelphia Alan Harler, conductor Michael Stairs, organ Susanna Phillips, soprano Marietta Simpson, mezzo-soprano Yusuke Fujii, tenor Eric Owens, bass