Program Guide - Bach Akademie Charlotte

Program Guide

JUNE 7–152019

THE CHARLOTTE BACH FESTIVAL.

WE’RE HONORED TO PARTNER WITH

2019 Charlotte Bach Festival 3

A B O U T U SBach Akademie Charlotte is a professional 501(c)(3) nonprofit organization dedicated to presenting historically informed performances and to providing educational opportunities about the music of Johann Sebastian Bach.

B A C H A K A D E M I EA “Bach Akademie” is a German term, and indeed a tradition, for a collection of musical events and other activities focused on the study of Bach and his influence in his time and ours.

H I S T O R I C A L LY I N F O R M E D P E R F O R M A N C EA historically informed performance is about more than simply using period instruments and tuning. It is an opportunity to revisit the original inspiration for the music and to present it in an engaging, vital performance that honors the composer’s intent—as we can best understand it. In doing so, we capture the sights and sounds of another age and introduce them afresh to our modern world.

S TA F FScott Allen Jarrett Artistic Director

Adam Romey Managing Director, Charlotte Bach Festival

Margaret Carpenter Haigh Managing Director, Artistic Administration

Elizabeth Eschen Director, Vocal Fellows Program

Arwen Myers Social Media Coordinator

John Shusdock Ticketing and Operations

Brett Kostrzewski Musicologist in Residence

B O A R D O F D I R E C T O R SMichael H. Trammell, Chair Robert J. Jones Timothy J. Parolini Emily Shusdock Honorary Advisor: H. Royce Saltzman

B A C H A K A D E M I E C H A R L O T T E3527 Providence RdCharlotte NC [email protected]

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Welcome from the Artistic Director

Schedule of Events

Our Supporters

Roster of Musicians

Festival Opening CelebrationBach’s “Magnificat” is full of praise and hope, and he also pays tribute to one of Christianity’s most celebrated defenders.

Visiting Artist Recital SeriesIsabelle Demers, organ, and Aisslinn Nosky, violin, present recitals featuring works both composed and inspired by Bach.

The Bach ExperienceBach’s Feast of St. Michael Cantatas celebrate the Archangel’s martial victory over Satan.

The Masterwork: St. Matthew PassionBach’s emotional call to Golgatha pushes convention to its limits, as he seeks every opportunity to do more.

Festival ArtistsProfiles of the BA|Charlotte Cantata Choir and soloists.

Vocal Fellows ProgramMeet the talented class of 2019.

Thank You

All contents © 2019, Bach Akademie Charlotte or the respective author. All Rights Reserved. No images or content may be reproduced without the express written consent of Bach Akademie Charlotte. Concert schedule and artists subject to change.

F E S T I VA L PARTNERS SPONSORS

Funding for the 2019 Vocal Fellows Program generously provided by

SUPPORT OUR FESTIVAL PARTNERS AND SPONSORS

Dear Friends,

I’m absolutely thrilled you are here to join us for our second Charlotte Bach Festival, assembling more than sixty

musicians from across the country to bring you these nine concerts across an eight-day period. We’re all connected by

an abiding love and inspiration drawn from Bach’s music—an inspiration that truly transcends time and place, bringing

together music-lovers of all backgrounds and experiences.

Throughout this year’s Festival, you’ll hear some of Bach’s most

celebrated music—from the delightful Orchestral Suite No. 2 that

includes the memorable ‘Badinerie,’ to his most sprawling musi-

cal drama, the St. Matthew Passion. We feature three remarkable

cantatas, each written to depict the marvelous battles between

St. Michael and the great dragon as told in the book of Revelation.

We’ll discover some of the fascinating details of these extraordi-

nary works in our Bach Experience.

On Sunday night, we are delighted to feature guest organist

Isabelle Demers in a solo recital of French music inspired by

Bach, alongside a variety of Bach’s organ works. On Wednes-

day night, international violin star Aisslinn Nosky presents a

solo recital featuring both old and new works, all thoughtfully

woven together by Aisslinn. In addition to our musicians, the

Charlotte Bach Festival is made possible by our many gen-

erous partners and presenters. We’re honored to bring this

music to these extraordinary spaces in Charlotte and across North

Carolina, with sincere gratitude to the musical staffs and clergy

who have made it possible.

The Bach Akademie of Charlotte is approaching its two year birthday, and we’ve enjoyed the enthusiastic and

continued support of friends like you, whose presence and generosity affirm the community made possible as we

come together to explore and experience Bach’s extraordinary music. I’m so glad to welcome you here, and I’m eager to

meet you at any and all of our concerts throughout the Festival.

With thanks and good wishes,

Scott Allen Jarrett Artistic Director

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FESTIVAL OPENING CELEBRATIONThe Cathedral of All Souls, Asheville, NC 7:30 pmBACH: MagnificatBACH: B minor Orchestral Suite No. 2BACH: Herr Gott, Dich Loben Alle Wir, BWV 130

FESTIVAL OPENING CELEBRATIONChrist Church Charlotte • 7:30 pmBACH: MagnificatBACH: B minor Orchestral Suite No. 2BACH: Herr Gott, dich loben alle wir, BWV 130

VISITING ARTIST RECITAL SERIESMyers Park United Methodist Church - Sanctuary 7:30 pm(In partnership with the Charlotte Chapter of AGO)

THE BACH EXPERIENCE IMyers Park United Methodist Church - Jubilee Hall 12:30 pm Cantatas for the Feast of St. MichaelBACH: Es erhub sich ein Streit, BWV 19

VISITING ARTIST RECITAL SERIESChrist Church Charlotte • 7:30 pm

THE BACH EXPERIENCE IIMyers Park United Methodist Church - Jubilee Hall 12:30 pmCantatas for the Feast of St. MichaelBACH: Man singet mit Freuden vom Sieg , BWV 149

BACH AT THE BRAUHAUSFree Range Brewing • 8:30 pm

THE MASTERWORKUniversity United Methodist, Chapel Hill, NC 6:30pmBACH: St. Matthew Passion, BWV 244

THE MASTERWORKMyers Park Presbyterian Church • 7:30pmBACH: St. Matthew Passion, BWV 244

schedulefriday 7

saturday 8

sunday 9

monday 10

wednesday 12

thursday 13

friday 14

saturday 15

BA|Charlotte Cantata ChoirNorth Carolina Baroque Orchestra (NCBO)Scott Allen Jarrett, Conducting

BA|Charlotte Cantata ChoirNCBOScott Allen Jarrett, Conducting

Isabelle Demers. Organ

BA|Charlotte Cantata Choir and Vocal FellowsNCBOScott Allen Jarrett, Conducting

Aisslinn Nosky, Violin


Tom Burge, Trombone

BA|Charlotte Cantata Choir and Vocal FellowsNCBO Scott Allen Jarrett, Conducting



Thank You for Your Support!The Charlotte Bach Festival would not be possible without the generous support of our donors, our sponsors, and our community partners. We would like to thank these generous individuals and organizations for their continued support of Bach Akademie Charlotte in our 2018-19 Season and the second annual Charlotte Bach Festival.

To learn more about supporting Bach Akademie Charlotte, visit bacharlotte.com/support.

Founders Circle ($10,000+)

Elizabeth and Rodney PittsMargaret and Dr. T.C. Price ZimmermannThe Maurer Family Foundation

Conductor’s Circle ($5,000+)

Scott Allen JarrettSusan and Geary JarrettAnn Howard JonesEmily and Zach SmithCharlotte and Steve Trammell

Cornerstone Guild ($2,500+)

Howard Allen JohnstonCatlin Whalan and Robert JonesReta PhiferJane ShoemakerHazel and Murray SomervilleAndrea and Mike TrammellBank of America FoundationFoundation for the Carolinas

JSB Society ($1,000+)

Ralph W. CanfieldMary and Kent CarpenterCoca-Cola ConsolidatedSusan Daughtridge and Paul StreibEileen and John GardellaMargaret and Nicolas HaighCarolyn KiblerSusan McConnellRobin and Tom McCoyHelen Maddux and Joseph OmlorKnok PorterSusan and Samuel RankinSabine and Haywood RankinRosalie ReynoldsFaye and John SullivanWilliam TrotterCricket Weston and Dave Molinaro

Friends of the Festival($250+)

Ethel AllisonMark Andrey-GravesEmerson BellMarilyn BradleyMelinda and Phil Bugaiski

Jan and Bob BuschJan and Dianne CatesBetty ClarkPaul DelaneyLouise and Brian FrumkinTheresa and Paul GibsonChristopher GilliamMichael Grant and Tom AllenKatherine HughesLisa Lashley and Francis CrochetGarrett LawElizabeth LentiDavid LowryColin MewKristin and Lee NorthcuttJames OrrBen Outen and Michael O’HaraTheresa and Paul GibsonPaul RabinThomas RosenthalCarol and Kevin SchuelePatricia and William StokesCarolyn and Jesse TillmanSarah TullKevin TurnerLeigh and Will YoungMarie Zoellner

Corporate SponsorsCoca-Cola ConsolidatedThe Duke MansionEarly Music AmericaFree Range BrewingWDAV 89.9 Classical Public Radio

Community PartnersCathedral for All Souls, AshevilleChrist Church CharlotteDavidson College Presbyterian ChurchFirst United Methodist Church, GastoniaFriendship Missionary Baptist ChurchMatthews United Methodist Church

Myers Park Presbyterian ChurchMyers Park United Methodist ChurchSenior Scholars at QueensUniversity United Methodist Church, Chapel HillWake Forest University

Media PartnersCharlotte City PartnersThe Charlotte ObserverCVNC.orgWDAV 89.9 Classical Public Radio

Guest HostsMelinda and Phil BugaiskiDianne and Jan CatesHeidi and Joe HallSusan Hamilton

Mark Hartman and Peter BasoneElizabeth and Mark HindalLisa Lashley and Francis CrochetRobin and Tom McCoyAnn and Randy NewtonReta PhiferSabine and Haywood RankinRosalie ReynoldsEmily and John ShusdockAndrea and Mike TrammellCharlotte and Steve TrammellCricket Weston and Dave Molinaro

Thank you to our Volunteers!If you are interested in

volunteering, please see us at the table in the lobby.


BA|Charlotte Cantata ChoirSOPRANOMargaret Carpenter Haigh Jessica GartheChelsea Helm*MaryRuth LownArwen MyersEmily ShusdockSarah Yanovitch

ALTOLaura Atkinson Liz Eschen Jay CarterKim Leeds Molly McGuire* Laura Williams

TENORAaron Cates* Bryon Grohman Robert Jones David KurtenbachPatrick MuehleiseGene StengerMichael Trammell

BASSCharles Wesley EvansChristopher Gilliam Harrison Hintzsche* Luc Kleiner Edmund Milly David Rugger Jason Steigerwalt

*Vocal Fellows Program

The BA|Charlotte Cantata Choir is funded by the Elizabeth and William R. Pitts Memorial Fund.

The Vocal Fellows Program is funded by a gift from The Maurer Family Foundation.

VIOLINAisslinn Nosky** ConcertmasterMartha Perry ConcertmasterSarah CranorAlice Culin-EllisonJanelle DavisJeanne JohnsonMatvey LapinAnnie LoudReynaldo PatinoBelinda SwansonAllison WilletDavid WilsonStephanie Zimmerman

VIOLAEvan FewMarta HowardJoey O’DonnellAlissa Rata Stutzbach

CELLOBarbara KrumdieckErica Rubis

VIOLONESue Yelanjian

VIOLA DA GAMBAGail Schroeder

BASSTracy MortimerJessica Powell Eig

OBOE AND OBOE D’AMOREGeoffrey BurgessMeg OwensSung LeeWill Thauer

ENGLISH HORNGeoffrey Burgess Meg Owens

TAILLEMeg Owens

FLUTEKelly NivisonColin St. MartinRodrigo TarrazaCharles Wines

BASSOONKeith Collins

TRUMPETJosh CohenSteve MarquardtPerry SuttonJaime Hardesty

TIMPANIJonathan Hess

ORGAN/HARPSICHORDNicolas Haigh

**St. Matthew Passion, Orchestra 1

North Carolina Baroque OrchestraFrances Blaker, artistic director | Barbara Blaker Krumdieck, executive director

musicians

Jessie AdamsAshley BurbankDominick CharlesMakena Clapp

Ellison DolanMeghan DuPuyHope GottschlingMorgan Hammer

Helen HurdenSharanya Ravi KumarMaddi Rhodes

Charlotte Latin School Treble Choir Emily Shusdock, Director

The North Carolina Baroque Orchestra is funded by a generous gift from Margaret and Dr. T.C. Price Zimmermann.

2019 CHARLOTTE BACH FESTIVALFriday, June 7th, 2019 – 7:30 pm Saturday, June 8th, 2019 – 7:30 pm The Cathedral of All Souls, Asheville Christ Church Charlotte

Johann Sebastian BACH Magnificat, BWV 243 (1685–1750) Orchestral Suite No. 2 in B minor, BWV 1067 Colin St. Martin, flute Ouverture Rondeau Sarabande Bourée I Bourée II Polonaise Menuet Badinerie

Intermission

Cantata: Herr Gott, dich loben alle wir, BWV 130

MaryRuth Lown, soprano Emily Shusdock, soprano Sarah Yanovitch, soprano Elizabeth Eschen, mezzo-soprano Kim Leeds, mezzo-soprano David Kurtenbach, tenor Patrick Muehleise, tenor Gene Stenger, tenor Charles Wesley Evans, baritone Jason Steigerwalt, baritone BA|Charlotte Cantata Choir Funded by the Elizabeth and William R. Pitts Memorial Fund

North Carolina Baroque Orchestra Funded by a generous gift from Margaret and Dr. T.C. Price Zimmermann

Scott Allen Jarrett, conducting Sponsored by Emily and Zach Smith

The performance at Christ Church Charlotte is made possible by a gift from the members of the Christ Church Charlotte Choir.

The performance at Cathedral for All Souls in Asheville, NC is made possible by a gift from Charlotte and Steve Trammell and Anonymous.

Please silence electronic devices for the duration of the performance.The duration of this concert is approximately one hour and will proceed without intermission.

opening celebration



1. ChorMagnificat anima mea Dominum.

2. Arie - Ms. YanovitchEt exultavit spiritus meus in Deo salutari meo.

3. Arie S I - Ms. Lown, 4. ChorQuia respexit humilitatem ancillae suae.Ecce enim ex hoc beatam me dicent omnes generationes.

5. Arie - Mr. SteigerwaltQuia fecit mihi magna,qui potens est, et sanctum nomen eius.

6. Arie (Duett) - Ms. Eschen and Mr. MuehleiseEt misericordia a progenie in progenies,timentibus eum.

7. ChorFecit potentiam in bracchio suo,dispersit superbos mente cordis sui.

8. Arie - Mr. StengerDeposuit potentes de sede et exaltavit humiles.

9. Arie - Ms. LeedsEsurientes implevit bonis,et divites dimisit inanes.

10. TerzettSuscepit Israel puerum suumrecordatus misericordie suae.

11. ChorSicut locutus est ad patres nostros,Abraham et semini eius in saecula.

12. ChorGloria Patri et Filio et Spiritui Sancto,sicut erat in principio et nunc et in saecula saeculorum, Amen.

1. ChorusMy soul doth magnify the Lord.

2. Aria (Soprano II)And my spirit hath rejoiced in God my Saviour.

3. Aria (Soprano I), 4. Chorus For he hath regarded the low estate of his handmaiden:For, behold, from henceforth all generations shall call me blessed.

5. Aria (Bass)For he that is mighty hath done to me great things; and holy is his name.

6. Aria (Duet) (Alto, Tenor)And his mercy is on them that fear him from generation to generation.

7. ChorHe hath shewed strength with his arm; he hath scattered the proud in the imagination of their hearts.

8. Aria (Tenor)He hath put down the mighty from their seats, and exalted them of low degree.

9. Aria (Alto)He hath filled the hungry with good things; and the rich he hath sent empty away.

10. Trio (Soprano I, Soprano II, Alto)He has helped His servant Israelin remembrance of His mercy.

11. ChorusHe hath helped his servant Israel, in remembrance of his mercy;

12. ChorusGlory be to the Father and to the Son and to the Holy Spirit, as it was in the beginning, is now, and ever shall be, world without end.Amen.

Magnificat, BWV 243

opening celebration

Luke 1:46-55 Translation- King James Version


1. ChoraleHerr Gott, dich loben alle wir Und sollen billig danken dir Für dein Geschöpf der Engel schon, Die um dich schwebn um deinen Thron.(“Herr Gott, dich loben alle wir,” verse 1)

2. Rezitativ - Ms. EschenIhr heller Glanz und hohe Weisheit zeigt, Wie Gott sich zu uns Menschen neigt, Der solche Helden, solche Waffen Vor uns geschaffen. Sie ruhen ihm zu Ehren nicht; Ihr ganzer Fleiß ist nur dahin gericht’, Daß sie, Herr Christe, um dich sein Und um dein armes Häuflein: Wie nötig ist doch diese Wacht Bei Satans Grimm und Macht!

3. Arie - Mr. Evans Der alte Drache brennt vor Neid Und dichtet stets auf neues Leid, Daß er das kleine Häuflein trennet. Er tilget gern, was Gottes ist, Bald braucht er List, Weil er nicht Rast noch Ruhe kennet.

4. Rezitativ - Ms. Shusdock and Mr. KurtenbachWohl aber uns, daß Tag und Nacht Die Schar der Engel wacht, Des Satans Anschlag zu zerstören! Ein Daniel, so unter Löwen stizt, Erfährt, wie ihn die Hand des Engels schützt. Wenn dort die Glut In Babels Ofen keinen Schaden tut, So lassen Gläubige ein Danklied hören, So stellt sich in Gefahr Noch itzt der Engel Hülfe dar.

5. Arie - Mr. KurtenbachLaß, o Fürst der Cherubinen, Dieser Helden hohe Schar Immerdar Deine Gläubigen bedienen; Daß sie auf Elias Wagen Sie zu dir gen Himmel tragen.

6. Choral Darum wir billig loben dich Und danken dir, Gott ewiglich, Wie auch der lieben Engel Schar Dich preisen heut und immerdar.

Und bitten dich, wollst allezeit Dieselben heißen sein bereit, Zu schützen deine kleine Herd, So hält dein göttlichs Wort in Wert.

1. ChoraleLord God, we all praise Thee, and should justly thank TheeFor creating the angelic host, That hovers around Thee and Thy throne.

2. Recitative (Alto) Their radiance and high wisdow shewhow God inclines Himself to man, And fashioned for us Such heroes and weapons. They do not cease to praise Him; They strive for one thing alone: that they,Lord Jesus, might ever surround Theeand Thy poor flock: How necessary is this vigil in face of Satan’s rage and might!

3. Aria (Bass)The ancient dragon burns with envy and keeps contriving new painTo break up that little flock. He would gladly destroy all that is God’s, And will soon resort to cunning, For he knows neither rest nor respite.

4. Recitative (Duet) (Soprano, Tenor)It is well for us, that day and nightThe angelic host keeps watch, To demolish Satan’s onslaught! A Daniel, sitting amongst the lions, Learns how the angel’s hand protects him. When Babel’s fiery furnaceCauses no injury, The faithful sing a hymn of praise, thus even in danger The angels’ help is still at hand.

5. Aria (Tenor)Grant, O Prince of the Cherubim, That this high host of heroes May evermore; Tend Thy believers Grant that the angels on Elijah’s chariot Bear them up to Thee in heaven.

6. Chorale Therefore we justly praise Thee and thank Thee, O God, eternally, Just as Thy dear angelic host praises Thee now and evermore.

And we beseech Thee to bid Them always be preparedTo protect Thy small flockIn fulfilment of Thy Word.

Cantata: Herr Gott, dich loben alle wir, BWV 130

“Herr Gott, dich loben alle wir,” Paul Eber 1561 (verses 1,2,3,11,12 - mov’ts. 1,2,6; source for other movements)©Richard Stokes


Si n c e t h e l a t e f i f t e e n t h c e n t u r y, t h e Magnificat, Mary’s song of praise to God, has been one of the texts most frequently set to music by Western composers. One reason was its liturgical

ubiquity: the canticle was recited at Second Vespers every day but on different chanted psalm tones, thus requiring a selection of options for the correct context. As composi-tional interest in text painting grew in the seventeenth and eighteenth centuries, the Magnificat gained appeal in its vivid im-agery; moreover, its long history and di-rect Scriptural origins (Luke 1:46-55) allowed it to cross confessional lines.

Johann Sebastian Bach first composed the Magnificat in E-flat major BWV243a for Christmas 1723, his first as Thomaskantor in Leipzig. The Mag-nificat long had direct Christmas connota-tions; Mary sang the canticle while pregnant with Jesus, and its combination of unrestrained joy as well as confidence in God’s victory for the lowly made it an ideal seasonal text. In writing it for Christmas, Bach inserted four a cappella Christ-mas texts in German in this original version.

In 1733, Bach rewrote the Magnificat, BWV243 for the Feast of the Visitation—the day that a newly pregnant Mary visited her sister Elizabeth, who was pregnant with John the Baptist in her old age. It was after this visitation that Mary recited the canticle, and therefore its most proper specific festal association. Bach moved the piece to D major to accommodate a festive orchestra with trumpets and timpani, and stripped it of its German Christmas sections, among other small changes. The result is a grand and varied work brimming with joyful praise and hope.

As with other Latin works by Bach (and, indeed, as con-ventional of the period), the sequence of movements adapts the liturgical texts to the musical-poetic forms of opera and

oratorio; for example, the solo movements are not techni-cally arias, nor do they obey a set formal structure, but they do integrate a ritornello and an overall harmonic progres-sion familiar from opera. Similar, too, is the dramatic alter-nation of textures between individual voice parts and the full chorus.

Bach takes full advantage of the vivid canticle text. A glo-rious opening chorus elaborates on the word “magnificat”

to the point of excess. The chorus on “Omnes generationes” points toward the multitude of believers with its incessant fugal entries on the opening words. The heart of the piece comes with “Suscepit Israel,” when three high voices wind around the oboe’s long-note plain-chant quotation in ex-quisite old-fashioned polyphonic style. The triplet figures on the “Gloria patri” remind one of the Sanctus from

the Mass in B minor (the first iteration composed around the same time as the original Magnificat) in their obvious reference to the Trinity. The final bars reprise the opening ritornello, again accommodating a linear liturgical text to conventional rounded musical forms.

Bach composed four orchestral suites over the course of his career; this one, catalogued as Orchestral Suite No. 2, BWV1067, survives in a set of parts (two of them autograph) from 1738–39. The suite was therefore probably intended for performance by Leipzig’s Collegium Musicum, a group of professional players who gathered at Zimmermann’s coffeehouse and other venues in Leipzig to perform instru-mental and secular vocal music. Bach took over direction of the Collegium in 1729, after his more illustrious colleague Georg Philipp Telemann left the post after re-founding it in 1702. More commonly referred to as “overtures,” orchestral suites were instrumental works that set a progression of dance types in a French style, opening with the traditional

Praise, Hope, and VictoryBACH’S “MAGNIFICAT” IS FULL OF HOPE, AND HIS “HERR GOTT, DICH LOBEN ALLE WIR”

IS A TRIBUTE TO ONE OF CHRISTIANITY’S MOST CELEBRATED DEFENDERS

Brett Kostrzewski


French overture (a section in slow dotted rhythms, followed by a faster polyphonic section). These can therefore be seen alongside Bach’s famous suites for solo instruments such as the cello and keyboard.

The suite is composed for a virtuosic flute solo, but it was probably originally composed in A minor as a suite featuring a violin soloist. Bach re-composed the suite in B minor to accommodate the flute’s lowest notes, as well as placing the instrument in one of its most comfortable keys. This hardly lessens the piece’s challenges, however; the closing Badinerie in particular stands as one of the most challenging excerpts in the historical flute repertoire.

Herr Gott, dich loben alle wir, BWV130 was first performed on the Feast of St. Michael in 1724; for more about this feast and devotion to angels, see the discussion for The Bach Experience on page 21. This cantata forms part of Bach’s second chorale cycle, the “chorale cantatas,” where each cantata takes as the basis of its libretto and music a

particular chorale. In this cantata, the chorale is stated lit-erally in the libretto only in the opening and closing cho-ruses; the remaining movements instead paraphrase the inner verses. Bach therefore only set the chorale tune—a tune still popular today, known in the Anglosphere as Old Hundredth—in those choruses. As was typical, the opening movement is a chorale fantasia on the tune, where the cho-rale is sung by sopranos amidst contrapuntal elaboration by the other voices; the closing chorale is a plain four-part set-ting. Exceptional to this cantata, however, is the full festive ensemble, including an unusual three trumpets. They add great splendor to the opening chorus and closing chorale, but they contribute most mightily to the bass aria “Der alte Drache brennt vor Neid”—one of the only arias in Bach’s entire output (and rare among other composers as well) for three obbligato trumpets—and its depiction of Michael’s victory. The cantata exudes festivity and energy in all its movements: in addition to the aforementioned trumpets, Bach writes a two-voice recitative and a dance-like aria with a virtuosic flute part. The cantata is a fitting tribute to one of Christianity’s most celebrated defenders.

Bach would write three more cantatas for the Feast of St. Michael; two of them, Es erhub ein Streit, BWV19 and Man singet mit Freuden vom sieg, BWV149 can be heard at upcom-ing concerts of the Festival.

Since the late fifteenth century, the Magnificat, Mary’s song of praise to God, has been one of the texts most frequently set to music by Western composers.

www.zimmerorgans.com


2019 CHARLOTTE BACH FESTIVALSunday, June 9th, 2019 – 7:30 pm

Myers Park United Methodist Church

Isabelle Demers, organ

In Partnership with the American Guild of Organists

Johann Sebastian BACH Concerto in A minor, after Vivaldi, BWV 593 (1685–1750) Allegro

Adagio

Allegro

Charles-Valentin ALKAN From Douze Études pour les pieds seulement (1813-1888) Étude No. 11 in F minor (Adagio)

Étude No. 5 in A minor (Moderato)

Charles-Marie WIDOR Bach’s Memento (1844-1937) Aria

Sicilienne

BACH Prelude and Fugue in D major, BWV 532

INTERMISSION

Canonic Variations on ‘Vom Himmel hoch’, BWV 769

Chorale Prelude on Allein Gott in der Höh, sei Ehr, BWV 662

Passacaglia and Fugue in C minor, BWV 582

This Visiting Artist Recital is made possible by a gift from Charlotte area organists Ben Outen, Michael Grant, Nicholas Haigh, Garrett Law, Elizabeth Lenti, David Lowry, Lee Northcutt, James Orr, Ann Stigall, Kevin Turner, and Will Young.

Please silence electronic devices for the duration of the performance.Audio or video recording of this recital, using any device, without prior written consent is strictly prohibited.

There will be a ten minute break between Bach’s Prelude and Canonic Variations.The duration of this concert is approximately 80 minutes.

visiting artists


2019 CHARLOTTE BACH FESTIVALWednesday, June 12th, 2019 – 7:30p.m. Christ Church Charlotte

Aisslinn Nosky, violin

Johann Sebastian BACH Sonata in G minor, BWV 1001 (1685–1750) Adagio

Fuga

Siciliana

Presto

Michael OESTERLE Stand Still (2011) (b. 1968) I

Georg Friedrich TELEMANN Fantasie for solo violin in E-flat major, TWV 40:20 (1681-1767) Dolce

Allegro

Largo

Presto

OESTERLE Stand Still (2011) III

BACH Sonata in G minor, BWV 1001 Preludio

Loure

Gavotte en Rondeaux

Menuet I & II

Bourée Gigue

This Visiting Artist Recital is made possible by the generosity of Margaret and Dr. T.C. Price Zimmermann.

Please silence electronic devices for the duration of the performance..The duration of this concert is approximately 60 minutes.

visiting artists



Isabelle Demers, organ

With playing described as having “bracing virtuosity” (Chicago Classical Review) and being “fearless and extraordinary” (Amarillo-Globe News), Isabelle Demers has enraptured critics, present-ers, and audience members around the globe. Her 2010 recital for the

International Society of Organbuilders-American Institute of Organbuilders convention “left the entire congress in an atmosphere of ‘Demers fever.’” That same year, her perfor-mance at the Washington D.C. national convention of the American Guild of Organists caused the standing-room-only audience to call her back to the stage five times.

She has appeared in recital in Europe, Oman, Australia, New Zealand, and coast-to-coast in the United States and her home country of Canada. 2018-2019 season high-lights include performances at the Maison Symphonique (Montreal, Québec), the Elbphilharmonie (Hamburg, Germany), City Hall (Stockholm, Sweden), the Forbidden City Concert Hall (Beijing, China), and Westminster Abbey (London, UK).

Dr. Demers is in continual demand by her fellow colleagues, as witnessed by performances for numerous regional and national conventions of the American Guild of Organists, the Institute of Organ Builders and International Society of Organbuilders, the Royal Canadian College of Organists, and the Organ Historical Society. Her first recording on the Acis label, The Old and the New, was met with critical acclaim. Fanfare Magazine called it “superbly produced”, a “clear, tightly focused recording”, and a “brilliantly played program.” Her second disc, featuring the organ works of Rachel Laurin, was released in June 2011, and her recording of Max Reger’s Seven Chorale-Fantasias in November 2012. Bach, Bull, and Bombardes (Pro Organo), was released in May 2013. In 2018, she appeared as solo organ accompanist in a recording of Maurice Duruflé’s Requiem with the Baylor University Choir, recorded at Duruflé’s church in Paris, also on the Acis label.

A native of Québec and a doctoral graduate of the Juilliard School, Dr. Demers is Organ Professor and Head of the Organ Program at Baylor University in Texas.

This Visiting Artist Recital is made possible by a gift from Charlotte area organist Ben Outen, Michael Grant,

Aisslinn Nosky, violin

Hailed as “a fearsomely powerful musician” by The Toronto Star and called “superb” by The New York Times, Canadian-born violinist Aisslinn Nosky is one of the most versatile and dynamic violinists today. Ms. Nosky is Concertmaster of the Handel and Haydn Society of Boston

and is in demand internationally as a soloist, director, and conductor. Recent collabora-tions include the Orchestra of the Age of Enlightenment, the New Zealand Symphony Orchestra, Holland Baroque, and the Charlotte Symphony. Nosky served as Principal Guest Conductor of the Niagara Symphony from 2016 to 2019 and from 2005 to 2016, she was a member of Tafelmusik Baroque Orchestra.

As a member of I FURIOSI Baroque Ensemble, Nosky has helped bring an enthu-siastic new audience to Baroque music. For two decades, I FURIOSI has presented its own flamboyant and inventive concert series in Toronto, and they have toured North America and Europe with engagements at Tage Alter Musik (Regensburg, Germany), the Galway Early Music Festival, the Lameque International Baroque Festival, the Mosel Musikfestival, the Indianapolis Early Music Festival, and the Montreal Baroque Festival.

As a founding member of the Eybler Quartet, Nosky explores repertoire from the early quartet literature on period instruments. The Eybler Quartet’s recording of Beethoven’s Op.18 string quartets was released in 2018 on the CORO label. Grammaphone Magazine mused “...they make no bones about treating Beethoven as a radical. ...This set might delight you or it might infuriate you: either way, I suspect, Beethoven would have been more than happy.”

Ms. Nosky has recorded the complete Haydn violin concertos with the Handel and Haydn Society for the CORO label and her most recent recording of Mozart’s Sinfonia Concertante with violist Max Mandel was released on the same label in 2018.

Nosky is program director of EQ: Evolution of the String Quartet at the Banff Centre for Arts and Creativity. EQ is an intensive summer course for emerging artists, which explores the lineage of the string quartet.

This Visiting Artist Recital is made possible by the generosity of Margaret and Dr. T.C. Price Zimmermann.

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visiting artists

2019 CHARLOTTE BACH FESTIVALMonday, June 10th, 2019 – 12:30p.m. Jubilee Hall at Myers Park United Methodist Church

C A N TATAS F O R T H E F E AS T O F S T. M I C H A E L

Johann Sebastian BACH Cantata: Es erhub sich ein Streit, BWV 19 (1685–1750) Chorus

Recitative

Aria

Recitative

Aria

Recitative

Chorale

Chelsea Helm, soprano Molly McGuire, mezzo-soprano Aaron Cates, tenor Harrison Hintzsche, baritone

BA|Charlotte Cantata Choir Funded by the Elizabeth and William R. Pitts Memorial Fund

Vocal Fellows Program Generously funded by The Maurer Family Foundation



This Bach Experience generously funded by Susan and Geary Jarrett.

Please silence electronic devices for the duration of the performance.There will be a brief pause after the lecture/demonstration, followed by a complete performance of the Cantata.

The duration of this concert is approximately 80 minutes.

the bach experience



Cantata: Es erhub sich ein Streit, BWV 19 Cantata for the Feast of St. Michael

1.Chor Es erhub sich ein Streit. Die rasende Schlange, der höllische Drache Stürmt wider den Himmel mit wütender Rache. Aber Michael bezwingt, Und die Schar, die ihn umringt Stürzt des Satans Grausamkeit.

2. Rezitativ - Mr. HintzscheGottlob! der Drache liegt.Der unerschaffne MichaelUnd seiner EngelHeer hat ihn besiegt.Dort liegt er in der FinsternisMit Ketten angebunden,Und seine Stätte wird nicht mehrIm Himmelreich gefunden.Wir stehen sicher und gewiß,Und wenn uns gleich sein Brüllen schrecket,So wird doch unser Leib und SeelMit Engeln zugedecket.

3. Arie - Ms. HelmGott schickt uns Mahanaim zu;Wir stehen oder gehen,So können wir in sichrer RuhVor unsern Feinden stehen.Es lagert sich, so nah als fern,Um uns der Engel unsers HerrnMit Feuer, Roß und Wagen.

4. Rezitativ - Mr. CatesWas ist der schnöde Mensch, das Erdenkind?Ein Wurm, ein armer Sünder.Schaut, wie ihn selbst der Herr so lieb gewinnt,Daß er ihn nicht zu niedrig schätzetUnd ihm die Himmelskinder,Der Seraphinen Heer,Zu seiner Wacht und Gegenwehr,Zu seinem Schutze setzet.

5. Arie (mit instrumental Choral) - Mr. CatesBleibt, ihr Engel, bleibt bei mir! Führet mich auf beiden Seiten, Daß mein Fuß nicht möge gleiten!

1. ChorusThere arose a war. The raging serpent, the infernal dragon Storms against heaven with furious vengeance. But St. Michael is victorious, And the throng that crowds around him Topples Satan’s cruel might.

2. Recitative (Bass)Praise God! The dragon is laid low.The uncreated MichaelAnd his angelic hostHave conquered him.There he lies in the darknessFettered with chains,And he shall no longer dwellIn heaven’s realm.We stand confident and sure,And though his roaring frightens us,Our body and our soulAre guarded by angels.

3. Aria (Soprano)God sends us to Mahanaim;Whether we wait or departWe can in sure reposeWithstand our enemies.All around us, near and farHovers the angel of the LordWith fire, horse, and chariot.

4. Recitative (Tenor)What is vile man, that child of earth?A worm, a wretched sinner.See, how even the Lord comes to love him so,That He does not esteem him too basely,And sends him heaven’s children,The host of Seraphim,To watch over and defend,And protect him.

5. Aria (with instrumental Chorale) (Tenor)Stay, ye angels, stay by me! Lead me on either side, That my foot may never stumble!

the bach experience


Aber lernt mich auch allhier Euer großes Heilig singen Und dem Höchsten Dank zu singen!

6. Rezitativ - Ms. HelmLaßt uns das AngesichtDer frommen Engel liebenUnd sie mit unsern Sünden nichtVertreiben oder auch betrüben.So sein sie, wenn der Herr gebeut,Der Welt Valet zu sagen,Zu unsrer SeligkeitAuch unser Himmelswagen.

7. ChoralLaß dein’ Engel mit mir fahrenAuf Elias Wagen rotUnd mein Seele wohl bewahren,Wie Lazrum nach seinem Tod.Laß sie ruhn in deinem Schoß,Erfüll sie mit Freud und Trost,Bis der Leib kommt aus der ErdeUnd mit ihr vereinigt werde.

But instruct me here as well To sing your mighty ‘Holy’ And offer thanks to the Highest!

6. Recitative (Soprano)Let us love the countenanceOf righteous angels,And with our sinsNot banish or even sadden them.That they may be, when the LordCommands us to bid the world farewell,To our great delight,Our chariots to heaven.

7. ChoraleLet thine angel travel with meOn Elijah’s fiery chariotAnd protect well my soul,Like Lazarus’s, when he died.Let my soul rest within Thy lap,Make it brim with comfort and joy,Till the body rises from earthTo be united with it.

Revelation 12:7-9 (source for mov’ts. 1 and 2); St. Michael’s Day poem, Christian Friedrich Henrici (Picander) 1724/25 (source for mov’ts. 3 - 6;) “Herzlich lieb hab ich dich, o Herr,” verse 3: Martin Schalling 1571 (mov’t. 5); “Freu dich sehr, o meine Seele,” verse 9: Freiburg 1620 (mov’t. 7)Translation ©Richard Stokes

SEPTEMBER 21-22 Considering Matthew Shepard

NOVEMBER 2-3 Haydn | Brahms | Mendelssohn

JANUARY 31, FEBRUARY 1 Choral Transcendence

FEBRUARY 22 Unity Concert: African American Spirituals

APRIL 25 Orff: Carmina Burana

MAY 28, 30 Mostly Motets

2019|20

Seas

on

CHARLOTTEMASTERCHORALE.ORG

2019 CHARLOTTE BACH FESTIVALThursday, June 13th, 2019 – 12:30p.m.

Jubilee Hall at Myers Park United Methodist Church

C A N TATAS F O R T H E F E AS T O F S T. M I C H A E L

Johann Sebastian BACH Cantata: Man singet mit Freuden vom Sieg, BWV 149 Chorus Aria Recitative Aria Recitative Aria Chorale

Chelsea Helm, soprano Molly McGuire, mezzo-soprano Aaron Cates, tenor Harrison Hintzsche, baritone





This Bach Experience generously funded by Dr. Ann Howard Jones and Dr. Reta Phifer.

Please silence electronic devices for the duration of the performance.There will be a brief pause after the lecture/demonstration, followed by a complete performance of the Cantata.

The duration of this concert is approximately 80 minutes.



Cantata: Man singet mit Freuden vom Sieg, BWV 149Cantata for the Feast of St. Michael

1. ChorMan singet mit Freuden vom Sieg in den Hütten der Gerechten: Die Rechte des Herrn behält den Sieg, die Rechte des Herrn ist erhöhet, die Rechte des Herrn behält den Sieg! (Psalm 118:15-16)

2. Arie - Mr. HintzscheKraft und Stärke sei gesungenGott, dem Lamme, das bezwungenUnd den Satanas verjagt,Der uns Tag und Nacht verklagt.Ehr und Sieg ist auf die FrommenDurch des Lammes Blut gekommen.

3. Rezitativ - Ms. McGuireIch fürchte michVor tausend Feinden nicht,Denn Gottes Engel lagern sich Um meine Seiten her;Wenn alles fällt, wenn alles bricht,So bin ich doch in Ruhe.Wie wär es möglich zu verzagen?Gott schickt mir ferner Roß und WagenUnd ganze Herden Engel zu.

4. Arie - Ms. HelmGottes Engel weichen nie,Sie sind bei mir allerenden. Wenn ich schlafe, wachen sie, Wenn ich gehe, Wenn ich stehe, Tragen sie mich auf den Händen.

5. Rezitativ - Mr. CatesIch danke dir,Mien lieber Gott, dafür;Dabei verleihe mir,Daß ich mein sündlich Tun bereue,Daß sich mein Engel drüber freue,Damit er mich an meinem SterbetageIn deinen Schoß zum Himmel trage.

6. Arie (Duett) - Ms. McGuire and Mr. CatesSeid wachsam, ihr heiligen Wächter,Die Nacht ist schier dahin. Ich sehne mich und ruhe nicht, Bis ich vor dem Angesicht Meines lieben Vaters bin.

7. ChoralAch, Herr, laß dein lieb EngeleinAm letzten End die Seele meinIm Abrahams Schoß tragen,Den Leib in seim SchlafkämmerleinGar sanft ohn einge Qual und PeinRuhn bis am jüngsten Tage!Alsdenn vom Tod erwecke mich,Daß meine Augen sehen dichIn aller Freud, o Gottes Sohn,Mein Heiland und Genadenthron!Herr Jesu Christ, erhöre mich,Ich will dich preisen ewiglich!(“Herzlich lieb hab ich dich, o Herr,” verse 3)

1. ChorusThe voice of rejoicing andsalvation is in the tabernacles of the righteous: the right hnd of the Lord doeth valiantly. The right hand of the Lord is exalted: the right hand of the Lord doeth valiantly!

2. Arie (Bass)Might and power be sungto God, the Lamb, that has defeatedand banished Satan,who accused us day and night.Honour and victory have come to the devoutThrough the blood of the Lamb.3. Recitative (Alto)I have no fearOf a thousand foes,for the angels of God are encampedAll around me;Though all should fall, though all collapse,I shall still be peaceful.How could I ever despair?God sends me also horse and chariotand whole multitudes of angels.4. Aria (Soprano)The angels of God never retreat,they are present all around me. When I sleep, they keep watch, when I go, when I rise, They bear me in their arms.5. Recitative (Tenor)I give Thee thanks,My dear God, for this;And grant that I,May repent my sins,That my angel may rejoice at this,And bear me when I dieTo Thy heavenly bosom.6. Aria (Duet) (Alto, Tenor)Be wakeful, you holy watchmen,The night is nearly spent. I yearn and shall not rest, Till I stand before the countenance Of my loving Father.7. ChoraleAh, Lord, let Thy dear angel,Bear this soul of mine, when I die,Into Abraham’s lap,And let my body sleep in its resting-placeMost gently, free of torment and pain,Till the Day of Judgement!And then awaken me from death,That my eyes may behold TheeIn sheer joy, O Son of God,My Saviour and my throne of grace!Lord Jesus Christ, hear me, O hear meI will praise Thee eternally!

Psalm 118:15-16 (mov’t. 1); “Herzlich lieb hab ich dich, o Herr,” verse 3: Martin Schalling 1571 (mov’t. 7) ©Richard Stokes


Angels are one aspect of Christianity that has been subsumed by an increasing rationalism in Western thought; nevertheless, they maintain a privileged and important place in Christian

discourse both before and after the Reformation, playing a significant role in the events of both the Old and New Testa-ments. Angels often appear in the Bible as a bridge between the natural and supernatural, whether saving the three faithful men in the fiery furnace (c.f. Daniel 3:25) or bring-ing Mary the news of the Annunciation (c.f. Luke 1:26-38).

The Feast of Mi-chael the Archangel, celebrated September 29, commemorates the archangel’s victory over the dragon, Satan, as described in Revelation 12:7-12, the reading for that day. St. Michael is therefore seen as a de-fender of holiness in a martial sense, a defend-er by the sword from the Evil One. Thus his feast takes on an equal-ly martial character, picked up by Bach in all four of his cantatas for the feast; each of them, for example, is scored for an exceptional three trumpets in addition to other obbligato instruments.

The opening concert of the Bach Akademie featured Bach’s earliest cantata for the feast, first performed in 1724; his second, Es erhub sich ein Streit, BWV19, was composed and performed two years later, after Bach had finished his first two years writing complete cycles of new cantatas for each Sunday and feast day. The libretto is drawn from a poem on the subject by Christian Friedrich Henrici, better known as Picander.

Picander lived and worked in Leipzig as a poet and bureaucrat, having studied law in Wittenberg and Leipzig; he gained prominence writing erotic and satirical poetry, but sought to regain favor with a series of devotional poems published between December 1724 and 1725. The libretto for Es erhub sich ein Streit is based on a poem from this collec-tion; whether Picander, Bach himself, or someone else did the editing is unclear. Still, this marked the early stages of what would become a long and fruitful relationship.

Picander wrote poetry for a number of Bach’s vocal works, including the St. Matthew Passion and the lost St. Mark Pas-sion, the latter being set to fit preexisting music. Picander’s first wife even served as a godmother to Bach’s daughter Joanna, reflecting what must have developed into a personal connection as well. Despite what it would become, however, the details of their relationship remains unclear at this early point in Bach’s tenure in Leipzig; moreover, Bach almost certainly had distinct (albeit anonymous) sources for his

first two complete can-tata cycles that ran from 1723 to 1725.

Es erhub is striking from the downbeat: the singers enter on the first beat of the canta-ta, forgoing the typical instrumental ritornello and introducing an im-mediacy and intensity to what is already one of the most virtuosic and elaborate choruses of his entire cantata output. Apart from the Mass in B minor, it is dif-ficult to name another work in which the voices

begin with the instruments from the very beginning. This dramatic opening chorus depicts the battle between Michael and the dragon, in an extended da capo form— Michael’s victory receiving a moment of rhythmic stasis and homophonic declamation.

The joyous aria that follows, for soprano and two oboes d’amore, sets a strophic text celebrating the protection of God’s angels (Mahanaim means “two hosts,” and is given as the site at which Jacob saw God’s hosts of angels in the book of Genesis). The recitative/aria pair that follows turns inward to the individual believer. In characteristic Lutheran fashion, God’s mercy is measured by the sinfulness of the individual Christian: “Ein Wurm, ein armer Sünder./Schaut, wie ihn selbst der Herr so lieb gewinnt” (“A worm, a wretch-ed sinner. See how even he is so loved by the Lord”). The aria requests the intimate protection of angels, invoking the Sanctus—the heavenly praises sung by the angels, revealed to Isaiah (6:3) and integrated into the liturgy as early as the second century A.D. Atop the tenor plea, a solo trumpet plays the chorale melody Herzlich lieb hab ich dich, o Herr; as

St. Michael Is VictoriousBACH’S “FEAST OF ST. MICHAEL” CANTATAS REFLECT THE ARCHANGEL’S MARTIAL VICTORY OVER SATAN

Brett Kostrzewski


Alfred Dürr points out, the third verse would likely have occurred to Bach’s listeners here: “Ah Lord, at the end of my life let your dear angel carry my soul into Abraham’s bosom.” A secco recitative recognizes the “heavenly chariot” of the angels, referring to Elijah’s ascent into heaven that is men-tioned explicitly in the plain four-part chorale that follows and ends the cantata—a chorale that is adorned by trumpets and woodwinds in independent descants.

Man singet mit Freuden vom Sieg, BWV149 marks Bach’s third and last complete cantata for the Feast of St. Michael, the libretto of which was also drawn from Pican-der, this time directly from his 1728 cycle of cantata texts. The cantata was therefore probably composed in that year or the year after. If the opening chorus of Es erhub depict-ed the battle between Michael and the dragon, the opening chorus of Man singet depicts the celebration after the angel’s victory. No strife enters into the joyful chorus, in a lilting triple meter and with homophonic declamation. The chorus is in fact a parody, drawn directly from the closing chorus of the secular “Hunt” cantata BWV208. The original F major,

suitable for the original hunting horns, was transposed to D major to accommodate the festive trumpets, and the linear biblical text was assigned to the strict da capo form in this masterfully executed parody.

A strophic aria of praise for continuo and bass follows the opening chorus; as in Es erhub, this is followed by a turn-ing inward to the individual believer and his or her depen-dence on the hosts of angels for protection.

The soprano aria and tenor recitative that follow invoke one’s own personal guardian angel: “Sie sind bei mir alleren-den” (“They are with me everywhere”). The angels are then described in both movements as the soul’s guide to heaven: “Tragen sie mich auf den Händen” (“They shall bear me up in their hands”). The tenor recitative makes direct reference to the closing chorale with “deinen Schoß” (“your bosom”).

Duet was not one of Bach’s most common textures; each one, however, is an absolute gem of an aria. “Seid wachsam, ihr heiligen Wächter” is no exception, a duet for alto and ten-or with obbligato bassoon. The highly unusual color points toward the nightfall of struggle that precedes the dawn of salvation in death. At risk of reading too much into Bach’s textures, I might wonder if Bach’s duet represents the dual-ity of soul and angel, believer and watchman, preparing for arrival before the Father. The final four-part chorale remains unadorned, but for a delightful surprise at its conclusion—at which point we imagine a smile breaking across the face of the austere Bach of our collective imagination.

The singers enter on the first beat of the cantata, introducing an immediacy and intensity to what is already one of the most virtuosic and elaborate choruses of his entire cantata output.

bach at the brauhaus

ashevillesymphony.orgASHEVILLE SYMPHONY

FEBRUARY-MAY2020 Join the Asheville Symphony as we celebrate Beethoven’s 250th birthday with special concerts, recitals, world-classsoloists , piano superstars, audio installations, recording sessions, and symphonies, concertos, sonatas galore!

Queen City ViolinsA helping hand to make you sound your best

704-277-2438www.queencityviolins.com


Tom Burge is a trombonist with the Charlotte Symphony Orchestra. He also is the Low Brass Instructor at Wingate University, University of North Carolina- Charlotte, Central Piedmont Community College, and Pfeiffer College—and is a clinician and teacher in his Charlotte-based private studio. A native of Australia, Burge earned his Masters Degree at the Juilliard School. He has has performed with orchestras throughout Australia, and with the Los Angeles Philharmonic, New York Philharmonic, Cleveland Orchestra, Cincinnati Symphony Orchestra, Atlanta Sym-phony Orchestra, Charleston Symphony Orchestra, and others.

Tonight’s recital is made possible by a generous gift from Charlotte and Steve Trammell.

bach at the brauhaus2019 CHARLOTTE BACH FESTIVAL

Thursday, June 13th, 2019 – 8:30p.m. Free Range Brewing

Tom Burge, tromboneConnecting with our community in the more relaxed setting of the Brauhaus (Brewery), Tom Burge of the Charlotte Symphony Orchestra will explore some Bach, with a twist, on his modern trombone. Grab a beer and and join us for what is sure to be a memorable evening! Featuring music by Bach along with a number of delightful surprises, the final program will be announced from the stage.

Let Your Taste Buds RoamOur adventures in beer making are as varied and dynamic as the

seasons and environment around us; from big city foraging to quiet farmland harvests. We prefer to let the ingredients dictate the process,

whether in a brettanomyces fermented blackberry wild ale, juicy hop-bombing IPA or a sourdough-bread fermented farmhouse ale.

freerangebrewing.com

2019 CHARLOTTE BACH FESTIVALFriday, June 14th, 2019 – 6:30p.m. Saturday, June 15th, 2019 – 7:30p.m. University United Methodist Church, Chapel Hill Myers Park Presbyterian Church

Johann Sebastian BACH Matthäus-Passion, BWV 244 (1685–1750) (St. Matthew Passion)

Part One

Intermission

Part Two

Steven Soph, tenor (Evangelist) Sponsored by Hazel and Murray Somerville

Jason Steigerwalt, baritone (Jesus) Sponsored by Cricket Weston and Dave Molinaro

Vocal Soloists of the Cantata Choir and Vocal Fellows Program Aisslinn Nosky, violin Martha Perry, violin Colin St. Martin, flute Rodrigo Tarraza, flute Geoffrey Burgess, oboe/oboe d’amore/English horn Meg Owns, oboe/oboe d’amore/English horn Gail Schroeder, viola da gamba Barbara Krumdieck, cello Nicolas Haigh, organ



Charlotte Latin School Treble Choir North Carolina Baroque Orchestra Funded by a generous gift from Margaret and Dr. T.C. Price Zimmermann


The performance at Myers Park Presbyterian Church is made possible by a gift from the Elizabeth and William R. Pitts Memorial Fund

The performance at University United Methodist Church in Chapel Hill, NC is made possible by a gift from Howard Allen Johnston and Anonymous.

Please silence electronic devices for the duration of the performance.The duration of tonight’s concert is 180 minutes. There will be one 20-minute intermission after Part One.

the masterwork



Part IChorus with Chorale: Kommt, ihr Töchter, helft mir klagen/O Lamm Gottes, unschuldig

Anointing in BethanyRecitative Evangelist, JesusChorale: Herzliebster Jesu, was hast du verbrochenRecitative Evangelist, Jesus, ChorusRecitative and Aria: Buß und Reu Elizabeth Eschen, mezzo-soprano; Colin St. Martin, Kelly Nivison, fluteJudas’s BetrayalRecitative Evangelist, JudasAria: Blute nur, du liebes Herz! MaryRuth Lown, soprano; Rodrigo Tarraza, flute

The Last SupperRecitative Evangelist, Jesus, ChorusChorale: Ich bin’s, ich solte büßenRecitative Evangelist, Jesus, JudasRecitative and Aria: Ich will dir mein Herze schenken Arwen Myers, soprano

Jesus’ Despair on the Mount of OlivesRecitative Evangelist, JesusChorale: Erkenne mich, mein HüterRecitative Evangelist, Peter, JesusChorale: Ich will hier bei dir stehenRecitative Evangelist, JesusRecitative and Aria: Ich will bei meinem Jesu wachen Gene Stenger, tenor; Geoffrey Burgess, oboe

Prayer on the Mount of OlivesRecitative Evangelist, JesusRecitative and Aria: Gerne will ich mich bequemen David Rugger, baritoneRecitative Evangelist, JesusChorale: Was mein Gott will, das g’scheh allzeit

Recitative Evangelist, Jesus

Arrest of JesusRecitative Evangelist, Judas, JesusDuet with Chorus: So ist mein Jesus nun gefangen Sarah Yanovitch, soprano; Kim Leeds, mezzo-sopranoRecitative Evangelist, Jesus Chorale: O Mensch, bewein dein Sünde groß

Part IIAria with Chorus: Ach! nun ist mein Jesus hin! Elizabeth Eschen, mezzo-soprano

Jesus’ Interrogation by the High PriestsRecitative EvangelistChorale: Mir hat die Welt trüglich gericht’Recitative Evangelist, Zeuge I and II, Hohepriester IRecitative and Aria: Geduld! David Kurtenbach, tenor; Gail Schroeder, viola da gambaRecitative Evangelist, Hoheprister I, Jesus, ChorusChorale: Wer hat dich so geschlagenPeter’s DenialRecitative Evangelist, Magd I and II, Peter, ChorusAria: Erbarme dich Kim Leeds, mezzo- soprano; Aisslinn Nosky, violinChorale: Bin ich gleich von dir gewichenJudas in the TempleRecitative Evangelist, Judas, Chorus, Hoheprister I and IIAria: Gebt mir meinen Jesum wieder! Charles Wesley Evans, baritone; Martha Perry, violin

Jesus before PilateRecitative (Evangelist, Pilate, Jesus)

Chorale: Befiehl du deine WegeRecitative Evangelist, Pilate, Pilati Weib, ChorusChorale: Wie wunderbarlich ist doch diese Strafe!Recitative Evangelist, PilateRecitative and Aria: Aus Liebe Margaret Carpenter Haigh, soprano; Colin St. Martin, fluteRecitative Evangelist, Chorus, Pilate

Scourging of JesusRecitative and Aria: Können Tränen meiner Wangen Jay Carter, countertenorRecitative Evangelist, ChorusChorale: O Haupt voll Blut und WundenSimon of CyreneRecitative EvangelistRecitative and Aria: Komm, süßes Kreuz Edmund Milly, bass-baritone; Gail Schroeder, viola da gamba

CrucifixionRecitative Evangelist, ChorusRecitative and Aria with Chorus: Sehet, Jesus hat die Hand Jay Carter, countertenorRecitative Evangelist, Jesus, ChorusChorale: Wenn ich einmal soll scheidenRecitative Evangelist, ChorusRecitative and Aria: Mache dich, mein Herze, rein Edmund Milly, bass-baritone

BurialRecitative Evangelist, Chorus, PilateRecitative Quartet and Chorus Ms. Myers, Ms. Leeds, Mr. Kurtenbach, Mr. Kleiner

Final Chorus: Wir setzen uns mit Tränen nieder

EVANGELIST Steven Soph, tenor JESUS Jason Steigerwalt, baritone PETER Harrison Hintzsche, baritone JUDAS Luc Kleiner, baritone PILATE Edmund Milly, bass-baritone HOHEPRISTER [PRIEST] I David Rugger, baritone

HOHEPRISTER [PRIEST] II Chris Gilliam, baritone ZEUGE [WITNESS] I Molly McGuire, mezzo-soprano ZEUGE [WITNESS] II Aaron Cates, tenor MAGD [MAID] I Emily Shusdock, soprano MAGD [MAID] II MaryRuth Lown, soprano PILATI WEIB [PILATE’S WIFE] Chelsea Helm, soprano

Dramatis Personae

the masterwork


St. Matthew Passion, BWV 244Erster Teil

1. Chor I & II und Choral 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 HuldHolz zum Kreuze selber tragen.

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.

2. EvangelistDa Jesus diese Rede vollendet hatte, sprach er zu seinen Jüngern:

JesusIhr wisset daß nach zweien Tagen Ostern wird, und des Menschen Sohn wird überantwortet werden, daß er gekreuziget werde.

3. ChoralHerzliebster Jesu, was hast du verbrochen,Daß man ein solch scharf Urteil hat gesprochen?Was ist die Schuld, in was für MissetatenBist du geraten?

4. EvangelistDa versammleten sich die Hohenpriester und Schriftgelehrten und die Ältesten im Volk in den Palast des Hohenpriesters, der da hieß Kaiphas, und hielten Rat, wie sie Jesum mit Listen griffen und töteten. Sie sprachen aber:

Chor I & IIJa nicht auf das Fest, auf daß nicht ein Aufruhr werde im Volk.

EvangelistDa 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:

Chor IWozu dienet dieser Unrat? Dieses Wasser hätte mögen teuer verkauft und den Armen gegeben werden.

EvangelistDa das Jesus merkete, sprach er zu ihnen:

JesusWas bekümmert ihr das Weib? Sie hat ein gut Werk an mir getan. Ihr habet allezeit Armen bei euch, mich aber habt ihr nicht allezeit. Daß 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.

Part One

1. Chorus I & II and ChoraleCome, daughters, help me lament,behold! - Whom? - the Bridegroom!Behold Him! - How? - As a Lamb.Behold! - What? - behold the patience,look! - Where? - at our guilt.See Him, out of love and graciousnessbear the wood for the Cross Himself.

O innocent Lamb of God, slaughtered on the trunk of the Cross, patient at all times, however You were scorned. You have borne all sins, otherwise we would have to despair. Have mercy on us, o Jesus.

2. EvangelistWhen Jesus had finished this speech, he said to His disciples:

JesusYou know that in two days it will be Passover, and the Son of Man will be handed over to be crucified.

3. ChoraleHeart’s beloved Jesus, how have You transgressed,that such a harsh sentence has been pronounced?What is the crime, of what kind of misdeedare You accused?

4. EvangelistThen the high priests and the scribes and the elders of the people gathered in the palace of the high priest, who was named Caiaphas, and took council how with deception they could seize Jesus and kill Him. They said, however:

Chorus I & IINot, indeed, during the festival, so that there will not be an uproar among the people.

EvangelistNow when Jesus was in Bethany, in the house of Simon the leper, a woman came to Him with a cup filled with valuable water; and she poured it upon His head as he sat at the table. When His disciples saw this, they were against it and said:

Chorus IWhat purpose does this foolishness serve? This water could have been sold for a high price and given to the poor.

EvangelistWhen Jesus heard this, He said to them:

JesusWhy do you trouble this woman? She has done a good deed for Me. You will have the poor with you always, but you will not always have Me. She has poured this water on My body because I will be buried. Truly I say to you: wherever this Gospel will be preached in the whole world they will tell, in her memory, what she has done.


5. Rezitativ - Ms. Eschen (Chor I)Du lieber Heiland du,Wenn deiner Jünger töricht streiten,Daß diese fromme WeibMit Salben deinen Leibzum Grabe will bereiten,So lasse mir inzwischen zu, Von meiner Augen TränenflüssenEin Wasser auf sein Haupt zu gießen!

6. Arie - Ms. Eschen (Chor I)Buß und Reu, Buß und ReuKnirscht das Sündenherz entzwei. Das die Tropfen meiner Zähren Angenehme Spezerei, Treuer Jesu, dir gebären.

7. EvangelistDa ging hin der Zwölfen einer mit Namen Judas Ischarioth zu den Hohenpriestern und sprach:

JudasWas wollt ihr mir geben? Ich will ihn euch verraten.

EvangelistUnd sie boten ihm dreißig Silberlinge. Und von dem an suchte er Gelegenheit, daß er ihn verriete.

8. Arie - Ms. Lown (Chor II)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. (da capo)

9. EvangelistAber am ersten Tage der süßen Brot traten die Jünger zu Jesu und sprachen zu ihm:

Chor IWo willst du, daß wir dir bereiten das Osterlamm zu essen?

EvangelistEr sprach:

JesusGehet 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.

EvangelistUnd die Jünger täten, 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:

JesusWahrlich, ich sage euch: Einer unter euch wird mich verraten.

EvangelistUnd sie wurden sehr betrübt und huben an, ein jeglicher unter ihnen, und sagten zu ihm:

Chor IHerr, bin ichs?

5. Recitative - Alto (Chorus I)O You dear Savior,when Your disciples foolishly protestthat this virtuous womanprepares Your bodywith ointment for the grave,in the meantime let me,with the flowing tears from my eyes,pour a water upon Your head!

6. Aria - Alto (Chorus I)Repentance and regret, repentance and regretrips the sinful heart in two. Thus the drops of my tears, desirable spices, are brought to You, loving Jesus.

7. EvangelistThen one of the twelve, named Judas Iscariot, went to the high priests and said:

JudasWhat will you give me? I will betray Him to you.

EvangelistAnd they offered him thirty silver pieces. And from then on he sought opportunity to betray Him.

8. Aria - Soprano (Chorus II)Bleed out, You loving heart! Alas! A child that You raised, that nursed at Your breast, threatens to murder its caretaker, since it has become a serpent. (da capo)

9. EvangelistBut on the first day of unleavened bread the disciples came to Jesus and said to him:

Chorus IWhere do You want us to prepare to eat the Passover lamb?

EvangelistHe said:

JesusGo into the city to a certain person and say to him: the Master says to you: My time is here, I will hold Passover in your house with My disciples.

EvangelistAnd the disciples did as Jesus had commanded them, and prepared the Passover lamb. And in the evening He sat at dinner with the twelve. And as they ate, He said:

JesusTruly I say to you: one among you will betray Me.

EvangelistAnd they were very troubled and began, each one among them, to say to Him:

Chorus ILord, is it I?


10. ChoralIch bins, ich sollte büßen,An Händen und an FüßenGebunden in der Höll.Die Geißeln und die BandenUnd was du ausgestanden,Das hat verdienet meine Seel.(“O Welt, sieh heir dein Leben,” verse 5)

11. EvangelistEr antwortete und sprach:

JesusDer 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.

EvangelistDa antwortete Judas, der ihn verriet, und sprach:

JudasBin ichs, Rabbi?

EvangelistEr sprach zu ihm:

JesusDu sagests.

EvangelistDa sie aber aßen, nahm Jesus das Brot, dankete und brachs und gabs den Jüngern und sprach:

JesusNehmet, esset, das ist mein Leib.

EvangelistUnd er nahm den Kelch und dankete, gab ihnen den und sprach:

JesusTrinket alle daraus; das ist mein Blut des neuen Testaments, welches ver-gossen 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 ichs neu trinken werde mit euch in meines Vaters Reich.

12. Rezitativ - Ms. Myers (Chor I)Wiewohl mein Herz in Tränen schwimmt,Daß Jesus von mir Abschied nimmt,so macht mich doch sein Testament erfreut:Sein Fleisch und Blut, o Kostbarkeit,Vermacht er mir in meine Hände.Wie er es auf er Welt mit denen SeinenNicht böse können meinen,so liebt er sie bis an das Ende.

13. Arie - Ms. Myers (Chor I)Ich will dir mein Herze schenken,Senke dich, mein Heil, hinein! Ich will mich in dir versenken; Ist dir gleich die Welt zu klein, Ei, so sollst du mir allein Mehr als Welt und Himmel sein.

10. ChoraleIt is I, I should atone,bound hand and footin hell.The scourges and the bondsand what you endured,my soul has earned.

11. EvangelistHe answered and said:

JesusHe who has dipped his hand in the bowl with Me will betray Me. The Son of Man will indeed pass away as it stands written of Him; yet woe to the man through whom the Son of Man is betrayed! It would be better for him if this man had never been born.

EvangelistThen Judas, who betrayed Him, answered and said:

JudasIs it I, Rabbi?

EvangelistHe said to him:

JesusYou say it.

EvangelistWhile they ate, however, Jesus took the bread, blessed and broke it and gave it to the disciples and said:

JesusTake, eat, this is My body.

EvangelistAnd He took the cup and blessed it, gave it to them and said:

JesusDrink from this, all of you; this is My blood of the new covenant, which is poured out for many for the forgiveness of sins. I say to you: from now on I will not drink again from this fruit of the vine until the day when I drink again with you in my Father’s kingdom.

12. Recitative - Soprano (Chorus I)Although my heart is swimming in tears,since Jesus takes leave of me,yet His Testament brings my joy:his flesh and blood, o preciousness,he bequeaths to my hands.Just as in the world, among His own,He could not wish them harm,just so He loves them to the end.

13. Aria - Soprano (Chorus I)I will give You my heart;sink within, my Savior! I will sink into You; although the world is too small for You, ah, You alone shall be for me more than heaven and earth.


14. EvangelistUnd da sie den Lobgesang gesprochen hatten, gingen sie hinaus an den Ölberg. Da sprach Jesus zu ihnen:

JesusIn 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.

15. ChoralErkenne mich, mein Hüter, Mein Hirte, nimm mich an!Von dir, Quell aller Güter,Ist mir viel Guts getan.Dein Mund hat mich gelabetMit Milch und süßer Kost,Dein Geist hat mich begabetMit mancher Himmelslust.

16. EvangelistPetrus aber antwortete und sprach zu ihm:

PetrusWenn sie auch alle sich an dir ärgerten, so will ich doch mich nimmermehr ärgern.

EvangelistJesus sprach zu ihm:

JesusWahrlich, ich sage dir: in dieser Nacht, ehe der Hahn krähet, wirst du mich dreimal verleugnen.

EvangelistPetrus sprach zu ihm:

PetrusUnd wenn ich mit dir sterben müßte, so will ich dich nicht verleugnen.

EvangelistDesgleichen sagten auch alle Jünger.

17. ChoralIch will hier bei dir stehen,Verachte mich doch nicht!Von dir will ich nicht gehen,Wenn dir dein Herze bricht.Wenn dein Herz wird erblassenIm letzten Todesstoß,Alsdenn will ich dich fassen,In meinen Arm und Schoß.

18. EvangelistDa kam Jesus mit ihnen zu einem Hofe, der hieß Gethsemane, und sprach zu seinen Jüngern:

JesusSetzet euch hie, bis daß ich dort hingehe und bete.

EvangelistUnd nahm zu sich Petrum und die zween Söhne Zebedäi und fing an zu trauern und zu zagen. Da sprach Jesus zu ihnen:

14. EvangelistAnd when they had spoken the benediction, they went out to the Mount of Olives. Then Jesus said to them:

JesusTonight you will all be angry at Me. For it is written: “I will strike the shepherd, and the sheep of the flock will be scattered.” When, however, I rise again, I shall go before you into Galilee.

15. ChoraleAcknowledge me, my Guardian,my Shepherd, take me in!From You, source of all goodness,has much good come to me.Your mouth has nourished mewith milk and sweet sustenance;Your spirit has lavished upon memuch heavenly joy.

16. EvangelistPeter answered, however, and said to him:

PeterEven though everyone will be angry at You, yet I will never be angry.

EvangelistJesus said to him:

JesusTruly, I say to you: tonight, before the cock crows, you will deny Me three times.

EvangelistPeter said to him:

PeterEven if I must die with you, I will not deny You.

EvangelistAll the other disciples also said the same.

17. ChoraleI will stay here with You,do not scorn me!I will not leave You,even as Your heart breaks.When Your heart grows paleat the last stroke of death, Then I will hold You fastIn my arm and bosom.

18. EvangelistThen Jesus came with them to a garden, which was called Gethse-mane, and spoke to His disciples:

JesusSit here while I go over there and pray.

EvangelistAnd he took Peter and the two sons of Zebedee with Him, and began to mourn and despair. Then Jesus said to them:


JesusMeine Seele ist betrübt bis an den Tod, bleibet hie und wachet mit mir!

19. Rezitativ - Mr. Stenger (Chor I) und Chor II 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 vor fremden Raub bezahlen. Ich, ach, Herr Jesu, habe dies verschuldet, was du erduldet.Ach, könnte meine Liebe dir,Mein Heil, dein Zittern und dein Zagenvermindern oder helfen tragen,Wie gerne blieb ich hier!

20. Arie - Mr. Stenger (Chor I) und Chor IIIch will bei meinem Jesu wachen, - So schlafen unsre Sünden ein. -Meinen Tod Büßet seine Seelennot;Sein Trauren machet mich voll Freuden. - Drum muß uns sein verdienstlich Leiden Recht bitter und doch süße sein. -

21. EvangelistUnd ging hin ein wenig, fiel nieder auf sein Angesicht und betete und sprach:

JesusMein Vater, ist’s möglich, so gehe diese Kelch von mir; doch nicht wie ich will, sondern wie du willt.

22. Rezitativ - Mr. Rugger (Chor II)Der Heiland fällt vor seinem Vater nieder;Dadurch erhebt er sich und allevon unserm FalleHinauf zu Gottes Gnade wieder.Er ist bereit,Den Kelch, des Todes Bitterkeitzu trinken,In welchen Sünden dieser WeltGegossen sind und häßlich stinken,Weil es dem lieben Gott gefällt.

23. Arie - Mr. Rugger (Chor II)Gerne will ich mich bequemen,Kreuz und Becher anzunehmen,Trink ich doch dem Heiland nach. Denn sein Mund, Der mit Milch und Honig fließet, Hat den Grund und des Leidens herbe Schmach Durch den ersten Trunk versüßet.

24. EvangelistUnd er kam zu seinen Jüngern und fand sie schlafend und sprach zu ihnen:

JesusMy soul is troubled even to death; stay here and watch with Me!

19. Recitative - Tenor (Chorus I) and Chorus IIO pain!Here the tormented heart trembles;how it sinks down, how His face pales! What is the cause of all this trouble?The Judge leads Him before judgment.No comfort, no helper is there. Alas! My sins have struck You down;He suffers all the torments of Hell,he must pay for the crimes of others. I, alas, Lord Jesus, have earned this, that You endure.Ah! Could my love for You,my Savior, diminish or bring aid to Your trembling and Your despair,how gladly would I stay here!

20. Aria - Tenor (Chorus I) and Chorus III will watch with my Jesus, - So our sins fall asleep. - My deathis atoned for by His soul’s anguish;His sorrow makes me full of joy. - Therefore His deserved suffering must be truly bitter and yet sweet to us. -

21. EvangelistAnd went away a bit, fell down on His face and prayed and said:

JesusMy Father, if it is possible, let this Cup pass from Me; yet not as I will it, rather as you wish.

22. Recitative - Bass (Chorus II)The Savior falls down before His Father;through this He lifts up Himself and everyonefrom our fallto God’s grace again.He is readyto drink the Cup ofdeath’s bitterness,in which the sins of this worldare poured and which stink horribly,since it is pleasing to our loving God.

23. Aria - Bass (Chorus II)Gladly will I force myselfto take on the Cross and the Chalice,yet I drink after the Savior. For His mouth, which flows with milk and honey, has sweetened the grounds and the bitter taste of sorrow, through His first sip.

24. EvangelistAnd he came back to his disciples and found them sleeping, and said to them:


JesusKönnet 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.

EvangelistZum andernmal ging er hin, betete und sprach:

JesusMein Vater, ists nicht möglich, daß dieser Kelch von mir gehe, ich trinke ihn denn, so geschehe dein Wille.

25. ChoralWas mein Gott will, das gscheh allzeit,Sein Will, der ist der beste,Zu helfen den’ er ist bereit,Die an ihn glauben feste.Er hilft aus Not, der fromme Gott,Und züchtiget mit Maßen.Wer Gott vertraut, fest auf ihn baut,Den will er nicht verlassen.

26. EvangelistUnd 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:

JesusAch! Wollt ihr nun schlafen und ruhen? Siehe, die Stunde ist hie, daß des Menschen Sohn in der Sünder Hände überantwortet wird. Stehet auf, lasset uns gehen; siehe, er ist da der mich verrät.

EvangelistUnd als er noch redete, siehe, da kam Judas, der Zwölfen einer, und mit ihm einer große Schar mit Schwerten und mit Stangen von den Hohenpriester und Ältesten des Volks. Und der Verräter hatte ihnen ein Zeichen gegeben und gesagt: “Welchen ich küssen werde, der ists, den greifet!” Und alsbald trat er zu Jesu und sprach:

JudasGegrüßet seist du, Rabbi!

EvangelistUnd küssete ihn, Jesus aber sprach zu ihm:

JesusMein Freund, warum bist du kommen?

EvangelistDa traten sie hinzu und legte die Hände an Jesum und griffen ihn.

27. Arie - Ms. Yanovitch and Ms. Leeds (Chor I) und Chor IISo ist mein Jesus nun gefangen. -Laßt ihn, haltet, bindet nicht! -Mond und LichtIst vor Schmerzen untergangen,Weil mein Jesus ist gefangen.Sie führen ihn, er ist gebunden.

27. Chor I & IISind Blitze, sind Donner in Wolken verschwunden?Eröffne den feurigen Abgrund, o Hölle,

JesusCouldn’t you then remain awake with me one hour? Stay awake, and pray, so that you do not fall into temptation! The spirit is willing, but the flesh is weak.

EvangelistFor a second time He went away, prayed and said:

JesusMy Father, if it is not possible that this Cup pass away from Me, then I will drink it; thus may Your will be done.

25. ChoraleWhat my God wills always occurs,His will is the best;He is ready to help thosewho believe firmly in Him.He gives aid in need, this righteous God,and punishes with measure.Who trusts in God, rely upon Him firmly,God will never abandon.

26. EvangelistAnd He came back and found them sleeping, and their eyes were full of sleep. And He left them and went away another time and prayed for the third time, and spoke the same words. Then He came back to His disciples and said to them:

JesusAlas! Do you wish to sleep and rest now? Behold, the hour has come, when the Son of Man is to be handed over into the hands of sinners. Get up, let us go; see, he who betrays Me is here.

EvangelistAnd as He was speaking, behold, there came Judas, one of the twelve, and with him a large troop from the high priest and the elders of the people with swords and spears. And the betrayer had given them a sign and said: “The one that I will kiss is Him; seize Him!” And just then he stepped forward to Jesus and said:

JudasGreetings to You, Rabbi!

EvangelistAnd kissed Him. However Jesus said to him:

JesusMy friend, why did you come?

EvangelistThen they stepped forward and laid hands on Jesus and seized Him.

27. Aria - Soprano and Alto (Chorus I) and Chorus IIThus my Jesus is now captured. - Leave Him, stop, don’t bind Him! - Moon and lightfor sorrow have set,since my Jesus is captured.They take Him away, He is bound.

27. Chorus I & IIAre lightning and thunder extinguished in the clouds?Open the fiery abyss, O Hell,


Zertrümmre, verderbe, verschlinge, zerschelleMit plötzlicher WutDen falschen Verräter, das mördrische Blut!

28. EvangelistUnd 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:

JesusStecke 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.

EvangelistZu der Stund sprach Jesus zu den Scharen:

JesusIhr 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.

EvangelistDa verließen ihn alle Jünger und flohen.

29. ChoralO Mensch, bewein dein Sünde groß,Darum Christus seins Vaters SchoßÄ ußert und kam auf Erden;Von einer Jungfrau rein und zartFür uns er hie geboren ward,Er wollt der Mittler werden,Den Toten er das Leben gabUnd legt dabei all Krankheit abBis sich die Zeit herdrange,Daß er für uns geopfert würd,Trüg unser Sünden schwere BürdWohl an dem Kreuze lange.

Zweiter Teil

30. Arie - Ms. Eschen (Chor I) und Chor II Ach, nun ist mein Jesus hin! - Wo ist denn dein Freund hingegangen, O du Schönste unter den Weibern? - 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?

31. EvangelistDie aber Jesum gegriffen hatten, führeten ihn zu dem Hohenpriester Kaiphas, dahin die Schriftgelehrten und Ältesten sich versammlet hatten. Petrus aber folgete ihm nach von ferne bis in den Palast des Hohen-priesters und ging hinein und satzte sich bei die Knechte, auf daß er sähe, wo es hinaus wollte. Die Hohenpriester aber und Ältesten und der ganze

crush, destroy, devour, smashwith sudden ragethe false betrayer, the murderous blood!

28. EvangelistAnd behold, one of those who were with Jesus stretched out his hand and struck a servant of the high priest, and cut off his ear. Then Jesus said to him:

JesusPut your sword back in its place; for whoever takes the sword will perish through the sword. Or do you think that I could not ask My Father to send Me more than twelve legions of angels? How would the scripture be fulfilled then? It must happen thus.

EvangelistAt the time Jesus said to the crowd:

JesusYou have come out as if to a murderer, with swords and spears to take Me; yet I have daily sat among you and have taught in the Tem-ple, and you did not arrest Me. However all of this has happened in order to fulfill the writings of the prophets.

EvangelistThen all the disciples deserted him and fled.

29. ChoraleO mankind, mourn your great sins,for which Christ left His Father’s bosomand came to earth;from a virgin pure and tenderHe was born here for us,He wished to become our Intercessor,He gave life to the deadand laid aside all sicknessuntil the time approachedthat He would be offered for us,bearing the heavy burden of our sinsindeed for a long time on the Cross.

Part Two

30. Aria - Alto (Chorus I) and Chorus IIAlas, now my Jesus is gone! - Where, then, has your beloved gone, O most beautiful among women? -Is it possible, can I behold it? - Which way has your beloved turned? - Alas! My lamb in the claws of a tiger;Alas! Where has my Jesus gone? - We will seek Him with you. - Alas! What shall I say to the soul,when she asks me anxiously:Alas! Where has my Jesus gone?

31. EvangelistBut after they had arrested Jesus, they brought Him to the High Priest Caiaphas, where the scribes and the elders had gathered. Peter, however, followed Him from afar to the palace of the high priest, and went inside and sat with the servants, so he could see how it came out. The high priests, however, and the elders, and the entire council


Rat suchten falsche Zeugnis wider Jesum, auf daß sie ihn töteten, und funden keines.

32. ChoralMir hat die Welt trüglich gericht’Mit Lügen und mit falschem Gdicht,Viel Netz und heimlich Strikke.Herr, nimm mein wahr In dieser Gfahr,Bhüt mich für falschen Tükken!

33. EvangelistUnd wiewohl viel falsche Zeugen herzutraten, funden sie doch keins. Zuletzt traten herzu zween falsche Zeugen und sprachen:

ZeugenEr hat gesagt: Ich kann den Tempel Gottes abbrechen und in dreien Tagen denselben bauen.

EvangelistUnd der Hohepriester stund auf und sprach zu ihm:

HohepriesterAntwortest du nichts zu dem, das diese wider dich zeugen?

EvangelistAber Jesus schwieg stille.

34. Rezitativ - Mr. Kurtenbach (Chor II)Mein Jesus schweigt Zu falschen Lügen stille,Um uns damit zu zeigen,Daß sein erbarmensvoller Willevor uns zum Leiden sei geneigt,Und daß wir in dergleichen PeinIhm sollen ähnlich seinUnd in Verfolgung stille schweigen.

35. Arie - Mr. Kurtenbach (Chor II)Geduld, Geduld!Wenn mich falsche Zungen stechen.Leid ich wider meine SchuldSchimpf und Spott,Ei, so mag der liebe GottMeines Herzens Unschuld rächen.

36. EvangelistUnd der Hohenpriester antwortete und sprach zu ihm:

HohepriesterIch beschwöre dich bei dem lebendigen Gott, daß du uns sagest, ob du seiest Christus, der Sohn Gottes?

EvangelistJesus sprach zu ihm:

JesusDu sagests. Doch sage ich euch: von nun an wirds geschehen, daß ihr sehen werdet des Menschen Sohn sitzen zur Rechten der Kraft und kommen in den Wolken des Himmels.

EvangelistDa zerriß der Hohepriester seine Kleider und sprach:

sought false witness against Jesus, so that they could put Him to death, and found none.

32. ChoraleThe world has judged me deceitfully,with lies and false statements,many traps and secret snares.Lord, perceive me truthfullyin this danger;protect me from malicious falsehoods!

33. EvangelistAnd although many false witnesses came forward, they found none. Finally two false witnesses came forward and said:

WitnessesHe has said: I can destroy the temple of God and in three days build it up again.

EvangelistAnd the high priest stood up and said to Him:

High PriestDo you answer nothing to this, that they say against you?

EvangelistBut Jesus was silent.

34. Recitative - Tenor (Chorus II)My Jesus is silentat false lies,in order to show usthat His merciful willis bent on suffering for us,and that we, in the same trouble,should be like Himand keep silent under persecution.

35. Aria - Tenor (Chorus II)Patience, patience!When false tongues pierce.Although I suffer, contrary to my guilt,shame and scorn,indeed, dear God shallrevenge the innocence of my heart.

36. EvangelistAnd the high priest answered and said to Him:

High PriestI abjure You by the living God to tell us whether You are the Christ, the Son of God!

EvangelistJesus said to him:

JesusYou say it. Yet I say to you: from now on it will come to pass that you will see the Son of Man sitting at the right hand of Power, and approaching in the clouds of heaven.

EvangelistThen the high priest tore his garments and said:


HohepriesterEr hat Gott gelästert; was dürfen wir weiter Zeugnis? Siehe, itzt habt ihr seine Gotteslästerung gehöret. Was dünket euch?

EvangelistSie antworteten und sprachen:

Chor I & IIEr ist des Todes schuldig!

EvangelistDa speieten sie aus in sein Angesicht und schlugen ihn mit Fäusten. Etliche aber schlugen ihn ins Angesicht und sprachen:

Chor I & IIWeissage uns, Christe, wer ists, der dich schlug?

37. ChoralWer hat dich so geschlagen,Mein Heil, und dich mit PlagenSo übel zugericht’?Du bist ja nicht ein SünderWie wir und unsre Kinder,Von Missetaten weißt du nicht.

38. EvangelistPetrus aber saß draußen im Palast; und es trat zu ihm eine Magd und sprach:

Magd IUnd du warest auch mit dem Jesus aus Galiläa.

EvangelistEr leugnete aber vor ihnen allen und sprach:

PetrusIch weiß nicht, was du sagest.

EvangelistAls er aber zur Tür hinausging, sahe ihn eine andere und sprach zu denen, die da waren:

Magd IIDieser war auch mit dem Jesu von Nazareth.

EvangelistUnd er leugnete abermal und schwur dazu:

PetrusIch kenne des Menschen nicht.

EvangelistUnd über eine kleine Weile traten hinzu, die da stunden, und sprachen zu Petro:

Chor IIWahrlich, du bist auch einer von denen; denn deine Sprache verrät dich.

EvangelistDa hub er an sich zu verfluchen und zu schwören:

PetrusIch kenne des Menschen nicht.

EvangelistUnd alsbald krähete der Hahn. Da dachte Petrus an die Worte Jesu, da er

High PriestHe has blasphemed God; what further witness do we need? Behold, now you have heard His blasphemy. What do you think?

EvangelistThey answered and said:

Chorus I & IIHe is worthy of death!

EvangelistThen they spit in His face and struck Him with fists. Some of them, however, struck Him in the face and said:

Chorus I & IIProphesy to us, Christ, who is it who strikes You?

37. ChoraleWho has struck You thus,My Savior, and with tormentsso evilly used You?You are not at all a sinnerlike us and our children;You know nothing of transgressions.

38. EvangelistPeter, however, sat outside of the palace; and a maid came up to him and said:

Maid IAnd you were also with that Jesus of Galilee

EvangelistHe denied it however before them all and said:

PeterI don’t know what you are saying.

EvangelistAs he was going out of the door, however, another one saw him and said to those who were near:

Maid IIThis one was also with that Jesus from Nazareth.

EvangelistAnd he denied again, and swore to it:

PeterI do not know the man.

EvangelistAnd after a little while people standing around came up and said to Peter:

Chorus IITruly you are also one of them; your speech gives you away.

EvangelistThen he began to curse and swear:

PeterI do not know the man.

EvangelistAnd just then the cock crew. Then Peter remembered the words of


zu ihm sagte: “Ehe der Hahn krähen wird, wirst du mich dreimal verleugnen.” Und ging heraus und weinete bitterlich.

39. Arie - Ms. Leeds (Chor I)Erbarme dich, mein Gott,Um meiner Zähren Willen!Schaue hier, Herz und AugeWeint vor dir bitterlich.Erbarme dich, erbarme dich!

40. ChoralBin ich gleich von dir gewichen,Stell ich mich doch wieder ein;Hat uns doch dein Sohn verglichenDurch sein Angst und Todespein.Ich verleugne nicht die Schuld,Aber deine Gnad und HuldIst viel größer als die Sünde,Die ich stets bei mir befinde.(“Werde munter, mein Gemüte,” verse 6)

41. EvangelistDes 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 herwieder die dreißig Silberlinge den Hohenpriestern und Ältesten und sprach:

JudasIch habe übel getan, daß ich unschuldig Blut verraten habe.

EvangelistSie sprachen:

Chor I & IIWas gehet uns das an? Da siehe du zu!

EvangelistUnd er warf die Silberlinge in den Tempel, hub sich davon, ging hin und erhängete sich selbst. Aber die Hohenpriester nahmen die Silberlinge und sprachen:

HohenpriesterEs taugt nicht, daß wir sie in den Gotteskasten legen, denn es ist Blutgeld.

42. Arie - Mr. Evans (Chor II)Gebt mir meinen Jesum wieder!Seht das Geld, den Mörderlohn,Wirft euch der verlorne SohnZu den Füßen nieder!

43. EvangelistSie hielten aber einen Rat und kauften einen Töpfersakker darum zum Be-gräbnis der Pilger. Daher ist derselbige Akker genennet der Blutakker bis auf den heutigen Tag. Da ist erfüllet, das gesaget ist durch den Propheten Jeremias, da er spricht: “Sie haben genommen dreißig Silberlinge, damit bezahlet ward der Verkaufte, welchen sie kauften von den Kinder Israel, und haben sie gegeben um einen Töpfersakker, als mir der Herr befohlen hat.” Jesus aber stund vor der Landpfleger; und der Landpfleger fragte ihn und sprach:

Jesus, when He said to him: “before the cock crows, you will deny Me three times.” And he went out and wept bitterly.

39. Aria - Alto (Chorus I)Have mercy, my God,for the sake of my tears!Look here, heart and eyesweep bitterly before You.Have mercy, have mercy!

40. ChoraleAlthough I have been separated from You,yet I return again;even so Your Son set the example for usthrough His anguish and mortal pain.I do not deny my guilt,but Your grace and mercyis much greater than the sinthat I constantly discover in me.

41. EvangelistThe next day, however, all the high priests and the elders of the people held a council about Jesus so that they could put Him to death. And they bound Him, led Him out and turned Him over to the Governor, Pontius Pilate. When Judas, who betrayed Him, saw that He was condemned to death, he felt remorse and brought back the thirty silver pieces to the high priests and the elders and said:

JudasI have done evil by betraying innocent blood.

EvangelistThey said:

Chorus I & IIHow does that concern us? See to it yourself !

EvangelistAnd he threw the silver pieces into the temple and left, and went away and hanged himself. However the high priests took the silver pieces and said:

High PriestsIt will not do to put them into the coffers of God, since it is blood money.

42. Aria - Bass (Chorus II)Give me my Jesus back!See the money, the murderer’s fee,tossed at your feet by the lost son!

43. EvangelistThey held a council, however, and bought a potter’s field with them for the burial of pilgrims. Therefore this same field is called the Field of Blood to this very day. Thus was fulfilled what was spoken through the Prophet Jeremiah, who said: “They have taken thirty silver pieces, the price of Him who was bought from the children of Israel, and have given them for a potter’s field, as the Lord has commanded me.” Jesus, however, stood before the Governor; and the Governor questioned Him and said:


PilatusBist du der Jüden König?

EvangelistJesus aber sprach zu ihm:

JesusDu sagests.

EvangelistUnd da er verklagt war von den Hohenpriestern und Ältesten, antwortete er nichts. Da sprach Pilatus zu ihm:

PilatusHörest du nicht, wie hart sie dich verklagen?

EvangelistUnd er antwortete ihm nicht auf ein Wort, also, daß sich auch der Landp-fleger sehr verwunderte.

44. ChoralBefiel du deine Wege,und was dein Herze kränkt,Der allertreusten Pflege,Des, der den Himmel lenkt,Der Wolken, Luft und WindenGibt Wege, Lauf, und Bahn,Er will auch Wege findenDaß dein Fuß gehen kann.

45. EvangelistAuf das Fest aber hatte der Landpfleger Gewohnheit, dem Volk einen Gefangenen loszugeben, welchen sie wollten. Er hatte aber zu der Zeit einen Gefangenen, einen sonderlichen von andern, der hieß Barrabas. Und da sie versammlet waren, sprach Pilatus zu ihnen:

PilatusWelchen wollt ihr, daß ich euch losgebe? Barrabam oder Jesum, von dem gesaget wird, er sei Christus?

EvangelistDenn er wußte wohl, daß sie ihn aus Neid überantwortet hatten. Und da er auf dem Richtstuhl saß, schickete sein Weib zu ihm und ließ ihm sagen:

Pilati WeibHabe du nichts zu schaffen mit diesem Gerechten; ich habe heute viel erlitten im Traum von seinetwegen!

EvangelistAber 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:

PilatusWelchen wollt ihr unter diesen Zweien, den ich euch soll losgeben?

EvangelistSie sprachen:

Chor I & IIBarrabam!

EvangelistPilatus sprach zu ihnen:

PilateAre you the King of the Jews?

EvangelistJesus, however, said to him:

JesusYou say it.

EvangelistAnd to the accusations from the high priests and the elders He an-swered nothing. Then Pilate said to Him:

PilateDo you not hear how harshly they accuse You?

EvangelistAnd He answered him not even one word thus, to which even the Governor was greatly amazed.

44. ChoraleCommit your path,and whatever troubles your heart,to the most faithful caretaker,He, who directs the heavens,who to the clouds, air, and windsgives path, course, and passage;He will find waysfor your feet to follow as well.

45. EvangelistAt the festival, however, the Governor had a custom of releasing a prisoner to the people, whichever they wanted. He had, however, at the time a most unusual prisoner named Barabbas. And as they were gathered together, Pilate said to them:

PilateWhich one do you want me to release to you? Barabbas or Jesus, of whom it is said, He is the Christ?

EvangelistFor he knew well that they had handed him over out of envy. And while he sat upon the judgment seat, his wife sent to him and her message said:

Pilate’s WifeHave nothing to do with this righteous man; I have suffered much in a dream today on His account!

EvangelistBut the high priests and the elders convinced the people that they should ask for Barabbas and convict Jesus. So when the Governor answered and said to them:

PilateWhich one between the two do you want me to release to you?

EvangelistThey said:

Chorus I & IIBarabbas!

EvangelistPilate said to them:


PilatusWas soll ich denn machen mit Jesu, von dem gesagt wird, er sei Christus?

EvangelistSie sprachen alle:

Chor I & IILaß ihn kreuzigen!

46. ChoralWie wunderbarlich ist doch diese Strafe!Die gute Hirte leidet für die Schafe,Die Schuld bezahlt der Herre, der Gerechte,Für seine Knechte.(“Herzliebster Jesu,” verse 4)

47. EvangelistDer Landpfleger sagte:

PilatusWas hat er denn Übels getan?

48. Rezitativ - Ms. Carpenter Haigh (Chor I)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.

49. Arie - Ms. Carpenter Haigh (Chor I)Aus Liebe will mein Heiland sterben,Von einer Sünde weiß er nichts,Daß das ewigen Verderbenund die Strafe des GerichtsNicht auf meiner Seele bliebe.

50. EvangelistSie schrieen aber noch mehr und sprachen:

Chor I & IILaß ihn kreuzigen!

EvangelistDa aber Pilatus sahe, daß er nichts schaffete, sondern daß ein viel größer Getümmel ward, nahm er Wasser und wusch die Hände vor dem Volk und sprach:

PilatusIch bin unschuldig an dem Blut dieses Gerechten, sehet ihr zu!

EvangelistDa antwortete das ganze Volk und sprach:

Chor I & IISein Blut komme über uns und unsre Kinder.

EvangelistDa gab er ihnen Barrabam los; aber Jesum ließ er geißeln und überant-wortete ihn, daß er gekreuziget würde.

51. Rezitativ - Mr. Carter (Chor II)Erbarm es, Gott!

PilateWhat shall I do then with Jesus, of whom it is said, He is the Christ?

EvangelistThey all said:

Chorus I & IILet Him be crucified!

46. ChoraleHow strange is this punishment!The Good Shepherd suffers for the sheep.The Lord, the Righteous One, atones for the crimeon His servant’s behalf.

47. EvangelistThe Governor said:

PilateWhat evil has He done then?

48. Recitative - Soprano (Chorus I)He has done good things for all of us;He gave sight to the blind,He made the lame to walk,He told us His Father’s word,He drove out the devil,He has strengthened the troubled.He took sinners in and embraced them,other than that, my Jesus has done nothing!

49. Aria - Soprano (Chorus I)Out of love my Savior wants to die.He knows nothing of a single sin;so that the eternal destructionand the punishment of judgmentwould not remain upon my soul.

50. EvangelistThey screamed even more and said:

Chorus I & IILet Him be crucified!

EvangelistWhen Pilate saw, however, that he achieved nothing, rather that a much greater riot occurred, he took water and washed his hands before the people and said:

PilateI am innocent of the blood of this righteous man, see to it yourselves!

EvangelistThen all the people answered and said:

Chorus I & IILet His blood be on us and on our children.

EvangelistThen he released Barabbas to them; but he had Jesus scourged and handed Him over to be crucified.

51. Recitative - Alto (Chorus II)Forgive this, God!


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 gleichUnd noch viel härter sein.Erbarmt euch, haltet ein!

52. Arie - Mr. Carter (Chor II)Können Tränen meiner WangenNichts erlangen,O so nehmt mein Herz hinein! Aber laßt es bei den Fluten, Wenn die Wunden milde bluten, Auch die Opferschale sein. (da capo)

53. EvangelistDa nahmen die Kriegsknechte des Landpflegers Jesum zu sich zu sich in das Richthaus und sammleten über ihn die ganze Schar und zogen ihn aus und legeten ihm einen Purpurmantel an und flochten eine dornene Krone und satzten sie auf sein Haupt, und ein Rohr in seine rechte Hand, und beugeten die Knie vor ihm und spotteten ihn und sprachen:

Chor I & IIGegrüßet seist du, Jüdenkönig!

EvangelistUnd speieten ihn an und nahmen das Rohr und schlugen damit sein Haupt.

54. ChoralO Haupt, voll Blut und Wunden,voll Schmerz und voller Hohn!O Haupt, zu Spott gebundenmit einer Dornenkron!O Haupt, sonst schön gezieretMit höchster Ehr und Zier,Jetzt aber hoch schimpfieret:Gegrüsset seist du mir!

Du edles Angesichte,Dafür sonst schrickt und scheutDas große Weltgewichte,Wie bist du so verspeit,Wie bist du so erbleichet!Wer hat dein Augenlicht,Dem sonst kein Licht nicht gleichet,so schändlich zugericht’?

55. EvangelistUnd 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 in-dem sie hinausgingen, funden sie einen Menschen von Kyrene mit Namen Simon; den zwungen sie, daß er ihm sein Kreuz trug.

56. Rezitativ - Mr. Milly (Chor I)Ja, freilich will in uns das Fleisch und BlutZum Kreuz gezwungen sein;Je mehr es unsrer Seele gut,Je herber geht es ein.

Here stands the Savior bound.O scourging, o blows, o wounds!You hangmen, stop!Doesn’t the soul’s anguish,the sight of such horror soften you?Alas indeed! You have such heartsthat are like the whipping posts themselvesand even much harder.Have mercy, stop!

52. Aria - Mr. Carter (Chorus II)If the tears on my cheekscan do nothing,o then take my heart as well! Yet let it be, in the flow, as the wounds gently bleed, the offering-bowl as well. (da capo)

53. EvangelistThen the soldiers of the Governor took Jesus with them into the courthouse and gathered around Him the entire troop; and un-dressed Him and put a purple mantle on Him; and they wove a crown of thorns and set it upon His head, and a reed in His right hand, and they bowed before Him and mocked Him, saying:

Chorus I & IIHail to You, King of the Jews!

EvangelistAnd they spit on Him and took the reed and struck His head with it.

54. ChoraleO Head, full of blood and wounds,full of suffering and shame!O Head, bound in mockerywith a crown of thorns!O Head, once beautifully adornedwith the highest honor and beauty,yet now supremely defiled:be greeted by me!

You noble countenance,before which rather should tremble and cowerthe great powers of the world,how spat upon are You,How ashen You have become!Who has treated the light of Your eyes,which is like no other light,so shamefully?

55. EvangelistAnd when they had mocked Him, they took off the mantle and put His clothes back on; and led Him out to be crucified. And as they were going out, they found a man from Cyrene named Simon; they compelled him to carry His cross for Him.

56. Recitative - Bass (Chorus I)Yes, willingly are flesh and bloodcompelled to the Cross;The better it is for our souls,the bitterer it feels.


57. Arie - Mr. Milly (Chor I)Komm, süßes Kreuz, so will ich sagen,Mein Jesu, gib es immer her!Wird mein Leiden einst zu schwer, So hilfst du mir es selber tragen.

58. EvangelistUnd da sie an die Stätte kamen mit Namen Golgatha, das ist verdeutschet Schädelstätt, gaben sie ihm Essig zu trinken mit Gallen vermischet; und da ers schmeckete, wollte ers nicht trinken. Da sie ihn aber gekreuziget hatten, teilten sie seine Kleider und wurfen das Los darum, auf das erfüllet würde, das gesaget ist durch den Propheten: “Sie haben meine Kleider unter sich geteilet, und über mein Gewand haben sie das Los geworfen.” Und sie saßen allda und hüteten sein. Und oben zu seinem Häupten heft-eten sie die Ursach seines Todes geschrieben, nähmlich: “Dies ist Jesus, der Jüdenkönig.” 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:

Chor I & IIDer du den Tempel Gottes zerbrichst und bauest ihn in dreien Tagen, hilf dir selber! Bist du Gottes Sohn, so steig herab vom Kreuz!

EvangelistDesgleichen auch die Hohenpriester spotteten sein samt den Schriftgeleh-rten und Ältesten und sprachen:

Chor I & IIAndern hat er geholfen und kann ihm selber nicht helfen. Ist er der König Israel, so steige er nun vom Kreuz, so wollen wir ihm glauben. Er hat Gott vertrauet, der erlöse ihn nun, lüstets ihn; denn er hat gesagt: “Ich bin Gottes Sohn.”

EvangelistDesgleichen schmäheten ihn auch die Mörder, die mit ihm gekreuziget waren.

59. Rezitativ - Mr. Carter (Chor I)Ach Golgatha, unselges Golgatha!Der Herr der HerrlichkeitMuß schimpflich hier verderben,Der Segen und das Heil der WeltWird als ein Fluch ans Kreuz gestellt.Der Schöpfer Himmels und der ErdenSoll Erd und Luft entzogen werden.Die Unschuld muß hier schuldig sterben,Das gehet meiner Seele nah;Ach Golgatha, unselges Golgatha!

60. Arie - Mr. Carter (Chor I) und Chor IISehet, Jesus hat die HandUns zu fassen ausgespannt,Kommt! - Wohin? - In Jesu ArmenSucht Erlösung, nehmt Erbarmen,Suchet! - Wo? - In Jesu Armen.Lebet, sterbet, ruhet hier,Ihr verlaßnen Küchlein ihr,Bleibet! - Wo? - In Jesu Armen.

61. EvangelistUnd 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:

57. Aria - Bass (Chorus I)Come, sweet Cross, this I want to say:My Jesus, give it always to me!If my suffering becomes too heavy one day,You Yourself will help me bear it.

58. EvangelistAnd when they had come to the place named Golgatha, which is translated the place of the Skull, they gave Him vinegar to drink mixed with gall; and when He tasted it, He would not drink it. When they had crucified Him, however, they divided up His clothing and tossed lots over them, so that what was spoken through the Proph-ets was fulfilled: “They have divided my clothing among them, and over my robe they have cast lots.” And they sat around and kept watch. And over His head they lifted up a written sentence of death, namely: “This is Jesus, the King of the Jews.” And there were two murderers crucified with Him, one to his left and one to His right. But those who passed by cursed at Him and shook their heads, saying:

Chorus I & IIYou who destroy the temple of God and build it up again in three days, help yourself! If You are the Son of God, climb down from the Cross!

EvangelistIn the same way the high priests also mocked Him, together with the scribes and the elders, saying:

Chorus I & IIHe has helped others and He cannot help Himself. If He is the King of Israel, let him climb down now from the Cross, and we will believe in Him. He has trusted in God to rescue Him now; He lied, because He has said: “I am the Son of God.”

EvangelistIn the same way He was reviled by the murderers who were crucified with Him.

59. Recitative - Alto (Chorus I)Alas, Golgatha, unhappy Golgatha!The Lord of glorymust shamefully perish here,the blessing and salvation of the worldis placed on the Cross as a curse.From the Creator of heaven and earthearth and air shall be withdrawn.The innocent must die here guilty;this touches my soul deeply;Alas, Golgatha, unhappy Golgatha!

60. Aria - Alto (Chorus I) and Chorus IILook, Jesus has stretched out His handsto embrace us,come! - where? - in Jesus’ armsseek redemption, receive mercy,seek it! - where? - in Jesus’ arms.Live, die, rest here,you forsaken chicks,stay! - where? - in Jesus’ arms.

61. EvangelistAnd from the sixth hour there was a darkness over the entire land until the ninth hour. And at the ninth hour Jesus cried out loudly and said:


JesusEli, Eli, lama asabthani?

EvangelistDas ist: “Mein Gott, mein Gott, warum hast du mich verlassen?” Etliche aber, die da stunden, da sie das höreten, sprachen sie:

Chor IDer rufet dem Elias!

EvangelistUnd 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:

Chor IIHalt! Laß sehen, ob Elias komme und ihm helfe.

EvangelistAber Jesus schriee abermal laut und verschied.

62. ChoralWenn ich einmal soll scheiden,So scheide nicht von mir,Wenn ich den Tod soll leiden,So tritt du denn herfür!Wenn mir am allerbängstenWird um das Herze sein,So reiß mich aus den ÄngstenKraft deiner Angst und Pein.(“O Haupt voll Blut und Wunden,” verse 9)

63. EvangelistUnd siehe da, der Vorhang im Tempel zerriß in zwei Stück von obenan bis untenaus. 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:

Chor I & IIWahrlich, dieser ist Gottes Sohn gewesen.

EvangelistUnd es waren viel Weiber da, die von ferne zusahen, die da waren nachgefolget aus Galiläa, und hatten ihm gedienet, unter welchen war Maria Magdalena, und Maria die Mutter Jacobi und Joses, und die Mutter der Kinder Zebedäi. Am Abend aber kam ein reicher Mann von Arimathia, der heiß 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.

64. Rezitativ - Mr Milly (Chor I)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,

JesusELI, ELI, LAMA SABACHTANI?

EvangelistThat is: “My God, my God, why have you forsaken Me?” Some of those, however, who were standing by, when they heard this, said:

Chorus IHe is calling Elijah!

EvangelistAnd some of them quickly ran, took a sponge and filled it with vinegar, and put it on a reed for Him to drink. But the others said:

Chorus IIStop! Let’s see whether Elijah comes and helps Him.

EvangelistBut Jesus cried out loudly once again and died.

62. ChoraleWhen I must depart one day,do not part from me then,when I must suffer death,come to me then!When the greatest anxietywill constrict my heart,then wrest me out of the horrorby the power of your anguish and pain.

63. EvangelistAnd behold, the veil of the temple was torn in two pieces from top to bottom. And the earth shook, and the cliffs were rent, and the graves opened up, and many bodies of saints arose, who were sleeping, and came out of their graves after His resurrection and came into the Holy City and appeared to many people. The Captain, however, and those with Him who were guarding Jesus, when they saw the earth-quake and what happened then, they were terrified and said:

Chorus I & IITruly, this was the Son of God.

EvangelistAnd there were many women there, watching from a distance, who had followed Him from Galilee and had served Him, among whom were Mary Magdalene, and Mary the mother of James and Joseph, and the mother of the sons of Zebedee. In the evening however, came a rich man from Arimathea, named Joseph, who was also a disciple of Jesus; he went to Pilate and asked him for Jesus’ body. Then Pilate ordered that it be given to him.

64. Recitative - Bass (Chorus I)In the evening, when it was cool,Adam’s fall was made apparent;in the evening the Savior bowed Himself down.In the evening the dove came back,bearing an olive leaf in its mouth.O lovely time! O evening hour!The pact of peace with God has now been made,since Jesus has completed His Cross.His body comes to rest,


Ach! liebe Seele, bitte du,Geh, lasse dir den toten Jesum schenken,O heilsames, o köstlichs Angedenken!

65. Arie - Mr. Milly (Chor I)Mache dich, mein Herze, rein,Ich will Jesum selbst begraben.Denn er soll nunmehr in mirFür und fürSeine süße Ruhe haben.Welt, geh aus, laß Jesum ein! (da capo)

66. EvangelistUnd Joseph nahm den Leib und wickelte ihn in ein rein Leinwand, und legte ihn in sein eigen neu Grab, welches er hatte in einen Fels hauen, und wälzete einen großen Stein vor die Tür des Grabes, und ging davon. Es war aber allda Maria Magdalena und die andere Maria, die satzten sich gegen das Grab. Des andern Tages, der da folget nach dem Rüsttage, kamen die Hohenpriester und Pharisäer sämtlich zu Pilato und sprachen:

Chor I & IIHerr, 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!

EvangelistPilatus sprach zu ihnen:

PilatusDa habt ihr die Hüter; gehet hin und verwahrets, wie ihrs wisset!

EvangelistSie gingen hin und verwahreten das Grab mit Hütern und versiegelten den Stein.

67. Rezitativ - Ms. Myers, Ms. Leeds, Mr. Kurtenbach, Mr. Kleiner (Chor I) und Chor II Nun ist der Herr zur Ruh gebracht. -Mein Jesu, gute Nacht! -Die Müh ist aus, die unsre Sünden ihm gemacht. -Mein Jesu, gute Nacht! -O selige Gebeine,Seht, wie ich euch mit Buß und Reu beweine,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! -

68. Chor I & IIWir setzen uns mit Tränen niederUnd rufen dir im Grabe zu:Ruhe sanfte, sanfte ruh! Ruht, ihr ausgesognen Glieder! - Ruhet sanfte, ruhet wohl. - Euer Grab und Leichenstein Soll den ängstlichen Gewissen Ein bequemes Ruhekissen Und der Seelen Ruhstatt sein. - Ruhet sanfte, sanfte ruht! - Höchst vergnügt Schlummern da die Augen ein.

Ah! dear soul, ask,go, have them give you the dead Jesus,O salutary, o precious remembrance!

65. Aria - Bass (Chorus I)Make yourself pure, my heart,I want to bury Jesus myself.For from now on He shall have in me,forever and ever,His sweet rest.World, get out, let Jesus in! (da capo)

66. EvangelistAnd Joseph took the body, and wrapped it in a pure shroud, and laid it in his own new tomb, which he had carved out of a single rock, and rolled a large stone before the opening of the tomb and went away. But Mary Magdalene and the other Marys were there, and they sat opposite the tomb. On the next day, that followed after the Sabbath day, the high priests and Pharisees came all together to Pilate and said:

Chorus I & IILord, we have remembered that this deceiver said, when He was still alive: “I will rise again after three days.” Therefore order that the tomb be guarded until the third day, so that His disciples do not come and steal Him, and say to the people, “He has arisen from the dead,” and the newest fraud would be worse than the first one!

EvangelistPilate said to them:

PilateYou have guards there; go and guard it as you see fit!

EvangelistThey went forth and protected the tomb with guards and put a seal on the stone.

67. Recitative - Soprano, Alto, Tenor, and Bass (Chorus I) and Chorus IINow the Lord is brought to rest. - My Jesus, good night! -The weariness is over, that our sins have given him. - My Jesus, good night! - O blessed bones,see, how I weep over You with repentance and regret,since my fall has brought such anguish upon You! - My Jesus, good night! - Lifelong, thousand thanks to You for Your suffering,since You held my soul’s salvation so dear. - My Jesus, good night! -

68. Chorus I & IIWe sit down with tearsand call to You in the grave:rest gently, gently rest! Rest, you exhausted limbs! - Rest gently, rest well. - Your grave and headstone shall, for the anxious conscience, be a comfortable pillow and the resting place for the soul. - rest gently, gently rest! - Highly contented, there the eyes fall asleep.

—Translation: Pamela Dellal


It was all hands on deck for the Good Friday performances of Johann Sebastian Bach’s St. Mat-thew Passion, BWV244. Perhaps no other work better demonstrates Bach’s aesthetic maximalism: an im-

pulse to push convention to its limits, seeking every oppor-tunity to do more. The sheer number of performers required for the St. Matthew Passion would have called upon not just Bach’s student musicians from the Thomasschule but also the civic professional players of Leipzig’s town band and collegium.

They would have been available, of course. Good Friday marked the apogee of the Lutheran liturgical year in Bach’s Leipzig, its drama outweighing even Easter Sunday; the Vespers service on Friday evening commemorated the Pas-sion of Jesus and would have drawn as many attendees as could fit in the church. Concerted music in the style of Bach’s Passions was introduced only two years before Bach’s arrival in Leipzig by his predecessor, Johann Kuhnau, replacing the spare plainchant recitation of the Passion Gospel; unlike the Sunday cantatas, the Passion text was liturgical, the core of the service itself. But even Bach’s intensely dramatic St. John Passion, BWV245, already heard twice by the Leipzig con-gregation, likely did little to prepare listeners for the magni-tude of the St. Matthew, first heard in 1727.

The two-choir arrangement of Bach’s St. Matthew Pas-sion is perhaps its most distinctive feature. “Choir” in Bach’s day referred not to “the group of singers,” as it does today, but more loosely to the “group of voices,” including instru-mental voices—hence, Bach uses two complete ensembles. The exact deployment of these two choirs varied in each of the three known performances of the St. Matthew Passion under Bach’s direction; in what must have been Bach’s ideal version, the 1736 performance placed each choir in galleries on opposite sides of the church, each gallery having its own large organ.

Polychoral performance had a long tradition by the time Bach wrote the St. Matthew Passion, but no work approach-es their extreme usage here. The St. Matthew Passion in fact owes more to the seventeenth-century tradition of “con-certists” and “ripienists” than it does to antiphonal Renais-sance polyphony. In this structure, a core group of perform-ers—the concertists—were occasionally supplemented by ripienists doubling the same music at important moments. The unprecedented independence of the ripieno choir in the entirety of the St. Matthew Passion likely emerged out of the aria “Mein teurer Heiland” in the St. John, where Bach experimented with the technique for the first time. The opening chorus of the St. Matthew serves as a good

Bach’s Passionate Call to Golgatha

BACH PUSHES CONVENTION TO ITS LIMITS, SEEKING EVERY OPPORTUNITY TO DO MORE

Brett Kostrzewski


demonstration: the movement is essentially sung by choir 1, with only occasional interjections and a climactic unison doubling at the end by choir 2.

Despite the complex usage of the two choirs in the opening chorus, the St. Matthew Passion quickly reveals that the core of its beauty lies elsewhere: the arias. (The opening and closing choruses are in fact arias.) Arias and chorales are the key to understanding the difference between a litur-gical Passion setting and a dramatic oratorio such as Han-del’s Messiah; these movements emphasize the role of the believer in the Passion itself. Bach’s listeners were not cool, detached concertgoers, but rather silent participants in the sacred drama—guilty of the sins that necessitated Christ’s Passion, while also watching the drama unfold in sorrow and grief. In the St. John Passion, Bach’s chorales take the pri-mary role in constructing this bridge across space and time; but in this setting, it is most certainly the arias, the fruit of Picander’s poetry and Bach’s boundless creativity in texture and melody—only further enabled by the wide array of instruments he placed at his own disposal with such a large number of players. (To read more about Picander and his collaborations with Bach, see the discussion for Man singet mit Freuden vom Sieg, BWV 149 on page 22.)

Bach’s St. Matthew Passion rewards repeated listening and constant study; no space allows for the full discussion

the piece deserves, and continues to accumulate over its long performance history. I would like to point toward one aria in particular, however, as demonstrative of the work’s most important attributes. At the moment between Jesus’ crucifixion and death, a recitative/aria pair for alto and cho-rus takes a deeply affective turn: “Sehet, Jesus hat die Hand/Uns zu fassen ausgespannt” (“Look, Jesus has stretched out his hands to embrace us”). Jesus’ posture, nailed to the cross for three hours of torture, is now viewed through the Eas-ter lens as a gesture of love and compassion. Bach sets the aria to dancelike, almost festive music, but for the mild tone of the two oboes da caccia. Choir 2 reprises its role from the opening chorus, asking “Wohin?” (“to where?”) to the alto’s call for our rush to Golgotha for Christ’s embrace. The St. Matthew Passion represents Bach’s tremendous call to Golgotha, an artistic and spiritual achievement that has caught the hearts of believers and nonbelievers alike for centuries.

The St. Matthew Passion represents Bach’s tremendous call to Golgotha, an artistic and spiritual achievement that has caught the hearts of believers and nonbelievers alike for centuries.

BEETHOVEN’S EMPERORJanuary 10 – 12

Knight Theater

CHOPIN PIANO NO. 1February 14 – 16

Knight Theater

BEETHOVEN’S PASTORAL

April 3 – 5Knight Theater

BACH BRANDENBURG

April 17 & 18Knight Theater

Visit charlottesymphony.org to view our entire 2019-20 Season Classical Series!

Majestic, striding, and tender, Beethoven’s “Emperor” Concerto

is a crowning achievement among piano concertos.

Conrad Tao, piano Gabriela Martinez, piano JoAnn Falletta, conductor Jeannette Sorrell, conductor

Rife with romance and irresistible energy, this program features works by Tchaikovsky,

Chopin, and Beethoven.

From rolling thunder to the calling of sheperd’s pipes,

Beethoven’s Pastoral evokes his love of living in nature.

Dazzlingly inventive and virtuosic, Bach’s Brandenburg Concertos are among the greatest works of

the Baroque era.

music director

Charlotte Symphony celebrates

BEETHOVEN AT 2502019-20 Classical Series


In demand for his expertise with the music of Johann Sebastian Bach, SCOTT ALLEN JARRETT is the Artistic Director of Bach Akademie Charlotte, Music Director of Boston University’s Marsh Chapel and Boston’s Back Bay Chorale, and Resident Conductor of the Handel and Haydn Society. Nationally recognized as a leading teacher and interpreter of Bach’s vocal works, Jarrett has played many roles at the Oregon Bach Festival, where he was the Direc-tor of the Vocal Fellows Program in 2016 and 2017, conducted the opening performances of the St. Matthew Passion in 2017, and has led the Discovery Series since 2018. A regular collaborator and guest conductor with Trinity Wall Street, Seraphic Fire, and the Bach Collegium San Diego, he is also on faculty at the Aspen Music Festival’s Professional Choral Institute teaching mas-ter classes in the music of Bach and ensemble singing. From 2004–2015, Jarrett served as Director of Choruses and Assistant Conductor of the Charlotte Symphony. P

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STEVEN SOPH, EVANGELISTA “superb vocal soloist” (The Washington Post), tenor Steven Soph performs music span-ning the medieval to modern day. Upcoming, Soph makes his Apollo’s Fire debut as the Evan-gelist in Bach’s Christmas Ora-torio, his Elmhurst Symphony debut as the Evangelist in Bach’s St. John Passion, his Charlotte Symphony debut in Handel’s

Messiah, and his Mobile Symphony debut in Mozart’s Requiem. Steven returns to the Baltimore Choral Arts Soci-ety to perform Mozart’s Requiem and Britten’s Serenade for Tenor, Horn, and Strings with Philip Munds, principal French hornist of the Baltimore Symphony Orchestra. A long-time member of Miami’s Seraphic Fire, Steven returns to sing the role of Acis in Handel’s Acis and Galatea.

A familiar guest of The Cleveland Orchestra, Mr. Soph joined the Severance Hall premier performances

of Stravinsky’s Threni id est Lamentationes Jeremiae Prophe-tae conducted by Franz Welser-Möst, an all-Handel program led by Ton Koopman, and Mozart’s Requiem led by Patrick Dupré Quigley. Soph appears with renowned orches-tras, master chorales, and chamber ensembles throughout the United States, including San Francisco’s Philharmonia Baroque Orchestra, New Jersey Symphony Orchestra, Augusta Symphony, Miami’s New World Symphony, Cheyenne Symphony, Indianapolis Baroque Orchestra, San Diego’s Mainly Mozart Festival Orchestra, Aspen Cham-ber Symphony, Bach Society of St. Louis, Apollo Master Chorus of Chicago, Chicago Chorale, Master Chorale of South Florida, Colorado Pro Musica, New York City’s Musica Sacra, Tucson’s True Concord Voices and Orchestra, Kansas City’s Spire Chamber Ensemble, Baroque Chamber Orches-tra of Colorado, Austin’s Panoramic Voices, Boston’s Cut Circle, Conspirare, Yale Choral Artists, and New York City’s Roomful of Teeth.

Soph holds degrees from the University of North Tex-as and Yale’s School of Music and Institute of Sacred Music. www.stevensoph.com

The North Carolina Baroque Orchestra (NCBO) was formed by sisters and musical collaborators, Frances Blaker (Artistic Director) and Barbara Blaker Krumdieck (Execu-tive Director), for the purpose of providing opportunities for musicians and vocalists interested in exploring baroque

performance practice in a baroque chamber orchestra setting. The orchestra allows musicians in North Carolina and the surrounding area an opportunity to work with highly experienced experts in the field.

festival artists

NORTH CAROLINA BAROQUE ORCHESTRA


festival artistsAmerican mezzo-soprano LAURA C. ATKINSON is an active per-former in both the United States and in Germany. She has debuted with various orchestras in both countries, including the Nashville Sympho-ny, the New Haven Symphony, the Louisville Orchestra, the Kammer-symphonie Berlin, the Gewandhaus Orchestra, and the Braunschweig

Staatsorchester. Highlights of this season included several debuts, including Dvorak’s Requiem at the Konzerthaus Ber-lin, Messiah with the Portland Oratorio Chorale of Maine, and Handel Duets at the Steglitz Early Music Festival. The season also includes a return to the Bach Choir of Bethle-hem for a performance of Bach’s Cantata 97, Messiah with Opera On Tap Berlin, and a new production of Winterreise at the Delphi Theater in Berlin. Additional highlights include debuts as Mary in Der Fliegende Holländer, and as Bradaman-te in Alcina. Ms. Atkinson received her Masters degree from the Institute of Sacred Music at Yale University, where she studied with James R. Taylor and Simon Carrington. She completed additional studies at the Hochschule für Musik in Leipzig, Germany.

Hailed for her “clear, flexible voice” (Cleveland Classical) and described as “fiery, wild, and dangerous” (CVNC) with “a talent for char-acter portrayal” (Chicago Classical Review), soprano MARGARET CARPENTER HAIGH is a soloist and chamber musician based in Charlotte. Recent and upcoming solo engagements include Han-del’s Messiah with the Memphis Symphony, Rutter’s Requiem with the Evansville Philharmonic, BWV 105 at the Oregon Bach Festival, and Del Tredici’s An Alice Symphony with the Portland Symphony. Alongside her husband Nicolas Haigh, Ms. Carpenter Haigh is co-founder of L’Académie du Roi Soleil, an ensemble specializing in French music from the time of Louis XIV and with which she has performed in venues including York Minster; New College Chapel, Oxford; and Clare College Chapel, Cambridge. She holds degrees from Case Western Reserve University; the University of

Cambridge, where she was a Gates Cambridge Scholar; and UNC-Greensboro.

JAY CARTER has gained recog-nition as one of the nation’s fin-est countertenors. A collaborator with both period and modern ensembles, Mr. Carter is recog-nized as a leading interpreter of Baroque repertoire and has been lauded for luminous tone, styl-ish interpretations, and clar-ion delivery. Recent appearanc-es include Bach’s St. Matthew Passion with American Bach Soloists and Choir of St. Thomas Church, Bach’s Christmas Oratorio with Masaaki Suzuki and Bach Collegium Japan, Handel’s Messiah with National Symphony and Philhar-monia Baroque Orchestra, Vivaldi’s Gloria with Nicholas McGegan and the Saint Louis Symphony Orchestra. He holds degrees from the University of Missouri-Kansas City Conservatory of Music, the Yale School of Music and Insti-tute of Sacred Music as a pupil of Simon Carrington, Judith Malafronte, and James Taylor. He received his undergraduate degree from William Jewell College and studied with Arnold Epley. He lives in Liberty, Missouri with his family.

Mezzo-soprano and vocal ped-agogue ELIZABETH ESCHEN makes her home in Boston, where she performs with Boston Baroque and Cantata Singers and instructs the next generation of perform-ers as the Director of the Holden Voice Program at Harvard Uni-versity. She enjoyed singing with Bach Akademie Charlotte in Janu-ary, and has also appeared with Boston Lyric Opera, Lorelei Ensemble (founding member), Ampersand, Convergence Ensemble, Vox Futura, Weimar Bach Academy, and as fea-tured soloist with Marsh Chapel Choir, Cantata Singers Chamber Series, Newburyport Chorale, Quincy Choral Society, WPI Choirs, and Harvard Choruses. Recent recordings include the premiere of James Kallembach’s Most Sacred Body (soloist) and the Studio Cast Album of Alan Menken’s The Hunchback of Notre Dame. She is passionate about vocal health, yoga, and the outdoors, and believes they all influence each other.


“An elegant, mellifluous and expressive baritone” (New York Times), CHARLES WESLEY EVANS has been applauded by The Miami Herald as “the peak of the night’s solo work” and “a warm, strong baritone” by the Washington Post. This Georgia- born baritone began singing pro-

fessionally at the age of eleven as a chorister at the Amer-ican Boychoir School in Princeton, New Jersey, where he performed nationally and internationally under the baton of notable conductors Zubin Mehta, Lorin Maazel, James Levine, John Williams, and Vladimir Spivakov. With a ver-satility that ranges from the Baroque to Gospel and Afri-can-American Spirituals, he has engaged a myriad of audi-ences with performances of song.

JESSICA GARTHE, soprano, is a full-time music teacher at Univer-sity Meadows Elementary. Jessi-ca received her B.A. in music from Fredonia University. While there, she toured New York State with the University Chamber Singers. She was involved in countless op-eras, including Mozart’s Le Nozze Di Figaro, portraying “The Countess” at The Chautauqua Insti-tution. Presently, along with singing with Bach Akademie Charlotte, Jessica is a member of the Charlotte Symphony Chorus and The Charlotte Chamber Singers.

CHRISTOPHER GILLIAM is di-rector of choral activities at David-son College, director of the Winston- Salem Symphony Chorale, director of Lake Norman Choral Artists, and director of music at Trinity Pres-byterian Church in Charlotte. He has sung professionally with the Winston-Salem and Memphis

Symphonies, and as chorister under Simon Carrington and Dale Warland. Gilliam received his Doctor of Musical Arts degree from the University of Kansas where he studied with conductors Brian Priestman and Simon Carrington.

Tenor BRYON GROHMAN has received international praise for his performances of opera, oratorio, and ensemble repertoire. Noteworthy solo engagements include Haydn’s

Creation with the Florida Orchestra, Schubert’s Mass in E-flat with the New World Symphony, and Bach’s St. John Passion with Seraphic Fire. He has also been a guest soloist with the Boston Modern Orches-tra, Harvard-Radcliffe Symphony, Marsh Chapel of Boston Univer-sity, Calvin Oratorio Society, Mas-terchorale of South Florida, and Haagsche Hofmuzieck. Grohman holds degrees from New England Conservatory of Music and Indiana University’s Jacobs School of Music. Grohman is a member of the mu-sic faculty of Wake Forest University in Winston-Salem, NC. He is a native of Hazleton, Pennsylvania.

Originally from the Charlotte area, tenor ROBERT JONES has a varied vocal background rang-ing from renaissance and early classical music to modern cho-ral style. He is a staff vocalist with Christ Episcopal Church in Charlotte, a member of the Char-lotte Symphony Chorus and

Chamber Singers, and performs with Caritas Acapella Ensemble. Robert also serves on the Bach Akademie Char-lotte Board of Directors. Professionally, Robert works as an independent financial advisor in the investment man-agement industry. He is a graduate of Clemson University where he received a B.S. in Accounting and Finance.

LUC KLEINER has shaped a plu-ralistic musical identity in Los Angeles, where he performs with such distinctive musical organi-zations as the Los Angeles Master Chorale, LA Philharmonic, and countless other ensembles. Mr. Kleinerc earned a Master’s degree in Performance and Composition from California Institute of the Arts, where he studied with Wolfgang von Schweinitz. He main-tains private voice studios and adjunct-faculty membership at several community colleges,meanwhile excavating trea-suries of new and original experimental music interleaving aesthetics of Pop, Concert, Virtuality, and Philosophy. Klein-er has worked as a solo vocalist, pianist, arranger, recording artist, songwriter, and producer.


DAVID KURTENBACH, tenor, described as having a voice “lined with silver” (Classical Voice) enjoys an active ensemble and solo career, specializing in early music. He has appeared as soloist with Philhar-monia Baroque Orchestra, Bach Collegium San Diego, American Bach Soloists, Conspirare, Santa Fe Desert Chorale, Oregon Bach Festi-

val, Ensemble VIII, Apollo’s Fire, Magnificat, and Volti. Kur-tenbach has premiered works by James MacMillan, Mere-dith Monk, David Lang, Dave Brubeck, Kirke Mechem, Eric Banks, and Moses Hogan. His recordings may be heard on Innova/Naxos, Koch International, Tonehammer, Pro Orga-no, and Soli Deo Gloria. David also served as Chorus Mas-ter and Assistant Conductor at Opera San Jose and Festival Opera. As an educator, he taught master classes at Oberlin Conservatory and San Francisco Choral Society, and was In-structor of Voice and Music Theory at Grace Cathedral in San Francisco for nine years. He is a member of Beyond Art-ists, a coalition of musicians who donate a portion of their concert fees to organizations they care about. His perfor-mances support the Matthew Shepard Foundation and the San Francisco AIDS Foundation. beyondartists.org.

With her “vivid, deeply satisfying sound” and “rich, smooth mezzo soprano”, KIM LEEDS has soloed with the Bach Society of St. Louis, Tafelmusik, American Bach Solo-ists Academy, Boston University’s Marsh Chapel, and was a Virginia Best Adams Fellow last season at the Carmel Bach Festival. As a cho-ral artist, Ms. Leeds has performed abroad with the Weimar Bach Academy and Junges Stuttgart Bach Ensemble. In the US, she has sung with the Oregon Bach Festival, Handel and Haydn Society, and next season joins True Concord Voices and Orchestra. Ms. Leeds holds degrees from Mannes College of Music and the Boston Con-

servatory.

MARYRUTH LOWN, soprano, holds degrees from Winthrop Uni-versity (B.M.E.) and Boston Univer-sity (M.M., Historical Performance). Praised by The Boston Musical Intel-ligencer for her “clear soprano” and “tasteful dramatic interpretation”, she is a choral scholar with Music

at Marsh Chapel and is active as a soloist and choral art-ist. Lately, Ms. Lown has performed with the Handel and Haydn Society, Arcadia Players, VOCES8 US Scholars Pro-gram, Handel Society of Dartmouth College, Amherst Early Music Festival, and Harvard Early Music Society. This sum-mer she will attend the Seraphic Fire Professional Choral Institute.

EDMUND MILLY brings “perfect diction” (Los Angeles Times) and “mellifluous” tone (San Francisco Chronicle) to every performance. He appears regularly with the Gram-my®-nominated Choir of Trinity Wall Street, and is a founding mem-ber of the male vocal sextet, Trident Ensemble. Increasingly in demand as a soloist, he has recently shared the stage with the likes of the Charleston Symphony, Bach Akademie Charlotte, the Oregon Bach Festival, the Ameri-can Classical Orchestra, Cantata Profana, and the Academy of Sacred Drama, and has also been heard internationally on BBC and CBC. Equally well adapted to working within an ensemble, he enjoys contributing his voice to the Mark Morris Dance Group, the Clarion Choir, Spire Chamber Ensemble, and Musica Sacra. Mr. Milly is a graduate of the American Boychoir School, McGill University, and the Yale Institute of Sacred Music.

Praised for his “real musicality and finely executed coloratura,” PATRICK MUEHLEISE is an acclaimed American tenor known for his “beautiful, evenly produced lyric tenor” and “pure tone” special-izing in a wide variety of concert soloist repertoire. Recent engage-ments include Monteverdi’s Vespers of 1610 with Jane Glover, Men-

delssohn’s Elijah with both Elmhurst Symphony and Fort Wayne Philharmonic, Bach’s Magnificat with True Concord, Reich’s The Desert Music with New World Symphony; and continues this season performing Mozart’s Requiem with the Aspen Music Festival Orchestra with Xian Zhang, the Evan-gelist role in Pärt’s Passio and Bach’s St Matthew Passion with Seraphic Fire, and Carmina Burana with Long Beach Cam-erata. Mr. Muehleise has been named Artist in Residence at UCLA for the next two academic years and will be joining the faculty at the world renowned Aspen Music Festival in partnership with the Grammy-nominated Seraphic Fire Pro-fessional Choral Institute.


A versatile performer and scholar, baritone DAVID RUGGER special-izes in the oratorio repertoire, ear-ly music, and especially the music of J.S. Bach. Rugger recently com-pleted his PhD in musicology at Indiana University, where he also studied voice and was active in the Historical Performance Institute. In addition to working with sever-

al wonderful voice teachers, coaches, and conductors, he is an alumnus of both the American Bach Soloists Academy and the Carmel Bach Festival’s Virginia Best Adams Fellow program. In his scholarship, he writes about the relationship between vocal sound, the body, and identity in twentieth century English and American music.

EMILY SHUSDOCK, soprano and Bach Akademie board member, is a full time musician and teacher. Ms. Shusdock is the Middle School Choir Director at Charlotte Latin School. She holds Bachelors and Masters degrees from Westminster Choir College in Princeton, NJ. She lives in Charlotte with her husband John and their cat Geoffrey.

JASON STEIGERWALT is an American baritone with an active career in both Germany and the United States. As a concert sing-er, he has recently been heard in Handel’s Messiah and Saul, Saint-Saens‘s Oratorio de Noel and Bach’s St. Matthew Passion. He made his Carnegie Hall solo debut singing under the direction of Ton Koop-

man in Handel’s Dettingen Te Deum, and was heard again the following year performing Faure’s Reqiuem. As an ensemble member, he has worked with the RIAS Kammerchor and Rundfunkchor in Berlin, the Gächinger Kantorei in Stutt-gart, Apollo’s Fire in Cleveland, and Musica Sacra in New York. Since 2013, he has been employed as a full-time mem-ber of the Komische Oper Berlin, where he has sung in over 100 performances each season. Notable productions during this time were Prokofiev’s Der feurige Engel, Shostakovich’s Die Nase, Mozart’s Figaro, and Barrie Kosky’s highly cele-brated productions of Berstein’s West Side Story, Mozart’s Die Zauberflöte, Schönberg’s Moses und Aron, Tchaikovsky’s Eugene Onegin, Handel’s Semele, and Bock’s Anatevka. He is a

graduate of the Institute of Sacred Music at Yale University, as well as Susquehanna University, with additional studies at Temple University. He was selected for vocal fellowships at both the Carmel and Oregon Bach Festivals.

A specialist in the oratorio rep-ertoire, tenor GENE STENGER’s solo concert engagements include Handel’s Messiah with the Virginia Symphony Orchestra; Evangelist in Bach’s St. Matthew Passion with the Northeast Pennsylvania Bach Fes-tival; Evangelist in St. John Passion with Bach Collegium at St. Peter’s (NYC); Evangelist, and tenor arias in Bach’s Christmas Oratorio with Colorado Bach Ensemble; tenor arias in St. Matthew Passion with Helmuth Rilling’s In-ternationale Bachakademie Stuttgart with performances in both Germany, and South America.

A Charlotte native, MICHAEL H. TRAMMELL is a highly sought- after tenor specializing in early baroque music. He recently per-formed with the 4th and 5thBach Cantata Academy for the Thüringer Bachwochen in Weimar, Germany under the baton of renowned Bach specialist, Helmuth Rilling, and was also a part of the Internationale

BachAkademie in Stuttgart, Germany under the direction of Hans-Christoph Rademann. Stateside, Michael has per-formed with the Holy Trinity Lutheran Bach Vespers series in New York City, under the direction of Donald Meineke. In addition to his Tenor Section Leader position in Charlotte at Myers Park Presbyterian Church, he performs with the Charlotte Symphony Chorus, Charlotte Symphony Cham-ber Chorus, Carolina Catholic Chorale, and VOX – Firebird Arts Alliance.

Recognized by The Boston Globe as “a name to keep an eye on”, soprano SARAH YANOVITCH has been noted for her rich sound and mu-sical sensitivity. A frequent soloist with Boston’s Handel and Haydn Society under the direction of Har-ry Christophers, she recently sang the role of Belinda in Purcell’s Dido and Aeneas and as soloist in Bach’s B minor and G major masses. During the 2016-2017 season,


Soprano CHELSEA HELM, a Mich-igan native, holds degrees from Western Michigan University and Rice University. She is based in New York City and has extensive performing experience with opera companies and choirs from across the country.

Originally from Bell-

ingham, Washington, mezzo- soprano MOLLY MCGUIRE recently finished her Bachelor of Arts degree at DePauw University in Indiana. She has resided in Bos-ton since September, where she performs with a number of choirs and will pursue a master’s degree at Longy School of Music this fall.

AARON CATES, tenor, hails from Charleston, South Carolina and is in the second year of his master’s degree in performance at Baylor University in Waco, Texas. In addi-tion to his extensive choral expe-rience, he has sung the role of the Evangelist in Bach’s Saint Matthew Passion as well as numerous opera roles.

Baritone HARRISON HINTZSCHE is currently a master’s degree can-didate in the Early Music Voice program at Yale University. Born in DeKalb, Illinois, he has per-formed as a chorister and soloist internationally and completed his undergraduate studies at St. Olaf College.

Ms. Yanovitch was the Lorraine Hunt Lieberson Fellow with Emmanuel Music, regularly appearing as a featured soloist. She has sung with such leading choral ensembles as Bach Collegium San Diego, The Thirteen, Yale Choral Artists, and Grammy®-nominated Seraphic Fire. Other solo credits include the roles of Cupid and Venus in King Arthur with the Henry Purcell Society of Boston, Mozart’s Mass in C minor and Handel’s Judas Maccabaeus and Dixit Dominus at Boston University Marsh Chapel, and Bach’s Mass in B minor with Masaaki Suzuki and Juilliard 415. While earning her Master of Music in Early Music Voice at Yale, Ms. Yanovitch worked with conductors Masaaki Suzuki, David Hill, and Simon Carrington, touring as a soloist throughout the United States, Italy, France, The Baltics, India, and the UK.

Mezzo-soprano/alto LAURA WILLIAMS is passionate about performing and working as a Singing Voice Special-ist, or “Vocologist,” where she consults and habilitates sing-ers with injured voices. After experiencing vocal trauma and subsequent surgeries, she recovered vocally when she studied Vocology with founder Ingo Titze at the National

Center for Voice and Speech in Salt Lake City. She now has a private vocal studio and re-cently served on the voice faculties of University of Col-orado-Denver and the Univer-sity of Northern Colorado. She earned her MM at CU Boulder in Colorado and BM at Bre-vard College in North Caro-lina. Laura has combined her work with her love of trav-eling and taught in Beijing (China Agricultural University, International College of Beijing) and sung with the Inter-national Bachakademie in Stuttgart and the Weimar Bach Cantata Academie, under Helmuth Rilling, Hans-Chris-toph Rademann and Kathy Romey, including tours in Germany, Chile and Tunisia. Laura has performed as both soloist and choral member with the Oregon Bach Fes-tival, Colorado Bach Ensemble, the Baroque Chamber Orchestra of Colorado, The King’s Counterpoint and Cantores Charleston.

Vocal Fellows ProgramElizabeth Eschen, Director

Sponsored by Jane Shoemaker

Funding for the 2019 Vocal Fellows Program generously provided by

Dear Friends,

Welcome to the Charlotte Bach Festival – we’re glad you’re here! I know you are as excited about today’s performance

as we are. This year has a spectacular lineup featuring solo recitals from organist Isabelle Demers and violinist Aisslinn

Nosky, illuminating lecture-concerts on the St. Michael cantatas, and the epic St. Matthew Passion. New for this year,

we have also added a Bach in the Brauhaus recital with our friend

Tom Burge at Free Range Brewing. This year’s festival offers many

ways to immerse yourself in the rich world of Bach within the

beautiful churches of the Queen City and beyond!

Our Artistic Director, Scott Allen Jarrett, is simply inspiring and

is one of the premier Bach scholars in the United States. We are

proud to have his continued artistic leadership, vision, and excel-

lence from the podium. Dr. Jarrett and our staff have assembled

a group of first-rate professional musicians for this year’s festival,

and I am convinced that you will find the quality of these perfor-

mances to be as good as any Bach festival in the country.

Bach Akademie Charlotte was founded with the vision of bring-

ing the highest caliber historically-informed performances of

Johann Sebastian Bach’s music to our community. As we

approach the conclusion of our second season, I am happy to say

that our efforts have been well received and we continue to grow

every day in that mission. Our inaugural festival last June raised

the bar for cultural events in Charlotte, and we expect you’ll find

this year’s events will surpass it in every way.

The Charlotte Bach Festival would not be possible without the

generosity and support of our many Donors and Sponsors; and we are truly humbled by the unwavering support of the

Charlotte community as we continue to grow rapidly in our first few years. You will find a list of our amazing Donors,

Friends, Corporate Sponsors, Community Partners, and Volunteers on page 6 of this program. If you know any of these

wonderful people or businesses, please join us in thanking them for making the Charlotte Bach Festival possible! If

you would like to join them in your support, we invite you to visit our website at bacharlotte.com, email us at giving@

bacharlotte.com, or simply visit us today in the lobby.

Thank you for joining us in discovering and enjoying the absolute best of Bach right here in our very own city.

I look forward to greeting you in person after the concert – please do say hello,

Michael H Trammell President, Bach Akademie Charlotte


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Program Guide - Bach Akademie Charlotte

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Transcript of Program Guide - Bach Akademie Charlotte