by j. s. bach april 3, 2015, 12pm trinity church · by j. s. bach april 3, 2015, 12pm. welcome to...

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The Good Friday Liturgywith the Passion according to St. John

by J. S. Bach

April 3, 2015, 12pm

Welcome to Trinity ChurchPlease add your voice and heart to the worship: sing the hymns and pray the prayers. Everyone is welcome at Jesus’ Table, and everyone’s voice is needed to tell the Good News of God’s love in Christ. Please help others find a place near you, and greet the person next to you as we prepare to worship together.

Worship Notes for Good FridayThe Good Friday liturgy is dense with meaning, and focuses specifically on the cross.

At Trinity, our worship service is intensified by using Bach’s St. John Passion to bring alive the Scripture texts. We conclude with the Solemn Collects, where we continue to follow Jesus in his self-emptying, self-offering love.

The Cross finds its full meaning only in the Resurrection, which is God’s ultimate Yes to the No of all human violence and evil. We live even now in the light of that Resurrection, and look back to the Cross as God’s open-armed gesture of love to the world.

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On this day the ministers enter in silence.

All then kneel for silent prayer, after which the Celebrant stands and begins the liturgy with the Collect of the Day.

The Collect of the DayCelebrant Blessed be our God. People For ever and ever. Amen.

Let us pray.

Celebrant Almighty God, we pray you graciously to behold this your family, for whom our Lord Jesus Christ was willing to be betrayed, and given into the hands of sinners, and to suffer death upon the cross; who now lives and reigns with you and the Holy Spirit, one God, for ever and ever.

People Amen.

The Veneration of the CrossWhile the Choir sings the following, a cross is carried to the center of the church for a moment of veneration. The cross is then carried to All Saints’ Chapel where it is available for veneration throughout the remainder of the day.

Choir We glory in your cross, O Lord, and praise and glorify your holy resurrection; for by virtue of your cross joy has come to the whole world. May God be merciful to us and bless us, show us the light of his countenance, and come to us. Let your ways be known upon earth, your saving health among all nations. Let the peoples praise you, O God; let all the peoples praise you. We glory in your cross, O Lord, and praise and glorify your holy resurrection; for by virtue of your cross joy has come to the whole world.

The Good Friday Liturgy12pm with the Passion according to St. John

April 3, 2015

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Chor Herr, unser Herrscher, dessen Ruhm In allen Landen herrlich ist! Zeig uns durch deine Passion, Daß du, der wahre Gottessohn, Zu aller Zeit, Auch in der größten Niedrigkeit, Verherrlicht worden bist!

The GospelEvangelist Jesus ging mit seinen Jüngern über den Bach Kidron, da war ein Garten, darein ging Jesus und seine Jünger. Judas aber, der ihn verriet, wußte den Ort auch, denn Jesus versammlete sich oft daselbst mit seinen Jüngern. Da nun Judas zu sich hatte genommen die Schar und der Hohenpriester und Pharisäer Diener, kommt er dahin mit Facheln, Lampen und mit Waffen. Als nun Jesus wußte alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:

Jesus Wen suchet ihr?

Evangelist Sie antworteten ihm:

Chor Jesum von Nazareth.

Evangelist Jesus spricht zu ihnen:

Jesus Ich bin’s.

The Passion: Part 1

During the Passion, please stand as you are able and sing the printed Chorales. You may enter or depart at the singing of the Chorales, but please do so quietly.

Saint John Passion, BWV 245 Johann Sebastian Bach (1685–1750)

Chorus Lord, our ruler, Whose fame In every land is glorious! Show us, through Your passion, That You, the true Son of God, Through all time, Even in the greatest humiliation, Have become transfigured!

Evangelist Jesus went with His disciples over the brook Cedron, where there was a garden, into which Jesus entered with His disciples. Judas, however, who betrayed Him, also knew the place, for Jesus often met there with His disciples. Now Judas, having gathered a band of servants of the high priests and Pharisees, came there with torches, lamps, and weapons. Now Jesus, knowing all that would happen to Him, went out and said to them:

Jesus Whom do you seek?

Evangelist They answered Him:

Chorus Jesus of Nazareth.

Evangelist Jesus said to them:

Jesus I am He.

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Evangelist Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus zu ihnen sprach: Ich bin’s, wichen sie zurücke und fielen zu Boden. Da fragete er sie abermal:

Jesus Wen suchet ihr?

Evangelist Sie aber sprachen:

Chor Jesum von Nazareth.

Evangelist Jesus antwortete:

Jesus Ich hab’s euch gesagt, daß ich’s sei, suchet ihr denn mich, so lasset diese gehen!

Chorale

Evangelist Judas, however, who betrayed Him, stood also with them. Now when Jesus said to them: I am He, they drew back and fell to the ground. Then He asked them again:

Jesus Whom do you seek?

Evangelist They said, however:

Chorus Jesus of Nazareth.

Evangelist Jesus answered:

Jesus I have told you, that I am He, if you seek Me, then let these go!

O won drous- Love, O Love all love ex cel- ling,- Which

bade Thee make this vale of tears Thy dwell ing,- I live on earth and

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earth ly- plea sures- cher ish,- And Thou must per ish.-

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Chorale

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The GospelEvangelist Auf daß das Wort erfüllet würde, welches er sagte: Ich habe der keine verloren, die du mir gegeben hast. Da hatte Simon Petrus ein Schwert und zog es aus und schlug nach des Hohenpriesters Knecht und hieb ihm sein recht Ohr ab; und der Knecht hieß Malchus. Da sprach Jesus zu Petro:

Jesus Stecke dein Schwert in die Scheide! Soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat?

Chorale

Evangelist So that the word might be fulfilled, which He spoke: “I have lost none that You have given to me.” Then Simon Peter, who had a sword, drew it out and struck at the servant of the high priest and cut off his right ear; and the servant’s name was Malchus. Then Jesus said to Peter:

Jesus Put your sword in its sheath! Shall I not drink the cup, which My Father has given to Me?

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The GospelEvangelist Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum und bunden ihn und führeten ihn aufs erste zu Hannas, der was Kaiphas Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Jüden riet, es wäre gut, daß ein Mensch würde umbracht für das Volk.

Arie Ms. Attebury Von den Stricken meiner Sünden Mich zu entbinden, Wird mein Heil gebunden. Mich von allen Lasterbeulen Völlig zu heilen, Läßt er sich verwunden.

Evangelist Simon Petrus aber folgete Jesu nach und ein ander Jünger.

Arie Ms. Russell Ich folge dir gleichfalls mit freudigen Schritten Und lasse dich nicht, Mein Leben, mein Licht. Befördre den Lauf, Und höre nicht auf, Selbst an mir zu ziehen, zu schieben, zu bitten.

Evangelist Derselbige Jünger war dem Hohenpriester bekannt und ging mit Jesu hinein in des Hohenpriesters Palast. Petrus aber stund draußen für der Tür. Da ging der andere Jünger, der dem Hohenpriester bekannt war, hinaus und redete mit der Türhüterin und führete Petrum hinein. Da sprach die Magd, die Türhüterin, zu Petro:

Magd Bist du nicht dieses Menschen Jünger einer?

Evangelist Er sprach:

Petrus Ich bin’s nicht.

Evangelist Es stunden aber die Knechte und Deiner und hatten ein Kohlfeu’r gemacht (denn es war kalt)

Evangelist The band, however, and the captain and the servants of the Jews took Jesus and bound Him and led Him first to Annas, who was the father-in-law of Caiaphas, the high priest that year. It was Caiaphas, however, who counselled the Jews, that it would be good for one man to be destroyed for the people.

Aria Ms. Attebury To untie me from the knots of my sins, my Savior is bound. To completely heal me of all blasphemous sores, He allows Himself to be wounded.

Evangelist Simon Peter however followed after Jesus with another disciple.

Aria Ms. Russell I follow You likewise with happy steps and do not leave You, my Life, my Light. Pursue your journey, and don’t stop, continue to draw me on, to push me, to urge me.

Evangelist This same disciple was known to the high priest and went inside with Jesus in the high priest’s palace. Peter however stood outside at the door. Then the other disciple, who was known to the high priest, went outside and spoke with the girl guarding the door and brought Peter inside. Then the maid, the doorkeeper, said to Peter:

Maid Aren’t you one of this man’s disciples?

Evangelist He said:

Peter I am not.

Evangelist However the soldiers and servants stood around and they had made a coal fire (for it was cold)

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und wärmeten sich. Petrus aber stund bei ihnen und wärmete sich. Aber der Hohepriester fragte Jesum um seine Jünger und um seine Lehre. Jesus antwortete ihm:

Jesus Ich habe frei, öffentlich geredet für der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammenkommen, und habe nichts im Verborgenen geredt. Was fragest du mich darum? Frage die darum, die gehöret haben, was ich zu ihnen geredet habe! Siehe, dieselbigen wissen, was ich gesaget habe.

Evangelist Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesu einen Backenstreich und sprach:

Diener Solltest du dem Hohenpriester also antworten?

Evangelist Jesus aber antwortete:

Jesus Hab ich übel geredt, so beweise es, daß es böse sei, hab ich aber recht geredt, was schlägest du mich?

Chorale

and warmed themselves. Peter however stood with them and warmed himself. But the high priest questioned Jesus about His disciples and about His teachings. Jesus answered him:

Jesus I have freely and openly spoken before the world. I have taught all the time in the synagogue and in the temple, where all Jews gather, and I have said nothing in secret. Why do you ask me about this? Ask those about it, who have heard what I said to them! Behold, these same people know what I have said.

Evangelist As He was saying this, however, one of the servants who stood by gave Jesus a blow on his cheek and said:

Servant Is this how You answer the high priest?

Evangelist Jesus however answered:

Jesus If I have spoken ill, then make it known that it is ill spoken; however if I spoke rightly, why do you strike Me?

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The GospelEvangelist Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich, da sprachen sie zu ihm:

Chor Bist du nicht seiner Jünger einer?

Evangelist Er leugnete aber und sprach:

Petrus Ich bin’s nicht.

Evangelist Spricht des Hohenpriesters Knecht’ einer, ein Gefreundter des, dem Petrus das Ohn abgehauen hatte:

Knecht Sahe ich dich nicht im Garten bei ihm?

Evangelist Da verleugenete Petrus abermal, und alsobald krähete der Hahn.

Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich.

(Matthew 26:75)

Arie Mr. Wilson Ach, mein Sinn, Wo willt du endlich hin, Wo soll ich mich erquicken? Bleib ich hier, Oder wünsch ich mir Berg und Hügel auf den Rücken? Bei der Welt ist gar kein Rat, Und im Herzen Stehn die Schmerzen Meiner Missetat, Weil der Knecht den Herrn verleugnet hat.

Evangelist And Hannas send Him bound to the high priest Caiaphas. Simon Peter stood and warmed himself, when they said to him:

Chorus Aren’t you one of His disciples?

Evangelist He denied it however and said:

Peter I am not.

Evangelist One of the high priest’s servants, a friend of the man whose ear Peter had cut off, said:

Servant Didn’t I see you in the garden with Him?

Evangelist Then Peter denied it again, and just then the cock crew.

Then Peter recalled Jesus’ words and went out and wept bitterly.

Aria Mr. Wilson Alas, my conscience, where will you flee at last, where shall I find refreshment? Should I stay here, or do I desire mountain and hill at my back? In all the world there is no counsel, and in my heart remains the pain of my misdeed, since the servant has denied the Lord.

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Chorale

Pe ter,- while his con science- slept, Thrice de nied- his Sav iour,-

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When it woke he bit ter- wept At his base be ha- vior-

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Je sus,- let me not for get;- True de vo- tion- teach me;

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When on e vil- I am set, Through my con science- reach me.

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Chorale

The Sermon The Rev. Canon Benjamin Musoke-Lubega

Silence follows the sermon.

The Passion: Part 2

Christ, through whom we all are blest, Knew no e vil- do- ing.-

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The GospelEvangelist Da führeten sie Jesum von Kaiphas vor das Richthaus, und es war frühe. Und sie gingen nicht in das Richthaus, auf daß sie nicht unrein würden, sondern Ostern essen möchten. Da ging Pilatus zu ihnen heraus und sprach:

Pilatus Was bringet ihr für Klage wider diesen Menschen?

Evangelist Sie antworteten und sprachen zu ihm:

Chor Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.

Evangelist Da sprach Pilatus zu ihnen:

Pilatus So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!

Evangelist Da sprachen die Jüden zu ihm:

Chor Wir dürfen niemand töten.

Evangelist Auf daß erfüllet würde das Wort Jesu, welches er sagte, da er deutete, welches Todes er sterben würde. Da ging Pilatus wieder hinein in das Richthaus und rief Jesu und sprach zu ihm:

Pilatus Bist du der Jüden König?


Jesus Redest du das von dir selbst, oder haben’s dir andere von mir gesagt?

Evangelist Pilatus antwortete:

Pilatus Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir überantwortet; was hast du getan?

Evangelist Then they led Jesus before Caiaphas in front of the judgment hall, and it was early. And they did not go into the judgment hall, so that they would not become unclean; rather that they could partake of Passover. Then Pilate came outside to them and said:

Pilate What charge do you bring against this Man?

Evangelist They answered and said to him:

Chorus If this man were not an evil-doer, we wouldn’t have turned Him over to you.

Evangelist Then Pilate said to them:

Pilate Then take Him away and judge Him after your law!

Evangelist Then the Jews said to him:

Chorus We may not put anyone to death.

Evangelist So that the word of Jesus might be fulfilled, which He spoke, where He indicated what death He would die. Then Pilate went back into the judgment hall and called Jesus and said to Him:

Pilate Are You the King of the Jews?


Jesus Do you say this of yourself, or have others said this of Me?

Evangelist Pilate answered:

Pilate Am I a Jew? Your people and the high priests have delivered You to me; what have You done?

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Jesus Mein Reich ist nicht von dieser Welt; wäre mein Reich von dieser Welt, meine Diener würden darob kämpfen, daß ich den Jüden nicht überantwortet würde; aber nun ist mein Reich nicht von dannen.

Chorale


Jesus My Kingdom is not of this world; if my Kingdom were of this world, my servants would fight over this, so that I would not be handed over to the Jews; now however my Kingdom is not from here.

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The GospelEvangelist Da sprach Pilatus zu ihm:

Pilatus So bist du dennoch ein König?


Jesus Du sagst’s, ich bin ein König. Ich bin dazu geboren und in die Welt kommen, daß ich die Wahrheit zeugen soll. Wer aus der Wahrheit ist, der höret meine Stimme.

Evangelist Spricht Pilatus zu ihm:

Pilatus Was ist Wahrheit?

Evangelist Und da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen:

Pilatus Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit, daß ich euch einen losgebe; wollte ihr nun, daß ich euch der Jüden König losgebe?

Evangelist Da schrieen sie wieder allesamt und sprachen:

Chor Nicht diesen, sondern Barrabam!

Evangelist Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und geißelte ihn.

Arioso Mr. McCargar Betrachte, meine Seel, mit ängstlichem Vergnügen, Mit bittrer Lust und halb beklemmtem Herzen Dein höchstes Gut in Jesu Schmerzen, Wie dir auf Dornen, so ihn stechen, Die Himmelsschlüsselblumen blühn! Du kannst viel süße Frucht von seiner Wermut brechen Drum sieh ohn Unterlass auf ihn!

Evangelist Then Pilate said to Him:

Pilate Then You are a King?


Jesus You say I am a King. I was born for this, and came into the world, that I might bear witness to the Truth. Whoever is of the truth hears My voice.

Evangelist Pilate said to Him:

Pilate What is truth?

Evangelist And when he had said this, he went out again to the Jews and said to them:

Pilate I find no fault in Him. However, you have a custom, that I release someone to you; do you wish now, that I release the King of the Jews to you?

Evangelist Then they all cried out together and said:

Chorus Not this one, but Barrabas!

Evangelist Barrabas however was a murderer. Then Pilate took Jesus and scourged Him.

Arioso Mr. McCargar Contemplate, my soul, with anxious pleasure, with bitter joy and half-constricted heart, your highest Good in Jesus’ suffering, how for you, out of the thorns that pierce Him, the tiny ‘keys of Heaven’ bloom! You can pluck much sweet fruit from his wormwood; therefore gaze without pause upon Him!

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Arie Mr. Giebler Erwäge, wie sein blutgefärbter Rücken In allen Stücken Dem Himmel gleiche geht, Daran, nachdem die Wasserwogen Von unsrer Sündflut sich verzogen, Der allerschönste Regenbogen Als Gottes Gnadenzeichen steht!

Evangelist Und die Kriegsknechte flochten eine Krone von Dornen und satzten sie auf sein Haupt und legten ihm ein Purpurkleid an und sprachen:

Chor Sei gegrüßet, lieber Jüdenkönig!

Evangelist Und gaben ihm Backenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen:

Pilatus Sehet, ich führe ihn heraus zu euch, daß ihr erkennet, daß ich keine Schuld an ihm finde.

Evangelist Also ging Jesus keraus und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen:

Pilatus Sehet, welch ein Mensch!

Evangelist Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen:

Chor Kreuzige, kreuzige!

Evangelist Pilatus sprach zu ihnen:

Pilatus Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!

Evangelist Die Jüden antworteten ihm:

Chor Wir haben ein Gesetz, und nach dem Gesetz soll er sterben; denn er hat sich selbst zu Gottes Sohn gemacht.

Aria Mr. Giebler Consider, how His blood-stained back in every aspect is like Heaven, in which, after the watery deluge was released upon our flood of sins, the most beautiful rainbow as God’s sign of grace was placed!

Evangelist And the soldiers wove a crown of thorns and set it upon His head, and laid a purple mantel on Him, and said:

Chorus Hail to You, dear King of the Jews!

Evangelist And gave Him blows on the cheek. Then Pilate went back outside and spoke to them:

Pilate Behold, I bring Him out to you, so that you recognize, that I find no fault in Him.

Evangelist Then Jesus went out and wore a crown of thorns and a purple mantel. And Pilate said to them:

Pilate Behold, what a Man!

Evangelist When the high priests and servants saw Him, they screamed and said:

Chorus Crucify, crucify!

Evangelist Pilate said to them:

Pilate You take Him away and crucify Him; for I find no fault in Him!

Evangelist The Jews answered him:

Chorus

We have a law, and according to that law He should die; for He has made Himself into God’s Son.

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Evangelist Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr und ging wieder hinein in das Richthaus und spricht zu Jesu:

Pilatus Von wannen bist du?

Evangelist Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm:

Pilatus Redest du nicht mit mir? Weißest du nicht daß ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben?


Jesus Du hättest keine Macht über micht, wenn sie dir nicht wäre von oben herab gegeben; darum, der mich dir überantwortet hat, der hat’s größ’re Sünde.

Evangelist Von dem an trachtete Pilatus, wie er ihn losließe.

Chorale

Evangelist When Pilate heard this, he became more afraid and went back inside to the judgment hall and said to Jesus:

Pilate Where do You come from?

Evangelist But Jesus gave him no answer. Then Pilate said to Him:

Pilate You don’t speak to me? Don’t You know that I have the power to crucify You, and the power to release You?


Jesus You would have no power over Me, if it were not given to you from above; therefore, he who has delivered Me to you has the greater sin.

Evangelist From then on Pilate considered how he might release Him.

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The GospelEvangelist Die Jüden aber schrieen und sprachen:

Chor Lässest du diesen los, so bist du des Kaisers Freund nicht; denn wer sich zum Könige machet, der ist wider den Kaiser.

Evangelist Da Pilatus da Wort hörete, führete er Jesum heraus und satzte sich auf den Richtstuhl, an der Stätte, die da heißet: Hochpflaster, auf Ebräisch aber: Gabbatha. Es war aber der Rüsttag in Ostern um die sechste Stunde, und er spricht zu den Jüden:

Pilatus Sehet, das ist euer König!

Evangelist Sie schrieen aber:

Chor Weg, weg mit dem, kreuzige ihn!

Evangelist Spricht Pilatus zu ihnen:

Pilatus Soll ich euren König kreuzigen?

Evangelist Die Hohenpriester antworteten:

Chor Wir haben keinen König denn den Kaiser.

Evangelist Da überantwortete er ihn daß er gekreuziget würde. Sie nahmen aber Jesum und führeten ihn hin. Und er trug sein Kreuz und ging hinaus zur Stätte, die da heißet Schädelstätt, welche heißet auf Ebräisch: Golgatha.

Evangelist The Jews, however, screamed and said:

Chorus If you let this man go, you are not a friend of Caesar; for whoever makes himself a king is against Caesar.

Evangelist When Pilate heard this, he brought Jesus outside and sat upon the judgment seat, at the place that is called High Pavement, in Hebrew however: Gabbatha. But it was the Sabbath-day at Passover at the sixth hour, and he said to the Jews:

Pilate Behold, this is your King!

Evangelist But they shrieked:

Chorus Away, away with Him, crucify Him!

Evangelist Pilate said to them:

Pilate Shall I crucify your King?

Evangelist The high priests answered:

Chorus We have no King but Caesar.

Evangelist Then he delivered Him to be crucified. They took Jesus and led him away. And He carried His Cross, and went up to the place that is called the Place of the Skull, which is called in Hebrew: Golgatha.

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Arie Mr. Woody und Chor Eilt, ihr angefochtnen Seelen, Geht aus euren Marterhöhlen, Eilt -- Wohin? -- nach Golgatha! Nehmet an des Glaubens Flügel, Flieht -- Wohin? -- zum Kreuzeshügel, Eure Wohlfahrt blüht allda!

Evangelist Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten, Jesum aber mitten inne. Pilatus aber schrieb eine Überschrift und satzte sie auf das Kreuz, und war geschrieben: “Jesus von Nazareth, der Jüden König.” Diese Überschrift lasen viel Jüden, denn die Stätte war nahe bei der Stadt, da Jesus gekreuziget ist. Und es war geschrieben auf ebräische, griechische und lateinische Sprache. Da sprachen die Hohenpriester der Jüden zu Pilato:

Chor Schreibe nicht: der Jüden König, sondern daß er gesaget habe: Ich bin der Jüden König.

Evangelist Pilatus antwortet:

Pilatus Was ich geschrieben habe, das habe ich geschrieben.

Aria Mr. Woody and Chorus Hurry, you tempted souls, come out of your caves of torment, hurry - where? - to Golgatha! Take up the wings of faith, fly - where? -- to the Hill of the Cross, Your salvation blooms there!

Evangelist There they crucified Him, and two others with Him on either side, Jesus however in the middle. Pilate however wrote a signpost and set it upon the Cross, and there was written on it: “Jesus of Nazareth, the King of the Jews.” This signpost was read by many Jews, for the place where Jesus was crucified was near the city. And it was written in the Hebrew, Greek and Latin languages. Then the high priests of the Jews said to Pilate:

Chorus Do not write: The King of the Jews, rather that He said: I am the King of the Jews.

Evangelist Pilate answered:

Pilate What I have written, I have written.

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Chorale

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The GospelEvangelist Die Kriegsknechte aber, da sie Jesum gekreuziget hatten, nahmen seine Kleider und machten vier Teile, einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber war ungenähet, von oben an gewürket durch und durch. Da sprachen sie untereinander:

Chor Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.

Evangelist Auf daß erfüllet würde die Schrift, die da saget: “Sie haben meine Kleider unter sich geteilet und haben über meinen Rock das Los geworfen.” Solches taten die Kriegesknechte. Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester, Maria, Kleophas Weib, und Maria Magdalena. Da nun Jesus seine Mutter sahe und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter:

Jesus Weib, siehe, das ist dein Sohn!

Evangelist Darnach spricht er zu dem Jünger:

Jesus Siehe, das ist deine Mutter!

Evangelist The soldiers however, that had crucified Jesus, took His clothing and made four parts, one part for each soldier, the same also with His robe. The robe, however, had no seam, being woven from top to bottom. Then they said to each other:

Chorus Let’s not divide this, rather let’s toss for it, to see whose it will be.

Evangelist So that the Scripture might be fulfilled, which says: “They have divided my clothing among themselves and have cast lots over my robe.” These things the soldiers did. However there stood by Jesus’ Cross His mother and His mother’s sister, Mary, the wife of Cleophas, and Mary Magdalene. Now when Jesus saw His mother and the disciple standing near, whom He loved, He said to His mother:

Jesus Woman, behold, this is your son!

Evangelist Afterwards He said to the disciple:

Jesus Behold, this is your mother!

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Chorale

He of ev 'ry- thing- took heed In his hour of dy ing,-

1

Ca ring- for his mo ther's- need, On his friend re ly- ing.-

5

O Man, lead a right eous- life, Love God and thy neigh bor,-

9

Death will bring an end to strife, Rest from care and la bor.-

13

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The GospelEvangelist Und von Stund an nahm sie der Jünger zu sich. Darnach, als Jesus wußte, daß schon alles vollbracht war, daß die Schrift erfüllet würde, spricht er:

Jesus Mich dürstet!

Evangelist Da stund ein Gefäße voll Essigs. Sie fülleten aber einen Schwamm mit Essig und legten ihn um einen Isopen, und heilten es ihm dar zum Munde. Da nun Jesus den Essig genommen hatte, sprach er:

Jesus Es ist vollbracht!

Arie Ms. Brackett Es ist vollbracht! O Trost vor die gekränkten Seelen! Die Trauernacht Läßt nun die letzte Stunde zählen. Der Held aus Juda siegt mit Macht Und schließt den Kampf. Es ist vollbracht!

Evangelist Und neiget das Haupt und verschied.

Arie Mr. Herbert und Chor Mein teurer Heiland, laß dich fragen, Da du nunmehr ans Kreuz geschlagen Und selbst gesagt: Es ist vollbracht, Bin ich vom Sterben frei gemacht? Kann ich durch deine Pein und Sterben Das Himmelreich ererben? Ist aller Welt Erlösung da? Du kannst vor Schmerzen zwar nichts sagen; Doch neigest du das Haupt Und sprichst stillschweigend: ja Jesu, der du warest tot, Lebest nun ohn Ende, In der letzten Todesnot Nirgend mich hinwende Als zu dir, der mich versühnt, O du lieber Herre! Gib mir nur, was du verdient, Mehr ich nicht begehre! (“Jesu Leiden, Pein und Tod,” last verse)

Evangelist And from that hour the disciple took her to himself. Afterwards, when Jesus knew that everything was already accomplished, so that the Scripture might be fulfilled, He said:

Jesus I thirst!

Evangelist There was a vessel full of vinegar. They filled a sponge with vinegar and placed it on a hyssop, and held it directly to His mouth. Now when Jesus had taken the vinegar, He said:

Jesus It is finished!

Aria Ms. Brackett It is finished! O comfort for the ailing soul! The night of sorrow now measures out its last hour. The hero out of Judah conquers with might and concludes the battle. It is finished!

Evangelist And bowed His head and departed.

Aria Mr. Herbert and Chorus My precious Savior, let me ask, Now that you have been nailed to the Cross and have said yourself: It is finished, Am I made free from death? Can I, through your pain and death inherit the kingdom of heaven? Has the redemption of the whole world arrived? You cannot say a single thing out of pain; yet you bow Your head and say silently: yes. Jesus, You, who were dead, live now unendingly, in the last pangs of death I will turn nowhere else but to You, who has absolved me, O beloved Lord! Only give me what You earned, more I do not desire!

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Evangelist Und siehe da, der Vorhang im Tempel zeriß in zwei Stück von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen.

(Matthew 27:51-52)

Arioso Mr. Sands Mein Herz, in dem die ganze Welt Bei Jesu Leiden gleichfalls leidet, Die Sonne sich in Trauer kleidet, Der Vorhang reißt, der Fels zerfällt, Die Erde bebt, die Gräber spalten, Weil sie den Schöpfer sehn erkalten, Was willst du deines Ortes tun?

Aria Ms. Brailey Zerfleiße, mein Herze, in Fluten der Zähren Dem Höchsten zu Ehren! Erzähle der Welt und dem Himmel die Not: Dein Jesus ist tot!

Evangelist Die Jüden aber, dieweil es der Rüsttag war, daß nicht die Leichname am Kreuze blieben den Sabbat über (denn desselbigen Sabbats Tag war sehr groß), baten sie Pilatum, daß ihre Beine gebrochen und sie abgenommen würden. Da kamen die Kriegsknechte und brachen dem ersten die Beine und dem andern, der mit ihm gekreuziget war. Als sie aber zu Jesu kamen, da sie sahen, daß er schon gestorben war, brachen sie ihm die Beine nicht; sondern der Kriegsknechte einer eröffnete seine Seite mit einem Speer, und alsobald ging Blut und Wasser heraus. Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr, und derselbige weiß, daß er die Wahrheit saget, auf daß ihr gläubet. Denn solches ist geschehen, auf daß die Schrift erfüllet würde: “Ihr sollet ihm kein Bein zerbrechen.” Und abermal spricht eine andere Schrift: “Sie werden sehen, in welchen sie gestochen haben.”

Evangelist And behold, the curtain in 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.

Arioso Mr. Sands My heart - while the entire world with Jesus’ suffering likewise suffers; the sun drapes itself in mourning, the curtain is rent, the crag crumbles, the earth trembles, the graves split open, since they behold the Creator growing cold; - how shall you react from your depths?

Aria Ms. Brailey Dissolve, my heart, in floods of tears to honor the Highest! Tell the world and heaven the anguish: Your Jesus is dead!

Evangelist The Jews however, since it was the Sabbath day, so that the corpses would not remain on their crosses over the Sabbath (for this particular Sabbath day was very great), asked Pilate for their bones to be broken and that they be taken away. So the soldiers came and broke the bones of the first and the other one, who had been crucified with Him. But when they came to Jesus, and they saw that He was already dead, they did not break His bones; instead one of the soldiers opened His side with a spear, and immediately blood and water came out. And he that saw this, bore witness to it, and his testimony is true, and this same knows that he speaks the truth so that you believe. For all this has happened in order that the Scripture might be fulfilled: “You shall break none of His bones.” And in addition another Scripture says: “They will behold what they have pierced.”

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Chorale

Help, O Je sus,- God's own Son, Through thy bit ter- an guish,-

1

That the fa vor- Thou hast won E vil- deeds may van quish.-

5

How and why our Sa viour- died We must pon der- tru ly,-

9

We, though weak, have sure ly- tried, Lord, to thank Thee

du

du

- ly.

ly.- -

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du - ly.

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du

du

- ly.

ly.- -

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du - ly.

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du

du

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ly.- -

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ly.- -

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The GospelEvangelist Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu war (doch heimlich aus Furcht vor den Jüden), daß er möchte abnehmen den Leichnam Jesu. Und Pilatus erlaubete es. Derowegen kam er und nahm den Leichnam Jesu herab. Es kam aber auch Nikodemus, der vormals bei der Nacht zu Jesu kommen war, und brachte Myrrhen und Aloen untereinander, bei hundert Pfunden. Da nahmen sie den Leichnam Jesu und bunden ihn in leine Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget war, ein Garte, und im Garten ein neu Grab, in welches niemand je geleget war. Daselbst hin legten sie Jesum, um des Rüsttags willen der Jüden, dieweil das Grab nahe war.

Chor Ruht wohl, ihr heiligen Gebeine, Die ich nun weiter nicht beweine, Ruht wohl und bringt auch mich zur Ruh! Das Grab, so euch bestimmet ist Und ferner keine Not umschließt, Macht mir den Himmel auf und schließt die Hölle zu.

Chorale

Evangelist Afterwards Joseph from Arimathia, who was one of Jesus’ disciples (though secretly out of fear of the Jews), asked Pilate whether he might take away Jesus’ body. And Pilate permitted it. Therefore he came and took the body of Jesus away. But Nicodemus also came, who previously had come to Jesus in the night, and brought myrrh and aloe with him in hundred-weights. Then they took the body of Jesus and wrapped it in linen cloths with spices, as is the Jewish custom of burial. However, there was a garden near the place where He was crucified, and in this garden a new grave, in which no one had ever been laid. In that same grave they laid Jesus, according to the Sabbath wishes of the Jews, since the grave was nearby.

Chorus Rest well, you blessed limbs, now I will no longer mourn you, rest well and bring me also to peace! The grave that is allotted to you and encloses no further suffering, opens heaven for me and closes off Hell.

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The Solemn CollectsPlease stand as you are able.

Deacon Dear People of God: Our heavenly Father sent his Son into the world, not to condemn the world, but that the world through him might be saved; that all who believe in him might be delivered from the power of sin and death, and become heirs with him of everlasting life.

We pray, therefore, for people everywhere according to their needs.

Please kneel as you are able.

Deacon Let us pray for the holy Catholic Church of Christ throughout the world;

For its unity in witness and service, For all bishops and other ministers, and the people whom they serve. For Andrew and Allen, our Bishops, and all the people of this diocese, For all Christians in this community, For those about to be baptized.

That God will confirm his Church in faith, increase it in love, and preserve it in peace.

Silence

Celebrant Almighty and everlasting God, by whose Spirit the whole body of your faithful people is governed and sanctified: Receive our supplications and prayers which we offer before you for all members of your holy Church, that in their vocation and ministry they may truly and devoutly serve you; through our Lord and Savior Jesus Christ.

People Amen.

Deacon Let us pray for all nations and peoples of the earth, and for those in authority among them;

For Barack, the President of the United States For the Congress and the Supreme Court For the Members and Representatives of the United Nations For all who serve the common good

That by God’s help they may seek justice and truth, and live in peace and concord.

Silence

Celebrant Almighty God, kindle, we pray, in every heart the true love of peace, and guide with your wisdom those who take counsel for the nations of the earth; that in tranquility your dominion may increase, until the earth is filled with the knowledge of your love; through Jesus Christ our Lord.

People Amen.

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Deacon Let us pray for all who suffer and are afflicted in body or in mind;

For the hungry and the homeless, the destitute and the oppressed For the sick, the wounded, and the crippled For those in loneliness, fear, and anguish For those who face temptation, doubt, and despair For the sorrowful and bereaved For prisoners and captives, and those in mortal danger

That God in his mercy will comfort and relieve them, and grant them the knowledge of his love, and stir up in us the will and patience to minister to their needs.

Silence

Celebrant Gracious God, the comfort of all who sorrow, the strength of all who suffer: Let the cry of those in misery and need come to you, that they may find your mercy present with them in all their afflictions; and give us, we pray, the strength to serve them for the sake of him who suffered for us, your Son Jesus Christ our Lord.

People Amen.

Deacon Let us pray for all who have not received the Gospel of Christ;

For those who have never heard the word of salvation For those who have lost their faith For those hardened by sin or indifference For the contemptuous and the scornful For those who are enemies of the cross of Christ and persecutors of his disciples For those who in the name of Christ have persecuted others

That God will open their hearts to the truth, and lead them to faith and obedience.

Silence

Celebrant Merciful God, creator of all the peoples of the earth and lover of souls: Have compassion on all who do not know you as you are revealed in your Son Jesus Christ; let your Gospel be preached with grace and power to those who have not heard it; turn the hearts of those who resist it; and bring home to your fold those who have gone astray; that there may be one flock under one shepherd, Jesus Christ our Lord.

People Amen.

Celebrant Let us commit ourselves to God, and pray for the grace of a holy life, that, with all who have departed this world and have died in the peace of Christ, and those whose faith is known to God alone, we may be accounted worthy to enter into the fullness of the joy of our Lord, and receive the crown of life in the day of resurrection.

O God of unchangeable power and eternal light: Look favorably on your whole Church, that wonderful and sacred mystery; by the effectual working of your providence, carryout in tranquility the plan of salvation; let the whole world see and know that things which were cast down are being raised up, and things which had grown old are being made new, and that all things are being brought to their perfection by him through whom all things were made, your Son Jesus Christ our Lord; who lives and reigns with you, in the unity of the Holy Spirit, one God, for ever and ever.

People Amen.

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The Lord’s PrayerAll Our Father, who art in heaven, hallowed be thy Name, thy kingdom come, thy will be done, on earth as it is in heaven. Give us this day our daily bread. And forgive us our trespasses, as we forgive those who trespass against us. And lead us not into temptation, but deliver us from evil. For thine is the kingdom, and the power, and the glory, for ever and ever. Amen.

Prayer over the PeopleCelebrant Lord Jesus Christ, Son of the living God, we pray you to set your passion, cross, and death

between your judgment and our souls, now and in the hour of our death. Give mercy and grace to the living; pardon and rest to the dead; to your holy Church peace and concord; and to us sinners everlasting life and glory; for with the Father and the Holy Spirit you live and reign, one God, now and for ever. Amen.

All Amen.

You are welcome to remain in the church and continue in prayer. The Veneration of the Cross continues in All Saints’ Chapel.

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Notes on the Passion According to Saint JohnFrom the Middle Ages to the present, artists, musicians, and writers have represented the story of Jesus Christ’s crucifixion in a long and distinguished succession of masterworks. Among these works, the passions of Johann Sebastian Bach have come to hold a particular place of importance as monuments of perfection in the genre. In fact, works such as the St. John Passion, BWV 245, and the St. Matthew Passion, BWV 244, are often heard in isolation from their historical and liturgical origins. For some listeners, their musical beauty and dramatic impact serve as sufficient inspiration for an appreciation of the passion text. A broader appreciation of the conceptual genius of Bach’s passions, however, requires an acquaintance with the passion as a genre that belongs to a centuries-old tradition, as well as an understanding of certain details germane to Bach’s situation in Leipzig, where these works were developed and refined.

Early in the Christian era, readings of the story of Christ’s passion, intoned by one singer, were a central part of the liturgy for Holy Week. By the ninth century, manuscript sources (written before the development of musical notation) contain litterae significativae (significative letters) that point to a dramatic rendering of the text with the assignment of different tempi, dynamics, and pitch levels to each of the major figures in the story. Christ’s speech was assigned to a lower register and slightly held back in tempo. The Evangelist was usually set in the middle register, and the words of the turba (originally including not only the crowd, but also all direct speech by individuals other than Christ) were placed in the highest register.

The next important stage in the evolution of the passion occurred in the thirteenth century, with the distribution of passion characters among three different voices. By the fifteenth century, the practice had developed to the point of having the turba parts sung by a group of individuals in polyphony (the simultaneous occurrence of two or more independent parts). At this time also, the teachings of Bernard of Clairvaux, a Franciscan monk, fostered a different attitude towards the significance of Christ’s passion. The traditional Augustinian view of the passion saw it as a message of redemption. Bernard of Clairvaux taught that a more mystical perception of Christ’s suffering was something into which worshipers could enter sympathetically through compassion; thus, it was deemed appropriate to make the telling of the passion story more immediate, both visually and audibly.

By the sixteenth century several distinct types of polyphonic passion settings were emerging within the framework of the Catholic liturgy. In the responsorial or choral passion the narrative of the Evangelist was chanted monophonically and the passages of direct speech from the crowd or individuals were sung by a polyphonic ensemble. In the through-composed compassion (sometimes called the “motet passion”), the complete biblical text of the passion was set polyphonically. During the same period, a genre developed

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based on a compilation of passages from all four Passion texts (Matthew, Mark, Luke, and John), known as the summa passionis, or “Passion harmony.” Such texts were non-liturgical and thus did not find a place within the Mass itself. Protestant acceptance of the summa texts was reluctant at first, but soon Latin and German summa settings came into vogue in Protestant as well as Catholic countries.

By the seventeenth century, the development of passion composition was clearly centered in Germany, particularly in Lutheran areas. The origins of a dramatic musical rendering of the passion story as we see it in the St. John Passion can be traced to the second half of the seventeenth century and the emergence of the “oratorio passion.” Its most important elements are: 1) specially composed recitatives that come to resemble operatic recitative in their expressiveness and responsiveness to the meaning of the words; 2) the inclusion of chorales for the congregation; 3) the inclusion of non-biblical, poetic texts; 4) the use of instruments in increasing number and the gradual extension of their role.

Thus, by 1700, the “oratorio passion,” with its many sections and diversity of musical forms, had already assumed the essential shape of the genre as we know it in Bach. The outstanding musical and artistic achievement of Bach’s passions apart from the quality of the individual choruses, chorales, arias, and recitatives is that the biblical text remains at the heart of what is expressed in each work. Another notable feature is the particularly large number of chorales included by comparison with other contemporary passions; there are eleven in the St. John Passion. Above all, it is in the chorales that Bach’s traditional view of the congregation is expressed, for the tunes were all well known to regular church-goers.

The obituary written immediately after J. S. Bach’s death by his pupil, Johann Friedrich Agricola, and his son, Carl Philipp Emanuel Bach, provides us with the earliest catalog of Bach’s compositions. Included in the catalog is the cryptic yet intriguing notation under sacred works, “five Passions, among them the one for two choruses.” This last-named is the St. Matthew Passion, which, together with the St. John Passion, was carefully preserved by Carl Philipp Emanuel. He and his older brother, Wilhelm Friedemann, had inherited many of their father’s manuscripts. These manuscripts passed from the estate of Carl Philipp Emanuel to Georg Pölchau of Hamburg, who becaue the librarian of the Berlin Singakademie, the group which was responsible for the revival of these two works; the St. Matthew Passion was performed in 1829 under the direction of Felix Mendelssohn, and the St. John Passion was produced in 1833 under Carl Friedrich Rungenhagen. The problem of identifying the remaining three passions has occupied scholars since the nineteenth century.

Bach began the composition of the St. John Passion in Cöthen (1723) and finished it in Leipzig. Following the tradition established in 1721 by his predecessor in Leipzig, Johann Kuhnau, Bach was to produce a full-scale passion setting to be performed during the Good Friday service each year. He came to Leipzig

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in the fall of 1723, and his Good Friday production was the St. John Passion ending his first Lenten season in Leipzig, on April 7, 1724. The town council had decreed that the yearly passion performances would alternate between the two principal churches of St. Nicholas and St. Thomas. In addition, the music was to be divided in two parts, in order that the sermon, which was an immovable feature of the Good Friday service, might take a place of prominence as the centerpiece of the service.

For the St. John Passion, as for most of his works, Bach did not leave us a definitive version, either in print or in a fair copy. The sources indicate four different versions, used at four different performances, in 1724, 1725, about 1730, and in the last years of Bach’s life, most likely 1749. Arthur Mendel’s edition of the New Bach Edition serves as the text for today’s performance, which corresponds closely to the 1724 version. Each time Bach performed the St. John Passion, it appears that he took a fresh look at its overall form, changing various elements as well as refining points of detail appropriate to the performing forces and the occasion. In about 1739, Bach began a fair copy of the score, but completed only 20 pages (No. 1 through No. 10). In copying, he improved many details, as was his habit. Today’s performance relies on this fair copy of the first ten numbers followed by the original text for the 1724 version.

Bach’s St. John Passion sets not only chapters 18 and 19 from the fourth Gospel, but contains as well the two interpolations from the Gospel according to Matthew, which describe in vivid detail the earthquake at Christ’s death. It also contains a relatively small number of aria texts, and a series of carefully chosen hymn stanzas. As no evidence exists concerning the identity of its librettist, it has often been assumed that Bach himself was responsible for assembling the texts. It has been said that of the four Gospels, John is the most didactic. Its emphasis is on the mission of Jesus as the redeemer of mankind, sent by his Father to fulfill a specific goal. In the St. John Passion, Bach preserves the tradition of the Johannine text and yet reshapes the traditional material for theological and dramatic reasons. In Bach’s rendering, Jesus remains the kingly Son of God even in the moments of greatest humiliation. Bach emphasizes this paradoxical relationship with frequent use of words and forms of address that have as their root Herr (“lord” or “master”): Herrscher (“ruler”), verherrlicht (“exalted”), Herr Gott (“Lord God”), and Herr Christ. The decision to preface the entire passion with the chorus “Herr, unser Herrscher” clearly links the beginning of the St. John Passion with a long-standing liturgical exordium tradition. In this tradition, the passion reading was preceded by an acknowledgment of God’s power or a supplication for aid.

Recently, scholar Eric Chafe has pointed out that Bach’s Leipzig predecessor, Johann Kuhnau, required two qualities of a church composer: “first, that he be able to stir the affections, and second, that he be no stranger to hermeneutics [the art of scriptural exegesis].” Since the discovery of Bach’s copy of Abraham Calov’s annotated Bible, scholars have been impressed by the evidence of Bach’s piety and scriptural understanding as expressed in his handwritten marginal notes. An example reads, “Bey einer andächtig Musig ist allerzeit Gott mit seiner Gnaden Gegenwart,” or “In devotional music, God with his grace is always present.” The dramatic realism and conciseness of the St. John Passion are tempered with the depth of textual and musical understanding we have come to expect in the great works of the Leipzig period.

—Kathryn Welter

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A Note on “The Jews” in the PassionThat the story of Christ’s Passion has inspired passionate responses through the ages should surprise no one. Its apt name comes from the Latin Passio – suffering – and that is what it depicts in the final days of Jesus of Nazareth. A relentless narrative of accusation, trial, sentencing, and death, all wrapped in a web of betrayal and mockery, the Passion story as traditionally read by Christians on Palm Sunday purposefully stops short of the dramatic reversal and jubilation of Easter. The devastating account of an innocent victim willingly enduring abuse out of love for his tormentors stirs a variety of emotions – grief, sympathy, horror, and, perhaps most tellingly, guilt. The story begs us to ask who would treat a man who has given sight to the blind and hope to the poor in such a horrible fashion. Who, in short, is to blame?

For centuries the answer seemed simple: “the Jews.” They rejected Jesus’ claim to be the Messiah and duped the Romans into executing him. For Christians who revered Jesus as divine (and seemed to forget that Jesus was himself a Jew), the Jews were “God killers.” It is difficult to imagine what punishment such a crime would not deserve and easy to trace the tragic consequences of that view in history. From the fourth century, when Emperor Constantine converted to Christianity, bringing the power of Rome with him, the very survival of the Jews came into question. The popularity of medieval Passion Plays often spurred violent pogroms in their wake. On their way to fight for Jerusalem, Crusaders slaughtered European Jews as a warm-up. In the twentieth century, the Holocaust (or Shoah) was not a direct expression of Christian anti-Judaism, but the structures of hate laid by the Church over the centuries created a platform for the Nazi perversion. (For a history of Christian anti-Judaism, James Carroll’s Constantine’s Sword is searing and highly readable – a New York Times best-seller.)

Today some ask whether the public reading of the Passion in the language of the four canonical Gospels perpetuates the anti-Jewish views that have given rise to such violence. Others point out the centrality of the Passion story to Christianity and argue that, while the texts have undeniably been used for anti-Jewish purposes, they are not inherently anti-Jewish.

The Second Vatican Council proclaimed that New Testament references to “the Jews,” once taken to mean all Jews at all times, were directed only at the Jewish authorities in first century Palestine. Roman Catholic scholar Raymond Brown demonstrated how the harsh rhetoric used against “the Jews” would have been understood by its first readers and hearers as part of an intra-family dispute. First century Jews would have recognized that Jesus used much of the same language with which the Hebrew Prophets, such as Jeremiah and Amos, criticized the rulers of Israel. Later, as Christianity spread widely among the Gentiles (non-Jews), the misunderstanding of “us and them” developed and metastasized.

Other scholars, using a historical-critical approach to scripture, traced what seemed to be a conscious effort in the texts to exonerate the Romans, within whose empire the budding Jesus movement had to survive, and to lay blame on the Jews, with whom it had to compete. While it’s true that no one needed to dupe Pilate into executing troublemakers – Rome would ultimately recall him for being too bloody even by their imperial standards – others objected that such a move required a greater degree of skepticism about the accuracy of the scripture than many Christians would embrace.

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Another brilliant New Testament scholar, Protestant Ched Myers, makes the case that we need neither demonize the Jews nor suspect the Gospel writers. Using a close reading of the earliest Gospel, Mark, he finds that what’s depicted is the collusion of all those in power – Pilate and the Jewish elites in particular. The crowd and even the disciples collude by their silence and, in Peter’s case, denial. In short, there is plenty of blame to go around. Like the prophets before him, Jesus opposed the systems of domination that oppressed the poor. His criticism of the Judean authorities was no more anti-Jewish than Martin Luther King’s condemnation of Jim Crow laws was anti-American. And as Jesus himself predicted, he received the prophet’s reward of death. “What was true for Jeremiah and Jesus was also true for Gandhi and King and Ahn San Suu Kyi: those who speak truth to power must always face the consequences,” write Myers. “And in the end, few indeed have the courage, character and conviction to walk that nonviolent way.”

Blaming the Jews or the Romans or even the scriptures themselves not only falsifies history but also prevents us from understanding the story itself. The Roman Empire has long since crumbled, but the systems that dehumanize the most vulnerable in our midst (“the least of these who are members of my family” Matthew 25:40) are with us still. Perhaps the Passion stirs so many emotions in us not because of what happened in those days but because the story is still playing out in ours. The question, then, is not, “Who’s to blame?” but “What am I doing?”

— Bob Scott, Director of Faith Formation and Education

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SERVICE PARTICIPANTSCELEBRANT: The Rev. Dr. William Lupfer

PREACHER: The Rev. Canon Benjamin Musoke-Lubega

DEACON: The Rev. Deacon Robert J.A. Zito, J.D.

MUSICIANS: William Hite, Evangelist; Stephen Hrycelak, Jesus; Jonathon Woody, Pilate; Trinity Choir; Trinity Baroque Orchestra; Julian Wachner, Director of Music and the Arts;

Avi Stein, Associate Organist and Chorus Master; Janet Yieh, Assistant Organist

TRINITY BAROQUE ORCHESTRA

Concertmaster Robert Mealy Violin 1 Claire Jolivet Adriane Post Violin 2 Johanna Novom, Principal Theresa Salomon Viola Jessica Troy, Principal Daniel Elyar Violoncello Katie Rietman Viola da gamba Sarah Cunningham Bass Robert Nairn Organ Avi Stein Flute Christopher Matthews, Principal Anne Briggs Oboe, Oboe da caccia Gonzalo Ruiz, Principal Oboe Priscilla Herreid Bassoon Andrew Schwartz

2014–2015 TRINITY WALL STREET VESTRY

William Lupfer, Rector

Christopher McCrudden, Church Warden; Joseph Hakim, Church Warden

Dall Forsythe, Peter Ng, Evan Davis, Betty Whelchel, Leah Johnson,

Diane Pollard, Suellyn Preston Scull, Frederick Bland, Lawrence Graham, Westina Matthews

Shatteen, William Wright, Sanders Davies, Scott Evenbeck, Joel Motley, Paul Yang,

Robert Zack, Suzanne Hammett, Susan Hewitt, Macculloch Irving

2015–2016 TRINITY WALL STREET CONGREGATIONAL COUNCIL

Phillip Jackson, Vicar; William Lupfer, Rector

Deborah Hope, President; David Elliott, Vice President; Patrice-Lou Thomas, Secretary

Beverly Ffolkes-Bryant, Ruth Antoinette “Toni” Foy, Oliva George, Sam Ghiggeri,

Barbara Inniss, Keith Klein, Joyce Coppin Mondesire, Amy Roy, Maribel Ruiz, Luciana Sikula,

Scott Townell, Susan Ward

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Sunday Staff

Carlos MateoVerger

Dr. Kathy Bozzuti-JonesAssociate Director, Faith Formation & Education

Robert ScottDirector, Faith Formation & Education

Sister Gloria Shirley Sisters of Saint Margaret

Dr. Julian WachnerDirector, Music & the Arts

The Rev. Dr. Mark Bozzuti-JonesDirector for Pastoral Care & Community

David JetteHead Verger

The Rev. Daniel SimonsDirector for Liturgy, Hospitality & Pilgrimage

Sister Promise AtelonSisters of Saint Margaret

Marilyn Haskel Program Manager, Liturgical Arts

Sister Ann WhittakerSisters of Saint Margaret

The Rev. Emily WachnerAsst. Director of Liturgy, Hospitality & Pilgrimage

Ellen AndrewsProgram Manager, Pastoral Care & Community

Avi SteinAssociate Organist & Chorusmaster

Jennifer ChinnProgram Manager, Hospitality

The Rev. Dr. William Lupfer Rector

The Rev. Phillip A. Jackson Vicar

The Rev. Kristin Kaulbach MilesAssociate Priest for Pastoral Care & Community

The Rev. Canon James G. Callaway, D.D.Deputy Emeritus

The Rev. Deacon Robert ZitoParish Deacon

The Rev. Canon Benjamin Musoke-LubegaDirector, Faith in Action

The Rev. Lauren R. HolderSenior Program Officer for Community Engagement

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SCHEDULE OF SERVICES

SUNDAYS

8am Holy Eucharist St. Paul’s Chapel

9am Holy Eucharist, Trinity Church

9:15am Family Eucharist, St. Paul’s Chapel

11:15am Holy Eucharist, Trinity Church

8pm Compline by Candlelight, St. Paul’s Chapel

WEEKDAYS 8:15am Monday–Friday Morning Prayer All Saints’ Chapel, Trinity Church

12:05pm Monday–Friday Holy Eucharist, Trinity Church followed by Laying on of Hands for Healing in All Saints’ Chapel

12:30pm Monday–Sunday Prayers for Peace, St. Paul’s Chapel

5:15pm Mondays, Tuesdays, Fridays Evening Prayer All Saints’ Chapel, Trinity Church

5:30pm Wednesdays Choral Evensong, Trinity Church

5:15pm Thursdays (except summer) Solemn Evensong All Saints’ Chapel, Trinity Church

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120 Broadway, New York, NY 10271T 212.602.0800 | TrinityWallStreet.orgThe Rev. Dr. William Lupfer, RectorThe Rev. Phillip A. Jackson, Vicar

by j. s. bach april 3, 2015, 12pm trinity church · by j. s. bach april 3, 2015, 12pm. welcome to...

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