CCome and SingMozart

CoronationMass K 317

Saturday May 17th 10.00am-3.00pmWinchester College Music School

ElgarThe Dream of

GerontiusFrancis Pott

Sentinel (fi rst performance)

Thursday November 20th 7.30pm Winchester Cathedral

BachSt John Passion

Saturday April 5th St Swithun’s School P.A.C.

Statue of Bach outside Thomaskirche LeipzigJanette Lloyd

Winchester Music Club

Bach

St John PassionSaturday April 5th

St Swithun’s School P.A.C.

Jeremy Budd EvangelistJonathan Brown Christus

Marie Macklin soprano Sarah Denbee mezzo soprano

Jonathan McGovern bass

Winchester Music Club Choir and Orchestra

Brian Howells Leader Nicholas Wilks Conductor

Please ensure that your mobile phone is switched off for the duration of the concert. The use of any kind of recording, photographic or video equipment is strictly prohibited.

Winchester Music Club is registered charity no.1095619

Bach commemorative windowThomaskirche Leipzig

Janette Lloyd

WelcomeWinchester Music Club welcomes you to tonight’s concert: Bach’s sacred oratorio, St John Passion. This magnificent work has been performed 8 times by the Club since it was founded by Sir George Dyson in 1925, but it is over 20 years since our last performance in 1990 and so we are delighted to have the opportunity to perform it this evening, particularly in the excellent acoustic of The Harvey Hall at St Swithun’s School. We would like to thank the Headmistress, Mrs Jane Gandee, for giving Winchester Music Club permission to use the school’s Performing Arts Centre.

Tonight’s conductor, our Musical Director, Nicholas Wilks, continues to be a huge inspiration to the choir. We are grateful to him for his dedication and cheerful enthusiasm helping us to strive for better and better performances. I would also like to record our thanks to Jamal Sutton and Oliver Tarney, who assist him at our rehearsals as répétiteurs.

Later in the programme you will find details of our future concerts, may I draw your attention to the annual Come and Sing on May 17th. This year we will be rehearsing and then, after lunch, performing Mozart: Coronation Mass under the direction of Nicholas Wilks. It promises to be an enjoyable day and we would be delighted if you could join us either as a singer or audience.

Angela Ryde-Weller, Chairman

On the face of it, this evening’s performance of Bach’s St John Passion is completely inauthentic. We are singing it at higher than Baroque pitch, we are using modern instruments (with the exception of the viola da gamba and the oboe d’amore), we are not presenting the work liturgically, and we have a much larger choir than Bach envisaged with sopranos instead of trebles.

But we do Bach a disservice to imagine that his music can only be performed by specialist groups. While it is true that historically-informed performances by such luminaries as John Butt, Andrew Parrott and John Eliot Gardiner have transformed our understanding of this marvellous work it is equally true that Bach’s music is at heart community music – it comes alive when it is performed by a group of committed musicians to their audience, and the fact that so many of our players and singers will have family and friends listening to them gives performances such as this a special dimension.

We should not feel constrained by over-stepping the mark – something Bach himself seems to have been happy to do when he ignored the instruction by the church authorities in Leipzig to write a passion which was neither long nor operatic! Bach’s religious conviction is self-evident, but conducting the St John Passion for the first time I have been struck by its sheer humanity – Peter’s anguish at his betrayal of Christ, the portrayal of Pilate as a scrupulously fair man finding himself out of his depth in the vicious religious politics of the high priests, and the exquisite tenderness of the final chorus, Ruht wohl, perhaps the greatest lullaby ever written.

Nicholas Wilks, Conductor

The origin of the PassionIn mediaeval times the practice of singing the gospel in church services was well established. It was found to be more effective acoustically than using mere speech. By the 14th century there were different voices playing different parts: a tenor voice played the Evangelist with a bass voice playing Jesus. An alto voice played the crowd. Later this latter part was taken by a group of singers; a chorus.Some two centuries later, Luther’s translation of the Bible from Latin meant that the Reformation congregation could now understand what was being sung. The development of instruments such as the violin and the oboe and the influence of Italian opera in the 17th century led to even more elaborate compositions. The recitative, where narrative was sung with natural speech inflections, made for a much richer commentary.

However, the congregation in 1720s Leipzig was very traditional. Bach was Cantor of the school at Thomaskirche and also Director of Music there and at Nikolaikirche ( see images opposite). He was specifically enjoined not to make ‘theatrical compositions’. In nearby Halle, which was severely orthodox at this time, simple hymns were preferred.

Despite these strictures, the reason for performing a Passion on Good Friday was not merely to tell the story of Jesus’s betrayal and death but also to teach its meaning. The arias and chorales, with their more complicated musical settings, offered deeper reflections and interpretations of this story. Bach was in effect preaching sermons in music.

Bach’s Passions Bach may have written a passion in 1714 (before he came to Leipzig) but it is now lost. He wrote the St John Passion in 1724. The St Matthew followed in 1729. There is evidence that he wrote wrote a St Luke Passion in 1730, with a St Mark Passion following in 1731. There is no music left of the St Luke Passion. The St Mark score has not been seen since 1764.

The St John Passion in Performance?This is a description of Bach leading an ensemble around 1730, written by Johann Matthias Gesner, Rector of the school at Thomaskirche in Leipzig. We could well assume that he is directing a rehearsal of the St John Passion:

“... If you could see Bach running over the keys of the organ with both hands and,at the utmost speed, with his feet producing by himself the most various and at thesame time agreeable combinations of sound in orderly procession .... If you couldsee him not only singing with one voice and playing his own part, but watchingover everything and bringing back to the rhythm and the beat, out of 30 or even 40musicians, the one with a nod, another by tapping with his foot, the third with awarning finger, giving the right notes to one from the top of his voice, to anotherfrom the greatest din made by all the participants, and although he is executing the most difficult parts himself, noticing at once whenever and wherever a mistake occurs,holding everyone together, taking precautions everywhere, and a repairing anyunsteadiness, full of rhythm in every part of his body- this one man taking in allthese harmonies with his keen ear and emitting with his voice alone the tone of allthe voices.... The accomplishments of our Bach appear to me to effect what not manyOrpheuses could achieve.”

It is clear that Gesner knew that he was in the presence of a genius!

© Janette Lloyd 2014

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PART ONE1 ChorusHerr, 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.2 RecitativeEvangelistJesus 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 Fackeln, Lampen, und mit Waffen. Als nun Jesus wusste alles, was ihm begegnen sollte, ging er hinaus und sprach zu ihnen:JesusWen suchet ihr?EvangelistSie antworteten ihm:ChorusJesum von Nazareth!EvangelistJesus spricht zu ihnen:JesusIch bin’s!EvangelistJudas 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:JesusWen suchet ihr?EvangelistSie aber sprachen:ChorusJesum von Nazareth!EvangelistJesus antwortete:JesusIch hab’s euch gesagt, dass ich’s sei, suchet ihr denn mich, so lasset diese gehen!3 ChoraleO grosse Lieb’, o Lieb’ ohn’ alle Masse, Die dich ge-bracht auf diese Marterstrasse! Ich lebte mit der Welt in Lust und Freuden, Und du musst leiden!

4 RecitativeEvangelistAuf 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:JesusStekke dein Schwert in die Scheide! Soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat?

PART ONE1 ChorusLord, our master, whose glory fills the whole earth, show us by your Passion that you, the true Son of God, triumph even in the deepest humiliation.

2 RecitativeEvangelistJesus went out with his disciples, and crossed the Cedron ravine. There was a garden there, and he and his disciples went into it. The place was known to Judas, his betrayer, because Jesus had often met there with his disciples. So Judas took a detachment of soldiers, and police provided by the chief priests and the Pharisees, equipped with lanterns and weapons, and made his way to the garden. Jesus, knowing all that was coming upon him, went out to them and asked,JesusWhom is it you want?EvangelistThey answered,ChorusJesus of Nazareth!EvangelistJesus saidJesusI am he!EvangelistAnd there stood Judas the traitor with them. When Jesus said ‘I am he’, they drew back and fell to the ground. Again Jesus asked,JesusWhom is it you want?EvangelistThey answered,ChorusJesus of Nazareth!EvangelistJesus said,JesusI have told you that I am he. If I am the man you want, let these others go.

3 ChoraleO measureless Love, to have brought you to this way of the cross, to suffer while I lived heedless in the world of pleasure.

4 RecitativeEvangelistThis was to make good his words, ‘I have not lost one of those whom thou gavest me.’ Thereupon Simon Peter drew the sword he was wearing and struck at the High Priest’s servant, cutting off his right ear. The servant’s name was Malchus. Jesus said to Peter,JesusSheathe your sword. This is the cup my Father has given me; shall I not drink it?

J.S. Bach

St John Passion

5 ChoraleDein Will gescheh, Herr Gott, zugleich auf Erden wie im Himmelreich. Gib uns Geduld in Leidenszeit, Gehorsam-sein in Lieb und Leid; wehr und steur allem Fleisch und Blut, Das wider deinen Willen tut.6 RecitativeEvangelistDie Schar aber und der Oberhauptmann, und die Diener der Jüden nahmen Jesum und bunden ihn, und führeten ihn aufs erste zu Hannas, der war Kaiphas Schwäher, welcher des Jahres Hoherpriester war. Es war aber Kaiphas, der den Jüden riet, es wäre gut, dass ein Mensch würde umbracht für das Volk.7 Aria (obbligato: two oboes)AltoVon den Stricken meiner Sünden Mich zu entbinden,Wird mein Heil gebunden; Mich von allen LasterbeulenVöllig zu heilen, Lässt er sich verwunden.8 RecitativeEvangelistSimon Petrus aber folgete Jesu nach, und ein ander Jünger.9 Aria (obbligato: two flutes)SopranoIch folge dir gleichfalls Mit freudigen Schritten,Und lasse dich nicht, Mein Leben, mein Licht.Befördre den Lauf Und höre nicht aufSelbst an mir zu ziehen, zu schieben, zu bitten.10 RecitativeEvangelistDerselbige Jünger war dem Hohenpriester bekannt, und ging mit Jesu hinein in des Hohenpriesters Palast. Petrus aber stund draussen vor der Tür. Da ging der andere Jünger, der dem Hohenpriester bekannt war, hinaus, und redete mit der Türhüterin und führete Petrum hinein. Da sprach die Magd, die Türhüterin, zu Petro:MaidBist du nicht dieses Menschen Jünger einer?EvangelistEr sprach:PeterIch bin’s nicht!EvangelistEs stunden aber die Knechte und Diener, und hatten einKohlfeu’r gemacht (denn es war kalt) und wärmeten sich; Petrus aber stund bei ihnen, und wärmete sich.Aber der Hohepriester fragte Jesum um seine Jünger und um seine Lehre. Jesus antwortete ihm:JesusIch habe frei, öffentlich geredet für der Welt. Ich habe allezeit gelehret in der Schule und in dem Tempel, da alle Juden zusammen kommen, und habe nichts im Verborgnen geredt. Was fragest du mich darum? Frage die darum, die gehöret haben, was ich zu ihnen geredet habe; Siehe, dieselbigen wissen, was ich gesaget habe.EvangelistAls er aber solches redete, gab der Diener einer, die dabei stunden, Jesu einen Backenstreich, und sprachServantSolltest du dem Hohenpriester also antworten?Jesus aber antwortete:

5 ChoraleMay your will be done on earth as in Heaven, Lord God; make us patient in suffering, obedient in every thing, guide and protect all rebellious flesh and blood.

6 RecitativeEvangelistThe troops with their commander, and the Jewish police, now arrested Jesus and secured him. They took him first to Annas. Annas was father-in-law of Caia-phas, the High Priest for that year – the same Caiaphas who had advised the Jews that it would be in their interest if one man died for the whole people.7 Aria (obbligato: two oboes)AltoTo free me from the bond of my sin my Saviour is bound. He gives his body to be wounded to heal the infection of my wickedness.8 RecitativeEvangelistJesus was followed by Simon Peter and another disciple.9.AriaSopranoI follow you with eager steps and will not forsake you, my light and my life. Show me the way, urge me on, ask me to go with you always.

10 RecitativeEvangelistThe disciple acquainted with the High Priest, went with Jesus into the High Priest’s courtyard, but Peter halted at the door outside. So the other disciple, the High Priest’s acquaintance, went out again and spoke to the woman at the door, and brought Peter in. The maid on duty at the door said to Peter:MaidAre you another of this man’s disciples?EvangelistHe said,PeterI am not.EvangelistThe servants and the police had made a charcoal fire, because it was cold, and were standing round it warm-ing themselves. And Peter was standing with them, sharing the warmth. The High Priest questioned Jesus about his disciples and about what he taught. Jesus replied,JesusI have spoken openly to all the world; I have always taught in the synagogue and in the temple, where all Jews congregate; I have said nothing in secret. Why question me? Ask my listeners what I told them; they know what I said.

EvangelistWhen he said this, one of the police struck him on the face, exclaiming,Servant Is that the way to answer the High Priest?Jesus replied,

JesusHab ich übel geredt, so beweise es, dass es böse sei; hab ich aber recht geredt, was schlägest du mich?11 ChoraleWer hat dich so geschlagen,Mein Heil, und dich mit PlagenSo übel zugericht?Du bist ja nicht ein Sünder,Wie wir und unsre Kinder,Von Missetaten weisst du nicht.Ich, ich und meine Sünden,Die sich wie Körnlein findenDes Sandes an dem Meer,Die haben dir erregetDas Elend, das dich schläget,Und das betrübte Marterheer.

12 RecitativeEvangelistUnd Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas. Simon Petrus stund und wärmete sich; da sprachen sie zu ihm:ChorusBist du nicht seiner Jünger einer?EvangelistEr leugnete aber und sprach:PeterIch bins nicht!EvangelistSpricht des Hohenpriesters Knecht’einer, ein Gefreundter des, dem Petrus das Ohr abgehauen hatte:ServantSahe ich dich nicht im Garten bei ihm?EvangelistDa verleugnete Petrus abermal und alsobald krähete der Hahn. Da gedachte Petrus an die Worte Jesu, und ging hinaus und weinete bitterlich.

13 AriaTenorAch, mein Sinn, Wo willt du endlich hin, Wo soll ich mich erquiken? Wo willt du endlich hin, wohin?Bleib ich hier, Oder wünsch ich mir Berg und Hügel auf den Rücken? Bei der Welt ist gar kein Rat, und im Herzenstehn die Schmerzen meiner Missetat, weil der Knecht den Herrn verleugnet hat.

14 ChoralePetrus, der nicht denkt zurück,Seinen Gott verneinet,Der doch auf ein’ ernsten BlickBitterlichen weinet.Jesu, blicke mich auch an,Wenn ich nicht will büssen;Wenn ich Böses hab getan,Rühre mein Gewissen! INTERVAL OF Licensed

JesusIf I spoke amiss, state it in evidence; if I spoke well, why strike me?11 ChoraleWho has hit you like that, my Saviour, and ill-treated you? After all, you are not a sinner like us and our children; you have never done anything wrong. It is I, with my sins countless as grains of sand, who have brought down on you this host of sorrows and torments.

12 RecitativeEvangelistSo Annas sent him bound to Caiaphas the High Priest.Meanwhile Peter stood warming himself. The others asked,ChorusAre you another of his disciples?EvangelistBut he denied it and said,PeterI am not.EvangelistOne of the High Priest’s servants, a relation of the man whose ear Peter had cut off, insisted,ServantDid I not see you with him in the garden?EvangelistPeter denied again; and just then a cock crew. Peterremembered what Jesus had said and he went away and wept bitterly.

13 AriaTenorO my troubled mind, where are you leading me, where shall I find relief? Shall I stay here, or hide beyond the hills and mountains? Nothing in the world can help me, and my heart aches with the pain of my shameful deed: I have broken faith with my Lord.

14 ChoraleWithout thinking, Peter denies his God, but weeps bitterly at a reproachful look. If I am unrepentant, look at me, Jesus, touch my conscience whenever I do wrong.

TWENTY MINUTES

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PART TWO 15 ChoraleChristus, der uns selig macht, Kein Bös’s hat begangen, Der ward für uns in der NachtAls ein Dieb gefangen, Geführt vor gottlose Leut,Und fälschlich verklaget, Verlacht, verhöhnt und verspeit, Wie denn die Schrift saget.

16 RecitativeEvangelistDa 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 hinaus und sprachPilateWas bringet ihr für Klage wider diesen Menschen?EvangelistSie antworteten und sprachen zu ihm:ChorusWäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.EvangelistDa sprach Pilatus zu ihnen:PilateSo nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!EvangelistDa sprachen die Jüden zu ihm:ChorusWir dürfen niemand töten.EvangelistAuf 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:PilateBist du der Jüden König?EvangelistJesus antwortete:JesusRedest du das von dir selbst, oder haben’s dir andere von mir gesagt?EvangelistPilatus antwortetePilateBin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir überantwortet; was hast du getan?EvangelistJesus antwortete:JesusMein 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 Reichnicht von dannen.17 ChoraleAch, grosser König, gross zu allen Zeiten,Wie kann ich g’nugsam diese Treu’ ausbreiten?Keins Menschen Herze mag indess ausdenken,Was dir zu schenken. Ich kann’s mit meinen Sinnen nicht erreichen, Womit doch dein Erbarmen zu vergleichen.Wie kann ich dir denn deine Liebestaten im Werk erstatten?

PART TWO15 ChoraleChrist, who brings us joy and has done no wrong, was for oursake seized like a thief in the night, taken before un-believers and falsely accused. He was derided, spat upon, vilely mocked, as the scripture tells.

16 RecitativeEvangelistFrom Caiaphas Jesus was led into the Governor’s headquarters. It was now early morning, and the Jews themselves stayed outside the headquarters to avoid defilement, so that they could eat the Passover meal.

PilateWhat charge do you bring against this man?EvangelistThey repliedChorus,If he were not a criminal we should not have brought him before you.EvangelistPilate said,PliateThen take him away and try him by your own law!

EvangelistThe Jews answered,ChorusWe are not allowed to put any man to death.EvangelistThus they ensured the fulfilment of the words by which Jesus had indicated the manner of his death. Pilate then went back into his headquarters and summoned Jesus, and asked,PilateAre you the King of the Jews?EvangelistJesus said,JesusIs that your own idea, or have others suggested it to you?

EvangelistPilate said,PilateWhat! Am I a Jew? Your own nation and their chief priests have brought you before me. What have you done?

EvangelistJesus replied,JesusMy kingdom does not belong to this world. If it did, myfollowers would be fighting to save me from arrest by the Jews. My kingly authority comes from elsewhere.

17 ChoraleO mighty king, great for ever, how can I ever express myallegiance? No human heart can think of a gift fit to offer you, nor can I find anything to compare with your merciful goodness. What then can I do to be worthy of your loving deeds?

18 RecitativeEvangelistDa sprach Pilatus zu ihm:PilateSo bist du dennoch ein König?EvangelistJesus antwortete:JesusDu 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.

EvangelistSpricht Pilatus zu ihm:PilateWas ist Wahrheit?EvangelistUnd da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen:PilateIch finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit,dass ich euch einen losgebe: wollt ihr nun, dass ich euch der Jüden König losgebe?

EvangelistDa schrieen sie wieder allesamt und sprachen:ChorusNicht diesen, diesen nicht, sondern Barrabam!EvangelistBarrabas aber war ein Mörder. Da nahm Pilatus Jesum undgeisselte ihn.

19 Arioso (obbligato: two violas d’amore)BassBetrachte, meine Seel’, mit ängstlichem Vergnügen,Mit bittern Lasten hart beklemmt von Herzen,Dein höchstes Gut in Jesu Schmerzen,Wie dir auf Dornen, so ihn stechen,Die Himmelsschlüsselblume blüht!Du kannst viel süsse FruchtVon seiner Wermut brechen,Drum sieh’ ohn’ Unterlass auf ihn!

20 Aria (obbligato: two violas d’amore)TenorErwäge, wie sein blutgefärbter RückenIn allen Stücken Dem Himmel gleiche geht.Daran, nachdem die WasserwogenVon unsrer Sündflut sich verzogen, Der allerschönste Regenbogen Als Gottes Gnadenzeichen steht.

21 RecitativeEvangelistUnd die Kriegsknechte flochten eine Krone von Dornen, undsetzten sie auf sein Haupt, und legten ihm ein Purpurkleid an, und sprachen:

ChorusSei gegrüsset, lieber Jüdenkönig!

18 RecitativeEvangelistPilate said,PilateYou are a king, then?EvangelistJesus answered,Jesus‘King’ is your word. My task is to bear witness to the truth. For this was I born; for this I came into the world, and all who are not deaf to truth listen to my voiceEvangelistPilate said,PilateWhat is truth?EvangelistAnd with those words went out again to the Jews, and said,PilateFor my part, I find no case against him. But you have a custom that I release one prisoner for you at Passover. Would you like me to release the King of the Jews?EvangelistAgain the clamour rose:ChorusNot him; we want Barabbas!EvangelistBarabbas was a bandit. Pilate now took Jesus and had him flogged.

19 Arioso (obbligato: two violas d’amore)BassMy soul, think how a heavenward-guiding flower springs from the thorns that pierce the Saviour’s head. Consider in anxious relief, in bitter joy, with a heart torn between grief and consolation, how his suffering is your most precious treasure.What is wormwood to him is for you the sweetest fruit, so fix your gaze always on him.

20 Aria (obbligato: two violas d’amore)TenorLook how his back, stained with blood, is just like the sky; after the clouds of our sins have poured down, a lovely rainbow appears as sign of Heaven’s blessing.

21 RecitativeEvangelistAnd the soldiers plaited a crown of thorns and placed it on his head, and robed him in a purple cloak. Then time after time they came up to him, crying,

ChorusHail, King of the Jews!

EvangelistUnd gaben ihm Backenstreiche. Da ging Pilatus wieder heraus und sprach zu ihnen:PilateSehet, ich führe ihn heraus zu euch, dass ihr erkennet, dass ich keine Schuld an ihm finde.EvangelistAlso ging Jesus heraus, und trug eine Dornenkrone und Purpurkleid. Und er sprach zu ihnen:PilateSehet, welch ein Mensch!EvangelistDa ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen:

ChorusKreuzige!EvangelistPilatus sprach zu ihnen:PilateNehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!EvangelistDie Jüden antworteten ihm:ChorusWir haben ein Gesetz, und nach dem Gesetz soll er sterben, Denn er hat sich selbst zu Gottes Sohn gemacht,EvangelistDa Pilatus das Wort hörete, fürchtet’ er sich noch mehr und ging wieder hinein in das Richthaus, und spricht zu Jesu:PilateVon wannen bist du?EvangelistAber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm:PilateRedest du nicht mit mir? Weissest du nicht, da ich Macht habe, dich zu kreuzigen, und Macht habe, dich loszugeben?EvangelistJesus antwortete:JesusDu hättest keine Macht über mich, wenn sie dir nicht wäre von oben herab gegeben; darum, dermich dir überantwortet hat der hat’s gröss’re Sünde.EvangelistVon dem an trachtete Pilatus, wie er ihn losliesse.

EvangelistAnd they struck him on the face. Once more Pilate came out and said to the Jews,PilateHere he is; I am bringing him out to let you know that I find no case against him.EvangelistAnd Jesus came out, wearing the crown of thorns and the purple cloak. And Pilate said,PilateBehold the Man!EvangelistThe chief priests and their henchman saw him and shouted

ChorusCrucify!EvangelistPilate said,PilateTake him and crucify him yourselves; for my part I find no case against him.EvangelistThe Jews answered,ChorusWe have a law; and by that law he ought to die, because he has claimed to be the Son of God.

EvangelistWhen Pilate heard that, he was more afraid than ever, and going back into his headquarters he asked Jesus,

PilateWhere have you come from?EvangelistBut Jesus gave him no answer. Pilate said,PilateDo you refuse to speak to me? Surely you know that I have authority to release you, and I have authority to crucify you?EvangelistJesus replied,JesusYou would have no authority at all over me if it had not been granted you from above; and therefore the deeper guilt lies with the man who handed me over to to you.

EvangelistFrom that moment Pilate tried hard to release him.

22 ChoraleDurch dein Gefängnis, Gottes Sohn,Ist uns die Freiheit kommen;Dein Kerker ist der Gnadenthron,Die Freistatt aller Frommen;Denn gingst du nicht die Knechtschaft ein,Müsst unsre Knechtschaft ewig sein.

23 RecitativeEvangelistDie Jüden aber schrieen und sprachen:ChorusLässest du diesen los, so bist du des Kaisers Freund nicht; Denn wer sich zum Könige machet, der ist wider den Kaiser.EvangelistDa Pilatus das Wort hörete, führete er Jesum heraus, und setzte 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:PilateSehet, das ist euer König!EvangelistSie schrieen aber:ChorusWeg, weg mit dem, kreuzige ihn!EvangelistSpricht Pilatus zu ihnen:PilateSoll ich euren König kreuzigen?EvangelistDie Hohenpriester antworteten:ChorusWir haben keinen König denn den Kaiser.EvangelistDa 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.24 AriaBassEilt, ihr angefocht’nen Seelen,geht aus euren Marterhöhlen.Eilt …(Wohin?)… nach Golgatha!( Wohin?)Nehmet an des Glaubens Flügel,Flieht …… zum Kreuzes Hügel, Eure Wohlfahrt blüht allda.

22 ChoraleYour imprisonment, Son of God, brings us liberty, for if you had not accepted serfdom we would never become free.

23 RecitativeEvangelistBut the Jews kept shouting,ChorusIf you let this man go, you are no friend to Caesar; any man who claims to be a king is defying Caesar.

EvangelistWhen Pilate heard what they were saying, he brought Jesus out and took his seat on the tribunal at the place known as ‘The Pavement’ (‘Gabbatha’ in the language of the Jews). It was the eve of Passover, about noon. Pilate said to the Jews,PilateHere is your king.EvangelistThey shouted,ChorusAway with him! Crucify him!EvangelistPilate said to them,PilateCrucify your king?EvangelistThe chief priests answered,ChorusWe have no king but Caesar.EvangelistThen at last, to satisfy them, he handed Jesus over to be crucified. Jesus was now taken in charge and, carrying his own cross, went out to the Place of the Skull, as it is called (or, in the Jews’ language,‘Golgotha’).24 AriaBassHurry, you tormented souls, leave your dens of misery.(Where to?)Hurry to Golgotha!(Where to?)Take the wings of faith and fly to the hill of the Cross; that is where your powers will be revived.

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

ChorusSchreibe nicht: ‘der Jüden König’, sondern dass ‘Er gesaget habe: “Ich bin der Jüden König”’!EvangelistPilatus antwortet:PilateWas ich geschrieben habe, das habe ich geschrieben.

26 ChoraleIn meines Herzens Grunde,Dein Nam und Kreuz alleinFunkelt allzeit und Stunde,Drauf kann ich fröhlich sein.Erschein’ mir in dem BildeZu Trost in meiner Not,Wie du, Herr Christ, so milde,Dich hast geblut’ zu Tod.

27 RecitativeEvangelistDie 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:ChorusLasset uns den nicht zerteilen, Sondern darum losen,Wes er sein soll.EvangelistAuf 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, Cleophas Weib, und Maria Magdalena. Da nunJesus seine Mutter sahe, und den Jünger dabei stehen, den er lieb hatte, spricht er zu seiner Mutter:JesusWeib! Siehe, das ist dein Sohn.EvangelistDarnach spricht er zu dem Jünger:JesusSiehe, das ist deine Mutter!

25 RecitativeEvangelistThere they crucified him, and with him two others, one on the right, one on the left, and Jesus between them. And Pilate wrotean inscription to be fastened to the cross; it read, ‘Jesus of Nazareth, King of the Jews’. This inscription was read by many Jews, because the place where Jesus was crucified was not farfrom the city, and the inscription was in Hebrew, Latin, and Greek. Then the Jewish chief priests said to Pilate,ChorusYou should not write ‘King of the Jews’; write, ‘He claimed to be King of the Jews’.EvangelistPilate replied,PilateWhat I have written, I have written.

26 ChoraleMay your name and cross alone be written on my heart, shining there always to make me rejoice.When I am in need, console me with the picture of you so patiently enduring death.

27 RecitativeEvangelistThe soldiers, having crucified Jesus, took possession of his clothes, and divided them into four parts, one for each soldier, leaving out the tunic. The tunic was seamless, woven in one piece throughout; so they said to one another,

ChorusWe must not tear this; let us toss for it,

EvangelistAnd thus the text of Scripture came true: ‘They shared my garments among them, and cast lots for my clothing.’ That is what the soldiers did. But meanwhile near the cross where Jesus hung stood his mother, with her sister, Mary wife ofCleophas, and Mary Magdalene. Jesus saw his mother, with the disciple whom he loved standing beside her. He said to her,JesusMother, there is your son;EvangelistAnd to the disciple,JesusThere is your mother.

28 ChoraleEr nahm alles wohl in acht In der letzten Stunde,Seine Mutter noch bedacht, Setzt ihr ein’ Vormunde. O Mensch, mache Richtigkeit,Gott und Menschen liebe, Stirb darauf ohn’ alles Leid, Und dich nicht betrübe.

29 RecitativeEvangelistUnd von Stund’ an nahm sie der Jünger zu sich. Darnach, als Jesus wusste, dass schon alles vollbracht war, dass die Schrifterfüllet würde, spricht er:JesusMich dürstet!EvangelistDa stund ein Gefässe voll Essigs. Sie fülleten aber einen Schwamm mit Essig und legten ihn um einen Isoppen und hielten es ihm dar zum Munde. Da nun Jesus den Essig genommen hatte, sprach er:JesusEs ist vollbracht!

30 Aria (obbligato: viola da gamba)AltoEs ist vollbracht! O Trost für die gekränkten Seelen!Die Trauernacht lässt mich die letzte Stunde szählen.Der Held aus Juda siegt mit Macht und schliesst den Kampf. Es ist vollbracht!

31 RecitativeEvangelistUnd neigte das Haupt und verschied.

32 AriaBassMein teurer Heiland, lass dich fragen, Da du nunmehr an’s Kreuz geschlagen Und selbst gesagt: es ist vollbracht, Bin ich vom Sterben freigemacht?Kann ich durch deine Pein und Sterben Das Himmelreich ererben? Ist aller Welt Erlösung da?Du kannst vor Schmerzen zwar nichts sagen;Doch neigest du das Haupt und sprichst stillschweigend: Ja!ChorusJesu, der du warest tot, Lebest nun ohn’ Ende, In der letzten Todesnot Nirgend mich hinwendeAls zu dir, der mich versühnt! O du lieber Herre!Gib mir nur, was duverdient, Mehr ich nicht begehre!

33 RecitativeEvangelistUnd siehe da, der Vorhang im Tempel zerriss in zwei Stück, von oben an bis unten aus. Und die Erde erbebete, und die Felsen zerrissen, und die Gräber täten sich auf, und stunden auf vieleLeiber der Heiligen.

28 ChoraleHe thought of everything in his last hour, and gave his mother someone to protect her.You too should act rightly, loving God and man, so that you may die untroubled, without anxiety.

29 RecitativeEvangelistAnd from that moment the disciple took her into his home.After that, Jesus, aware that all had now come to its appointedend, said in fulfilment of Scripture,

JesusI thirst.EvangelistA jar stood there full of sour wine, so they soaked a sponge with the wine, fixed it on a javelin, and held it up to his lips.Having received the wine, he said,JesusIt is accomplished!

30 Aria (obbligato: viola da gamba)AltoIt is accomplished; what comfort for suffering human souls! I can see the end of the night of sorrow The hero from Judah ends his victorious fight. It is accomplished!

31 RecitativeEvangelistHe bowed his head and gave up his spirit.

32 AriaBassMy dearest Saviour, let me ask you, as you are nailed to the cross and have yourself said it is accomplished, am I released from death? Can I gain the heavenly kingdom through your suffering and death? Is it that the whole world is redeemed.You cannot speak for agony, but incline your head to give a speechless ‘Yes!’

ChorusJesus, you who were dead and now live for ever, bring me, in death’s extremity, nowhere but to you who have paid the debt I owe to God, my true and faithful master. Give me only what you have won, for how could there be anything more to wish for?

33 RecitativeEvangelistAt that moment, the curtain of the temple was torn in two from top to bottom. There was an earthquake, the rocks split, and the graves opened and many of God’s people arose from sleep.

34 AriosoTenorMein 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?

35 Aria (obbligato: flute and oboe da caccia)SopranoZerfliesse, mein Herze, in Fluten der ZährenDem Höchsten zu Ehren.Erzähle der Welt und dem Himmel die Not: Dein Jesus ist tot!

36 RecitativeEvangelistDie Jüden aber, dieweil es der Rüsttag war, dass nicht die Leichname am Kreuze blieben den Sabbath über (denn desselbigen Sabathtags 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 Wahrheitsaget, auf dass ihr glaubet. 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.’

37 ChoraleO hilf, Christe, Gottes Sohn, Durch dein bittres Leiden,Dass wir, dir stets untertan, All Untugend meiden,Deinen Tod und sein Ursach’Furchtbarlich bedenken,Dafür, wiewohl arm und schwach,Dir Dankopfer schenken

38 RecitativeEvangelistDarnach 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 Nicodemus, der vormals in der Nacht zu Jesu kommen war, und brachte Myrrhen und Aloen unter einander, bei hundert Pfunden. Da nahmen sie den Leichnam Jesu, und bunden ihn in leinen Tücher mit Spezereien, wie die Jüden pflegen zu begraben. Es war aber an der Stätte, da er gekreuziget ward, ein Garten, und im Garten ein neu Grab, in welches niemand je gelegen war. Daselbst hinlegten sie Jesum, um des Rüsttag willen der Jüden, dieweil das Grab nahe war.

34 AriosoTenorMy heart, while the whole world shares Jesus’s suffering, the sun in mourning, the veil rent, the rocks split, the earth quaking, the graves opening, because they see the creator himself grow cold in death, what will you do for your part?

35 Aria (obbligato: flute and oboe da caccia)SopranoDissolve then, heart, in floods of tears as your tribute to our God. Tell earth and Heaven the grievous news, your Jesus is dead!

36 RecitativeEvangelistBecause it was the eve of Passover, the Jews were anxious that the bodies should not remain on the cross for the coming Sabbath, since that Sabbath was a day of great solemnity; so they requested Pilate to have the legs broken and the bodies taken down. The soldiers accordingly came to the first of his fellow victims and to the second, and broke their legs; but when they came to Jesus, they found that he was already dead, so they did not break his legs. But one of the soldiers stabbed his side with a lance, and at once there was a flow of blood and water. This is vouched for by an eye-witness, whose evidence isto be trusted. He knows that he speaks the truth, so that you too may believe; for this happened in fulfilment of the text of Scripture: ‘No bone of his shall be broken.’ And another text says, ‘They shall look on whom they pierced.’

37 Chorale’Help us, Christ, the son of God, as your loyal followers, to avoid wrong-doing and, with the thought of your death and its cause, to bring you thank offerings for all that you have done, poor and weak though we may be.

38 RecitativeEvangelistAfter that, Pilate was approached by Joseph of Arimathea, a disciple of Jesus (but a secret disciple for fear of the Jews) who asked to be allowed to remove the body of Jesus. Pilate gave the permission; so Joseph came and took the body away. He was joined by Nicodemus (the man who had first visited Jesus by night), who brought with him a mixture of myrrh and aloes, more than half a hundredweight.They took the body of Jesus and wrapped it, with the spices, in strips of linen cloth according to Jewish burial customs. Now at the place where he had beencrucified there was a garden, and in the garden a new tomb, not yet used for burial. There, because the tomb was near at hand and it was the eve of the Jewish Sabbath, they laid Jesus.

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

40 ChoraleAch Herr, lass dein lieb Engelein Am letzten End die Seele mein In Abrahams Schoss tragen!Den Leib in sein’m Schlafkämmerlein Gar sanft, ohn einge Qual und Pein,Ruhn bis am jüngsten Tage!Alsdann 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!

39 ChorusRest in peace, sacred body, for which I weep no longer, and bring me also to my rest. The grave that is yours and holds no further suffering, for me opens Heaven and closes Hell.

40 ChoraleO Lord, send your cherubs in my last hour to bear my soulaway to Abraham’s bosom; let it rest there untouched by any pain until the last day. Wake me then from death’s sleep, so that my joyful eyes may see you, the Son of God, my Saviour; grant me this and I will glorify you throughout eternity.

Marie Macklin soprano

Marie was a choral scholar at King’s College, London where she studied French. She is currently studying with Julie Kennard, a Professor at the Royal Academy of Music. Marie’s love of music was largely inspired by the years she spent as a girl chorister in Wells Cathedral Choir. During this time she won the title of BBC Radio 2 Choirgirl of the Year, an award that gave Marie numerous solo television and radio performances. One of the highlights was performing the Lord’s Prayer from David Fanshawe’s African Sanctus before the Queen and millions of TV viewers live on BBC1 for the Royal Festival of Remembrance at the Royal Albert Hall. Marie is now much in demand as a consort singer and performs regularly with Tenebrae, with whom she has toured the USA extensively and features on a growing number of the choir’s recording. As a soloist she appears regularly with choral societies in the UK. Her recordings include the solos in Britten’s A Boy Was Born and the high Cs in Allegri’s Miserere.

Sarah Denbee mezzo soprano

Sarah grew up in Somerset and fi rst realised her passion for singing when she joined the National Youth Choir of Great Britain. She subsequently studied Music and Italian at Bristol,gaining a fi rst class honours degree and spending a year at the University of Bologna. After passing the Fellowship of the Royal Schools of Music diploma she gained a Masters in vocal performance, with distinction, from Trinity Laban. Sarah enjoys balancing a mixture of popular oratorio recital and consort singing and appears regularly with John Eliot Gardiner and the Monteverdi choir. Other highlights include performing as soloist at Cadogan Hall, the Millennium Centre in Cardiff, St John’s Smith Square and St Martin-in-the-Fields and her participation in a mentor scheme with the Royal Opera House.

Jeremy Budd Evangelist

Jeremy graduated from the Royal Academy of Music and since then has become much in demand on the concert platform, working with many well known conductors and ensembles. Oratorio performances include Haydn Seasons with Harry Christophers in Madrid, Purcell Ode on St Cecilia’s Day, Handel Messiah, Haydn Creation, Mendelssohn Elijah all for Paul McCreesh, Mozart Requiem and Mass in C Minor in San Francisco and New York with Sir John Eliot Gardiner, and the Roasting Swan in Carmina Burana for the Birmingham Royal Ballet. Jeremy has made a speciality of the Bach Passions and he made his solo BBC Proms debut live on BBC4 with the arias in the St. John Passion, a role also performed with the Gurzenich Orchestra in Cologne. He has recently evangelised the St Matthew Passion for Jeffrey Skidmore and Ex Cathedra in Birmingham Symphony Hall while future Bach outings include the St John Passion arias for the Britten Sinfonia, the St Matthew Passion arias for the Dunedin Consort and the Evangelist in the Christmas Oratorio with the Australian Chamber Orchestra in Sydney, Melbourne and Canberra. Jeremy’s operatic engagements include a fully-staged St. John Passion in Paris and Orfeo in Lille with Emmanuelle Haim, Pilade in Handel s Oreste at the Linbury Studio Theatre, Damon in Handel Acis and Galatea, Chabrier L’Etoile at the Opera Comique in Paris with Sir John Eliot Gardiner and Der Fliegender Hollander, Acis and Galatea, Aida, Manon and La Traviata with the Royal Opera House Chorus. His solo recordings include Bernstein Chichester Psalms with Bournemouth Symphony Orchestra, Handel Saul with The Sixteen, Bach St Matthew Passion with Ex Cathedra, Bach St John Passion with Arion Baroque and numerous others with groups such as Cardinall’s Musick, Monteverdi Choir, Gabrieli Consort, Tenebrae and The Sixteen.

Jeremy Budd Evangelist

Jeremy Budd graduated from the Royal Academy of Music and since then has become much in demand on the concert platform, working with many well known conductors and ensembles. Oratorio performances include Haydn Seasons with Harry Christophers in Madrid, Purcell Ode on St Cecilia’s Day, Handel Messiah, Haydn Creation, Mendelssohn Elijah all for Paul McCreesh, Mozart Requiem and Mass in C Minor in San Francisco and New York with Sir John Eliot Gardiner, and the Roasting Swan in Carmina Burana for the Birmingham Royal Ballet.

Jeremy has made a speciality of the Bach Passions and he made his solo BBC Proms debut live on BBC4 with the arias in the St. John Passion, a role also performed with the Gurzenich Orchestra in Cologne. He was the Evangelist recently in the St Matthew Passion for Jeffrey Skidmore and Ex Cathedra in Birmingham Symphony Hall while future Bach outings include the St John Passion arias for the Britten Sinfonia, the St Matthew Passion arias for the Dunedin Consort and the Evangelist in the Christmas Oratorio with the Australian Chamber Orchestra in Sydney, Melbourne and Canberra. Jeremy’s operatic engagements include a fully-staged St. John Passion in Paris and Orfeo in Lille with Emmanuelle Haim, Pilade in Handel’s Oreste at the Linbury Studio Theatre, Damon in Handel Acis and Galatea, Chabrier L’Etoile at the Opera Comique in Paris with Sir John Eliot Gardiner and Der Fliegender Hollander, Acis and Galatea, Aida, Manon and La Traviata with the Royal Opera House Chorus.

His solo recordings include Bernstein Chichester Psalms with Bournemouth Symphony Orchestra, Handel Saul with The Sixteen, Bach St Matthew Passion with Ex Cathedra, Bach St John Passion with Arion Baroque and numerous others with groups such as Cardinall’s Musick, Monteverdi Choir, Gabrieli Consort, Tenebrae and The Sixteen.

Jonathan Brown Christus

Jonathan Brown was born and raised in Toronto. Coming over to England to study at Clare College, Cambridge, he now lives in London where he studies with Nicolas Powell. His opera credits are wide and include Marcello in La Boheme at the Royal Albert Hall, Trojan in Idomeneo with Sir Simon Rattle and the Berlin Philharmonic Orchestra at the Salzburg Easter Festival and Pastore in Orfeo on a European tour with Emmanuelle Haim and Le Concert d’Astree.

On the concert platform he appears regularly with many of the UK’s foremost choral societies in repertoire ranging from Handel to Elgar. He made his debut with Sir John Eliot Gardiner singing Bach Cantatas as part of their Pilgrimage of 2000 and became a regular soloist with them throughout the year appearing on numerous recordings. Recent work has included a tour of St Matthew Passion and Magnifi cat conducted by Sir Roger Norrington and the role of Christus in St John Passion with Philippe Herreweghe. His recordings include the baritone solo in Faure Requiem for BMG and Purcell Dido and Aeneas and Blow Venus and Adonis for Rene Jacobs.

Jonathan McGovern bass

A graduate of King’s College London and the Royal Academy of Music (DipRAM), Jonathan is the recipient of the Second Prize at the 2011 Kathleen Ferrier Awards, the Gold Medal and First Prize at the Royal Over-Seas League Annual Music Competition in 2010, the Karaviotis Prize at the 2011 Les Azuriales Competition and the Jean Meikle Duo Prize at the 2011 Wigmore Hall/Kohn Foundation International Song Competition, where he was also a fi nalist. Jonathan is a former Britten-Pears Young Artist and an Associate Artist with Classical Opera.

A regular guest at ENO, his roles to date have included Jake in the world premiere of Two Boys by Nico Muhly, and Restaurant Waiter in Deborah Warner’s acclaimed production of Death in Venice. Elsewhere, he sang Sid for the Britten Festival in Aldeburgh in a new production of Albert Herring and Pokayne in the premiere of Sir Peter Maxwell Davies’ opera Kommilitonen!, An outstandingly gifted recitalist, Jonathan has performed with pianists Malcolm Martineau, Julius Drake, Simon Lepper, James Baillieu, Timothy End and James Cheung. He is a member of the Royal Academy of Music Song Circle, with whom he has appeared at the Wigmore Hall and at the King’s Place Festival. Concert work includes The Yeoman of the Guard with Jane Glover and the BBC Philharmonic at the 2011 BBC Proms, and Mahler’s Songs of a Wayfarer with the Orchestra of the City at St James’s Piccadilly.

Nicholas Wilks conductor

Nicholas Wilks has been Musical Director of Winchester Music Club since 2003, making his debut with a performance of Elgar’s The Kingdom. Now Master of Music at Winchester College, from 1996-2004 Nicholas was Musical Director of the Hampshire County Youth Orchestra.

His musical education began as a Quirister at the Pilgrims’ School, Winchester and continued as a music scholar at Cranleigh School. While reading English at Christ Church, Oxford, Nicholas founded and conducted the Oxford Philharmonia (now the Oxford University Philharmonia). He subsequently spent three years studying conducting and clarinet at the Royal Academy of Music, London, where he was supported by generous funding from the Drapers’ Company. Nicholas was elected an Associate of the Royal Academy of Music for professional distinction in 2001.

After leaving the Academy, he specialised in working with young musicians as Musical Director of the Finchley Children’s Music Group, conducting youth orchestras in London and the Channel Islands, and as Musical Director of New Youth Opera. He has conducted in Europe, South Africa (leading the fi rst tour by a British youth orchestra since the fall of apartheid), Colombia and Chile, and has broadcast on BBC2, 3 and 4, Classic FM and the BBC World Service. His opera credits include Eugene Onegin, Noye’s Fludde, Der Freischütz, La Belle Hélène and The Bartered Bride.

His concerto work has included such distinguished soloists as Joanna MacGregor (the premiere of Alec Roth’s “Earth and Sky” with Ensemble Bash and the Finchley Children’s Music Group at the BBC Proms in 2000), Alison Balsom, David Campbell, Ivana Gavrić, Alexander Sitkovetsky, Julian Poore, Roger Owens, Lionel Handy and Adrian Adlam. As chorus master he has collaborated with Sir Colin Davis (the premiere of Piers Hellawell’s “Do not disturb”), Sir Andrew Davis and Neeme Jarvi (Nielsen’s Springtime on Funen at the 1999 BBC Proms).

His recordings for Somm of Britten’s Noye’s Fludde and A Ceremony of Carols was a Sunday Telegraph Critic’s Choice, and his Naxos recording of music by Charles Davidson is currently on release as part of the Milken Archive series of American Jewish music. Nicholas is also Musical Director of the Winchester Symphony Orchestra.

Future plans include the premiere of Francis Pott’s Sentinel and Elgar’s Dream of Gerontius at Winchester Cathedral, and Mahler’s Fifth Symphony with the Winchester Symphony Orchestra.

Winchester Music Club Singers

Sopranos Emma Bracey-Davis Jacky ChalcraftJoanna Crosse Ursula Goez Elizabeth Hake Sarah Hard, Mary Jackson Jennifer Jenkins Rosaleen Little Janette Lloyd Elizabeth Lynn Katie Mydlarz Miranda Passey Deidre Russell Helen Webb

Maggie Clark Anna Dale-Harris Gillian Harris Francesca Harvey Ann JohnsGabi McKeown Elizabeth Newport Lydia ParryJan Royston-Smith Natalie Shaw Jane Webber

AltosPatricia CarruthersMadeleine de LormeSarah EdeIsobel EltonJan Gwynne-HowellLea HolmesGrace HoneysettMaureen JacksonPamela JonesNicola KeeneCarol Leighton-DavisElizabeth LoweRosemary Merchant Sian MorphetAngela Ryde-WellerBarbara ShawLiz SlinnLucia Taylor Henrietta Wentworth-Stanley

Anna BennettsSue ClarkJill CurtisAlison DevesonNaoe FoleyClaire FosterAngela GarrettWelly GreenJanet Rowland-WhiteChristine TargettFrancine Weller

TenorMichael CollettGeorge Czaykowski Michael EltonJohn Parry-JonesBrian PurkissDavid ReesJim Sampson

William GubbinsJulian HarveyDavid InnesAndrew ThomsonJack Walters

BassDavid AndersonGeoff BennettsDavid ClarkeStuart CowanSteve HynardBob JonesRobert LittleJames Martin-Jones David MorganArnold RenwickBruce Ryde-WellerRoy Weller

Peter AlbertiniJohn CarpenterAndrew Carruthers Jeremy DanielDavid FirthIan LoweAlan MathesonPaul NewmanHugh PeersJohn SatchellJohn StanningGuy StephensonIan Taylor

The role of The Servant will be

sung by Oliver Tarney

Winchester Music Club Orchestra

First ViolinsBrian HowellsJulia FlintDavid AmosChris LightfootPaul JefferyPeter MarshClaire MitchellMelinda Samms Second violinsEmily CorbettPatricia ElkingtonAndy HendersonUrsula PayneJohn SargentPhilly SargentJoanna SelborneVince Wyre

ViolasTim GriffithsGill CollymoreRichard DanielMargy JefferyLibby MerrimanAmanda WilsonLouise Woods

CelliSpike WilsonJane AustinSteve ClarkeAngie JanssenCatherine MitchellBeccy Read

Double Bass Phillip Batten

Flute Jo KidmanKaren Wills Oboe/Cor AnglaisRebecca Kozam

Oboe/d’AmoreAndrew Knights Bassoon Anna Meadows

Cello ContinuoNikki Heinrich

Viola da GambaAsako Morikawa

HarpsichordJamal Sutton

Joining Winchester Music Club...We are a choir of some 100 members and an associated orchestra. The Club was founded in 1925 by Sir George Dyson, then Master of Music at Winchester College.

For more information about us please see our website: www.winchestermusicclub.org.uk

...as a SingerWe are always pleased to audition competent singers although vacancies are limited. We’re also keen to attract younger singers; there is an under 25 subscription rate of only £25 a year.

...as a FriendWinchester Music Club has a strong base of singers and orchestral players. WMC also benefits from the support of non-performing, music loving members-our Friends. In addition to the knowledge that they are helping to support the artistic activity of the Club, which provides a major contribution to the programme of music available in the Winchester area, Friends receive the additional benefits of:

• Preferential booking for the WMC concerts• Complimentary programme for each concert• Regular newsletter covering WMC activities• Invitation to all WMC social eventsThe Friends annual subscription is currently £25. For two Friends living at the same address, it is £45.

For further information please contact the Secretary:Mrs Janette Lloyd, 6 Oliver’s Battery Gardens, Winchester, SO22 4HF 01962 851915secretary@winchestermusicclub.org.uk

...as an Orchestral PlayerWinchester Music Club Orchestra is composed of a regular set of amateur string players with professionals brought in for the other sections as each work demands.The regular string players, although amateur, play at a very high standard. If you would like to considered for the string orchestra, or are a professonal non-string player and would like to be put on the players’ list, please apply for an audition by emailing our conductor:Nicholas Wilks npw@wincoll.ac uk

Vice PresidentsThe Dean of Winchester:The Very ReverendJames Atwell

The Headmaster ofWinchester College:Dr Ralph Townsend

The Right Worshipful,the Mayor of Winchester:Cllr Ernie Jeffs

ChairmanAngela Ryde-Weller

SecretaryJanette Lloyd

TreasurerAndrew Carruthers

CommitteeGillian HarrisGabi McKeownBruce Ryde-WellerBarbara ShawNatalie ShawArden Tulip

Winchester Music Club

Bach manuscript paper bustBach Museum Leipzig

Janette Lloyd