ST JOHN PASSION - Sydney Philharmonia Choirs

ST JOHN PASSIONREIMAGINED

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Welcome 4

About the Music 5

…and the Composers 8

Texts and Translations 10

Artist Biographies 26

Sydney Philharmonia Chamber Singers 30

Sydney Philharmonia Baroque Orchestra 31

Our Supporters 32

About Us 34

Sydney Philharmonia Choirs dedicates this performanceto the memory of dear friend and artistic colleague

Taryn Fiebig (1972–2021)

SYDNEY PHILHARMONIA CHOIRS PRESENTS

ST JOHN PASSIONREIMAGINED

ACKNOWLEDGEMENT OF COUNTRY

DEBORAH CHEETHAM and MATTHEW DOYLETarimi Nulay – Long time living here†

JOHANN SEBASTIAN BACHSt John Passion: Part I

withJOSEPH TWIST

Heaven, Tear Apart (Himmel reiße)*†

INTERVAL

St John Passion: Part IIwith

BROOKE SHELLEYEin Bächlein im Bach*†

Elizabeth Scott conductorRichard Butler tenor (Evangelist)

Andrew O’Connor bass-baritone (Christ)Celeste Lazarenko sopranoSian Sharp mezzo-soprano

Nicholas Jones tenorDavid Greco baritone

Sydney Philharmonia Chamber SingersSydney Philharmonia Baroque Orchestra

Fiona Ziegler concertmaster

Easter Saturday, 3 April 2021, 1pmThe Concourse, Chatswood

* Premiere† Commissioned as part of our 100 Minutes of New Australian Music centenary project

in 2020. We’re delighted to be performing these works in our 2021 season.

This performance will run for approximately2 hours and 50 minutes including a 20-minute interval

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SYDNEY PHILHARMONIA CHOIRS 2021 ///// 4

It is an absolute honour for me to be conducting this awe-inspiringwork in a “re-imagination” that was originally designed to celebratethe Sydney Philharmonia Choirs’ Centenary in 2020. During Bach’slife, the St John Passion was an ever-evolving work, with severalrevisions and changes made by the composer. It’s exciting tomaintain this tradition and to be able to incorporate reflections andvoices from Australian composers, inspired by the majesty andpower of Bach’s writing to reflect on events in their own lives.

My first real encounter with this great work was during my studiesin Hungary, when I was invited by a fellow student to be the sopranosoloist in her father’s church choir’s Good Friday performance of theSt John Passion in Haugesund, Norway. For a young Australian, sofar from home, the experience was life changing – I was so movedby the power of the music, the collaboration of the choir andorchestra and, of course, the opportunity to perform it in a countryof such beauty and such extremes. I was lucky enough to performthe soprano solos again in Oberstdorf, Germany and, since returningto Australia, I have prepared choirs for this work several times, aswell as (hopefully) converting hundreds of high-school students toits power by conducting excerpts at a NSW Public Schools StateMusic Camp.

For me, the St John Passion – from its opening chorus of restlessforeboding to its final chorus of acceptance and peace – is ajourney of discovery of the human condition experienced throughunfathomably exquisite music.

Thank you for joining us!

Elizabeth ScottMusic Director VOX

WELCOME

Tarimi Nulay – Long time living here wascommissioned for our Centenary year as achoral Acknowledgement of Country tocommence all concerts in the season. It waspremiered at the Dawn Chorus performanceon the steps of the Sydney Opera House at

the beginning of 2020 and we hope that thisspecial piece will be part of our performancesfor many years to come. Deborah Cheethamand Matthew Doyle have created a work thatexplores a profound cultural and spiritualreflection of the land on which we sing.

Acknowledgement of Country


Imagine you’re a Leipzig Lutheran, it’s Good Friday in1724, and you’re attending Vespers at the St NicholasChurch. It will be a long service: in addition to the cantorBach’s brand new setting of the Passion, there will be asermon of half an hour or more in the middle, an old Latinmotet at the end and congregational chorale singing. ButBach’s music will occupy the lion’s share of the time andthere will be instruments in church again, following theaural austerity of Lent. In many ways, this firstperformance of the Passion according to St John will takeon the character of a concert and it’s telling that the flyerBach prepared announcing the venue (St Nicholas ratherthan the St Thomas Church) addresses its readers as‘Auditoribus’ – the audience of listeners rather than thecongregation of worshippers. Perhaps your imaginationdoesn’t need to stretch very far after all as you sit here inthe Concourse for a concert on Easter Saturday, althoughthe seats today will be more comfortable.

In the century before Bach, the Good Friday recitation ofthe Passion, or story of the Crucifixion, had been relativelysimple: the clergy chanting the parts of the Evangelistand Christ, the choir providing the voice of the people andminor characters, the congregation responding withchorales or hymns. But by the end of the 17th century,the Passion tradition had collided with the new genre ofthe sacred oratorio – essentially biblical operas withoutcostumes, sets or staging that neatly sidestepped theprohibition of opera during Lent. The Passion-oratorioinjected an exceptional level of drama and musicalcomplexity into the Good Friday liturgy and it was still arelatively new phenomenon when Bach took on the role ofcantor in Leipzig in 1723. Perhaps this is why his waryemployers had made him agree to write works ‘whichwould not be of an operatic nature, but would ratherexcite the listener to greater piety’.

DRAMA ANDREFLECTIONSt John PassionReimagined

This performance ofBach’s St John Passionincorporates two speciallycommissioned musical‘reflections’. JosephTwist’s fiercely dramaticHeaven, Tear Apart will beheard after the chorale‘Wer hat dich sogeschlagen’ (No.11) inPart I and BrookeShelley’s more reflectiveEin Bächlein im Bach willbe heard after the chorale‘In meines HerzensGrunde’ (No.26) in Part II.


THE MUSIC

A traditional opera features recitatives(speech-like singing) for the dialogue thatmoves the plot along, arias with more poetictexts for the expression of emotion, andchoruses for scene-setting atmosphere andcontext. A Bach Passion-oratorio turns thesetheatrical conventions to spiritual purpose.The Evangelist or Gospel author, in this caseJohn, is the eyewitness and his narration iswritten exclusively as recitative. The voice ofChrist – a bass – is also written as recitative.The remaining soloists take on small roles inthe narrative (Peter, Pilate, a maid, and so on)but, more significantly, they sing arias thatmeditate on the drama of the story, as ifoffering personal responses and prayers. Thechorus divides its time between the role of thecrowd – its often savage music bringinga visceral realism to the enactment of theCrucifixion story and making it a realprotagonist in the drama – and the singing ofcontemplative chorales.

Embracing both the immediacy of storytellingand more lyrical reflection, the St JohnPassion emerges as a bold and exhilaratingfusion of drama and reflection, in which theparticipants – soloists and chorus alike –appear as if contemporary witnesses. No onecould have argued against the spiritual intentof this ‘sermon in sound’ or its fidelity toJohn’s gospel account, but such dramaticintensity – unprecedented in Leipzigchurches – must have been shocking. Thisafternoon we hear the St John Passion in aconcert with a ‘congregation’ comprisingpeople of many faiths or perhaps none, theliturgical origin of the music abandoned. Wewon’t be shocked and we may not be ‘excitedto greater piety’ but the directness of Bach’smusic, that sensation of contemporaryimmediacy, remains as enthralling as ever.

Today’s performance harnesses the originalsound world of the St John Passion throughthe use of a relatively small chorus of 37singers and period instruments that highlightthe richness and expressive power of Bach’s

musical palette. Nowhere is this moreapparent than in the arias with obbligato sololines for instruments such as the pair of violasd’amore in the sensuous tenor aria ‘Erwäge’(Part II, No.20) or the viola da gamba, whichmatches the expressive power of the humanvoice in the alto aria ‘Es ist vollbracht’ (Part II,No.30). At the same time, the idea of personalreflection that permeates Bach’s music hasbeen extended with two modern musicalreflections, commissioned for this program.

These commissions were originally intendedfor Sydney Philharmonia’s Centenary year.And, during the course of the long delay, theplacement of the new works within thestructure of Bach’s work has been given muchthought. Joseph Twist’s piece, in using a textthat Bach cut from his final libretto andquoting directly from its musical material,almost demands to be placed in the samelocation in Part I. Meanwhile, Brooke Shelleyalludes to motifs from throughout Bach’s workin a reflective way; for this reason, it has beenplaced – like a reminiscence – towards theend of the performance.

Joseph Twist composed Heaven, Tear Apartwhile visiting his family in Australia overChristmas 2019, as bushfires consumed somuch of the country. The anger, frustration,devastation and chaos led him to the text of anaria (‘Himmel, reiße’) that Bach added to theSt John Passion for its second performance, in1725, and then removed. Just as Bach haddone, Twist set the text for baritone soloist andchorus; he also followed Bach’s lead in usingthe joyful serenity of a chorale (‘Jesu, deinePassion’, sung by the chorus) as a foil for theexplosive drama of the solo line, with itsdramatic imagery of earthquakes and torment,descending into fear and anguish before anultimate expression of faith. The musicalmotifs also echo Bach – there’s a sombrerepeated ten-note ground bass in theorchestra, for example – although the style iscontemporary, with distinct minimalisticinfluences.

THE MUSIC


In Ein Bächlein im Bach, Brooke Shelleyreflects on Bach’s musical legacy, ‘treading ohso carefully’ in the shadow of Bach’s mastery.(The title is a pun on names – Bach in Germanmeans ‘brook’, a Bächlein is a little brook –and the water imagery is a literal take on theidea of ‘reflection’.) Her starting point was thetext and music of the Latin motet ‘Ecce,quomodo moritur’ by the 16th-centurySlovenian composer Jacob Handl, whichtraditionally followed the Passion in Bach’sLeipzig, together with the relentless eddies ofsound heard in the strings at the verybeginning of the St John Passion.

On a personal level, the music is a reflectionon the grief and loss Shelley witnessed whenthe son of a dear friend ended his life. Thisdrew her to the text of the Passion itself –fragments that spoke of ‘pain and suffering’and ‘light and rest’ and which, in the music,represent ‘little stabs of pain and flickers oflight’. Not all of these textual fragments aresung, however. Throughout the score,instrumental phrases have been composedto the rhythms of words you won’t hear.

‘O comfort for the ailing soul!’ cries the oboeas the choir introduces Handl’s chorale. Later,as the choir sings of flying to the Hill of theCross, the woodwinds interrupt with their ownchorus: ‘Where to? Where to? Where to?’ Themusic ends with a premonition of the viola dagamba’s line in the aria ‘Es ist vollbracht!’

These new works do not sound like Bach, butthey pay tribute to the St John Passion,reflecting on the liturgical context in which itwould have been heard, its musical gesturesand its drama and poetry. And in the spirit ofBach’s contemporary witnesses to theCrucifixion, they offer responses to the worldand events, both public and private,contemporary and yet timeless.

Yvonne Frindle © 2021

The VIOLA D’AMORE is held under the chin likea violin but is characterised by an extra-longpeg box, which accommodates six or sevenstrings together with an equal number ofresonance strings that aren’t touched by thebow but which vibrate in sympathy. Listen forthe pair of violas d’amore in the bass arioso‘Betrachte, meine Seel’ and tenor aria‘Erwäge’ (Nos.19 and 20 in Part II).

The VIOLA DA GAMBA is similar in appearanceto its younger cousin the cello but has somekey differences: its shoulders slope away fromthe neck of the instrument, it has six or sevenstrings instead of four, and the fingerboard hasfrets, like a guitar. The viola da gamba is heldbetween the knees (‘da gamba’ indicates a viol

that’s played ‘on the leg’). Although the violada gamba frequently plays with theharpsichord, organ and lute as part of thebasso continuo group, Bach gives it animportant solo in the alto aria ‘Es istvollbracht!’ (No.30 in Part II), capitalising onits mournful, almost vocal sound.

An OBOE DA CACCIA is literally a ‘huntingoboe’ – it has a lower voice, the tenor of theoboe family, and is curved with an obviouslyflared bell. Listen for the oboe da caccia in thesoprano aria ‘Zerfließe’ (No.35 in Part II). TheOBOE D’AMORE could be considered the alto ofthe oboe family and has a pear-shaped bell.The oboe d’amore is heard in several chorusesin Part II.

Bach’s Orchestra


THE MUSIC

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The ComposersJohann Sebastian Bach (1675–1750)

Johann Sebastian Bach was born in 1685 to aGerman musical dynasty and his upbringingand training prepared him for a career that ledto renown as an organist during his lifetime.After his death, his music was considered old-fashioned, of interest mainly to connoisseurs,but the 19th century saw a revival of hismusic, led by composers such as FelixMendelssohn, who conducted a landmarkperformance of the St Matthew Passion in1829. (He was to conduct the St John Passionin 1833.) By the beginning of the 20thcentury, Bach’s reputation as one of thegreatest of composers was unquestioned.

Bach’s career has been defined by three majorperiods of employment. In 1708 he becamecourt organist and then conductor of theorchestra in Weimar. In 1717 Prince Leopoldof Anhalt-Cöthen offered him a post asKapellmeister in his own court where,supported by a music-loving prince and a veryfine orchestra, Bach composed many of hisvirtuoso instrumental works, including theBrandenburg concertos. In 1722 he appliedfor the post of cantor at the school attached tothe Thomaskirche in Leipzig. Bach wasn’t thetown council’s first choice – they preferredTelemann – but he won the job and spent theremaining 27 years of his life in Leipzig:teaching, performing, organising the musicallife of the church and composing his greatseries of church cantatas, his two passionsettings and other major choral works.

Deborah Cheetham (born 1964)

Deborah Cheetham AO – Yorta Yorta woman,soprano, composer and educator – has been aleader and pioneer in the Australian artslandscape for more than 25 years. In the 2014Queen’s Birthday Honours List, she wasnamed an Officer of the Order of Australia(AO), for ‘distinguished service to theperforming arts as an opera singer, composerand artistic director, to the development of

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THE MUSIC


(Evening of the Sky). She is currently workingwith Nick on an unnamed project, as well as anumber of commissions for other choirs.

Joseph Twist (born 1982)

Composer-arranger Joseph Twist straddles filmmusic and concert music arenas. He worksextensively as a composer and arranger of musicfor film and television, including theinternationally successful children’s animatedseries Bluey. He has worked as an arranger andorchestrator for many renowned internationalartists and ensembles, including singer/songwriters Moby, Guy Sebastian, Missy Higgins,Josh Pyke, Megan Washington and Kate Miller-Heidke, bands like Eskimo Joe and The Wiggles,jazz and cabaret artists like Sally Cameron,The Idea of North and Lady Sings it Better, andopera singers David Hobson and Teddy TahuRhodes. His orchestrations have been performedand recorded by the world’s greatest orchestras,including collaborations with the Los AngelesPhilharmonic, the Colorado Symphony and theHollywood Scoring Orchestra, as well as theAustralian symphony orchestras. He continues towork as an orchestrator for major Hollywoodstudio films in Los Angeles, including theupcoming new release Tom and Jerry.

His concert music is widely programmed,particularly his choral works, with performancesby the Choir of Trinity College Cambridge,Chanticleer, VOCES8, The Idea of North, TheYoung New Yorkers’ Chorus, L.A. Choral Lab,Gondwana Voices, Sydney Children’s Choir,National Youth Choir of Australia, BrisbaneChamber Choir, Sydney Chamber Choir, TheAustralian Voices, Adelaide Chamber Singers andmany others. His work also appears on numerouscommercial recordings, including his ownalbum, Dancing With Somebody.

Indigenous artists, and to innovation inperformance’. In 2009 she established ShortBlack Opera as a national not-for-profit operacompany devoted to the development ofIndigenous singers. The following year sheproduced her first opera, Pecan Summer.This landmark work was Australia’s firstIndigenous opera and has been a vehicle forthe development of a new generation ofIndigenous opera singers. In 2015 she wasinducted onto the Honour Roll of Women inVictoria and in 2018 received an honorarydoctorate from the University of SouthAustralia. In 2019 she received the MerlynMyer Prize to create a new work for theMelbourne ensemble Syzygy. Her growing listof commissions includes works for theAdelaide and Melbourne symphony orchestras,the Australian String Quartet, West AustralianSymphony Orchestra String Quartet, RubiksCollective, Plexus Ensemble, Flinders Quartetand the Goldner Quartet.

Brooke Shelley (born 1975)

After formal training in piano, harpsichord andcomposition, and after completing a master’sdegree majoring in Historical Musicology(London), Brooke Shelley turned her attentionto popular music, fusing Scandinavian metalwith sacred Renaissance music for the bandResonaxis – possibly the only band in theworld with a classical organist (David Drury).Following the release of two CDs and an EP,she returned to composing sacred choralmusic, having sung with a number of churchchoirs in Australia and the UK. Her choralworks have been performed by groups such asthe Choir of Trinity College at MelbourneUniversity, the Choir of St James’, the Choirsof St John’s Cathedral in Brisbane, AdelaideChamber Singers, Sydney Antiphony and theDistrict Eight in Washington DC. She has alsoprovided improvised vocals for Nick Littlemore(Pnau, Empire of the Sun) on projects such asElton John vs Pnau and White Shadows, andthey collaborated on The Two Leaves Project

Tarimi nulay ngalawa yuragarrabarra baraya yagu barrabugungyiningi ngarangyiningi berong

Deborah Cheetham

ST JOHN PASSION by J.S. BachPART I

1. 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. EVANGELIST (TENOR)Jesus ging mit seinen Jüngern über denBach Kidron, da war ein Garten, darein gingJesus und seine Jünger. Judas aber,der ihn verriet, wußte den Ort auch, dennJesus versammlete sich oft daselbst mitseinen Jüngern. Da nun Judas zu sich hattegenommen die Schar und der Hohenpriesterund Pharisäer Diener, kommt er dahin mitFackeln, Lampen und mit Waffen. Als nunJesus wußte alles, was ihm begegnen sollte,ging er hinaus und sprach zu ihnen:

CHRIST (BASS)Wen suchet ihr?

EVANGELISTSie antworteten ihm:

CHORUSJesum von Nazareth.

EVANGELISTJesus spricht zu ihnen:

TARIMI NULAY – Long time living hereby Deborah Cheetham and Matthew Doyle


Long time here live the peopledancing and singing today and tomorrowyour way of knowingyour way of belonging

Translated from Gadigal by Matthew Doyle

Lord, our sovereign,whose fame is glorious in all lands!Show us through your passionthat you, the true son of God,in every age,even in the deepest humiliation,have been glorified!

Jesus went with his disciples across theKedron brook. There was a garden there, andJesus and his disciples went in. Now Judas,who betrayed him, also knew the place, asJesus often met with his disciples in that veryplace. Judas, having gathered together adetachment of soldiers and the servants ofthe chief priests and the Pharisees, came tothe place bearing torches, lanterns andweapons. Since Jesus knew everything thatwas to happen to him, he went out and saidto them:

Who are you looking for?

They answered:

Jesus of Nazareth!

Jesus said to them:

TEXTS AND TRANSLATIONS

THE WORDS


CHRISTIch bin’s.

EVANGELISTJudas aber, der ihn verriet, stund’ auch beiihnen. Als nun Jesus zu ihnen sprach: Ichbins, wichen sie zurücke und fielen zu Boden.Da fragete er sie abermal:

CHRISTWen suchet ihr?

EVANGELISTSie aber sprachen:

CHORUSJesum von Nazareth.

EVANGELISTJesus antwortete:

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

3. CHORALEO große Lieb, o Lieb ohn alle Maße,die dich gebracht auf diese Marterstraße!Ich lebte mit der Welt in Lust und Freuden,und du mußt leiden!

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

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

5. CHORALEDein Will gescheh, Herr Gott, zugleichauf 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!

I am he.

Now Judas, who betrayed him, was alsostanding with them. When Jesus said tothem, “I am he,” they drew back and fell tothe ground. Then he asked them again:

Who are you looking for?

They answered:

Jesus of Nazareth!

Jesus answered:

I have told you that I am he; if it is me youare looking for, then let these others go!

O great love, o love beyond all measure,that brought you to this martyr’s road!I lived in the world in pleasure and joy,and you must suffer!

This was to fulfil the words that he hadspoken: ‘I have lost none of those you gaveme.’ Now Simon Peter had a sword, and hedrew it and struck at the High Priest’sservant, and cut off his right ear. Theservant’s name was Malchus. Then Jesus saidto Peter:

Put your sword in its sheath; am I not todrink the cup my father has given me?

Let your will be done, Lord God, bothon earth and in heaven;make us patient in the time of suffering,obedient in love and suffering;control and guide all flesh and bloodthat acts against your will.

THE WORDS


6. EVANGELISTDie Schar aber und der Oberhauptmann unddie Diener der Jüden nahmen Jesum undbunden ihn und führeten ihn aufs erste zuHannas, der war Kaiphas Schwäher, welcherdes Jahres Hohenpriester war. Es war aberKaiphas, der den Juden riet, es wäre gut, daßein Mensch würde umbracht für das Volk.

7. ALTO ARIAVon den Stricken meiner Sündenmich zu entbinden,wird mein Heil gebunden.Mich von allen Lasterbeulenvöllig zu heilen,läßt er sich verwunden.

8. EVANGELISTSimon Petrus aber folgete Jesu nach und einander Jünger.

9. SOPRANO ARIAIch folge dir gleichfalls mit freudigen

Schrittenund lasse dich nicht,mein Leben, mein Licht.Befördre den Laufund höre nicht auf,selbst an mir zu ziehen, zu schieben,

zu bitten!

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

MAID (SOPRANO)Bist du nicht dieses Menschen Jünger einer?

EVANGELISTEr sprach:

PETER (TENOR)Ich bins nicht.

But the soldiers and their commander andthe servants of the Jews took Jesus andbound him and led him first to Annas, thefather-in-law of Caiaphas, who was the HighPriest that year. Now it was Caiaphas whohad advised the Jews that it would be goodfor one person to be killed for the people.

To set me free from the bondsof my sins,my Saviour is bound.To heal me completelyfrom all the ulcers of vice,he allows himself to be wounded.

Now Simon Peter and another disciplefollowed Jesus.

I too follow you with joyfulsteps,

and will not leave you,my life, my light.Open the wayand never ceaseto draw me on, to drive me forward,

to entreat me.

This disciple was known to the High Priest,and went with Jesus into the High Priest’spalace. Peter stood outside at the door. Thenthe other disciple, the one known to the HighPriest, went out and spoke to the woman whowas keeping the door, and brought Peterinside. Then the maid on duty at the doorsaid to Peter:

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

He said:

I am not.

THE WORDS


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

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

EVANGELISTAls er aber solches redete, gab der Dienereiner, die dabeistunden, Jesu einenBackenstreich und sprach:

GUARD (BASS)Solltest du dem Hohenpriester alsoantworten?

EVANGELISTJesus aber antwortete:

CHRISTHab ich übel geredt, so beweise es, daß esböse sei, hab ich aber recht geredt, wasschlägest 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.

Now there were servants and guards standingthere, and they had made a charcoal fire,because it was cold, and they were warmingthemselves. Peter stood near them andwarmed himself. Now the High Priest askedJesus about his disciples and his teaching.Jesus answered:

I have spoken freely, openly for all theworld to hear. I have always taught in thesynagogue and in the temple, where allthe Jews meet together, and I have saidnothing in secret. Why are you asking meabout it? Ask the people who heard mewhat I said to them: they knowwhat I said!

When he said this, one of the guardsstanding there slapped Jesus across the faceand said:

Is that how you answer the High Priest?

But Jesus replied:

If there is something wrong with what I said,then show that it is wrong.But if what I said is right, why do you hit me?

Who has hit you like this,my Saviour, and treated youso badly?You are certainly not a sinner,as we and our children are;you know nothing of wrongdoing.

I, I and my sins,which are like the grainsof sand on a beach,It is these which have brought down on youthe misery that assaults youand the host of torments.

THE WORDS


HEAVEN, TEAR APART (Himmel reiße)by Joseph Twist

BARITONE AND CHORUSHimmel reiße, Welt erbebe,

Himmel reiße, Welt erbebe,

fallt in meinen Trauerton,Sehet meine Qual und Angst,was ich, Jesu, mit dir leide!Ja, ich zähle deine Schmerzen

Jesu, deine Passiono zerschlagner Gottessohn,

ist mir lauter Freude,Ich erwähle Golgathavor dies schnöde Weltgebäude.

Werden auf den Kreuzeswegendeine Dornen ausgesät,Weil ich in Zufriedenheitmich in deine Wunden senke,

deine Wunden, Kron und Hohnmeines Herzens Weide.

So erblick ich in dem Sterben,wenn ein stürmend Wetter weht,

Meine Seel auf Rosen geht,wenn ich dran gedenke;

Diesen Ort, dahin ich mich täglichdurch den Glauben lenke.

in dem Himmel eine Stättmir deswegen schenke!

ST JOHN PASSION continued

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

CHORUSBist du nicht seiner Jünger einer?

EVANGELISTEr leugnete aber und sprach:

PETERIch bins nicht.

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

Heaven, tear apart, world, tremble!Heaven, tear apart, world, tremble!

Join me in my lament,See my agony and fear,How I suffer with you, Jesus!Yes, I count your pains,

Jesus, your passionO broken Son of God

is pure joy to me,I choose Golgothabefore this world’s vile edifice.

On the path of the crossyour thorns are sown,Because I in contentmentsink into your wounds,

your wounds, crown and scornare my heart’s consolation.

So I will recognise at my death,when stormy weather blows,

My soul walks on roses,when I contemplate it;

This place to which I dailystrive though faith.

Grant me a place inheaven because of it!

And Annas sent him, bound, to the HighPriest, Caiaphas. Simon Peter was standingwarming himself, when they said to him:

Aren’t you one of his disciples?

But he denied it, and said:

I am not.

One of the High Priest’s servants, a friend ofthe one whose ear Peter had cut off, said:

THE WORDS


SERVANTSahe ich dich nicht im Garten bei ihm?

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

13. TENOR ARIAAch, mein Sinn,wo willt du endlich hin,wo soll ich mich erquicken?Bleib ich hier,oder wünsch ich mirBerg und Hügel auf den Rücken?Bei der Welt ist gar kein Rat,und im Herzenstehn die Schmerzenmeiner 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

ST JOHN PASSIONPART II

15. CHORALEChristus, der uns selig macht,kein Bös’ hat begangen,der ward für uns in der Nachtals ein Dieb gefangen,geführt für gottlose Leutund fälschlich verklaget,verlacht, verhöhnt und verspeit,wie denn die Schrift saget.

Didn’t I see you in the garden with him?

Then Peter denied it again, and straight awaythe cock crowed. Then Peter remembered thewords of Jesus, and went outside and weptbitterly.

Ah, my soul,where are you taking me?where should I find relief?Should I stay hereor wish myselfburied under mountains and hills?There is no help on earth,and in my heartlies the painof my wrongdoing,because the slave has disowned his master.

Without thinking back, Peterdenies his God;yet at one grave glancehe weeps bitterly.Look at me as well, Jesus,when I refuse to atone;when I have done wrong,stir my conscience.

Christ, who makes us joyful,committed no evil deed,for our sake he was taken in the nightlike a thief,taken before godless peopleand falsely accused,laughed at, mocked and spat upon,as the scripture says.

THE WORDS


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

PILATE (BASS)Was bringet ihr für Klage widerdiesen Menschen?

EVANGELISTSie antworteten und sprachen zu ihm:

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

EVANGELISTDa sprach Pilatus zu ihnen:

PILATESo nehmet ihn ihr hin und richtet ihn nacheurem Gesetze!

EVANGELISTDa sprachen die Jüden zu ihm:

CHORUSWir dürfen niemand töten.

EVANGELISTAuf daß erfüllet würde das Wort Jesu,welches er sagte, da er deutete, welchesTodes er sterben würde. Da ging Pilatuswieder hinein in das Richthaus und riefJesu und sprach zu ihm:

PILATEBist du der Jüden König?


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

EVANGELISTPilatus antwortete:

Then they led Jesus from the house ofCaiaphas to the Roman courthouse. It wasearly in the morning. And they did not gointo the courthouse, so as not to becomeunclean, so that they would be able to eatthe Passover meal. So Pilate went out tothem and said:

What charge do you bring againstthis man?

They replied:

If he were not a criminal, we would not havehanded him over to you.

Pilate said to them:

Then take him away and judge him accordingto your laws.

The Jews said to him:

We are not allowed to put anyone to death.

This was to fulfil the words Jesus hadspoken, indicating the way he was to die.Then Pilate went back into the courthouseand called Jesus, and said to him:

Are you the King of the Jews?

Jesus replied:

Are you asking this for yourself, or haveothers spoken to you about me?

Pilate answered:

THE WORDS


PILATEBin ich ein Jüde? Dein Volk und dieHohenpriester haben dich mir überantwortet;was hast du getan?


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

17. CHORALEAch großer König, groß zu allen Zeiten,wie kann ich gnugsam diese Treu ausbreiten?Keins Menschen Herze mag indes 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 Liebestatenim Werk erstatten?

18. EVANGELISTDa sprach Pilatus zu ihm:

PILATESo bist du dennoch ein König?


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

EVANGELISTSpricht Pilatus zu ihm:

PILATEWas ist Wahrheit?

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

PILATEIch finde keine Schuld an ihm. Ihr habtaber eine Gewohnheit, daß ich euch einenlosgebe; wollt ihr nun, daß ich euch derJüden König losgebe?

Am I a Jew? Your people and the chief priestshave handed you over to me; what have youdone?

Jesus answered:

My kingdom is not of this world; if it were,my followers would fight to save me frombeing handed over to the Jews. But mykingdom is not from there now.

Ah, great King, great for all time,how can I adequately display my loyalty?For no human heart can conceiveof a gift fit to offer you.

My mind cannot find anythingto compare with your mercy.How can I repay your loving deedswith my own works?

Then Pilate said to him:

So you are a king?

Jesus replied:

You say it yourself: I am a king. I was bornand came into the world for this: to bearwitness to the truth. Anyone who is of thetruth hears my voice.

Pilate said to him:

What is truth?

And with those words he went back out to theJews and said to them:

I find no case against him. But you have acustom that I release one prisoner to you; doyou want me to release the king of the Jews?

THE WORDS


EVANGELISTDa schrieen sie wieder allesamt undsprachen:

CHORUSNicht diesen, sondern Barrabam!

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

19. BASS ARIOSOBetrachte, meine Seel,mit ängstlichem Vergnügen,mit bittrer Lust und halb beklemmten Herzendein höchstes Gut in Jesu Schmerzen,wie dir auf Dornen,so ihn stechen,die Himmelschlüsselblumen blühn!Du kannst viel süße Fruchtvon seiner Wermut brechen,drum sieh ohn Unterlaß auf ihn!

20. TENOR ARIAErwäge, wie sein blutgefärbter Rückenin allen Stückendem Himmel gleiche geht,daran, nachdem die Wasserwogenvon unsrer Sündflut sich verzogen,der allerschönste Regenbogenals Gottes Gnadenzeichen steht!

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

CHORUSSei gegrüßet, lieber Jüdenkönig!

EVANGELISTUnd gaben ihm Backenstreiche. Da gingPilatus wieder heraus und sprach zu ihnen:

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

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

Again they all shouted out together:

Not this one, but Barabbas!

Now Barabbas was a murderer. Then Pilatehad Jesus taken and flogged.

Contemplate, my soul,with fearful pleasure,with bitter joy and heart heavy-laden,your greatest good in the sufferings of Jesus:how on the thornswhich pierce himthe flowers of heaven blossom for you!You can pick many a sweet fruitfrom his wormwood,therefore do not cease to gaze on him!

Consider how his back stained with bloodin every wayresembles heaven:when the rolling floodof our sins subsides,the fairest of rainbowsstands as a sign of God’s grace!

And the soldiers plaited a crown of thornsand put it on his head, and laid a purplerobe on him, and said:

Hail, King of the Jews!

And they slapped him across the face. ThenPilate went back out and said to them:

Look, I am bringing him out to you to let youknow that I find no case against him.

Then Jesus came out wearing a crown ofthorns and a purple robe. And he said tothem:

THE WORDS


PILATESehet, welch ein Mensch!

EVANGELISTDa ihn die Hohenpriester und die Dienersahen, schrieen sie und sprachen:

CHORUSKreuzige!

EVANGELISTPilatus sprach zu ihnen:

PILATENehmet ihr ihn hin und kreuziget ihn; dennich finde keine Schuld an ihm!

EVANGELISTDie Jüden antworteten ihm:

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

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

PILATEVon wannen bist du?

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

PILATERedest du nicht mit mir? Weißest du nicht,daß ich Macht habe, dich zu kreuzigen, undMacht habe, dich loszugeben?


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

EVANGELISTVon dem an trachtete Pilatus, wie er ihnlosließe.

Behold the man!

When the chief priests and the guards sawhim, they screamed out:

Crucify!


You take him and crucify him, for I find nocase against him.

The Jews answered:

We have a law, and according to that law heshould die, because he has made himself outto be the Son of God.

When Pilate heard this, he was more afraidthan ever, and went back into the courthouseand said to Jesus:

Where are you from?

But Jesus gave him no answer. Then Pilatesaid to him:

You won’t speak to me? Don’t you know that Ihave the power to crucify you, and the powerto set you free?

Jesus replied:

You would have no power over me if it hadnot been given to you from above. Thereforethe one who handed me over to you has thegreater sin.

From that moment on, Pilate looked for a wayto release him.

THE WORDS


22. CHORALEDurch dein Gefängnis, Gottes Sohn,muß 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. EVANGELISTDie Jüden aber schrieen und sprachen:

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

EVANGELISTDa Pilatus das Wort hörete, führete er Jesumheraus, und satzte sich auf das Richtstuhl, ander Stätte, die da heißet: Hochpflaster, aufEbräisch aber: Gabbatha. Es war aber derRüsttag 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.

Through your captivity, Son of God,freedom must come to us.Your prison is the throne of grace,the land of asylum for all godly people.For had you not entered into servitude,our servitude would have to have lasted

for ever.

But the Jews shouted out:

If you let this man go, it shows you are nofriend to Caesar, for whoever sets himself upas king is defying Caesar.

When Pilate heard this, he led Jesus out andtook his seat on the tribunal at the placecalled The Pavement, which in Hebrew isGabbatha. Now it was the day of preparationfor the Passover, about the sixth hour. Hesaid to the Jews:

Look, this is your king.

But they screamed:

Away with this man. Crucify him!


Am I supposed to crucify your king?

The chief priests answered:

We have no king but Caesar.

THE WORDS


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

24. BASS ARIA WITH CHORUSEilt, ihr angefochtnen Seelen,geht aus euren Marterhöhlen,Eilt – wohin? – nach Golgatha!Nehmet an des Glaubens Flügel,flieht – wohin? – zum Kreuzeshügel,eure Wohlfahrt blüht allda!

25. EVANGELISTAllda kreuzigten sie ihn, und mit ihm zweenandere zu beiden Seiten, Jesum aber mitteninne. Pilatus aber schrieb eine Überschriftund satzte sie auf das Kreuz, und wargeschrieben: „Jesus von Nazareth, der JüdenKönig.“ Diese Überschrift lasen viel Jüden,denn die Stätte war nahe bei der Stadt, daJesus gekreuziget ist. Und es war geschriebenauf ebräische, griechische und lateinischeSprache. Da sprachen die Hohenpriester derJüden zu Pilato:

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

EVANGELISTPilatus antwortet:

PILATEWas ich geschrieben habe, das habe ichgeschrieben.

26. CHORALEIn meines Herzens Grunde,dein Nam und Kreuz alleinfunkelt all Zeit und Stunde,drauf kann ich fröhlich sein.Erschein mir in dem Bildezu Trost in meiner Not,wie du, Herr Christ, so mildedich hast geblut’ zu Tod!

Then he handed him over to be crucified.Now they took Jesus and led him away. Andhe carried his cross, and went out to theplace called the Place of the Skull, which inHebrew is called Golgotha.

Hurry, you assaulted souls,come out of your dens of misery,hurry – where? – to Golgotha!Take the wings of faith,fly – where? – to the Hill of the Cross,that is where the flower of your happiness

is blooming!

They crucified him there, and with him twoothers, one on either side with Jesus in themiddle. Now Pilate wrote a notice and had itput on the cross, and it read, ‘Jesus ofNazareth, King of the Jews’. Many Jews readthis notice, because the place where Jesuswas crucified was near the city. And it waswritten in Hebrew, Greek and Latin. Then thechief priests said to Pilate:

Don’t write ‘King of the Jews’, but that hesaid ‘I am the King of the Jews.’

Pilate replied:

What I have written, I have written.

In the depths of my heart,your name and cross aloneshine always,therefore I can be joyful.May they appear to meas comfort in my hour of need,as you, Lord Christ, so mild,poured out your life’s blood.

THE WORDS


EIN BÄCHLEIN IM BACHby Brooke Shelley

Ecce, quomodo moritur justuset nemo percipit corde.

Nehmet an des Glaubens Flügel,flieht…[Wohin?] zum Kreuzeshügel,ihr angefochtnen Seelen, eilt!

Den Leib in seim Schlafkämmerleingar sanft ohn eigne Qual und Peinruhn bis am jüngsten Tage!

Et erit in pace memoria ejus.Ruht wohl und bringt auch mich zur Ruh!Gib uns Geduld in Leidenszeit.

ST JOHN PASSION continued

27. EVANGELISTDie Kriegsknechte aber, da sie Jesumgekreuziget hatten, nahmen seine Kleider undmachten vier Teile, einem jeglichenKriegesknechte sein Teil, dazu auch denRock. Der Rock aber war ungenähet von obenan gewürket durch und durch. Da sprachensie untereinander:

CHORUSLasset uns den nicht zerteilen, sonderndarum losen, wes er sein soll.

EVANGELISTAuf daß erfüllet würde die Schrift, die dasaget: „Sie haben meine Kleider unter sichgeteilet und haben über meinen Rock das Losgeworfen. “ Solches taten die Kriegesknechte.Es stund aber bei dem Kreuze Jesu seineMutter und seiner Mutter Schwester, Maria,Kleophas Weib, und Maria Magdalena. Danun Jesus seine Mutter sahe und denJünger dabei stehen, den er lieb hatte,spricht er zu seiner Mutter:

CHRISTWeib, siehe, das ist dein Sohn!

EVANGELISTDarnach spricht er zu dem Jünger:

CHRISTSiehe, das ist deine Mutter!

Behold how the just man diesand no one takes it to heart.

Take the wings of faith,fly… [Where?] to the Hill of the Cross,Hurry, you contested souls!

My body in its tomb,rest gently without anguish or pain,until the day of judgement.

And his memory will be at peace.Rest well and bring me also to rest!Grant us patience in times of suffering.

Now the soldiers who had crucified Jesustook his clothes and made four piles, one foreach soldier. There was also a seamlesstunic, woven all in one piece. They said toeach other:

Rather than tearing this, let’s cast lots to seewho shall have it.

In this way the words of scripture werefulfilled: They have divided my clothesamong themselves, and cast lots over mytunic. That is what the soldiers did. Nowstanding near the cross of Jesus were hismother and his mother’s sister, Mary, the wifeof Cleopas, and Mary Magdalene. When Jesussaw his mother and the disciple he lovedstanding near her, he said to his mother:

Woman, see, this is your son!

Then he said to the disciple:

See, this is your mother!

THE WORDS


28. CHORALEEr nahm alles wohl in achtin 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. EVANGELISTUnd von Stund an nahm sie der Jünger zusich. Darnach, als Jesus wußte, daß schonalles vollbracht war, daß die Schrift erfülletwürde, spricht er:

CHRISTMich dürstet!

EVANGELISTDa stund ein Gefäße voll Essigs. Sie fülletenaber einen Schwamm mit Essig und legtenihn um einen Isopen, und hielten es ihm darzum Munde. Da nun Jesus den Essiggenommen hatte, sprach er:

CHRISTEs ist vollbracht!

30. ALTO ARIAEs ist vollbracht,O Trost vor die gekränkten Seelen!Die Trauernachtläßt nun die letzte Stunde zählen.Der Held aus Juda siegt mit Machtund schließt den Kampf. Es ist vollbracht!

31. EVANGELISTUnd neiget das Haupt und verschied.

32. BASS ARIA WITH CHORALEMein teurer Heiland, laß dich fragen,da du nunmehr ans Kreuz geschlagenund selbst gesagt: Es ist vollbracht,bin ich vom Sterben frei gemacht?Kann ich durch deine Pein und Sterbendas Himmelreich ererben?Ist aller Welt Erlösung da?Du kannst vor Schmerzen zwar nichts sagen;doch neigest du das Hauptund sprichst stillschweigend: Ja!

He paid attention to everythingin the last hour,he still thought of his mother,and gave her a guardian.O mortal, do what is right,love God and other people,so that you die free from sufferingand grief.

And from that moment on she took thedisciple into her house. After that, whenJesus knew that everything had now beencompleted, so that the scripture might befulfilled, he said:

I am thirsty.

There was a jar full of vinegar there. Theysoaked a sponge with vinegar and put it on astick of hyssop and lifted it up to his mouth.When Jesus had taken the vinegar, he said:

It is accomplished.

It is accomplished;what comfort for suffering souls!The last hours of the night of sorroware approaching.Judah’s hero triumphs with strengthand wins the fight. It is accomplished!

And he bowed his head and gave uphis spirit.

My dear Saviour, let me ask you,now that you are nailed to the crossand have yourself said, ‘It is accomplished’:am I set free from death?Can I, through your pain and death,inherit the kingdom of heaven?Is this the redemption of the whole world?You cannot speak for the pain,yet you bow your headand silently say: Yes!

THE WORDS


Jesu, der du warest tot,lebest nun ohn Ende,in der letzten Todesnotnirgend mich hinwendeals zu dir, der mich versühnt,o du lieber Herre!Gib mir nur, was du verdient,mehr ich nicht begehre!

33. EVANGELISTUnd siehe da, der Vorhang im Tempel zerrißin zwei Stück von oben an bis unten aus. Unddie Erde erbebete, und die Felsen zerrissen,und die Gräber täten sich auf, und stundenauf viele Leiber der Heiligen.

34. TENOR ARIOSOMein Herz, in dem die ganze Weltbei 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. SOPRANO ARIAZerfließe, mein Herze, in Fluten der Zährendem Höchsten zu Ehren.Erzähle der Welt und dem Himmel die Not:Dein Jesus ist tot!

36. EVANGELISTDie Jüden aber, dieweil es der Rüsttag war,daß nicht die Leichname am Kreuze bliebenden Sabbath über (denn desselbigen SabbathTag war sehr groß), baten sie Pilatum, daßihre Beine gebrochen und sie abgenommenwürden. Da kamen die Kriegsknechte undbrachen dem ersten die Beine und demandern, der mit ihm gekreuziget war. Als sieaber zu Jesu kamen, da sie sahen, daß erschon gestorben war, brachen sie ihm dieBeine nicht; sondern der Kriegsknechte einereröffnete seine Seite mit einem Speer, undalsobald ging Blut und Wasser heraus. Undder das gesehen hat, der hat es bezeuget,und sein Zeugnis ist wahr, und derselbigeweiß, daß er die Wahrheit saget, auf daß ihrgläubet. Denn solches ist geschehen, auf daßdie Schrift erfüllet würde: “Ihr sollet ihm keinBein zerbrechen.” Und abermal spricht eineandere Schrift: “Sie werden sehen, inwelchen sie gestochen haben!”

Jesus, you who were deadnow live for ever.In the last hour of death,let me turn nowherebut to you, who have atoned for me,O my dearest Lord!Give me only what you have earned,I desire nothing more.

And behold, the curtain in the temple wastorn in two from top to bottom. And the earthquaked, and the rocks were torn apart andthe graves opened up, and the bodies ofmany holy people rose from the dead.

My heart! while the whole worldshares in the suffering of Jesus,the sun dresses itself in mourning,the curtain tears, the rocks fall to pieces,the earth quakes, the graves split open,as they see the Creator growing cold:what will you do for your part?

O my heart, melt in floods of tearsto honour the Most High.Tell heaven and earth the terrible news:your Jesus is dead.

Now since it was the day of preparation, sothat the bodies would not remain on thecross during the Sabbath (for this Sabbathwas a very important one) the Jews askedPilate to have the legs broken and the bodiestaken away. So the soldiers came and brokethe legs of first one, then the other of themen who had been crucified with him. Butwhen they came to Jesus and saw that hewas already dead, they did not break his legs;instead, the soldier opened his side with aspear, and immediately blood and waterflowed out. And he who saw this has testifiedto it, and his testimony is true, and he knowsthat he is speaking the truth, so that you maybelieve. For these things happened to fulfilthe scripture: You shall not break a singleone of his bones. And in another place it iswritten: They will look upon the one whomthey have pierced.

THE WORDS


37. CHORALEO hilf, Christe, Gottes Sohn,durch dein bitter Leiden,daß wir dir stets untertanall Untugend meiden,deinen Tod und sein Ursachfruchtbarlich bedenken,dafür, wiewohl arm und schwach,dir Dankopfer schenken!

38. EVANGELISTDarnach bat Pilatum Joseph von Arimathia,der ein Jünger Jesu war (doch heimlich ausFurcht vor den Jüden), daß er möchteabnehmen den Leichnam Jesu. Und Pilatuserlaubete es. Derowegen kam er und nahmden Leichnam Jesu herab. Es kam aber auchNikodemus, der vormals bei der Nacht zuJesu kommen war, und brachte Myrrhen undAloen untereinander bei hundert Pfunden. Danahmen sie den Leichnam Jesu und bundenihn in leinen Tücher mit Spezereien, wie dieJüden pflegen zu begraben. Es war aber ander Stätte, da er gekreuziget ward, einGarten, und im Garten ein neu Grab, inwelches niemand je geleget war. Da selbst hinlegten sie Jesum, um des Rüsttags willen derJüden, dieweil das Grab nahe war.

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 istund ferner keine Not umschließt,macht mir den Himmel auf,und schließt die Hölle zu.

40. CHORALEAch Herr, laß dein lieb Engeleinam letzten End die Seele meinin Abrahams Schoß tragen,den Leib in seim Schlafkämmerleingar sanft ohn einge Qual und Peinruhn bis am jüngsten Tage!Alsdenn vom Tod erwecke mich,daß meine Augen sehen dichin aller Freud, o Gottes Sohn,mein Heiland und Genadenthron!Herr Jesu Christ, erhöre mich,ich will dich preisen ewiglich!

O help us, Christ, Son of God,through your bitter sufferingso that, always subject to you,we may avoid all evil ways,meditate fruitfullyon your death and what caused it,and, though poor and weak,make thank-offerings to you for it.

After that, Joseph of Arimathaea, who was adisciple of Jesus (but in secret, for fear of theJews), asked Pilate whether he might takeaway the body of Jesus. And Pilate gave hispermission. So he came and took the body ofJesus away. Nicodemus came as well—theone who had earlier come to Jesus in thenight—and brought a mixture of myrrh andaloes weighing a hundred pounds. They tookthe body of Jesus and wrapped it with spicesin linen cloths, according to the Jewish burialcustom. Now at the place where he had beencrucified, there was a garden, and in thegarden a new tomb, in which no-one had yetbeen buried. There they lay Jesus, because ofthe Jewish day of preparation, since the tombwas close at hand.

Rest in peace, O holy limbs,over which I no longer weep:rest in peace, and bring me to peace also.The tomb that has been set aside for youand contains no further distressopens the heavens to me,and closes hell.

O Lord, let your dear little angelcarry my soul at the lastinto the lap of Abraham;let my body in its little bedchamberrest gently, free from any pain or suffering,until the day of judgement!Then awaken me from deaththat my eyes may see youwith utter joy, O son of God,my saviour and throne of grace!Lord Jesus Christ, hear my prayer,I would praise you for all eternity!

English translation (Bach) by Natalie Shea © 2000


THE ARTISTS

Elizabeth Scott graduated from the SydneyConservatorium of Music in 1995 as a flute major,having earned the prestigious Student of the YearAward and the Reuben F Scarf Scholarship foracademic and musical excellence. Holdingscholarships from the Hungarian Ministry ofEducation, she then completed postgraduatestudies in choral conducting, vocal performanceand aural training in Hungary and Germany beforereturning to Australia in 2004. She is a graduateof Symphony Australia’s Conductor DevelopmentProgram, participating in workshops with theQueensland, Adelaide and Melbourne symphonyorchestras and Orchestra Victoria, among others.She was also awarded the Sydney ChoralSymposium Foundation Choral ConductingScholarship in 2008.

She has been the music director of SydneyPhilharmonia’s VOX since 2008, building theensemble into one of Australia’s leading youngadult choirs. She was Assistant Chorus Master toSydney Philharmonia Choirs from 2006 to 2008and Acting Music Director for the first half of2013. She also regularly works as a chorus masterfor the Sydney Symphony Orchestra, preparingchoirs for conductors such as Simone Young,David Robertson and Charles Dutoit. In 2017 shewas the first Australian woman to conduct theSydney Philharmonia Choirs’ annual performanceof Messiah at the Sydney Opera House. She isregularly invited as a guest conductor forensembles such as Canberra Choral Society, CoroInnominata, Macquarie University Singers andOrpheus Choral Music.

She is active in music education and is currentlythe Music Performance Projects Officer(Secondary Choral Music/Instrumental Music)for the Arts Unit, a specialist branch of the NSWDepartment of Education, and regularlyconducts for State Music Camps, Choral andInstrumental Music Festivals, and the NSWPublic Schools Singers. She has been the ChoralConductor for the Schools Spectacular since2009, and was also Director of Vocal and ChoralStudies at the Conservatorium High School(2012–2013).

Elizabeth Scott is the conductor of the SydneyConservatorium of Music Choir, where she is alsocurrently completing a Doctorate of Musical Arts.She works regularly with Cantillation and hasperformed and recorded with Pinchgut Operaand The Song Company.

ELIZABETH SCOTTConductor & Music Director VOX

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:Keith

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THE ARTISTS


RICHARD BUTLERTenor (Evangelist)

English tenor Richard Butler recently celebratedhis tenth year in Australia, during which time hehas appeared for organisations such as theMelbourne, West Australian and Tasmaniansymphony orchestras, Canberra InternationalFestival, Adelaide Festival, Sydney Festival,Australian Brandenburg Orchestra, PinchgutOpera, Adelaide Chamber Singers, SydneyChamber Choir, Perth Symphonic Chorus andRoyal Melbourne Philharmonic, as well asSydney Philharmonia Choirs.

Born and raised in England, he was headchorister at Durham Cathedral and choral scholarat King’s College, Cambridge. He was then a layclerk at Westminster Cathedral and sang inprofessional ensembles such as Tenebrae, theGabrieli Consort, Gallicantus and the EnglishConcert, performing globally in ensemble and asa soloist.

A life-long professional church musician, hespecialises in the works of Bach and his peersand has appeared as Evangelist many times inthe St Matthew and St John Passions as well asaria soloist, most recently for the WASO in 2019and for the TSO in 2016 for the late Richard Gill.Recent highlights include projects for BachAkademie Australia, Bach and Telemann forPinchgut Opera’s inaugural concert series in2019, Messiah (RMP), Monteverdi Vespers(Joseph Nolan and St George’s Cathedral, Perth)and Britten’s St Nicolas (Sydney Chamber Choir).Richard Butler is also the principal lay clerk atSt Mary’s Cathedral, Sydney.

ANDREW O’CONNORBass-baritone (Christ)

As a performer and educator, Perth-born AndrewO’Connor is versed in a wide variety of styles andgenres. He is a lay clerk with St Mary’s CathedralChoir, was an Associate Artist with Pacific Operain 2019, and was the winner of the 2020 RoyalMelbourne Philharmonic Aria Competition.

From 2015 to 2019 he was a core member ofThe Song Company and he has developed a busyfreelance portfolio career – singing with virtuallyall of Sydney’s leading music organisations inboth an ensemble context and increasingly as asoloist.

This year his major engagements includeperforming in the entirety of Pinchgut Opera’s20th Anniversary Season with three roles inThe Loves of Apollo and Dafne (Cavalli), assoloist in their Purcell and Charpentier concertprogram, and with Cantillation in Monteverdi’sVespers and Rameau’s Platée; as well asHandel’s Dixit Dominus with AustralianBrandenburg Orchestra, projects with BachAkademie Australia, a Musica Viva Sessionsconcert at the Royal Botanic Gardens with VocalDetour, the premiere of Katy Abbott’s HiddenThoughts: Do I Matter? (Canberra InternationalMusic Festival) and – pandemic permitting –three weeks at the American Bach SoloistsAcademy in San Francisco.

THE ARTISTS

CELESTE LAZARENKOSoprano

A graduate of both London’s Guildhall and theSydney Conservatorium and a recipient ofnumerous prizes and awards, while based in theUK, Celeste Lazarenko worked with Opera North,Glyndebourne, English National Opera and AngersNantes Opéra.

In Australia her roles have included the title rolein The Cunning Little Vixen for Victorian Opera,Female Chorus (The Rape of Lucretia) for SydneyChamber Opera, and Télaïre (Castor et Pollux),Medea (Giasone) and Léonore (L’amant jaloux)for Pinchgut Opera. In 2020 she would havemade her debut with New Zealand Opera singingthe title role of Handel’s Semele and haveappeared in Haydn’s Creation with the AustralianRomantic & Classical Orchestra .

For Opera Australia she has appeared as DonnaAnna (Don Giovanni), Pamina and Second Lady(The Magic Flute) and Susanna (The Marriage ofFigaro) on tour, and as Sylviane (The MerryWidow), Kate Pinkerton (Madama Butterfly), andFiji Woman in Whiteley.

On the concert platform Celeste Lazarenko hasappeared with the Queensland, Sydney and NewZealand symphony orchestras, Australian HaydnEnsemble, Sydney Philharmonia Choirs and theNewcastle University and Sydney Universitygraduate choirs.

SIAN SHARPMezzo-soprano

Since joining Opera Australia as a member of theMoffatt Oxenbould Young Artists’ DevelopmentProgram, Sian Sharp has sung many of the majormezzo-soprano roles for the company includingthe title role in Carmen, Amneris (Aida),Marchese Melibea (Il viaggio a Reims), La belleDulcinée (Don Quichotte), Waltraute, Rossweisseand Siegrune (Ring Cycle), Olga (EugeneOnegin), Maddalena (Rigoletto), Suzuki(Madama Butterfly), Dorabella (Così fan tutte),Rosina (The Barber of Seville), Second Lady (DieZauberflöte), Cherubino (Le nozze di Figaro),Hansel (Hansel and Gretel), Stéphano (Roméo etJuliette), Nancy (Albert Herring) and Hermia (AMidsummer Night’s Dream). She has alsoappeared with Opera Australia in concert as Bersi(Andrea Chénier) and Albine (Thais), as well asin The Domain and New Year’s Eve gala concertsand their Great Opera Hits concerts.

On the concert platform, Sian Sharp hasperformed with the Queensland SymphonyOrchestra (Messiah), Sydney SymphonyOrchestra (Mendelssohn’s A Midsummer Night’sDream) and Melbourne Symphony Orchestra(Mary in The Flying Dutchman). For SydneyPhilharmonia Choirs she has sung in Elijah and aseries of Bach concerts, and will return toperform Verdi’s Requiem later this year.

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:LouisDillon

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THE ARTISTS


NICHOLAS JONESTenor

Brilliant young tenor Nicholas Jones recently wona Green Room Award for his portrayal of David inDie Meistersinger von Nürnberg for OperaAustralia; he was nominated for a HelpmannAward for this same role.

A graduate of the Victorian College of the Artsand a Herald-Sun Aria finalist, his roles for OAinclude Remendado (Carmen), Marasquin (TwoWeddings, One Bride), Albazar (Il turco in Italia),several roles in The Nose, and Tamino andAlmaviva in the touring productions of The MagicFlute and The Barber of Seville.

In 2016 he created the role of Fish Lamb inCloudstreet (State Opera South Australia). Hehas sung Male Chorus in The Rape of Lucretia(Victorian Opera), Britten’s Canticles and StefanCassomenos’ Art of Thought (Melbourne RecitalCentre), Soldier in The Emperor of Atlantisand Barnardo in Erwin und Elmire (IOpera),Britten’s Serenade for tenor, horn and strings(ANAM) and Haydn’s Creation (SydneyPhilharmonia). He was also an original castmember in Deborah Cheetham’s indigenousopera Pecan Summer.

Engagements in 2019 included Tom inChristina’s World (State Opera South Australia)and Michael Driscoll in the premiere of Whiteley(Opera Australia). This year he appears for OperaAustralia and Pinchgut Opera. Nicholas Jones isthe current recipient of the Dame Heather BeggMemorial Award.

DAVID GRECOBaritone

Internationally regarded for his interpretationsof Schubert lieder and the works of J.S. Bach,baritone David Greco has sung on some of thefinest stages across Europe and has appeared asa principal in the world’s most exciting operafestivals, including Festival Aix-en Provence andGlyndebourne Festival Opera. In 2014, he wasthe first Australian appointed to a position withthe Sistine Chapel Choir in the Vatican.

He regularly appears as a soloist with leadingAustralian ensembles such as the AustralianBrandenburg Orchestra, Pinchgut Opera andAustralian Chamber Orchestra. Most recently hemade his debut in Helpmann Award-winningconcerts of music by J.S. Bach with the SydneySymphony Orchestra.

David Greco is an active researcher intohistorical performance practice of 19th-centuryvocal music and he recently received hisdoctorate from Melbourne University. This hasled to the first Australian recordings ofhistorically informed performances of Schubert’ssong cycles Winterreise and Die schöne Müllerin(ABC Classic), the latter receiving an ARIAnomination for Best Classical Album in 2020.


THE ARTISTS

Sydney Philharmonia Chamber Singers

SOPRANOSJodie BoehmeLucy BrutonAbbey Carter

Liz FuggleGrace Leonard

Raphaela MazzoneJane Nieminska

Jayne OishiNathalie O’Toole

Katherine Thompson

ALTOSKate ClowesClaire Duffy

Jessica FarrellVesna HatezicTracey Jordan

Judith PickeringBeverley Price

Elizabeth ScottMegan Solomon

TENORSLangzi ChiuSteven HankeyBoghos KeleshianDimitry MoraitisAdrien PironRajah SelvarajahAlex Walter

BASSESAndy ClareCallum CloseNicholas DavisonBenoit DeneySimon HarrisSelwyn LemosRobert MitchellEric NelsonIan PettenerIsaias Sirur FloresBruce Watson

Claire Howard Race Assistant Chorus Master & Principal Rehearsal PianistTim Cunniffe Rehearsal PianistTanja Binggeli Language Coach

THE ARTISTS


Sydney Philharmonia Baroque Orchestra

FIRST VIOLINSFiona Ziegler Concertmaster

Michele O’YoungStephen Freeman

Matthew BruceMeg Cohen

James Armstrong

SECOND VIOLINSLéone Ziegler

Julia RussonielloNarine Melconian

Kiseok KimJames Tarbotton

VIOLAS D’AMORENicole Divall

Stephen Freeman

VIOLASNicole Divall

Nicole ForsythHeather LloydJames Eccles

VIOLA DA GAMBAAnthea Cottee

CELLOSAnthea Cottee

Rosemary QuinnAnita Gluyas

DOUBLE BASSESDorit HerskovitsHamish Gullick

FLUTESMelissa FarrowRuth Crosby

OBOES & OBOES DA CACCIAKirsten BarryNeil Simpson

OBOE D’AMORENeil Simpson

BASSOONSimon Rickard

ORGANDavid Drury

HARPSICHORDNathan Cox

LUTETommie Andersson

Continuo organ by Henk Klop, Garderen,The Netherlands (2004); Ruckers doubleharpsichord by Carey Beebe, Sydney (2003).Supplied and prepared by Carey BeebeHarpsichords.

Nicole Divall is playing a viola d’amorecourtesy of Cath Shugg.


$10,000+Robert Albert AO andLibby Albert

John Cunningham AMAnonymous (1)

$5,000 – $9,999Jennifer CookEric HansenIphygenia KallinikosJohn Lamble AOJacqueline RowlandsAnonymous (1)

CENTENARY CIRCLERobert Albert AO andLibby Albert

Prof. the Hon. Dame MarieBashir AD CVO

Ian and Claire BennettChristine BishopDavid and Halina BrettBrian and Nathalie DeesonRuth EdenboroughProf. Jenny EdwardsDavid and Sue EllyardKate FootDenys and Jenny GillespieEric HansenDavid and Sarah HowellRuth LambertYvette and Peter LeonardDr Carolyn Lowry OAM andPeter Lowry OAM

Peter and Lisa MacqueenDr John O’BrienRosalind Strong AM andAntony Strong

Catrin Thomas and Philip EarlJudge Robyn TupmanKay VernonSara WattsAnthony and Annie WhealyJacqui Wilkins and Arno FranzCathy and Jon WilliamsonAnonymous (2)

100 MINUTES OF NEWAUSTRALIAN MUSICLouise BainSheena BoughenJohn Cunningham AMJune CunninghamIan DaviesJannie van DeventerPhillipa DuflouIn memory of Rinaldo UFabbro

Prof. Jenny EdwardsDenys and Jenny GillespieRobert GreenVesna HatezicDavid and Sarah HowellDebra and Michael LangfordPenny Le CouteurLynne McEachernJolanta MasojadaMargaret MillardBernadette MitchellLouise NicholasAnna PenderIan and Christine PendletonBeverley PriceGeorgia RiversPeter RobertsRegula ScheideggerMartin StebbingsVirginia TameNicholas TongKay VernonErna de VriesSara WattsJacqui WilkinsAmanda WilsonAnonymous (1)

OUR SUPPORTERS

Sydney Philharmonia Choirs gratefullyacknowledges the vision, commitment

and generosity of our supporters.

All donations of $2 and above are tax deductible. Donationsof $500 or more are listed in our concert programs.

OUR SUPPORTERS


$2,500 – $4,999James and Ariella CoxKatie BlakeJohn BevanWarren GreenMr JDO BurnsLisa & Peter MacqueenRuth EdenboroughCathy WilliamsonAnonymous (4)

$1,000 – $2,499Jock BairdS. BarrettSue BowringPatricia BradleyIan CampbellPhil and Liz CreniganJulie and Bill DowsleyBerenice Gardiner-HillLeonard Storlien in memoryof Sue Hatherly

Kellie Hewitt-TaylorDerek HodgkinsDavid and Sarah HowellDavid and Jenny JacobsFiona JoneshartLilly KrienbuhlDr Veronica Lambert andTrevor Danos AM

Anthony MaidenRachel MaidenJolanta MasojadaHelen MeddingsJeffrey MellefontJohn Moore

Mary MortimerNational Australia BankRoss NicholasSusan NicholasIn memory of Helen PedersenRD & JM PerryFelicité RossElizabeth ScottAveen StephensonElizabeth TalbertAnthony and Annie WhealySue WhyteKay VernonMark WongMarianna WongBen YiAnonymous (1)

$500 – $999Paul AndrewsLillian ArmitageJulie BanguraTony BartleyRobyn BlaineyPeter CallaghanColleen and MichaelChesterman

Olivier ChretienKate ClowesJulian Coghlan andAndrea Beattie

Daryl ColquhounIan ConnellyPatricia CurottaNicholas DavisonDonald Denoon

James DevenishLynne FrolichJane FryDiana GrayPaul GreenShirley HofmanBruce LaneMark LeemingHeather Lees-SmithE. MacdonaldMargaret McKelveyRobert MitchellRuth MitchellBill NapierKelvin OliveAnna PenderRobyn PhillipsKathryn RichardsonFelicity SaundersMarlyn SciberrasPetrina SlaytorErna de VriesRoss WebbGillian Wood

Please consider making a tax-deductible donation to SydneyPhilharmonia Choirs. Your gift, of any size, would make a vitalcontribution to ensuring our future as we return to concert-giving.

sydneyphilharmonia.com.au/donate


ABOUT US

SYDNEY PHILHARMONIA CHOIRS

Sydney Philharmonia Choirs presents the art ofchoral singing at the highest standard, anddevelops the talents of those with a passion forsinging, in Sydney and beyond. Founded in1920, it has become Australia’s finest choralorganisation and is a Resident Company of theSydney Opera House.

Led by Music Director Brett Weymark since2003, SPC comprises three auditioned andthree community choirs that perform repertoirefrom choral classics to musical theatre andcommissions by Australian composers. SydneyPhilharmonia Choirs presents its own annualconcert season and collaborates with leadingconductors, soloists and orchestras in Australiaand overseas. In 2002, SPC was the firstAustralian choir to sing at the BBC Proms(Mahler’s Symphony No.8 under Simon Rattle),

returning again in 2010 to celebrate its 90thanniversary. The choirs perform in the SydneySymphony Orchestra’s subscription series everyyear as they have done for more than 80 years.Sydney Philharmonia Choirs also presents aseries of community singing events throughoutthe year – Chorus Oz (our annual big sing),PopUp Sing and singing workshops throughoutSydney and regional NSW.

In 2020, Sydney Philharmonia Choirscelebrated 100 years. Despite the restrictionson live performances, it pressed ahead with acommissioning project that includes 100minutes of new Australian music featuringcomposers Brett Dean, Elena Kats-Chernin andDeborah Cheetham, among others. The 2021season sees a cautious but bold return to livechoral performances.

Wharf 4/5, 15 Hickson Road, Dawes Point(02) 8274 6200 | [email protected]

sydneyphilharmonia.com.au

VICE-REGAL PATRONSThe Hon. Margaret Beazley AO QC, Governor of

New South Wales and Mr Dennis Wilson

VICE PATRONSProf. the Hon. Dame Marie Bashir AD CVO

Lauris Elms AM OBE DMus (Syd)

AMBASSADOR FOR SINGINGYvonne Kenny AM

BOARDJacqui Wilkins Chair & President

Andrea Hoole TreasurerIan Bennett, Tracey Jordan, John Moore

Bill Napier, Georgia Rivers, Ben Yi

STAFFHannah Mason General ManagerBrett Weymark Artistic and Music DirectorElizabeth Scott Music Director VOXClaire Howard Race Assistant Chorus Master &

Principal Rehearsal PianistMark Robinson Artistic Operations ManagerEva Tilley Choirs ManagerMeagan Fitzpatrick Choirs ManagerSimon Crossley-Meates Marketing ManagerRebecca Sawyer Office & Box Office

AdministratorSusan Gandy Orchestra CoordinatorJohn Liebmann Finance Manager

PROGRAM CREDITSYvonne Frindle Editor and DesignJason Jaram Brand ConceptImmij Printer

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https://sydneyphilharmonia.com.au/

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https://www.youtube.com/channel/UCl4cGHulzH-BkY_D35ggkUQ


CARMINA BURANA

One performance only!Saturday 22 May at 3pm

Sydney Town Hall

Tickets on sale 12 Aprilsydneyphilharmonia.com.au

Carl Orff’s exhilarating ‘Profane Songs’arranged for chorus, piano duo and percussion

withSCULTHORPE Sun Music for voices and percussion

PETERSON The earth that fire touches

https://sydneyphilharmonia.com.au/

ST JOHN PASSION - Sydney Philharmonia Choirs

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