AND YOU MUST SUFFER St. John Passion / Bach

10/11/12.3
20:00, Kaaitheater
AND YOU MUST SUFFER
klara
festival
Brussels
International
Music
© Wim Delvoye
programme AND YOU MUST SUFFER
St. John Passion / Bach
ARTISTIC PARTNERS MAIN
PARTNERS OFFICIAL
FESTIVAL
CAR
Klarafestival
Erbarme dich
9 24.3
2016
AND YOU MUST SUFFER
St. John Passion / Bach
This concert is patronated by
H.E. Maryem van den Heuvel, Ambassador of the Kingdom of the Netherlands to Belgium
Mr. ven Gatz, Flemish Minister for Culture, Media, Youth and Brussels Affairs
The Netherlands at Klarafestival!
During the first half of 2016, the Netherlands will preside over the
Council of the European Union. The Netherlands is aiming at a union
that creates growth and jobs through innovation and a European
Union that gives its citizens a pivotal role.
In cooperation with many partners, Amsterdam and Brussels will
together play host to the cultural programme ‘Europe by People’.
There will be great exhibits, inspiring performance arts and so much
more! A young generation of artists, designers and creators shares
its view on the future of Europe. Klarafestival, too, is a partner to the
programme.
Maryem van den Heuvel, Ambassador of the Kingdom of the
Netherlands to Belgium, will sponsor the three Dutch concerts of
Klarafestival. She explains: “The Dutch embassy in Brussels has
greatly enjoyed working with Klarafestival these past few years and
this collaboration has been very successful. I am glad that we can
keep this work up in this special year. The cultural cooperation and
exchange between the Netherlands and Belgium is intense and an
established name like Klarafestival contributes to strengthening and
consolidating this cooperation. I believe that art has the capacity to
make society more self-aware, beautiful and economically stronger.
The strength of the Netherlands lies in its ability to be innovative and
creative, to cooperate and to unite. A strength that is reflected in its
interaction with other countries.”
Debates on suffering, compassion and religion are ancient. In music
as well. The Johannes Passion by J.S. Bach transforms in the production of Pierre Audi and accompanied with images of Wim Delvoye
and music from Samir Odeh-Tamimi, to a helix of Western avantgarde and ancient Sufi sounds. The new production ‘And you must
suffer’ is a worthy participant of the Klara Festival, that runs up until
march 24th.
The festival will once again live up to its rich history and undoubtedly
astonish and touch its great number of spectators with wonderful
music and a haunting message. The 2016 edition will commence in
the spirits of Bach’s Matthäus passion aria: Erbarme dich, touching
straight through our hearts. Brace yourselves, open your ears and
enjoy! May this festival strike a nerve until the sound of silence is
upon you.
Mr. Sven Gatz
Flemish Minister for Culture, Media, Youth and Brussels Affairs
H.E. Maryem van den Heuvel
Ambassador of the Kingdom of the Netherlands to Belgium
Below is the list of the three Dutch concerts and their dates during
Klarafestival:
ARTISTIC PARTNERS
• Rite of Spring, with the Dutch Radio Philharmonic Orchestra (9 March)
• And you must suffer / St John Passion (10 March > 12 March)
• Yellow Lounge, with the DJ duo Mengel & Berg (24 March)
klara
festival
Brussels
International
Music
Strategic Partners:
Discover the cultural aspect of the Dutch presidency:
www.europebypeople.nl
Strategic Partners:
Klarafestival
Erbarme dich
9 AND YOU
MUST SUFFER
2016
P3
thursday 10.3
2016
St. John Passion / Bach
Andreas Spering, conductor
Jakob Pilgram, tenor
Dominik Köninger, baritone
Grace Davidson, soprano
Benno Schachtner, countertenor
Magnus Staveland, tenor
Tomáš Král, bass
Baroque Orchestra B’Rock
NFM Choir
24.3
Pierre Audi, director (mise-en-espace)
Wim Delvoye, images
Roel Van Berckelaer, set design
Mirjam Devriendt & Vincent Dunoyer,
video
Peter Quasters, stage lighting
friday 11.3
2016
saterday 12.3
20:30
Kaaitheater
production Muziektheater Transparant, B’Rock Orchestra
co-production Klarafestival, Kaaitheater, De Munt/La Monnaie, NFM Choir, Wroclaw
National Forum of Music Polish Institute Cultural Service of the Embassy of the Republic
of Poland in Brussels
A Klarafestival / Flanders Festival Brussels commission to Samir Odeh-Tamimi.
A Muziektheater Transparant commission to Annelies Van Parys
Debate about
suffering,
compassion
& religion
12.3
15:00
Kaaitheater
°1975
concert without intermission
the concert is expected
to end at: 22:45
And Thou Must Suffer, prologue: There is no love
that doesn’t pierce the hands and feet (2016, world premiere)
in the context of
programme
Annelies VAN PARYS
Johann Sebastian BACH
Wroclaw,
Cultural Capital of Europe
with the support of
1685-1750
Passio secundum Joannem, BWV 245
Parte prima
(1724)
Samir ODEH-TAMIMI
°1970
Klara, Saturday
19.03.2016 at 19:00
flowers provided by Daniël Ost
cd’s provided by La Boîte à
Musique
broadcast on Klara
L’Apokalypse Arabe I (2016, world premiere)
Johann Sebastian BACH
1685-1750
Passio secundum Joannem, BWV 245
Parte seconda
(1724)
Whether it’s attending a concert introduction
by specialists, talking things over afterwards
or simply relaxing with a tasty beverage,
the Klarafestivalcafé @ Bozar is the place to be.
Partagez votre expérience Festival dès à présent
sur Facebook et Twitter !
#Klarafest Klarafestival
Kaaitheater is supported by
E
Klarafestival
Erbarme dich
9 24.3
2016
P4
And You Must Suffer
Und du mußt leiden! So ends the first chorale of
the St John Passion in which Bach touches upon one of
the most elementary aspects of human life. Suffering is of
all times and all places. One of the most existential and
tormenting questions that has occupied the mind of humankind throughout its history and around the world is that of
the meaning of suffering. In many cultures, this question is
answered in a religious framework. Suffering, then, is given
a transcendent dimension, it is the price we pay for a higher
purpose. But if the suffering purports to be meaningful, then
that higher truth must be the truth. Otherwise the question
is again unanswered.
So isn’t it a paradox that people wrestle with the
same fundamental question about suffering and come up
with similar answers and yet in spite of that, cause each
other such incredible suffering? The clash of civilisations is
inevitable argues the prominent American political scientist Samuel Huntington in his seminal work The Clash of
Civilizations. Cultural differences lead to irreconcilable
differences and many religions lay claim to intractable
truths. Since 9/11, ‘religion’ itself appears synonymous with
the (potential) violence it carries within it. But what is truth,
the key question that occupied the mind of the indecisive
Pontius Pilate, and how much pain are we willing to suffer
for this truth? What is the meaning of sacrifice (for faith) and
how much violence is there at the core of the sacrifice? Does
faith, in whatever form, lead inexorably to violence?
And You Must Suffer is a new production of
Klarafestival and Music Theatre Transparant, a staged performance of Bach’s St John Passion. With director Pierre Audi’s
unadorned staging concept, nothing distracts from the questions raised by the St John Passion. The passion provides the
narrative for a contemporary reflection on the role of religion
and its conflicting claims to truth, on identity and the conflicts
it causes and, finally, also on suffering and compassion. In
the middle of this production, you will notice a new work by
the Palestinian-Israeli composer Samir Odeh-Tamimi, placed
intentionally between the two parts of the St John Passion,
where normally there would be the sermon. Viae Crucis,
Wim Delvoye’s depiction of the classic fourteen Stations of
the Cross, with X-rays of mice, adds a third layer to And You
Must Suffer. Finally, Annelies Van Parys provides the St John
Passion with a prologue. She allows Bach’s passion to grow
from silence, a silence that is deafening after the last note
fades away.
The passion story in
Christian musical tradition
In Western Christian tradition, the theme of suffering
is channelled through the passion story. With his sacrifice,
Jesus delivered humankind.
Music has always been one of the best media to
bring across this highly emotional story. As early as the fourth
century, priests recited passion stories during the Holy Week
even though not very elaborately, musically or thematically.
Starting from the ninth century, the four evangelists made their
appearance in these sung narratives and from the 1100s on,
a certain separation of roles started to appear. The deacon
would sing the words of the evangelist and the other solo
parts, like Peter and Pontius Pilate, would be played by the
sub-deacon. When polyphony takes the stage, at first the
turbae, the parts spoken by the crowd, were sung by the
three solo singers and later by a separate choir. In the middle
of the sixteenth century, the language of the people replaces
Latin in the Lutheran Church. The compositions of the passion
are also influenced by the Italian Opera: recitatives and free
arias increase the dramatic impact of the text. Chorales were
included to increase the involvement of the crowd in the
music.
Bach’s St John Passion and St Matthew Passion, also
at Klarafestival, are undisputed highlights of the centuries-old
tradition of Passion music. The St John Passion in particular
has an unmatched dramatic and emotional power.
A dramatic passion story
for Good Friday
To this day, Bach’s St John Passion plays second
string to his composition of the Gospel of Matthew. There are
several reasons for this, including the murky origins and the
homogeneous libretto of the St John Passion.
The St John Passion, after the Magnificat (1723), is
the first large-scale work Bach composed in his capacity as
Thomas Cantor in Leipzig. The passion was first performed
on Good Friday in 1724. In his lifetime, Bach performed the
work at least four times, and he made changes every time he
performed the piece. The reason for this is not always clear,
but what is clear is that Bach sometimes needed to take into
account the practical circumstances of the performance. Not
every version necessarily meant an improvement and not
one of the existing manuscripts of the St John Passion can
lay claim to being the ‘authentic version’. A final version was
never published. Unlike the St John Passion, the St Matthew
Passion did quickly arrive at a final version.
The two passions also contrast in the libretto. In the
St Matthew Passion, on the one hand, the full redaction of the
libretto is in the hands of Picander, Bach’s regular lyricist. The
St John Passion’s libretto, on the other hand, is much more
eclectic. The greater part comprises chapters 18 and 19 of the
Gospel of John from the New Testament (from the Lutheran
Bible). Bach supplemented these with fragments from the
Gospel of Matthew. The texts from the choral passages are
often borrowed from early 17th-century hymns, the heyday of
German passion poetry. The rest of the text material comprises
free verses and are attributed to an unknown author.
However, it has been established that these additional lines
were inspired by Der für die Sünde der Welt Gemarterte uns
Sterbende Jesus by Hamburg counsellor and poet Barthold
Heinrich Brockes. This passion story was well-known in Bach’s
time. Many composers, including Telemann and Handel, had
already written music for it.
Precisely because of the texts that guided Bach, the
St John Passion is often experienced as more forceful and
dramatic than the more contemplative St Matthew Passion.
At several points, the St John Passion betrays Brockes’s
effective and theatrical style. Also, the Gospel according to
John is plain and direct which benefits the action. Because
Bach copied the verses from John’s Passion word for word,
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his music shows that same dynamic range. Rich, persuasive
imagery and deeply human emotions prevail over resignation
and contemplation.
As such, the St John Passion has scarcely any long
poetic and contemplative texts, quite unlike the St Matthew
Passion with its 26 arias and ariosos. The St John Passion
does not contain any solo ensembles (duets, etc.) nor are there
any elaborate passages for solo voice and choir. And with the
exception of the ‘Ruht wohl’, there are no madrigal-like tutti.
The musical component of the St John Passion that
stands out most is the elaborately developed ‘turbae’, the
interventions of the people in the form of chorales. John elaborately described the participation of the people in the events
surrounding Christ’s crucifixion. Bach picked up this element of
the Bible quote and emphasised it in the musical expression. In
doing so, the composer achieves emotional, dramatic effects.
Self-confident Christ,
doubting Pontius Pilate
For the construction of his composition, Bach follows
the tradition of the passion oratorio with its typical role division, additions of an evangelist, separate narrators and a turba
choir. For the character development, Bach follows John’s
lead.
John portrays Jesus as an emissary of the Father, his
suffering may be a sacrifice for human kind, but first and foremost Christ has a message to deliver. The miracles he performs
are not an act of mercy but rather are for the greater honour
and glory of God. The opening choir immediately makes this
clear. It calls upon Jesus with the words of Psalm 8: “Herr,
unser Herrscher, wie herrlich ist dein Name”. Also hymns like
“Ach, grosser König, gross zu allen Zeiten” propagate this
idea in accordance with John. The sovereignty of Christ also
appears from the rest of the passion. Jesus’ suffering is not
made explicit. The kiss of Judas never makes it in and Jesus
approaches the servants of the law with self-confidence,
almost arrogance. In John, Jesus carries his own cross, the
assistance of Simon of Cyrene is not even required. Even
when already on the cross, Jesus still looks after his mother
and the cry of despair ‘My God, why have you forsaken me’
does not enter into the picture. Jesus does not cry out his final
words but simply declares “Es ist vollbracht”. In this aria, as
well, Jesus’ royalty is central.
Also Pontius Pilate is given an entirely different face
in the St John Passion. The Roman prefect is given much
more attention in John’s account than in the other gospels. In
the Gospel of Matthew, we are left in the dark about Pilate’s
inner stirrings. In Bach’s composition he is an apathetic politician who is mainly concerned about maintaining the peace
between the Romans and the Jews. Pilate only has seven
direct interventions. In the St John Passion, that is more than
doubled with fifteen interventions. Pilate also expresses his
opinion, he has trouble sacrificing an innocent man. No less
than three times, the prefect proclaims “Ich finde keine Schuld
an ihm” and attempts to convince the crowd to show mercy:
“Sehet, welch ein Mensch”.
The trial, the dialogue between the kingly Jesus and
the doubting Pilate, is the dramatic climax to the St John
Passion. The music betrays the discomfort and fear of Pontius
Pilate and the dignity of Jesus. It is precisely the attitude of
these two protagonists that Pierre Audi uses as a starting point
and on which he bases his characters’ performances. Yet the
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most important line of this passage, and maybe even of the
passion, is Pilate’s (rhetorical) question “Was ist Wahrheit?”
Christ believes absolute truth exists but Pilate is not so sure.
His question remains unanswered. It creates the space to
move beyond the religions and timeframe of the passion story.
“Was ist Wahrheit” can also be more particularly interpreted
to mean ‘What is religious truth?’ And is the (one) truth worth
dying for?
Contemporary comments
The open question of the St John Passion becomes
increasingly pressing, its central themes more topical in the
form of a number of contemporary art pieces.
With an introduction added to the St John Passion,
starting with silence, Annelies Van Parys created a bridge
between our world and Bach’s. The pulsating accompanying
motif from the opening measures of the St John Passion is
already present in the prologue as a tiny cell, a heartbeat.
Singers make wordless sounds, inspired by lines and texts of
British author Jeanette Winterson.
At the heart of the St John Passion follows the next
creation by Samir Odeh-Tamimi. He is of Palestinian-Israeli
descent and travelled to Germany when he was twenty-two.
The influences of the diverse environments are evident from
Odeh-Tamimi’s musical language which displays a blend of
sufi and Western avant-garde sounds. Considering his background, it is tempting to view Odeh-Tamimi as a political or
religious activist with music as his medium, but that is a label
Odeh-Tamimi can do without, although he does appreciate the
power of art. “Art always has a message. Certainly the works
of great avant-garde composers like Luigi Nono or Schönberg
were in fact a kind of protest. All art that is public is political.
I use the word ‘political’ very carefully; I myself am not politically engaged, but some of my works are related to concrete
events and so are political.”
Also L’Apokalypse Arabe I, Odeh-Tamimi’s new work
for And You Must Suffer, falls into this category. The title is
borrowed from the eponymous cycle of poems by Etel Adnan,
one of the most important literary voices from the AmericanArab world. The Lebanese poet and painter with Greek and
Syrian roots wrote L’Apocalypse Arabe in the 1970s. The direct
cause was the Lebanese civil war. In the piece, Adnan reflects
on suffering and despair of the population during the war,
although the book-long poem actually deals with the broader
history of the Arab world as well as more profound philosophical questions. She paints a picture of a broken world that has
fallen apart. Adnan used an experimental, hybrid language
in which prose, poetry and calligraphic pictograms coincide.
“L’Apocalypse Arabe I is the start of a large project in which
I want to set Etel Adnan’s entire oeuvre to music. For this
first part, I used two poems from the bundle, in Arabic and in
French”, Odeh-Tamimi relates. “I wanted to use the St John
Passion to draw attention to the Arab tragedy that is currently
playing itself out everywhere. Or, at least, ‘draw attention to’
is perhaps not the best way to say it since it’s impossible to
miss. The St John Passion is for millions of people a message
of hope. This is my hope: That the Arab culture is reborn after
the apocalypse.”
At key moments during And You Must Suffer, you also
see video art by Mirjam Devriendt, a third layer in this multidisciplinary production. The figure of Rogier van der Weyden,
one of the most important representatives of the Flemish
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Primitives, plays a central part. Devriendt drew inspiration
from his feeling for movement and colour. For example, her
images of hand movements are a reference to Peter’s attitude
when he declares ‘Ich bin’s nicht’ but are at the same time
an allusion to the conductor’s gestures. Moreover, you see
fragments from the film made at the Prado in Madrid some
time ago. It shows how Christ on the cross between Mary and
John, a painting by Van der Weyden from 1460, was restored.
Not only is the subject matter of this piece connected to the
music, the restoration of the centuries-old panel is the same as
what the musicians do with their historically accurate performance of the St John Passion: it is the result of a quest for
authenticity, the desire to display a masterpiece in its original
condition. The film of the restoration is only one element in
the video material. “Some images refer to concrete events,
while others are just abstractions. In any case, the clips can
be interpreted more broadly. They are not limited only to that
which you actually see. As such, the images are bearers, even
amplifiers of the music. They help you follow it,” according to
Devriendt.
In Devriendt’s video installation, the images from
Wim Delvoye’s Viae Crucis are also an important element.
In this artwork from 2006, Wim Delvoye depicts the fourteen
stations of the cross using mice for the mise-en-scène and
photographed with X-rays. The X-rays represent analytical
reasoning, the scientific logos that looks for incontrovertible
truths – the new faith? – and that, paradoxically, thoroughly
demystifies our spiritual longings. In this case literally: the
beating heart of Christian religion is reduced to nothing
more than a, laughably, small pile of mouse bones. Delvoye
uses humour to disarm the gravity of religion. Still, Delvoye’s
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references to Christian iconography go beyond irony and
provocation. His work forces you to think about the meaning
of images and fits in a broader symbolic framework and long
art history. With its depiction of skeletons, Viae Crucis refers
to Belgian modernists like Rops, Ensor and Delvaux, from the
late 19th and early 20th century, who had a predilection for
skeletons and death. In much the same way, Viae Crucis also
refers to the Flemish Primitives: skeletons as vanitas symbols.
Also, the choice of mice as the subject of the images is not
coincidental. In Christian symbolism the rodent is considered
to be from the devil. This is why it is rarely depicted in religious scenes. Yet in the Mérode Triptych by the Master of
Flémalle, the mouse plays an important role even though it
does not appear in the painting. In a side-panel of this iconic
triptych from the early 15th century that shows the annunciation of Mary, you see Joseph making mouse traps in his role as
carpenter. According to leading art historian Meyer Schapiro,
this scene is an allusion to the metaphor of Church Father
Augustine. He considered the crucifixion of Jesus as a mousetrap for the devil who let himself be seduced by the bait just
as the little animal was.
We have come full circle. Just as the announcement
of Christ’s birth was immediately followed by a foreboding of
his death and the victory over evil, Wim Delvoye’s Viae Crucis
is at the same time retribution for and a tribute to a centuries-old tradition trying to give meaning to suffering via the
visual, written, spoken or musical arts.
Alexander Jocqué,
in collaboration with Annemarie Peeters
and Stefan Grondelaers
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INTERVIEW
Pierre Audi on And You Must Suffer
He has directed dozens of operas, from Claudio
Monteverdi to Alfred Schnittke, but an oratorio Pierre Audi
had not yet ventured upon. With And You Must Suffer, Audi
joins the ranks of a series of directors who have recently
created visual versions of great religious works that were
originally not intended for the stage. Human requiem,
Jochen Sandig’s adaptation of Brahms’s Ein deutsches
Requiem – also at Klarafestival – is is one example. Also
Bach’s St John Passion, the one the French-Lebanese
director set to work on, has already been adapted for stage
several times, including by Peter Sellars a few years ago.
So it is not all that obvious to find an original angle.
Not that Audi is very concerned about that: “It is not at all
my ambition to be original. Directing is not for directing’s
sake but serves to tell a story, convey a message. And to
better get to know the material you work with. If I find the
project intriguing, as is definitely the case here, I’ll do it.”
The nature of the project didn’t make Audi’s job any
easier. An oratorio is rather static and has a rigid structure.
In addition, he was facing the challenge to incorporate new
work from the contemporary composer Samir Odeh-Tamimi in
the adaptation, as well as the images of Wim Delvoye’s Viae
Crucis.
How did you approach this production?
“And You Must Suffer is not a spectacular production.
The St John Passion does not suit that purpose. I have created
a mise-en-espace, a kind of installation with the orchestra as
the focal point. Around the musicians, who are positioned in
the shape of a heart, the singers perform the passion of Christ.
I didn’t want to show the passion as in a more theatrical miseen-scène or transform it into something else.”
“The St John Passion is nevertheless a dramatic
oratorio. It possesses an almost Shakespearian dimension
which it acquires thanks to the attitude of the three key figures:
Christ, Peter and Pontius Pilate. The latter two are doubting
characters. They are both insecure, off-balanced by the fierce
call of the Jews to execute christ. Bach gives much space to
that insecurity. I incorporated that doubting demeanor in the
character development.”
The St John Passion is a key element of And You
Must Suffer. L’Apokalypse Arabe I by the Palestinian-Israeli
composer Samir Odeh-Tamimi is the second. You have a
strong report with the work.
“At first, I suggested to Samir to use Aramaic, the
language of Christ, for the libretto of his creation. Instead, he
made the counterproposal to draw from L’Apokalypse Arabe,
the famous and innovative work of Etel Adnan, who comes
from Beirut just like me. Etel is now past ninety. She wrote
Fragments of L’Apocalypse arabe, E. Adnan (L’Harmattan, 2006). The collection of poetry by Lebanese artist
Etel Adnan was the starting point for Samir Odeh-Tamimi’s composition L’Apokalypse Arabe I.
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L’Apokalypse Arabe in the 1970s, but it is still very topical. The
poetry book is a key work. In her very own way, she tried to
give a place to Lebanon’s war legacy. At the same time, the
poem has turned out to be very prophetic for the developments in the regio in the thirty years following.”
“Samir’s idea strongly appealed to me because I
know Etel and her work very well. We are even distant relatives. Long ago, before I went to England, when I was teaching
in Lebanon, I once invited Etel for a reading in my classroom.”
What is the role of L’Apokalypse Arabe I in the whole
of the production?
“Samir’s work literally and figuratively constitutes a
breaking point in the evening. Literally, because it arrives at
the heart of the St John Passion, in between the two sections.
And also figuratively, because L’Apokalypse Arabe I is an
answer, as it were, to Bach’s passion. The two works are a
commentary on each other.”
“With his description of the Jews as a bloodthirsty
crowd, the St John Passion is often labelled as racist.
L’Apokalypse Arabe I adds perspective to that, the work
questions how Europe and, by extension, the West regards
the Middle East. And especially how westerners deal with the
persecution of Christians there. It is a sort of reversal of the
persecution of Jews in Europe. At the same time, Etel’s poem
and its incorporation in Samir’s composition is a reminder that
modern civilisations have been unable to exterminate prejudice, hatred, religious persecution and racism.”
“Placing the two works next to each other, goes
beyond the concrete religions. The St John Passion contains
many echos of what is going on in the Middle East right now.
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That makes the work very topical. Samir’s composition then
serves as a mini requiem in the heart of the passion, not just
for Christ but for human kind.”
The performance includes Wim Delvoye’s Viae
Crucis, a controversial depiction of the stations of the cross
with X-rays of mice.
“Wim’s artwork is the third layer of And You Must
Suffer. The images of Viae Crucis are very captivating, even
poetic, because they form a counterpoint for the passion.
Mice and rats are used, abused, to understand human kind
better for science – maybe the new religion. The parallel with
Christ and human kind is obvious: some are of the opinion
the human kind must suffer to serve a higher purpose. That is
precisely the essence of faith.”
As a director you want to tell a story, convey a
message. What is the message of the St John Passion, and,
by extension, of And You Must Suffer?
“The passion has two functions. On the one hand, it
is a work of devotion, a hymn to God through the suffering of
Christ. On the other hand, it is a horrible story about a man,
hunted by an outraged mob into death and about a leader
who knows he has it wrong, but simply gives up. From that
angle, the passion is a work that probes for the relation
between violence and religion. Does it exist, and why? Then
the passion becomes a Lehrstuck, a story from which to draw
lessons. In its best interpretation, the passion is a manifest
against religious fanaticism.”
Alexander Jocqué
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Andreas Spering
Andreas Spering is a German conductor specialised
in early music and authentic performance. Between 1990 and
1994 and after his studies with Gerd Zacher in Essen, he was
harpsichordist with the baroque ensemble Musica Antiqua
Köln. Since 1996, he has held the position of artistic director
of the Brühler Schlosskonzerte. He is a regular guest of prominent opera houses and has led, amongst other productions,
Mozart’s Le Nozze di Figaro and Don Giovanni. Spering works
with renowned orchestras like the Royal Scottish National
Orchestra and the Gewandhausorchester Leipzig. Spering’s
performance of the St John Passion with the Capella Augustina
half a year ago drew a standing ovation from the audience.
Jakob Pilgram
The Swiss tenor Jakob Pilgram studied voice with
Hans-Jürg Rickenbacher in Basel and with Werner Güra in
Zürich. As a soloist, Pilgram has a predilection for gospel roles
in the passions of Bach, baroque operas, romantic song cycles
and contemporary music. He is also a member of various vocal
ensembles like the Balthasar Neumann Choir and Origen. In
2005, he founded Larynx, an ensemble that received the Basel
Culture Prize in 2012.
Dominik Köninger
The German baritone Dominik Köninger studied in
Karlsruhe with Roland Hermann. He has received a number of
awards and grants and mastered a broad repertoire of opera
and concert music, ranging from baroque to contemporary.
As opera singer, the roles he has played include Dandini in La
Cenerentola (Rossini), Teodoro in the first German performance
of Il Re Teodoro in Venezia (Paisiello/Henze) and Guglielmo in
Così fan tutte (Mozart). He has worked with prominent conductors like Kent Nagano, Herbert Blomstedt and Rolf Beck and has
sung in prestigious halls like the Festspielhaus Baden-Baden,
the Stuttgarter Liederhalle and the Philharmonie in Berlin.
Grace Davidson
Grace Davidson is a British soprano, specialised in
baroque music. During her studies at the Royal Academy of
Music in London, she received the prestigious Early Music
Prize. It marked the beginning of a successful international
career and a series of collaborations with some of the most
renowned baroque ensembles and composers like Sir John
Eliot Gardiner, Paul McCreesh and Philippe Herreweghe.
Davidson has performed in the world’s most prestigious
halls like the Barbican Centre in London, the Concertgebouw
Amsterdam and the Lincoln Center in New York.
Benno Schachtner
The German countertenor Benno Schachtner was
given piano and organ lessons as a child. Then he trained as
a singer with Heiner Eckels in Detmold and Ulrich Messthaler
in Basel. He caught the public’s attention with the title role
in Handel’s Orlando and was declared ‘best young artist’ of
the region Nordrhein-Westfalen in 2010. In 2012, he made his
debut at the Berliner Staatsoper with conductor René Jacobs in
Rappresentatione di Anima et di Corpo by Cavalieri. Schachtner
has sung at many festivals (Bachfest Leipzig, Handelfestspiele
Halle, Innsbrucker Festwochen der Alten Musik, etc.), accompanied by the best period orchestras (Helsinki Baroque
Orchestra, Leipziger Barockorchester, B’Rock).
Magnus Staveland
Magnus Staveland is a Norwegian tenor. He studied
voice at the Oslo State Academy of Music and at the Royal
Opera Academy in Copenhagen with Susanna Eken. Staveland
sings operas, masses, oratorios, symphonies and songs.
He works with conductors like Hansjörg Albrecht, Philippe
Herreweghe, René Jacobs, Marc Minkowski and George
Petrou. In 2015, he played Polifonte in Oracolo in Messenia
by Vivaldi at London’s Barbican Centre. He has collaborated
in several symphonic productions including Dvořák’s Stabat
Mater with the Orchestre des Champs-Elysées.
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Klarafestival
Erbarme dich
9 24.3
2016
P10
Tomáš Král
Baritone Tomáš Král trained as a singer at the
Janáčekacademie in Brno in Adriana Hlavsová’s class. Král is
a founding member of Collegium Vocale 1704 and has been
working with several Czech ensembles regularly since 2005
(Collegium Marianum, Musica Florea, Capella Regia, Ensemble
Inégal). He has also sung with ensembles like the Wrocław
Baroque Orchestra, Collegium Vocale Gent and Doulce
Mémoire. He performs at renowned festivals like the Dresdner
Festspiele, the Tage Alter Musik Regensburg and the Festival
Oude Muziek Utrecht as well as in prestigious halls like the
Konzerthaus (Wenen) and Wigmore Hall in Londen.
B’Rock Orchestra Ghent
Baroque orchestra B’Rock, specialised in authentic
performance, was founded in Gent in 2005 from a sense of
innovation and rejuvenation in the world of early music. B’Rock
programming combines established work from baroque literature with lesser known repertoire from the 17th and 18th
century. The orchestra focuses on made-to-measure creations
for its historic instrumentation as well as multidisciplinary
productions. B’Rock regularly works with renowned artists like
René Jacobs, Jérémie Rhorer, Alexander Melnikov and Sophie
Karthäuser. The orchestra has been hosted by prestigious halls
and festivals like BOZAR, de Munt, Wigmore Hall, Festival Oude
Muziek Utrecht and Innsbrucker Festwochen der alten Musik.
NFM Choir
The Polish NFM Choir from Wrocław is associated with
the National Forum of Music. This Polish Ministry of Culture
institute includes eleven different ensembles ranging from a
symphonic orchestra to a string quartet. The choir, one of the
eleven, was founded by Andrzej Kosendiak in 2006. It became
one of the most prominent vocal ensembles in Poland. The
choir has already worked with conductors like Paul McCreesh,
Giovanni Antonini, Krzystof Penderecki, James MacMillan and
Bob Chilcott.
Pierre Audi, conductor
Pierre Audi was born in Beirut, Lebanon. After having
spent some time in Paris, Audi and his family went to England
where he read history at Oxford. Shortly after graduating,
Pierre Audi founded the experimental Almeida Theatre in
London where he directed many productions until the eighties.
In 1988, the French-Lebanese director was appointed artistic
director of the Amsterdam National Opera, breathing new life
into it. He was the first to introduce a full cycle of Wagner’s Ring
and it is now an iconic production. Audi is a proponent of the
creation of new work and consistent in his effort for his work to
offer a contemporary message. In recent years, he has created
highly-valued stagings of Handel’s Orlando and Dusapin’s
Penthesilea in de Munt.
Wim Delvoye
Together with Jan Fabre, Alain Platel and Panamarenko,
Wim Delvoye belongs to a generation of Flemish artists that
pushes the boundaries of contemporary visual arts. Delvoye
does not shy away from controversy. In 2000, he unveiled
the installation Cloaca, a gigantic, functioning digestive and
faeces-producing machine. Also his project with tattooed pigs
caused quite the stir. Inspired by Gothic architecture, he has
also made a number of sculptures in Corten steel including
Dump Truck, Suppo and Concrete Mixer. His work, characterised by the combination of elements from different contexts,
has been on exhibit at, amongst other venues, the Centre
Pompidou and the Louvre (Paris), at the Venice Biennale, the
MUDAM (Luxemburg) and the Pushkin Museum in Moscow.
Mirjam Devriendt
Mirjam Devriendt was born in Kortrijk and studied
photography at Sint-Lukas in Brussels. Devriendt’s main fields
of focus are portrait photography and the theatre. She is
photographer for visual artist Berlinde De Bruyckere. Recently,
Devriendt has also been working with video, a medium that
she approaches as a photographer with video images that are
moving pictures, as it were. In 2015, Devriendt collaborated in
an opera production of Penthesilea in de Munt, directed by
Pierre Audi and with sets by De Bruyckere. Devriendt teaches
at the RHoK, the academy for visual arts in Etterbeek.
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Klarafestival
Erbarme dich
9 24.3
2016
P11
Samir Odeh-Tamimi, composer
The Palestinian-Israeli composer Samir Odeh-Tamimi
was born in Tel Aviv, but has been living in Germany for over
twenty years now. He went to Germany at age 22 to study
musicology and composition. He focused mainly on modernistic composers like Giacinto Scelsi, Luigi Nono and Iannis
Xenakis. In his musical language, Odeh-Tamimi combines
Western avant-garde with sounds from the Arab musical tradition. His works have been performed by the Ensemble Modern,
the Symphonieorchester des Bayerischen Rundfunks and the
WDR Chor, amongst other musical groups. Future projects
include a viola concerto for the Stuttgarter Kammerorchester
and a piece for piano composed for pianist Christoph Grund.
Annelies Van Parys
Annelies Van Parys is one of the most prominent
composers in Belgium today. Van Parys often composes from
a spectralistic standpoint: she starts from overtones which set
the timbre of the chords. She was introduced to spectral music
by her mentor Luc Brewaeys during her studies at the Gent
conservatory. Many of Van Parys’s works have been honoured.
Recently, she received the prestigious Rolf Liebermann
Fedora Prize for Opera for Private View, her debut opera that
was shown in Belgium and abroad. Van Parys is the resident
composer of Music Theatre Transparant. Since 2008, she has
been associated with the Brussels Royal Conservatory where
she teaches orchestration, form analysis and composition.
Musicians
Marie Lamont and Marie Martinez, assistant director
Bart Van Reyn, assistant conductor
Lotte Stek, wardrobe assistant
Michal Pytlewski, choir stage manager
Eglantine Möller, production manager Music Theatre Transparant
Adèle Querinjean, production manager B’Rock Orchestra
Anne Van Es, stage manager
Felix Bastijns, video technician
Pieter-Jan Buelens, prompter
CREDITS NFM CHOIR WROCLAW
Sopranos: Natalia Halicka, Eliza Kierepka, Joanna Prykiel, Agnieszka Niezgoda
Altos: Aleksandra Sosna, Joanna Klebba, Ewa Pieronkiewicz, Aleksandra Hruby
Tenors: André Khorsik, Łukasz Wilda, Bartłomiej Kusior, Jakub Bieszczad
Basses: Jan Pieter, Michał Pytlewski, Szczepan Nowak, Jerzy Butryn
CREDITS B’ROCK ORCHESTRA
Violin: Rodolfo Richter*, Sara DeCorso, Maartje Geris, Marie Haag, Liesbeth Nijs, Ellie Nimeroski, Yukie Yamaguchi
Viola: Luc Gysbregts, Manuela Bucher
Cello: Kate Bennett Wadsworth, Marian Minnen
Viola da gamba: Juan Manuel Quintana
Double bass: Tom Devaere
Flute: Tami Krausz, Stefanie Troffaes  Oboe: Lidewei De Sterck, Mathieu Loux  Bassoon: Tomek Wesolowski  Organ / Harpsichord: David Van Bouwel  Lute: Karl Nyhlin  * concert master Klarafestival
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9 24.3
2016
P12
LYRICS
Johann Sebastian BACH (1685-1750)
Passio secundum Joannem, BWV 245 (1724)
Parte prima
1. Coro
3. Choral
Herr, unser Herrscher, dessen Ruhm
In allen Landen herrlich ist!
Zeig’uns durch deine Passion
Dass du, der wahre Gottessohn,
Zu aller Zeit.
Auch in der grössten Niedrigkeit,
Verherrlicht worden bist!
O 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!
2a. Recitativo
Evangelist
Jesus ging mit seinen Jüngeren 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 versammelte
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
heraus und sprach zu ihnen:
Jesus
Wie suchet ihr?
Evangelist
Sie antworteten ihm:
4. Recitativo
Evangelist
Auf dass das Wort erfüllet würde, welches er sagte: Ich habe
der Keine verloren, die du mir gegeben hast. Da hatte Simon
Petrus ein Schwert und zog es aus, und schlug nach des
Hohenpriesters Knecht, und hieb ihm sein recht’ Ohr ab; und
der Knecht hiess Malchus.
Da sprach Jesus zu Petro:
Jesus
Stecke dein Schwert in die Scheide! Soll ich den Kelch nicht
trinken, den mir mein Vater gegeben hat?
5. Choral
Dein 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.
2b. Coro
Jesum von Nazareth
2c. Recitativo
Evangelist
Jesus sprach zu ihnen:
Jesus
Ich bin’s.
Evangelist
Judas aber, der ihn verriet, stund auch bei ihnen. Als nun Jesus
zu ihnen sprach: Ich bin’s, wichen sie zurücke und fielen zu
Boden. Da fragete er sie abermal:
Jesus
Wen suchet ihr?
Evangelist
Sie aber sprachen:
6. Recitativo
Evangelist
Die Schar aber und der Oberhauptmann und die Diener der
Juden 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 Juden
riet: Es wäre gut, dass ein Mensch würde umbracht für das
Volk.
7. Aria (A)
Von den Stricken meiner Sünden
Mich zu in entbinden,
Wird mein Heil gebunden;
Mich von allen Lasterbeulen
Völlig zu heilen,
Lässt er sich verwunden.
8. Recitativo
2d. Coro
Jesum von Nazareth.
Evangelist
Simon Petrus aber folgete Jesu nach, und ein andrer Jünger.
2e. Recitativo
9. Aria (S)
Evangelist
Jesus antwortete:
Jesus
Ich hab’s euch gesagt, dass ich’s sei. Suchet ihr denn mich, so
lasset diese gehen!
Ich folge dir gleichfalls mit freudigen Schritten
Und lass dich nicht,
Mein Leben, mein Licht.
Befördre den Lauf
Und höre nicht auf,
Selbst an mir zu ziehen, zu schieben, zu bitten.
Klarafestival
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10. Recitativo
Evangelist
Derselbige 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:
Magd
Bist du nicht dieses Menschen Jünger einer?
Evangelist
Er sprach:
Petrus
Ich bin’s nicht.
Evangelist
Es stunden aber die Knechte und Diener und hatten ein
Kohlfeu’r gemacht, denn es war kalt, und wärmeten sich.
Petrus aber stund bei ihnen und wärmete sich. Aber der
Hohenpriester fragte Jesum um seine Jünger und um seine
Lehre. Jesus antwortete ihm:
Jesus
Ich habe frei, öffentlich geredet vor der Welt. Ich habe allezeit
gelehret in der Schule und in dem Tempel, da alle Juden
zusammenkommen, 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.
Evangelist
Als er aber solches redete, gab der Diener einer, die dabeistunden, Jesus ein Backenstreich und sprach:
Diener
Solltest du dem Hohenpriester also antworten?
Evangelist
Jesus aber antwortete:
Jesus
Hab’ich übel geredt, so beweise es, dass es böse sei; hab’ich
aber recht geredt, was schlägest du mich?
11. Choral
Wie hat dich so geschlagen,
Mein Heil, und dich mit Plagen
So übel zugericht’?
Du bist ja nicht ein Sünder,
Wie wir und unsre Kinder,
Von Missetaten weisst du nicht.
Ich, ich und meine Sünden,
Die sich wie Körnlein finden
Des Sandes an dem Meer,
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Die haben dir erreget
Das Elend, das dich schläget,
Und das betrübte Marterheer.
12a. Recitativo
Evangelist
Und Hannas sandte ihn gebunden zu dem Hohenpriester
Kaiphas. Simon Petrus stund und wärmete sich; da sprachen
sie zu ihm:
12b. Coro
Bist du nicht seiner Jünger einer?
12c. Recitativo
Evangelist
Er leugnete aber und sprach:
Petrus
Ich bin’s nicht!
Evangelist
Spricht des Hohenpriesters Knecht’ einer, ein Gefreund’ter
des, dem Petrus das Ohr abgehauen hatte:
Knecht
Sahe ich dich nicht im Garten bei ihm?
Evangelist
Da verleugnete Petrus abermal, und alsobald krähete der
Hahn. Da gedachte Petrus an die Worte Jesu, und ging hinaus
und weinete bitterlich.
13. Aria (T)
Ach, mein Sinn,
Wo willst du endlich hin,
Wo soll ich mich erquicken?
Bleib’ ich hier,
Oder wünsch’ ich mir
Berg und Hügel auf den Rücken?
Bei der Welt ist gar kein Rat,
Und im Herzen
Stehn die Schmerzen
Meiner Missetat,
Weil der Knecht den Herrn verleugnet hat.
14. Choral
Petrus, der nicht denkt zurück,
Seinen Gott verneinet,
Der doch auf ein’n ernsten Blick
Bitterlichen weinet:
Jesu, blicke mich auf an,
Wenn ich nicht wil büssen;
Wenn ich Böses hab’ getan,
Rühre mein Gewissen!
Parte seconda
15. Choral
16a. Recitativo
Christus, der uns selig macht,
Kein Bös’s hat begangen,
Der ward für uns in der Nacht,
Als ein Dieb gefangen,
Geführt vor gottlose Leut’
Und fälschlich verklaget,
Verlacht, verhöhnt und vespeit,
Wie denn die Schrift saget.
Evangelist
Da führeten sie Jesum von Kaiphas vor das Richthaus, und es
war frühe. Und sie gingen nicht in das Richthaus, auf dass sie
nicht unrein würden, sondern Ostern essen möchten. Da ging
Pilatus zu ihnen heraus und sprach:
Pilatus
Was bringet ihr für Klage wider diesen Menschen?
Evangelist
Sie antworteten aber und sprachen zu ihm:
Klarafestival
Erbarme dich
16b. Coro
Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht
überantwortet.
16c. Recitativo
Evangelist
Da sprach Pilatus zu ihnen:
Pilatus
So nehmet ihr ihn hin, und richtet ihn nach eurem Gesetze!
Evangelist
Da sprachen die Juden zu ihm:
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Was ist Wahrheit?
Evangelist
Und da er das gesaget, ging er wieder hinaus zu den Jüden
und spricht zu ihnen:
Pilatus
Ich finde keine Schuld an ihm. Ihr habt aber eine Gewohnheit,
dass ich euch Einen losgebe; wollt ihr nun, dass ich euch der
Jüden König losgebe?
Evangelist
Da schrieen sie wieder allesamt und sprachen:
18b. Coro
16d. Coro
Nicht diesen, sondern Barrabam!
Wir dürfen niemand töten.
18c. Recitativo
16e. Recitativo
Evangelist
Auf dass erfüllet würde das Wort Jesu, welches er sagte, da er
deutete, welches Todes er sterben würde.
Da ging Pilatus wieder hinein in das Richthaus und rief Jesu
und sprach zu ihm:
Pilatus
Bist du der Jden König?
Evangelist
Jesus antwortete:
Jesus
Redest du das von dir selbst oder haben’s dir Andere von mir
gesagt?
Evangelist
Pilatus antwortete:
Pilatus
Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich
mir überantwortet; was hast du getan?
Evangelist
Jesus antwortete:
Jesus
Mein Reich ist nicht von dieser Welt; wäre mein Reich von
dieser Welt, meine Diener würden darob kämpfen, dass ich
den Juden nicht überantwortet würde! Aber nun ist mein Reich
nicht von dannen.
17. Choral
Ach grosser König, gross zu allen Zeiten,
Wie kann ich g’nugsam diese Treu’ ausbreiten?
Kein’s Menschen herze mag indes ausdenken,
Was dir zu schenken.
Evangelist
Barrabas aber war ein Mörder. Da nahm Pilatus Jesum und
geisselte ihn.
19. Arioso (B)
Betrachte, meine Seel’, mit ängstlichem Vergnügen,
Mit bittrer Lust und halb beklemmtem Herzen
Dein höchstes Gut in Jesu Schmerzen,
Wie dir auf Dornen, so ihn stechen,
Die Himmelsschlüsselblumen blühn!
Du kannst viel süsse Frucht von seiner Wermut brechen,
Drum sieh’ ohn’ Unterlass auf ihn.
20. Aria (T)
Erwäge, wie sein blutgefärbter Rücken
In allen Stücken
Dem Himmel gleiche geht!
Daran, nachdem die Wasserwogen
Von uns’rer Sündflut sich verzogen,
Der allerschönste Regenbogen
Als Gottes Gnadenzeichen steht!
21a. Recitativo
Evangelist
Und die Kriegsknechte flochten eine Krone von Dornen, und
setzten sie auf sein Haupt,
und legten ihm ein Purpurkleid an, und sprachen:
21b. Coro
Sei gegrüsset, lieber Judenkönig!
21c. Recitativo
Ich kann’s mit meinen Sinnen nicht erreichen,
Womit doch dein Erbarmen zu vergleichen.
Wie kann ich dir denn deine Liebestaten
Im Werk erstatten?
18a. Recitativo
Evangelist
Da sprach Pilatus zu ihm:
Pilatus
So bist du dennoch ein König?
Evangelist
Jesus antwortete:
Jesus
Du sagst’s, ich bin ein König. Ich bin dazu geboren und in die
Welt kommen, dass ich die Wahrheit zeugen soll. Wer aus der
Wahrheit ist, der höret meine Stimme.
Evangelist
Spricht Pilatus zu ihm:
Pilatus
Evangelist
Und gaben ihm Backenstreiche.
Da ging Pilatus wieder heraus und sprach zu ihnen:
Pilatus
Sehet, ich führe ihn heraus zu euch, dass ihr erkennet, dass ich
keine Schuld an ihm finde.
Evangelist
Also ging Jesus heraus, und trug eine Dornenkrone und
Purpurkleid. Und er sprach zu ihnen:
Pilatus
Sehet, welch eine Mensch!
Evangelist
Da ihn die Hohenpriester und die Diener sahen, schrieen sie
und sprachen:
21d. Coro
Kreuzige, kreuzige!
Klarafestival
Erbarme dich
9 21e. Recitativo
23e. Recitativo
Evangelist
Pilatus sprach zu ihnen:
Pilatus
Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine
Schuld an ihm!
Evangelist
Die Juden antworteten ihm:
Evangelist
Spricht Pilatus zu ihnen:
Pilatus
Soll ich euren König kreuzigen?
Evangelist
Die Hohenpriester antworteten:
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23f. Coro
21f. Coro
Wir haben keinen König denn den Kaiser.
Wir haben ein Gesetz, und nach dem Gesetz soll er sterben,
denn er hat sich selbst zu Gottes Sohn gemacht.
23g. Recitativo
21g. Recitativo
Evangelist
Da Pilatus das Wort hörete, fürchtet’ er sich noch mehr und
ging wieder hinein in das Richthaus und spricht zu Jesu:
Pilatus
Von wannen bist du?
Evangelist
Aber Jesus gab ihm keine Antwort. Da sprach Pilatus su ihm:
Pilatus
Redest du nicht mit mir? Weissest du nicht, dass ich Macht
habe, dich zu kreuzigen, und Macht habe, dich loszugeben?
Evangelist
Jesus antwortete:
Jesus
Du hättest keine Macht über mich, wenn sie dir nicht wäre von
oben herab gegeben; darum, der mich dir überantwortet hat,
der hat’s gröss’re Sünde.
Evangelist
Von dem an trachtete Pilatus, wie er ihn losliesse.
22. Choral
Durch 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.
Evangelist
Da überantwortete er ihn, dass er gekreuziget würde. Sie
nahmen aber Jesum und führeten ihn hin. Und er trug sein
Kreuz, und ging hinaus zur Stätte, die da heisset Schädelstätt’,
welche heisset auf Ebräisch: Golgatha.
24. Aria (B & Coro)
Eilt, ihr angefocht’nen Seelen,
Geht aus euren Marterhöhlen.
Eilt – Wohin? – nach Golgatha!
Nehmet an des Glaubens Flügel,
Eilt –Wohin? – zum Kreuzeshügel,
Eure Wohrlfahrt blüht allda!
25a. Recitativo
Evangelist
Allda 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:
25b. Coro
Schreibe nicht: der Jüden König, sondern dass er gesagt habe:
Ich bin der Jüden König.
23a. Recitativo
25c. Recitativo
Evangelist
Die Jüden aber schrieen und sprachen:
23b. Coro
Evangelist
Pilatus antwortete:
Pilatus
Was ich geschrieben habe, das habe ich geschrieben.
Lässest du diesen los, so bist du des Kaisers Freund nicht,
denn wer sich zum Könige machet, der ist wider den Kaiser.
26. Choral
23c. Recitativo
Evangelist
Da Pilatus das Wort hörete, führete er Jesum heraus, und
setzte sich auf den Richtstuhl, an der Stätte die da heisset:
Hochplaster, auf Ebräisch aber: Gabbatha.
Es war aber der Rüsttag in Ostern, um die sechste Stunde, und
er sprach zu den Jüden:
Pilatus
Sehet, das ist euer König!
Evangelist
Sie schrieen aber:
23d. Coro
Weg, weg mit dem, kreuzige ihn!
In meines Herzens Grunde
Dein Nam’ und Kreuz allein
Funkelt all Zeit und Stunde,
Drauf kann ich fröhlich sein.
Erschein mir in dem Bilde
Zu Trost in meiner Not,
Wie du, Herr Christ, so milde,
Dich hast geblut’t zu Tod!
27a. Recitativo
Evangelist
Die Kriegsknechte aber, da sie Jesum gekreuziget hatten,
nahmen seine Kleider und machten vier Teile, einem jeglichen
Kriegesknechte sein Teil, dazu auch den Rock. Der Rock aber
war ungenähet, von oben an gewürket durch und durch. Da
sprachen sie untereinander:
Klarafestival
Erbarme dich
27b. Coro
Lasset uns den nicht zerteilen, sondern darum losen, wes er
sein soll.
27c. Recitativo
Evangelist
Auf dass erfüllet würde die Schrift, die da saget: Sie haben
meine Kleider unter sich geteilet, und haben über meinen Rock
das Los geworfen; solches taten die Kriegesknechte.
Es stund aber bei dem Kreuze Jesu seine Mutter und seiner
Mutter Schwester, Maria, Cleophas Weib, und Maria Magdalena.
Da nun Jesus seine Mutter sahe und den Jünger dabei stehen,
den er lieb hatte, spricht er zu seiner Mutter:
Jesus
Weib! Siehe, das ist dein Sohn!
Evangelist
Darnach spricht er zu dem Jünger:
Jesus
Siehe, das ist deine Mutter!
9 24.3
Jesu, der du warest tot,
Lebest nun ohn’ Ende,
In der letzten Todesnot,
nirgend mich hinwende,
Als zu dir, der mich versühnt,
O, du lieber Herre!
Gib mir nur, was du verdient,
Mehr ich nicht begehre!
33. Recitativo
Evangelist
Und siehe da, der Vorhang im Tempel zerriss in zwei Stück von
oben an bis unten aus. Und die Erde erbebete und die Felsen
zerrissen, und die Gräber täten sich auf, und stunden auf viele
Leiber der Heiligen.
34. Arioso (T)
Er nahm Alles vohl in Acht
In der letzten Stunde,
Seine Mutter noch bedacht’,
Setzt ihn ein’n Vormunde.
Mein Herz! Indem 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?
29. Recitativo
Evangelist
Und von Stund’ an nahm sie der Jünger zu sich. Darnach, als
Jesus wusste, dass schon alles vollbracht war, dass die Schrift
erfüllet würde, spricht er:
Jesus
Mich dürstet!
Evangelist
Da stund ein Gefässe voll Essigs. Sie fülleten aber einen
Schwamm mit Essig, und legten ihn um einen Isoppen und
hielten es ihm dar zum Munde. Da nun Jesus den Essig
genommen hatte, sprach er:
Jesus
Es ist vollbracht!
P16
Du kannst vor Schmerzen zwar nichts sagen,
Doch neigest du das Haupt
Und sprichtst stillschweigend: Ja!
28. Choral
O Mensch, mache Richtigkeit,
Gott und Menschen liebe,
Stirb darauf ohn’ alles Leid,
Und dich nicht betrübe!
2016
35. Aria (S)
Zerfliesse, mein Herze, in Fluten der Zähren
Dem Höchsten zu Ehren!
Erzähle der Welt und dem Himmel die Not:
Dein Jesus ist tot!
36. Recitativo
Es ist vollbracht!
O Trost für die gekränkten Seelen!
Die Trauernacht
Lässt mich die letzte Stunde zählen.
Der Held aus Juda siegt mit Macht,
Und schliesst den Kampf.
Es ist vollbracht!
Evangelist
Die Juden aber, dieweil es der Rüsttag war, dass nicht die
Leichname am Kreuze blieben den Sabbat über (denn desselbigen Sabbats Tag war sehr gross), baten sie Pilatum, dass ihre
Beine gebrochen und sie abgenommen würden. Da kamen die
Kriegsknechte und brachen dem ersten die Beine und dem
andern, der mit ihm gekreuziget war.
Als sie aber zu Jesu kamen, und sie sahen dass er schon
gestorben war, brachen sie ihm die Beine nicht; sondern der
Kriegsknechte einer eröffnete seine Seite mit einem Speer,
und alsobald ging Blut und Wasser heraus.
Und der das gesehen hat, der hat es bezeuget, und sein
Zeugnis ist wahr, und derselbige weiss, dass er die Wahrheit
saget, auf dass ihr gläubet.
Denn solches ist geschehen, auf dass die Schrift erfüllet würde:
Ihr sollet ihm kein Bein zerbrechen. Und abermal spricht eine
andere Schrift: Sie werden sehen, in welchen sie gestochen
haben.
31. Recitativo
37. Choral
Evangelist
Und neiget das Haupt und verschied.
O hilf, Christe, Gottes Sohn,
Durch dein bittres Leiden,
Dass wir dir stets untertan
All’ Untugend meiden,
Deinen Tod’ und sein’ Ursach’
Fruchtbarlich bedenken,
Dafür, wie wohl arm und schwach,
Dir Dankopfer schenken.
30. Aria (A)
32. Aria (B & Coro)
Mein teurer Heiland, lass dich fragen,
Da du nunmehr an’s Kreuz geschlagen
Und selbst gesaget: Es ist vollbracht!
Bin ich vom Sterben frei gemacht?
Kann ich durch deine Pein und Sterben
Das Himmelreich ererben?
Ist aller Welt Erlösung da?
Klarafestival
Erbarme dich
38. Recitativo
Evangelist
Darnach bat Pilatum Joseph von Arimathia, der ein Jünger
Jesu war (doch heimlich aus Furcht vor den Jüden), dass er
möchte abnehmen den Leichnam Jesu. Und Pilatus erlaubte
es. Derowegen kam er und nahm den Leichnam Jesu herab.
Es kam aber auch Nikodemus, der vormals in der Nacht zu
Jesu kommen war, und brachte Myrrhen und Aloen untereinander, bei hundert Pfunde. 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 geleget
war. Daselbst hin legten sie Jesum, um des Rüsttags willen der
Jüden, dieweil das Grab nahe war.
39. Coro
Ruht wohl, ihr heiligen Gebeine,
Die ich nun weiter nicht beweine:
Ruht wohl, und bringt auch mich zur Ruh!
Das Grab, so euch bestimmet ist
Und ferner keine Not umschliesst,
Macht mir den Himmel auf
Und schliesst die Hölle zu.
40. Choral
Ah Herr, lass dein’ lieb’ Engelein
Am letzten End’ die Seele mein
In Abrahams Schoss tragen;
Den Leib in sein’m Schlafkämmerlein
Gar sanft ohn’ ein’ge Qual und Pein
Ruhn bis am Jüngsten Tage!
Alsdenn vom Tod erwecke mich,
Dass meine Augen sehen dich
In aller Freud’, o Gottes Sohn,
Mein Heiland und Genadenthron!
Herr Jesu Christ, erhöre mich,
Ich will dich preisen ewiglich!
9 24.3
2016
P17
Klarafestival
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9 24.3
2016
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klara
festival
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International
Music
9 24.3
2016
Klarafestival is s a joint project of Flanders Festival Brussels & Klara
main partners public funding Vlaamse Gemeenschap
͸ Kabinet van de Minister van
Cultuur, Media, Jeugd en Brussel
De Heer Sven Gatz
͸ Viceminister-president van de Vlaamse
Regering, Vlaams minister van Binnenlands Bestuur, Inburgering, Wonen,
Gelijke Kansen en armoedebestrijding
Mevrouw Liesbeth Homans
Brussels Hoofdstedelijk Gewest / Région de Bruxelles-Capitale
͸ Kabinet van de Minister van Financiën,
Begroting, Externe Betrekkingen
en Onwikkelingssamen-werking
& Voorzitter van het College van de
Vlaamse Gemeenschapscommissie
(VGC), belast met Onderwijs, Vorming,
Begroting en Communicatie
De Heer Guy Vanhengel
͸ Staatssecretaris van het Brussels
Hoofdstedelijk Gewest belast met
Ontwikkelingssamenwerking, Verkeersveiligheidsbeleid, Gewestelijke en
gemeentelijke Informatica en
Digitalisering, Gelijkekansenbeleid
en Dierenwelzijn
Mevrouw Bianca Debaets
concert partners ͸ Minister van de Brusselse
Hoofdstedelijke Regering, belast
met Mobiliteit & Openbare Werken
͸ Minister, Lid van het College van de
Vlaamse Gemeenschapscommissie
(VGC), belast met Cultuur, Jeugd,
Sport en Stedelijk Beleid
De Heer Pascal Smet
official festival car
associations AMARANT / BRUSSELS NV / DE BUURTWINKEL / DE ZILVEREN PASSER / HOBO / LCD CHARMONY / LOKAAL DIENSTENCENTRUM DE HARMONIE /
LOKAAL DIENSTENCENTRUM LOTUS / NEOS / OCMW'S VAN ANTWERPEN, BRUGGE, GENT, MECHELEN EN WEMMEL / ROTARY VAN COUDENBERG /
SENIORENCENTRUM BOD / VUB ALUMNI / WIJKPARTENARIAAT DE SCHAKEL
official festival suppliers business seats OPTIMA, BNP PARIBAS FORTIS, KLARA, ERIK DRALANS, GIMV, KBC, MÖBIUS, OMNIA TRAVEL, QUANTEUS
Klarafestival
Erbarme dich
9 24.3
2016
9
agenda
THE RITE OF SPRING
Radio Filharmonisch Orkest,
Diego Matheuz
DER TOD UND DAS MÄDCHEN
Kuss Quartet
FRI 18.3 20:00
WED 9.3 20:00 BOZAR
9.3 20:00 Bozar
Conservatorium Brussels
HUMAN REQUIEM
ST. JOHN PASSION BACH
Rundfunkchor Berlin, Nikolas Fink,
Jochen Sandig, Sasha Waltz
Andreas Spering, Pierre Audi,
Wim Delvoye, B’Rock,
NFMChoir
Choir
B’rock, NFM
& Muziektheater Transparant
THU —SAT 10/11/12.3 20:30 Kaaitheater
24.3 2016
FRI —SAT 18/19.3 20:00
Les Halles de Schaerbeek
WATER PASSION
Radio Koor, Tan Dun
STABAT MATER SZYMANOWSKI Vlaams
SAT 19.3 20:00 BOZAR
Bozar
London Philharmonic Orchestra
& Choir, Vladimir Jurowski
FRI 11.3 20:00
BOZAR Bozar SEPTEM VERBA A CHRISTO
Akademie Für Alte Musik Berlin,
René Jacobs
IL PRIMO OMICIDIO
Concerto Italiano,
italiano,
Rinaldo Alessandrini
SAT 19.3 20:00 Concertgebouw
BRUCKNER 9
SAT 12.3 20:00 BOZAR
Bozar
National Orchestra of Belgium,
Michael Schønwandt
SONGS OF PASSION
& COMPASSION
Shanti! Shanti! & ZWAP
SUN 13.3 11:00
Flagey
KIESLOWSKI’S DECALOGUE
IN MUSIC
NFM Wrocław Philharmonic
& Choir,
ZbigniewPreisner
Preisner
Choir,Zbigniew
SUN 13.3 20:00 Flagey
SUN 20.3 15:00 BOZAR
Bozar
STABAT MATER / SCHUBERT
Le Cercle de l’Harmonie &
Vokalakademie Berlin, Jérémie Rhorer
MON 21.3 20:00
MON 21.3 20:00 Théâtre
Gli Angeli Genève, Stephan Macleod
TUE 15.3 20:00 Kapellekerk
Kapellenkerk
du Vaudeville
VIA CRUCIS
Jan Michiels, Inge Spinette
& Polish Cello Quartet
Orchestre des Champs-Elysées & Collegium Vocale Gent,
Philippe
PhvilippeHerreweghe
Herreweghe
ACTUS TRAGICUS
deSingel
SUPERNOVA
DIE SIEBEN LETZTEN WORTE
MON 14.3 20:00 BOZAR
Bozar
Brugge
TUE 22.3 20:00 BOZAR
Bozar
ST. MATTHEW PASSION / BACH
Monteverdi Choir & English
Baroque Soloists, John Eliot Gardiner
WED
23.3 20:00 BOZAR
Bozar
MAHLER 3
YELLOW LOUNGE
Budapest Festival
Orchestra
festival orchestra
& NFM Choir, Iván Fischer
Miloš, Lucas & Arthur Jussen,
Esther Yoo
WED 16.3 20:00 BOZAR
Bozar
EIC 360°
Ensemble Intercontemporain,
intercontemporain,
Matthias Pintscher
THU 17.3 20:00
BOZAR
Bozar
THU 24.3 20:00 Mirano
more information about all concerts on klarafestival.be

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