The Winnipeg Baroque Festival presents

J.S. Bach’s
St. John Passion

Sunday, October 2, 2022 | 3:00pm
Crescent Arts Centre

1st half: 45 minutes
Intermission: 20 minutes
2nd half: 90 minutes

Land Acknowledgement

The Winnipeg Baroque Festival and our members live, work, and perform on the ancestral lands of the Anishinaabe (Ojibway), Cree, Oji-Cree, Dakota, Dene peoples, and the Métis Nation, as well as the Inuit who have a strong community here in Manitoba. We acknowledge that these peoples lived here before us and are still living here now, as we live here and continue living here. We are committed to building lasting relationships with Indigenous communities by understanding their truths and collaborating in music and the arts.

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DIGITAL PROGRAM NAVIGATION

Program Notes

Texts & Translations - Part I

Texts & Translations - Part II

The Artists

Program Overview

PART I

No. 1-7  Betrayal and Capture
John 18:1-14

No. 8-14  Peter’s Denial
John 18:15-27

Interval

PART II

No. 15-20  Interrogation and Flagellation
John 18:28-40; 19:1

No. 21-26  Condemnation and Crucifixion
John 19:2-22

No. 27-32  The death of Jesus
John 19:23-30

No. 33-40  Burial
Matthew 27:51-52; John 19:31-42

Please note: By attending you are giving the Winnipeg Baroque Festival permission to use your likeness in any and all images taken from this event.

Program Notes

The St. John Passion (BWV 245) was the first setting of the passion story that Johann Sebastian Bach composed after assuming the prestigious position of cantor at the Thomas Church in Leipzig. Bach had come to Leipzig in the summer of 1723; less than a year later he performed his passion on the afternoon of Good Friday, 1724.

At that time, the tradition of performing large-scale passion compositions was not well-established in Leipzig. Only during the last years of Bach’s immediate predecessor, Johann Kuhnau (1660–1722), had it become customary to perform a figural setting of the passion in the oratorio style during the Good Friday vespers.

Altogether, Johann Sebastian Bach composed five Passions, according to the estate catalogue compiled by his son Carl Philipp Emanuel: two of them are lost and one, the St. Mark Passion, exists only as a fragment. The two surviving complete works are based on the Gospels of John and Matthew. Both underwent numerous revisions; Bach reworked the compositions several times, replacing movements and changing some of the texts and the music. For the St. John Passion alone, Bach scholars have been able to reconstruct no fewer than four different versions. In the year following the original 1724 performance the piece underwent significant revisions before the boys’ choir of St. Thomas’s performed it again on Good Friday, 1725. Around 1732, and again toward the end of his life (probably around 1749), Bach made more revisions and reversed some of the changes he had made in 1725. [In this performance, you will hear the most recent version.]

The text for Bach’s St. John Passion was not written by a single author, as was the St. Matthew Passion; rather, it is a compilation of different texts. The biblical narrative from the Gospel of John serves as a backbone for the libretto. Other texts are Protestant hymns and free poetry containing reflections on the passion story. Several of the texts of the arias are borrowed from a libretto by Barthold Heinrich Brockes (1680–1747), one of the most successful passion texts of the 18th century, known (and notorious) for its very graphic descriptions of the wounds and suffering of Jesus. Other aria texts were taken from writings by Christian Weise (1642–1708) and Christian Heinrich Postel (1658–1705).For several of the aria texts the author is unknown.

We can only speculate as to who compiled the libretto for Bach’s passion. It could be that one of the theologians in Leipzig was responsible and wrote some of the poetic texts himself. Clearer than the identities of the individual authors, however, is the function of their texts in the passion libretto set by Bach. The different text genres represent distinctive layers of time and space, and of individual and collective reflections on the passion narrative.

The heterogeneous genres stand in a complex inter-textual (and –textural) relationship.

• The biblical text provides the narrative, and is set chronologically within the span of Jesus’ lifetime.

• The arias represent an observer operating beyond time meditating on the meaning of the passion: both present at the crucifixion, and also serving as a reader of the biblical narrative who contemplates the suffering of Christ (and its meaning) from this individual perspective. In other words, the observer could be in Jerusalem or Leipzig – or in New York or [Winnipeg], for that matter.

• Finally, the hymns represent the reaction of the Christian congregation, here and now. The hymns help to build the bridge between the narrative of the passion and the congregation; within the liturgy, they are the pieces that “belong” to congregation.

Bach’s St. John Passion shows a deep understanding of the theological and poetic layers of its text. The composition begins with a monumental choral movement, praising God as the ruler of the world. The chorus sings the word “Herr” (Lord) in emphatic chordal blocks against a multilayered instrumental accompaniment, in which the higher strings play a continuous chain of running 16th notes to create the impression of uninterrupted movement. Bach later underlays this musical idea with another that emphasizes the word “Herrscher” (ruler), which we may call the “glory-motive,” signifying the power of God. In the first measures of the opening movement, however, Bach has already introduced the idea of pain and suffering  juxtaposing this “glory-motive” with stabbing, dissonant sounds in the flutes and oboes. Thus, the opening measures of Bach’s passion present the theological view of Christ’s suffering—characteristic of the Gospel of John—from the outset: the suffering and death of Christ are the very manifestation of his glory. The same musical idea, with its dissonant sonorities, recurs later in the chorus “Kreuzige” (“Crucify”).

After this musically monumental and theologically charged opening movement comes the first half of the passion setting, the narrative of Christ’s suffering from the betrayal of Judas until the denial of Peter. In 1724 (and at the other performances conducted by Bach), this first musical part was followed by a sermon of approximately one hour. Most listeners of modern performances will not notice the bipartite structure of the passion. Only the unusual hiatus of two hymn stanzas (one ending the first part and the other opening the second) marks the transition from part one to part two.

The biblical narrative of the passion is primarily set in simple, declamatory recitatives sung by the evangelist or the other soloists (the dramatis personae of the narrative). Only when a larger crowd of people is speaking, as in the overwhelming “Crucify” chorus, does the entire choir sing the biblical text. The speech-like style of the recitatives is interrupted by the soloistic arias that serve as points of repose and reflection. The relationship between the biblical text and the reflective arias can be seen in movements 8 and 9 of the passion. Movement 8 reports that Jesus, after his arrest, was followed by Simon Peter and another disciple. The subsequent aria, whose text begins with “Ich folge dir gleichfalls mit freudigen Schritten” (I follow you likewise with joyful steps), interprets the act of following from the perspective of the Christian believer. The text of this aria resembles a small-scale sermon, explaining the biblical narrative’s meaning for the individual. Bach musically depicts the idea of “following” by setting the text in a dialogue between soprano and two flutes, where one voice imitates (follows) the other.

The melodic contour that is used by Bach at the beginning of the aria movement returns later in the chorus “Sei gegrüßet, lieber Judenkönig” (We greet you, dear King of the Jews). The theological meaning of this motivic connection across several movements is subtle: the aria “Ich folge” expresses Peter’s promise to follow Jesus in his suffering—and yet the listener well  knows that this promise is not kept. Later, Peter’s failure is made manifest when the same  musical idea returns at the moment the “King of the Jews” is mocked by the crowds.

An interesting movement that demonstrates Bach’s skills as an interpreter of the biblical narrative is the chorus “Wir haben ein Gesetz” (We have a law); Bach expresses the concept of “law” by composing a strict fugue, in which one voice imitates the other following a clear and strict set of rules. In other words, the musical texture follows its own musical “law.”

Integral to the passion are numerous Protestant hymn settings, simple in style and similar to congregational singing. While the arias portray the meaning of the biblical narrative from the perspective of the individual, the hymns serve as reflection from the perspective of the entire congregation, a function that becomes obvious in the very first hymn setting of the passion. The biblical narrative reports the arrest of Jesus, ending with Christ’s words: “Ich habs euch gesagt, daß ichs sei, suchet ihr denn mich, so lasset diese gehen!” (I have told you I am the one; if you are looking for me, then let these others go!). The hypothetical congregation, represented by the choir, replies with the hymn stanza: “O große Lieb…” (O great love, o love beyond all measure, that has brought you on this path of torment! I lived with the world in delight and joy, and you have to suffer), emphasizing the responsibility of all humanity for the suffering of Christ.

The second half of Bach’s composition reports the trial of Jesus, his torture, crucifixion, and burial. It again is framed by two hymns, the first a simple four-part setting of “Christus, der uns selig macht” (Christ, who makes us blessed), whose words summarize Christ’s arrest and torment, thus bridging the gap between part one and part two of the passion, while the final movement is a setting of the hymn stanza “Ach Herr, lass dein lieb Engelein” (Lord God, let your dear angels).

One of the most dramatic movements in the work is the aria after the death of Jesus. The biblical narrative is followed by the aria “Es ist vollbracht” (It is accomplished) for alto and viola da gamba. The timbrally low and sonorous solo instrument, combining with descending musical lines in the solo vocal and instrumental parts, is evocative of the grief and despair after Jesus has expired.

However, no setting of the passion after the Gospel of John would be complete without a glimpse of Christ’s glory as well, the glory already foretold in the opening measures of the work. And indeed, in the middle section of “Es ist vollbracht,” Bach changes the character completely: the text portrays the victorious hero of Judah while the music displays exuberant fanfare-like motives, resembling trumpet calls of victory. Only at the very end does the music return briefly to the sadness of the beginning, a sadness already transformed by the short glimpse into the victory of Easter morning.

The passion ends with a double “finale.” After the burial, reported in a recitative, the choir sings an extensive setting of the text “Ruhe wohl.” The texture is simple, and the calm triple meter resembles a lullaby, set as a farewell to Jesus. But it is also a supplication that the “holy bones” that are buried in peace will, in turn, give peace to the believer. “Ruhe wohl” is followed by a quiet and simple setting of the hymn stanza “Ach Herr, lass dein lieb Engelein” (Lord God, let your dear angels), which widens the perspective from the death of Jesus to the death of the believer, and implores God to send his angels in the hour of the believer’s death, and bear the departing soul to the bosom of Abraham.

— Markus Rathey, Associate Professor of Music History, Yale University

Additional reading: Bach’s St. John Passion and the Jews

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Texts and Translations

FIRST PART 

1. Chorus
Herr, unser Herrscher, dessen Ruhm
 Lord, our ruler, whose glory
In allen Landen herrlich ist!
 is magnificent everywhere!
Zeig uns durch deine Passion,
 Show us through your passion,
Dass du, der wahre Gottessohn,
 that you , the true son of God,
Zu aller Zeit,
 at all times
Auch in der größten Niedrigkeit,
 even in the most lowly state,
Verherrlicht worden bist!
 are glorified.

2a. Recitative
EVANGELIST:
Jesus ging mit seinen Jüngern über den Bach Kidron,
 Jesus went with his disciples over the brook Kidron
da war ein Garten, darein ging Jesus und seine Jünger.
 where there was a garden which Jesus and his disciples entered.
Judas aber, der ihn verriet, wusste den Ort auch,
 But Judas, who betrayed him, also knew the place,
denn Jesus versammlete sich oft daselbst mit seinen Jüngern.
 for Jesus often met there with his disciples.
Da nun Judas zu sich hatte genommen
 Now Judas had got
die Schar und der Hohenpriester und Pharisäer Diener,
 a band of soldiers and officers from the chief priests and the Pharisees
kommt er dahin mit Fackeln, Lampen und mit Waffen.
 and he came to the place with lanterns, torches and weapons.
Als nun Jesus wusste alles, was ihm begegnen sollte,
 As Jesus knew everything that was going to happen to him
ging er hinaus und sprach zu ihnen:
 he came forward and said to them:
JESUS:
Wen suchet ihr?
 Who are you looking for?
Evangelist:
Sie antworteten ihm:
 They answered him

2b. Chorus
Jesum von Nazareth.
 Jesus of Nazareth.
2c. Recitative
EVANGELIST:
Jesus spricht zu ihnen:
Jesus said to them
JESUS:
Ich bin's.
 I am he.
EVANGELIST:
Judas aber, der ihn verriet, stund auch bei ihnen.
 But Judas, who betrayed him, was standing with them.
Als nun Jesus zu ihnen sprach: Ich bin's,
 When Jesus said to them, “I am he”,
wichen sie zurücke und fielen zu Boden.
 they moved back and fell to the ground.
Da fragete er sie abermal:
 He asked them a second time:
JESUS:
Wen suchet ihr?
 Who are you looking for?
EVANGELIST:
Sie aber sprachen:
 And they said:

2d. Chorus
Jesum von Nazareth.
 Jesus of Nazareth.

2e. Recitative
EVANGELIST:
Jesus antwortete:
 Jesus replied:
JESUS:
Ich hab's euch gesagt, dass ich's sei,
 I have told you that I am he.
suchet ihr denn mich, so lasset diese gehen!
 If you are looking for me, then let these go!

3. Chorale
O große Lieb, o Lieb ohn alle Maße,
 O great love, o love without any limits,
Die dich gebracht auf diese Marterstraße
 that has brought you along this way of martyrdom
Ich lebte mit der Welt in Lust und Freuden,
 I live with the world in pleasure and delight,

Und du musst leiden.
 and you must suffer.

4. Recitative
EVANGELIST:
Auf dass das Wort erfüllet würde, welches er sagte:
 In this way the word was fulfilled which said:
Ich habe der keine verloren, die du mir gegeben hast.
 I have lost none of those which you gave to me.
Da hatte Simon Petrus ein Schwert
 Then Simon Peter had a sword
und zog es aus und schlug nach des Hohenpriesters Knecht
 and he drew it out and struck the chief priest’s servant
und hieb ihm sein recht Ohr ab;
 and cut off his right ear;
und der Knecht hieß Malchus.
 and the servant was called Malchus.
Da sprach Jesus zu Petro:
 Then Jesus said to Peter
JESUS:
Stecke dein Schwert in die Scheide!
 Put up your sword in its scabbard!
Soll ich den Kelch nicht trinken, den mir mein Vater gegeben hat?
 Shall I not drink the cup which my father has given me?

5. Chorale
Dein Will gescheh, Herr Gott, zugleich
 May your will be done , Lord God,both
Auf Erden wie im Himmelreich.
 on earth as in heaven.
Gib uns Geduld in Leidenszeit,
 grant us patience in time of sorrow,
Gehorsam sein in Lieb und Leid;
 obedience in love and sorrow,
Wehr und steur allem Fleisch und Blut,
 restrain and guide our flesh and blood
Das wider deinen Willen tut!
 that acts against your will.

6. Recitative
EVANGELIST:
Die Schar aber und der Oberhauptmann und die Diener der Jüden nahmen Jesum
 But the soldiers and their commander and the servants of the Jews arrested Jesus
und bunden ihn und führeten ihn aufs erste zu Hannas,
 and bound him and led him first to Annas
der war Kaiphas Schwäher, welcher des Jahres Hoherpriester war.
 who was the father-in-law of Caiphas – this man was the chief priest that year.
Es war aber Kaiphas, der den Jüden riet,
 It was Caiphas who advised the Jews
es wäre gut, dass ein Mensch würde umbracht für das Volk.
 that it was expedient that one man should die for the people.

7. Aria (Alto)
Von den Stricken meiner Sünden
 From the bonds of my sins
Mich zu entbinden,
 to set me free
Wird mein Heil gebunden.
 my saviour is bound.
Mich von allen Lasterbeulen
 From all infections of vice
Völlig zu heilen,
 to heal me completely
Läßt er sich verwunden.
 he gives himself to be wounded.

8. recitative
EVANGELIST:
Simon Petrus aber folgete Jesu nach und ein ander Jünger.
 But Simon Peter and another disciple followed Jesus.

9. Aria (Soprano)
Ich folge dir gleichfalls mit freudigen Schritten
 I follow you likewise with joyful steps
Und lasse dich nicht,
 and do not leave you
Mein Leben, mein Licht.
 my life, my light.
Befördre den Lauf
 Bring me on my way
Und höre nicht auf,
 and do not cease
Selbst an mir zu ziehen, zu schieben, zu bitten.
 to pull, push and urge me on.

10. Recitative
EVANGELIST:
Derselbige Jünger war dem Hohenpriester bekannt
 This disciple was known to the chief priest
und ging mit Jesu hinein in des Hohenpriesters Palast.
 and he went along with Jesus into the palace of the chief priest.
Petrus aber stund draußen für der Tür.
 But Peter stood without by the door.
Da ging der andere Jünger, der dem Hohenpriester bekannt war, hinaus
 then the other disciple who was known to the high priest, went out
und redete mit der Türhüterin und führete Petrum hinein.
 and spoke to the woman in charge of the door and led Peter within
Da sprach die Magd, die Türhüterin, zu Petro:
 Then the woman in charge of the door, the maid, said to Peter:
MAID:
Bist du nicht dieses Menschen Jünger einer?
 Are not you one of this man’s disciples?
EVANGELIST:
Er sprach:
 He said
PETER:
Ich bin's nicht.
 I am not.
EVANGELIST:
Es stunden aber die Knechte und Diener
 The servants and officers were standing there
und hatten ein Kohlfeu'r gemacht (denn es war kalt)
  and had made a charcoal fire (for it was cold)
und wärmeten sich. Petrus aber stund bei ihnen und wärmete sich.
 and were warming themselves. Peter stood by them and warned himself.
Aber der Hohepriester fragte Jesum um seine Jünger und um seine Lehre.
 The chief priest questioned Jesus about his disciples and his teaching.
Jesus antwortete ihm:
 Jesus answered him.
JESUS:
Ich habe frei, öffentlich geredet für der Welt.
 I have spoken openly before all the world.
Ich habe allezeit gelehret in der Schule und in dem Tempel,
 I have always taught in the synagogue and in the temple
da alle Jüden zusammenkommen,
 where all the Jews gather together
und habe nichts im Verborgnen geredt.
 and have spoken nothing in secret.
Was fragest du mich darum?
 Why therefore do you question me
Frage die darum, die gehöret haben, was ich zu ihnen geredet habe!
 Question those who have heard about what I have spoken to them!
Siehe, dieselbigen wissen, was ich gesaget habe.
 See, they themselves know what I have said
EVANGELIST:
Als er aber solches redete, gab der Diener einer,
 As he spoke in this way, one of servants
die dabeistunden, Jesu einen Backenstreich und sprach:
 who was standing by, struck Jesus with his hand and said
SERVANT:
Solltest du dem Hohenpriester also antworten?
 Should you reply to the chief priests in this way?
EVANGELIST:
Jesus aber antwortete:
 Jesus answered:
JESUS:
Hab ich übel geredt, so beweise es, dass es böse sei,
 If I have spoken badly, then show what was wrong.
hab ich aber recht geredt, was schlägest du mich?
 But if I have spoken rightly,why do you strike me?

11. Chorale
Wer hat dich so geschlagen,
 Who has struck you in this way,
Mein Heil, und dich mit Plagen
 my saviour, and with torments
So übel zugericht'?
 treated you so badly?
Du bist ja nicht ein Sünder
 You are indeed not a sinner
Wie wir und unsre Kinder,
 as we and our children are,
Von Missetaten weißt du nicht.
 of wrongdoing you know nothing.
Ich, ich und meine Sünden,
 I, I, and my sins,
Die sich wie Körnlein finden
 that are as many as grains
Des Sandes an dem Meer,
 of sand by the sea
Die haben dir erreget
 have provoked for you
Das Elend, das dich schläget,
 the misery that has struck you
Und das betrübte Marterheer.
and the host of troubles and torment.

12a. Recitative
EVANGELIST:
Und Hannas sandte ihn gebunden zu dem Hohenpriester Kaiphas.
 And Annas sent him bound to the chief priest Caiphas.
Simon Petrus stund und wärmete sich, da sprachen sie zu ihm:
 As Simon Peter stood and warmed himself, they said to him

12b. Chorus
Bist du nicht seiner Jünger einer?
 Aren’t you one of his disciples?

12c. Recitative
EVANGELIST:
Er leugnete aber und sprach:
 But he denied it and said:
PETER:
Ich bin's nicht.
 I am not.
EVANGELIST:
Spricht des Hohenpriesters Knecht' einer,
 One of the chief priest’s servants,
ein Gefreundter des, dem Petrus das Ohr abgehauen hatte:
 a relative of the man, whose ear Peter had cut off, said
SERVANT:
Sahe ich dich nicht im Garten bei ihm?
Did I not see you in the garden with him?
EVANGELIST:
Da verleugnete Petrus abermal, und alsobald krähete der Hahn.
Then Peter denied it again, and once the cock crew
Da gedachte Petrus an die Worte Jesu und ging hinaus und weinete bitterlich.
Then Peter thought of Jesus’s word and went out and wept bitterly.

13.Aria (Tenor)
Ach, mein Sinn,
Ah ,my soul
Wo willt du endlich hin,
where will you go,
Wo soll ich mich erquicken?
where shall I find relief?
Bleib ich hier,
Should I stay here
Oder wünsch ich mir
or should I wish
Berg und Hügel auf den Rücken?
that hills and mountains were behind me?
Bei der Welt ist gar kein Rat,
In the world there is no help,
Und im Herzen
and in my heart
Stehn die Schmerzen
are the pains
Meiner Missetat,
of my wrongdoing
Weil der Knecht den Herrn verleugnet hat.
since the servant has denied the Lord.

14.Chorale
Petrus, der nicht denkt zurück,
Peter, who does not think back at all,
Seinen Gott verneinet,
denies his God,
Der doch auf ein' ernsten Blick
but then at a look of reproach
Bitterlichen weinet.
weeps bitterly.
Jesu, blicke mich auch an,
Jesus, look at me also
Wenn ich nicht will büßen;
when I am reluctant to repent;
Wenn ich Böses hab getan,|
when I have done evil
Rühre mein Gewissen!
stir up my conscience!

~ INTERMISSION ~

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SECOND PART

15. Chorale
Christus, der uns selig macht,
 Christ, who makes us blessed
Kein Bös' hat begangen,
 and has done no wrong,
Der ward für uns in der Nacht
 was for us in the night
Als ein Dieb gefangen,
 seized like a thief,
Geführt für gottlose Leut
 led before godless people
Und fälschlich verklaget,
 and falsely accused,
Verlacht, verhöhnt und verspeit,
 derided, mocked and spat upon,
Wie denn die Schrift saget.
 as the scripture says.

16a. Recitative
EVANGELIST:
Da führeten sie Jesum von Kaiphas vor das Richthaus, und es war frühe.
 Then they led Jesus from Caiphas to the hall of judgement,and it was early.
Und sie gingen nicht in das Richthaus,
 And they did not go into the hall of judgement
auf dass sie nicht unrein würden,
 so that they would not become defiled
sondern Ostern essen möchten.
 but would be able to eat the Passover meal.
Da ging Pilatus zu ihnen heraus und sprach:
 Then Pilate came out to them and said :
PILATUS:
Was bringet ihr für Klage wider diesen Menschen?
 What accusation do you bring against this man ?
EVANGELIST:
Sie antworteten und sprachen zu ihm:
 They replied and said to him :

16b. Chorus
Wäre dieser nicht ein Übeltäter, wir hätten dir ihn nicht überantwortet.
 If this man were not a criminal, we would not have brought him before you.

16c. Recitative
EVANGELIST:
Da sprach Pilatus zu ihnen:
 Then Pilate siad to them :
PILATUS:
So nehmet ihr ihn hin und richtet ihn nach eurem Gesetze!
 Then take him away and judge him according to your law!
EVANGELIST:
Da sprachen die Jüden zu ihm:
 Then the Jews said to him:

16d. Chorus
Wir dürfen niemand töten.
 We are not allowed to put anyone to death.

16e. Recitative
EVANGELIST:
Auf dass erfüllet würde das Wort Jesu, welches er sagte,
 In this way was fulfilled the words of Jesus, which he said
da er deutete, welches Todes er sterben würde.
 to indicate by what sort of death he would die.
Da ging Pilatus wieder hinein in das Richthaus
 Then Pilate went back into the hall of judgement
und rief Jesu und sprach zu ihm:
 and called Jesus and said to him:
PILATUS:
Bist du der Jüden König?
 Are you the king of the Jews
EVANGELIST:
Jesus antwortete:
 Jesus replied:
JESUS:
Redest du das von dir selbst, oder haben's dir andere von mir gesagte
 Do you say this of yourself, or did others say it to you about me?
EVANGELIST:
Pilatus antwortete:
 Pilate answered:
PILATUS:
Bin ich ein Jüde? Dein Volk und die Hohenpriester haben dich mir überantwortet; was hast du getan?
 Am I a Jew? Your people and the chief priests have handed you over to me. What have you done?
EVANGELIST:
Jesus antwortete:
 Jesus answered:
JESUS:
Mein Reich ist nicht von dieser Welt;
 My kingdom is not of this world;
wäre mein Reich von dieser Welt,
 if my kingdom were of this world
meine Diener würden darob kämpfen,
 then my servants would fight
dass ich den Jüden nicht überantwortet würde;
 so that I should not be handed over to the Jews;
aber nun ist mein Reich nicht von dannen.
 but now my kingdom is not from here.

17. Chorale
Ach großer König, groß zu allen Zeiten,
 Ah, great king, great in all ages,
Wie kann ich gnugsam diese Treu ausbreiten?
 How can I make my faithfulness in any way adequate?
Keins Menschen Herze mag indes ausdenken,
 No human heart can conceive
Was dir zu schenken.
 what gift is fit to offer you.
Ich kann's mit meinen Sinnen nicht erreichen,
 My mind cannot imagine
Womit doch dein Erbarmen zu vergleichen.
 what can be compared to your mercy.
Wie kann ich dir denn deine Liebestaten
 How then can I match your loving deeds
Im Werk erstatten?
 by anything I do ?

18a. Recitative
EVANGELIST:
Da sprach Pilatus zu ihm:
 Then Pilate said to him
PILATUS:
So bist du dennoch ein König?
 So you are then a King?
EVANGELIST:
Jesus antwortete:
 Jesus answered:
JESUS:
Du sagst's, ich bin ein König.
 You say it,I am a king.
Ich bin dazu geboren und in die Welt kommen,
 For this I was born and came into the world,
dass ich die Wahrheit zeugen soll.
 so that I should testify to the truth.
Wer aus der Wahrheit ist,
 Anyone who is of the truth
der höret meine Stimme.|
 hears my voice.
EVANGELIST:
Spricht Pilatus zu ihm:
 Pilate said to him
PILATUS:
Was ist Wahrheit?
 What is truth?
EVANGELIST:
Und da er das gesaget, ging er wieder hinaus zu den Jüden und spricht zu ihnen:
 And when he said this, he went back out to the Jews and said to them:
PILATUS:
Ich finde keine Schuld an ihm.
 I find no fault in him.
Ihr habt aber eine Gewohnheit, dass ich euch einen losgebe;
 But you have a custom, that I release one prisoner to you;
wollt ihr nun, dass ich euch der Jüden König losgebe?
 do you wish then that I should release to you the king of the Jews?
EVANGELIST:
Da schrieen sie wieder allesamt und sprachen:
 They all cried out together and said:

18b. Chorus
Nicht diesen, sondern Barrabam!
 Not this man, but Barrabas!

18c. Recitative
EVANGELIST:
Barrabas aber war ein Mörder.
 Now Barrabas was a murderer.
Da nahm Pilatus Jesum und geißelte ihn.
 Then Pilate took Jesus and scourged him.

19. Arioso (Bass)
Betrachte, meine Seel, mit ängstlichem Vergnügen,
 Consider, my soul, with anxious delight,
Mit bittrer Lust und halb beklemmtem Herzen
 with bitter pleasure and a heart partly oppressed
Dein höchstes Gut in Jesu Schmerzen,
 that your highest good depends on Jesus’ sorrow,
Wie dir auf Dornen, so ihn stechen,
 how for you from the thorns that pierce him
Die Himmelsschlüsselblumen blühn!
 heavenly flowers blossom!
Du kannst viel süße Frucht von seiner Wermut brechen
 You can gather so much sweet fruit from his wormwood
Drum sieh ohn Unterlass auf ihn!
 therefore look unceasingly towards him!

20. Aria (Tenor)
Erwäge, wie sein blutgefärbter Rücken
 Ponder well how his back bloodstained
In allen Stücken
 all over
Dem Himmel gleiche geht,
 is like the sky -
Daran, nachdem die Wasserwogen
 where after the deluge
Von unsrer Sündflut sich verzogen,
 from our flood of sins has abated
Der allerschönste Regenbogen
 there appears the most beautiful rainbow
Als Gottes Gnadenzeichen steht!
 as a sign of God’s mercy!

21a. Recitative
EVANGELIST:
Und die Kriegsknechte flochten eine Krone von Dornen
 And the soldiers wove a crown of thorns
und satzten sie auf sein Haupt
 and placed it on his head
und legten ihm ein Purpurkleid an und sprachen:
 and put a purple robe on him and said:

21b. Chorus
Sei gegrüßet, lieber Jüdenkönig!
 Hail to you, king of the Jews!

21c. Recitative
EVANGELIST:
Und gaben ihm Backenstreiche.
 And they gave him blows with their hands.
Da ging Pilatus wieder heraus und sprach zu ihnen:
 Then Pilate came out again and said to them :
PILATUS:
Sehet, ich führe ihn heraus zu euch, dass ihr erkennet,
 Look, I bring him out to you so that you can know
dass ich keine Schuld an ihm finde.
 that I find no fault in him
EVANGELIST:
Also ging Jesus heraus und trug eine Dornenkrone und Purpurkleid.
 And so Jesus came out and wore a crown of thorns and a purple robe.
Und er sprach zu ihnen:
 And he said to them:
PILATUS:
Sehet, welch ein Mensch!
 Look, this is the man!
EVANGELIST:
Da ihn die Hohenpriester und die Diener sahen, schrieen sie und sprachen:
 When the chief priests and the officers saw him, they cried out and said:

21d. Chorus
Kreuzige, kreuzige!
 Crucify him,crucify him!

21e. Recitative
EVANGELIST:
Pilatus sprach zu ihnen:
 Pilate said to them:
PILATUS:
Nehmet ihr ihn hin und kreuziget ihn; denn ich finde keine Schuld an ihm!
 Take him and crucify him; for I find no fault in him
EVANGELIST:
Die Jüden antworteten ihm:
 The Jews answered him

21f. Chorus
Wir haben ein Gesetz, und nach dem Gesetz soll er sterben;
 We have a law and according to the law he should die
denn er hat sich selbst zu Gottes Sohn gemacht.
 because he made himself the son of God.

21g. Recitative
EVANGELIST:
Da Pilatus das Wort hörete, fürchtet' er sich noch mehr
 When Pilate heard what they said, he was even more afraid
und ging wieder hinein in das Richthaus und spricht zu Jesu:
 and went back to the hall of judgment and said to Jesus:
PILATUS:
Von wannen bist du?
 Where do you come from?
EVANGELIST:
Aber Jesus gab ihm keine Antwort. Da sprach Pilatus zu ihm:
 But Jesus gave him no answer. Then Pilate said to him:
PILATUS:
Redest du nicht mit mir ?
 You won’t speak to me?
Weißest du nicht, dass ich Macht habe, dich zu kreuzigen,
 Do you not know that I have the power to crucify you,
und Macht habe, dich loszugehen ?
 and I have the power to set you free?
EVANGELIST:
Jesus antwortete:
 Jesus replied:
JESUS:
Du hättest keine Macht über mich,
 You would have no power over me
wenn sie dir nicht wäre von oben herab gegeben;
 if it were not given to you from above:
darum, der mich dir überantwortet hat, der hat's größ're Sünde.
 therefore the one who handed me over to you has the greater guilt
EVANGELIST:
Von dem an trachtete Pilatus, wie er ihn losließe.
 And from then on Pilate endeavoured to set him free.

22. Chorale
Durch dein Gefängnis, Gottes Sohn,
 Through your imprisonment, Son of God,
Muß uns die Freiheit kommen;
 must our freedom come.
Dein Kerker ist der Gnadenthron,
 Your prison is the throne of grace,
Die Freistatt aller Frommen;
 the refuge of all believers.
Denn gingst du nicht die Knechtschaft ein,
 If you had not accepted slavery,
Müßt unsre Knechtschaft ewig sein.
 our slavery would have been eternal.

23a. Recitative
EVANGELIST:
Die Jüden aber schrieen und sprachen:
 But the Jews cried out and said:

23b. Chorus
Lässest du diesen los, so bist du des Kaisers Freund nicht;
 If you release this man, then you are not Caesar’s friend;
denn wer sich zum Könige machet, der ist wider den Kaiser.
 for anyone who makes himself king is against Caesar.

23c. Recitative
EVANGELIST:
Da Pilatus das Wort hörete, führete er Jesum heraus
 When Pilate heard what they said, he led Jesus out
und satzte sich auf den Richtstuhl, an der Stätte, die da heißet:
 and sat in the judgment seat at the place which is called
Hochpflaster, auf Ebräisch aber: Gabbatha.
 the Pavement,or in Hebrew:Gabbatha
Es war aber der Rüsttag in Ostern um die sechste Stunde,
 It was the day of preparation for the passover, about the sixth hour,
und er spricht zu den Jüden:
 and he said to the Jews:
PILATUS:
Sehet, das ist euer König!
 Look, this is your king!
EVANGELIST:
Sie schrieen aber:
 But they cried out:

23d. Chorus
Weg, weg mit dem, kreuzige ihn!
 Away with him, away with him, crucify him!

23e. Recitative
EVANGELIST:
Spricht Pilatus zu ihnen:
 Pilate said to them:
PILATUS:
Soll ich euren König kreuzigen?
 Shall I crucify your king?
EVANGELIST:
Die Hohenpriester antworteten:
 The chief priests answered:

23f. Chorus
Wir haben keinen König denn den Kaiser.
 We have no king but Caesar.

23g. Recitative
EVANGELIST:
Da überantwortete er ihn, dass er gekreuziget würde.
 Then he handed him over to be crucified
Sie nahmen aber Jesum und führeten ihn hin.
 They took Jesus and led him away.
Und er trug sein Kreuz und ging hinaus zur Stätte,
 And he carried his cross and went to the place
die da heißet Schädelstätt, welche heißet auf Ebräisch: Golgatha.
 which is called the place of the skull,that is in Hebrew : Golgatha

24. Aria (Bass) e Coro
Eilt, ihr angefochtnen Seelen,
 Hurry , you tormented souls,
Geht aus euren Marterhöhlen,
 leave your dens of torment,
Eilt - Wohin ? - nach Golgatha!
 Hurry – Where to? –to Golgotha!
Nehmet an des Glaubens Flügel,
 Take the wings of faith,
Flieht - Wohin? - zum Kreuzeshügel,
 Fly – Where to? – to the hill of the cross,
Eure Wohlfahrt blüht allda!
 there your salvation flourishes!

25a. Recitative
EVANGELIST:
Allda kreuzigten sie ihn, und mit ihm zween andere zu beiden Seiten,
 There they crucified him and with him two others,one on either side.
Jesum aber mitten inne.
 with Jesus the middle.
Pilatus aber schrieb eine Überschrift und satzte sie auf das Kreuz,
 And Pilate wrote a title and placed it on the cross,
und war geschrieben: "Jesus von Nazareth, der Jüden König".
 and there was written: “Jesus of Nazareth, king of the Jews”.
Diese Überschrift lasen viel Jüden,
 Many Jews read this title

denn die Stätte war nahe bei der Stadt,
 for the place was near the city
da Jesus gekreuziget ist.
 where Jesus was crucified .

Und es war geschrieben auf ebräische, griechische und lateinische Sprache.
 And it was written in Hebrew, Greek and Latin.
Da sprachen die Hohenpriester der Jüden zu Pilato:
 Then the chief priests said to Pilate:

25b. Chorus
Schreibe nicht: der Jüden König, sondern dass er gesaget habe: Ich bin der Jüden König.
 Do not write: the king of the Jews, but that he said: I am the king of the Jews.

25c. Recitative
EVANGELIST:
Pilatus antwortet:
 Pilate replied:
PILATUS:
Was ich geschrieben habe, das habe ich geschrieben.
 What I have written, I have written.

26. Chorale
In meines Herzens Grunde
 In the depths of my heart
Dein Nam und Kreuz allein
 your name and cross alone
Funkelt all Zeit und Stunde,
 shine at every moment
Drauf kann ich fröhlich sein.
 making me able to rejoice.
Erschein mir in dem Bilde
 Let me see the image
Zu Trost in meiner Not,
 to console me in my distress
Wie du, Herr Christ, so milde
 of how you , Lord Christ, so patiently
Dich hast geblut' zu Tod!
 shed your blood in death!

27a. Recitative
EVANGELIST:
Die Kriegsknechte aber, da sie Jesum gekreuziget hatten,
 Then the soldiers, when they had crucified Jesus,
nahmen seine Kleider und machten vier Teile,
 took his clothes and made four parts,
einem jeglichen Kriegesknechte sein Teil, dazu auch den Rock.
 a part to each soldier,there was also his coat.

Der Rock aber war ungenähet, von oben an gewürket durch und durch.
 His coat was seamless, woven from the top throughout.
Da sprachen sie untereinander:
 They said to each other:

27b. Chorus
Lasset uns den nicht zerteilen, sondern darum losen, wes er sein soll.
 Let us not tear it,but cast lots whose it should be

27c. Recitative
EVANGELIST:
Auf dass erfüllet würde die Schrift, die da saget:
 In this way the Scripture was fulfilled, where it is said:
Sie haben meine Kleider unter sich geteilet
 they have divided my clothing among them
und haben über meinen Rock das Los geworfen,
 and they have cast lots for my coat,
Solches taten die Kriegesknechte.
 this is what the soldiers did
Es stund aber bei dem Kreuze Jesu seine Mutter und seiner Mutter Schwester,
 There stood by Jesus’s cross his mother and his mother’s sister,
Maria, Kleophas Weib, und Maria Magdalena.
 Mary, wife of Cleophas ,and Mary Magdalene.
Da nun Jesus seine Mutter sahe
 When Jesus saw his mother
und den Jünger dabei stehen, den er lieb hatte,
 and the disciple that he loved standing next to her,
spricht er zu seiner Mutter:
 he said to his mother:
JESUS:
Weib, siehe, das ist dein Sohn!
 Woman, look, this is your son!
EVANGELIST:
Darnach spricht er zu dem Jünger:
 Then he said to the disciple
JESUS:
Siehe, das ist deine Mutter!
 Look, this is your mother!

28. Chorale
Er nahm alles wohl in acht
 He thought carefully of everything
In der letzten Stunde,
 in his last hour,
Seine Mutter noch bedacht,
 he was concerned for his mother,
Setzt ihr ein' Vormunde.
 chose someone to look after her.
O Mensch, mache Richtigkeit,
 O man, act justly,
Gott und Menschen liebe,
 love God and mankind,
Stirb darauf ohn alles Leid,
 then you can die without sorrow

Und dich nicht betrübe!
 and need not grieve!

29. Recitative
EVANGELIST:
Und von Stund an nahm sie der Jünger zu sich.
 And from that hour the disciple took her to himself
Darnach, als Jesus wusste, dass schon alles vollbracht war,
 Then as Jesus knew that all had been accomplished
dass die Schrift erfüllet würde, spricht er:
 so the scripture might be fulfilled, he said
JESUS:
Mich dürstet!
 I thirst!
EVANGELIST:
Da stund ein Gefäße voll Essigs.
 There was a jar of vinegar.
Sie fülleten aber einen Schwamm mit Essig
 They filled a sponge with vinegar
und legten ihn um einen Isopen,
 and put it on an hyssop
und hielten es ihm dar zum Munde.
 and held it up to his mouth.
Da nun Jesus den Essig genommen hatte, sprach er:
 When Jesus had taken the vinegar, he said
JESUS:
Es ist vollbracht!
 It is accomplished!

30. Aria (Alto)
Es ist vollbracht!
 It is accomplished !
O Trost vor die gekränkten Seelen!
 What comfort for all suffering souls!
Die Trauernacht
 The night of sorrow
Läßt nun die letzte Stunde zählen.
 now reaches its final hours.
Der Held aus Juda siegt mit Macht
 The hero from Judah triumphs in his might
Und schließt den Kampf.
 and brings the strife to an end.
Es ist vollbracht!
 It is accomplished!

31. Recitative
EVANGELIST:
Und neiget das Haupt und verschied.
 And he bowed his head and passed away

32. Aria (Bass) and Chorus
Mein teurer Heiland, laß dich fragen,
 My beloved Saviour, let me ask you,
da du nunmehr ans Kreuz geschlagen
 since you have now been nailed to the cross
und selbst gesagt: Es ist vollbracht,
 and you yourself have said : It is accomplished,
bin ich vom Sterben frei gemacht?
 have I been set free from death?
Kann ich durch deine Pein und Sterben
 Through your pain and death can I
das Himmelreich ererben?
 inherit the kingdom of heaven?
Ist aller Welt Erlösung da?
 Is this the redemption of the whole world?
Du kannst vor Schmerzen zwar nichts sagen;
 You can indeed not speak for anguish;
doch neigest du das Haupt
 but you bow your head
und sprichst stillschweigend: ja
 and silently say : yes!
Jesu, der du warest tot,
 Jesus, you were dead,
lebest nun ohn Ende,
 and now live for ever,
in der letzten Todesnot
 in my final agony of death
nirgend mich hinwende
 may I turn nowhere else
als zu dir, der mich versühnt,
 but to you , who have redeemed me,
O du lieber Herre!
 O my dear Lord,
Gib mir nur, was du verdient,
 give me only what you have won,
mehr ich nicht begehre!
 for more I could not wish !

33. Recitative
EVANGELIST:
Und siehe da, der Vorhang im Tempel zerriss in zwei Stück von oben an bis unten aus.
 And see, the curtain in the Temple was torn in two from top to bottom,
Und die Erde erbebete, und die Felsen zerrissen,
 and the earth shook and the rocks split

und die Gräber täten sich auf, und stunden auf viel Leiber der Heiligen.
 and the graves opened,and many bodies of saints stood up.

34. Arioso (Tenor)
Mein Herz, in dem die ganze Welt
 My heart , while the whole world
Bei Jesu Leiden gleichfalls leidet,
 suffers as Jesus suffers,
Die Sonne sich in Trauer kleidet,
 the sun is clothed in mourning,
Der Vorhang reißt, der Fels zerfällt,
 the veil is torn, the rocks split,
Die Erde bebt, die Gräber spalten,
 the earth quakes, graves gape open,
Weil sie den Schöpfer sehn erkalten,
 because they behold the creator grow cold in death,
Was willst du deines Ortes tun?
 for your part, what will you do?

35. Aria (Soprano)
Zerfließe, mein Herze, in Fluten der Zähren
 Dissolve, my heart, in floods of tears
Dem Höchsten zu Ehren!
 to honour the Almighty!
Erzähle der Welt und dem Himmel die Not:
 Tell the world and heaven your distress:
Dein Jesus ist tot!
 your Jesus is dead!

36. Recitative
EVANGELIST:
Die Jüden aber, dieweil es der Rüsttag war,
 But the Jews, because it was the day of preparation,
dass nicht die Leichname am Kreuze blieben den Sabbat über
 so that the corpses should not remain on the cross over the sabbath,
(denn desselbigen Sabbats Tag war sehr groß),
 (for the sabbath day was very solemn)
baten sie Pilatum, ihre Beine gebrochen und sie abgenommen würden.
 asked Pilate that their legs should be broken and they should be taken away .
Da kamen die Kriegsknechte und brachen dem ersten die Beine und dem andern,
 Then the soldiers came and broke the legs of the first man and the other
der mit ihm gekreuziget war.
 who were crucified with him.
Als sie aber zu Jesu kamen, da sie sahen, dass er schon gestorben war,
 But when they came to Jesus, they saw that he was already dead,
brachen sie ihm die Beine nicht;
 and they did not break his legs;
sondern der Kriegsknechte einer eröffnete seine Seite mit einem Speer,
 but one of the soldiers opened his side with a spear
und alsobald ging Blut und Wasser heraus.
 and at once blood and water came out.
Und der das gesehen hat, der hat es bezeuget, und sein Zeugnis ist wahr,
 and the one who saw it has testified this, and his testimony is true,
und derselbige weiß, dass er die Wahrheit saget, auf dass ihr gläubet.
 and he knows that he speaks the truth so that you may believe.
Denn solches ist geschehen, auf dass die Schrift erfüllet würde:
 This happened so that the Scripture might be fulfilled:
"Ihr sollet ihm kein Bein zerbrechen".
 “You shall break none of his bones”.
Und abermal spricht eine andere Schrift:
 And elsewhere another scripture says:
"Sie werden sehen, in welchen sie gestochen haben".
 “They will look on him whom they have pierced”.

37. Chorale
O hilf, Christe, Gottes Sohn,
 Oh help us ,Christ, God’s Son,
Durch dein bitter Leiden,
 through your bitter suffering,
Dass wir dir stets untertan
 so that always obedient to you
All Untugend meiden,
 we may shun all wrongdoing,
Deinen Tod und sein Ursach
 amd thinking of your death and its cause
Fruchtbarlich bedenken,
 we may profit from our reflections
Dafür, wiewohl arm und schwach,
 and in this way, however poor and inadequate it may be,
Dir Dankopfer schenken!
 give you an offering of thanks

38. Recitative
EVANGELIST:
Darnach bat Pilatum Joseph von Arimathia, der ein Jünger Jesu war
 Than Joseph of Arimathia,who was a disciple of Jesus,asked Pilate
(doch heimlich aus Furcht vor den Jüden),
 (but secretly from fear of the Jews)
dass er möchte abnehmen den Leichnam Jesu.
 to let him take away the body of Jesus.
Und Pilatus erlaubete es.
 And Pilate allowed him to do so.
Derowegen kam er und nahm den Leichnam Jesu herab.
 He came for this purpose and took the body of Jesus away.
Es kam aber auch Nikodemus,
 There came also Nicodemus,
der vormals bei der Nacht zu Jesu kommen war,
 who had once come to Jesus by night

und brachte Myrrhen und Aloen untereinander, bei hundert Pfunden.
 and brought myrrh and aloes together, about a hundred pounds.
Da nahmen sie den Leichnam Jesu und bunden ihn in Leinen Tücher mit Spezereien,
 Then they took the body of Jesus and bound it in linen clothes with spices,
wie die Jüden pflegen zu begraben.
 as is the Jews’ custom for the burial
Es war aber an der Stätte, da er gekreuziget ward, ein Garten,
 There was a garden by the place where he was crucified,
und im Garten ein neu Grab, in welches niemand je geleget war.
 and in the garden a new tomb,in which no one had been laid.
Daselbst hin legten sie Jesum, um des Rüsttags willen der Jüden,
 Here they laid Jesus because of the Jews’ preparation day,
dieweil das Grab nahe war.
 since the tomb was nearby.

39. Chorus
Ruht wohl, ihr heiligen Gebeine,
 Rest in peace, you sacred limbs,
Die ich nun weiter nicht beweine,
 I shall weep for you no more,
Ruht wohl und bringt auch mich zur Ruh!
 rest in peace, and bring me also to rest.
Das Grab, so euch bestimmet ist
 The grave that is allotted to you
Und ferner keine Not umschließt,
 and contains no further suffering,
Macht mir den Himmel auf und schließt die Hölle zu.
 opens heaven for me and shuts off hell.

40. Chorale
Ach Herr, lass dein lieb Engelein
 Ah Lord, let your dear angels
Am letzten End die Seele mein
 at my final hour carry my soul
In Abrahams Schoß tragen,
 to Abraham’s bosom,
Den Leib in seim Schlafkämmerlein
 while my body in its narrow chamber
Gar sanft ohn eigne Qual und Pein
 gently without pain or torment
Ruhn bis am jüngsten Tage!
 rests until the last day.
Alsdenn vom Tod erwecke mich,
 Wake me then from death,
Dass meine Augen sehen dich
 so that my eyes see you
In aller Freud, o Gottes Sohn,
 in all joy,o God’s son,
Mein Heiland und Genadenthron!
 my saviour and throne of mercy
Herr Jesu Christ, erhöre mich,
 Lord Jesus Christ, hear me,
Ich will dich preisen ewiglich!
 I shall praise you eternally!

-English Translation byFrancis Browne (April 2006)

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The Artists

Winnipeg Baroque Festival Choir (Members of Dead of Winter, Canzona, and Polycoro)

SOPRANO
Marni Enns
Merina Dobson-Perry
Geneva Halverson
Alice MacGregor
Deanna Smith
Chloe Thiessen
Alisa Wiebe

ALTO
Kim Brown
Karla Ferguson
Zoë Gotziaman
Kathleen Murphy
Tannis Penner
Kirsten Schellenberg
Ashley Schneberger

TENOR
Kyle Brisco
Josiah Brubacher
Aaron Hutton
Doug Pankratz
Scott Reimer
Michael Thompson

BASS
John Anderson
George Bajer-Koulack
Paul Bruch-Wiens
Keith Collins
Matthew Knight
Kris Kornelsen
Lukas Sawatsky
Jereme Wall

Members of the Pacific Baroque Orchestra

VIOLIN I
Cristina Zacharias (concertmaster)
Marc Destrubé
Chris Verrette

VIOLIN II
Paul Luchkow (principal)
Angela Malmberg

VIOLA
Brandon Chui (principal)
Jennifer Thiessen

CELLO
Nathan Whittaker

VIOLA DA GAMBA
Felix Deak

BASS
Nicolas Lessard

LUTE
Lucas Harris

ORGAN
Christina Hutten

OBOE
Curtis Foster (principal)
Marco Cera

FLUTE
Soile Stratkauskas (principal)
Miklya Jensen

BASSOON
Katrina Russell

Artist Bios

PACIFIC BAROQUE ORCHESTRA 

The Pacific Baroque Orchestra (PBO) is recognized as one of Canada’s most exciting and innovative ensembles performing “early music for modern ears”. PBO brings the music of the past up to date by performing with cutting edge style and enthusiasm. Formed in 1990, the orchestra quickly established itself as a force in Vancouver’s burgeoning music scene with the ongoing support of Early Music Vancouver. In 2009 PBO welcomed Alexander Weimann as Artistic Director. His imaginative programming and expert leadership have drawn in many new concertgoers, and his creativity and engaging musicianship have carved out a unique and vital place in the cultural landscape of Vancouver.

PBO regularly joins forces with internationally celebrated Canadian guest artists, providing performance opportunities for Canadian musicians while exposing West Coast audiences to a spectacular variety of talent. The Orchestra has also toured BC, the northern United States and across Canada as far as the East Coast. The musicians of the Pacific Baroque Orchestra have been at the core of many large-scale productions by Early Music Vancouver in recent years, including many summer festival performances led by Alexander Weimann.

CANZONA

Rooted in a love of Baroque music, Canzona's mission is to transform audiences through exceptional choral performance. Founded in 1989 by conductor Henry Engbrecht, and now under the direction of Kathleen Allan, Canzona has become one of Manitoba’s premiere choral ensembles. The choir is known for its performances of Baroque masterworks while maintaining a commitment to introducing Manitoba audiences to lesser-known composers and providing context for the works of the past in the contemporary world.

Canzona’s CD recordings have reached audiences around the world, and the major success of the three-volume German Hymns project brought Canzona’s music to the homes of thousands of North American families. The choir has collaborated with leading organizations such as the Pacific Baroque Orchestra, the Winnipeg Symphony Orchestra, the Manitoba Chamber Orchestra, Groundswell, and MusickBarock. Their 2022-23 season will include visiting artists Ensemble Caprice from Montreal to perform the music of Charpentier and a world premiere by Andrew Balfour, a sing-along “Kaffee und Kuchen,” and performances at the 2023 Winnipeg Baroque Festival.

DEAD OF WINTER

Dead of Winter – formerly known as Camerata Nova – is a vocal ensemble located in Winnipeg, Manitoba. Since 1996, we have been engaging and transforming music lovers with an annual concert series alongside a host of other innovative projects. We emerged from the isolation of our pandemic cocoon with a new name and a bold new identity. Dead of Winter is about powerful voices that tell stories, weaving together the talents of emerging and established artists. We support and collaborate with creatives from all backgrounds. We reimagine choir and performance, live and online. We are a platform for original work to be discovered and for early music to be rediscovered. For us, winter is a season for creativity and rebirth. Who knows what treasures await beneath the frozen landscape at the centre of Canada.

POLYCORO 

Polycoro has enthralled audiences with contemporary programming and daring artistry since May 2015.  With concerts praised as a “combustion of creativity” by the Winnipeg Free Press, the elite ensemble performs exciting a cappella works by contemporary and ancient composers, adding visual elements in unique venues that augment the sonic experience.  Comprised of 8 + adventuresome vocalists, Polycoro performs challenging, seldom heard contemporary works and rediscovered early music. We produce 1-2 concerts per season, commissioning new works from Canadian composers and developing performance collaborations with visual artists. Polycoro notably wowed capacity crowds during a multi-sensory performance of Joby Talbot’s “Path of Miracles” in collaboration with internationally acclaimed filmmaker and projection designer Deco Dawson in 2018.

KATHLEEN ALLAN, CONDUCTOR

Kathleen Allan is the Artistic Director of Canzona, Winnipeg’s professional Baroque choir, and the Artistic Director of the Amadeus Choir of Greater Toronto. Ms. Allan is in high demand as a conductor and composer and is equally comfortable working in early, contemporary, and symphonic repertoire. Originally from St. John’s, NL, she has conducted orchestras and choirs across Canada, the US, and Japan, and recently made her conducting debut with the Vancouver Symphony Orchestra (2019) and Newfoundland Symphony Orchestra (2020). She was the 2016 recipient of the Sir Ernest MacMillan Prize. She is the founding Co-Artistic Director of Arkora, an ensemble that blurs the lines between the music of our time and masterworks from the ancient repertoire. Her compositions have been commissioned, performed and recorded by ensembles throughout the Americas and Europe. She holds a composition degree from UBC and a master’s degree in conducting from Yale University. 

JONATHON ADAMS, BARITONE

Born in amiskwaciwâskahikan (Edmonton, Canada), Jonathon Adams is a Cree-Métis baritone. In concert, they have appeared as a soloist with Philippe Herreweghe, Sigiswald Kuijken, Václav Luks, Vox Luminis, and B’Rock Orchestra at Opera-Ballet Flanders. In 2021 Jonathon was named the first ever artist-in-residence at Early Music Vancouver.  Future solo engagements include performances with the New York Philharmonic, San Francisco Symphony and Tafelmusik Baroque Orchestra under Masaaki Suzuki, concerts with Collegium Vocale Gent, il Gardellino, Arion Baroque Orchestra, Servir Antico, the Toronto and Vancouver Bach Festivals, and the Portland Baroque Orchestra.

 Jonathon is a soloist in the film MESSIAH / COMPLEX produced by Against the Grain Theatre, featuring the Toronto Symphony Orchestra. Jonathon attended The Royal Academy of Music, the Conservatorium van Amsterdam, and The Victoria Conservatory of Music. They have studied singing with Nancy Argenta, Emma Kirkby, Edith Wiens, Rosemary Joshua and Olivier Lallouette.  Alongside their work as a singer, Jonathon leads workshops on historical performance practice. In 2021 Jonathon became the artistic director of the Baroque Singing Academy at LAMP - an annual ten day workshop in beautiful e’se’katik (Lunenburg, Nova Scotia).

MEL BRAUN, JESUS 

Baritone Mel Braun is a versatile performer, equally at home in oratorio, recital, and opera, always open to new collaborations. He is well-known to Canadian audiences for his frequent performances and broadcasts in the Masterworks of Bach and Handel. These include performances with Tafelmusik, Calgary Bach Festival, Pro Coro Edmonton, Symphony Nova Scotia, and the Winnipeg Symphony Orchestra. New Music, another of Mel’s interests, has seen him premiere works with Banff Centre, Manitoba Opera, Winnipeg’s New Music Festival, Groundswell, and Toronto’s New Music Gallery. As a recitalist, he is renowned for his creative approach to Song, whether singing Schumann’s Liederkreis while on stage with Winnipeg’s Q Dance, staging Wolf’s Italienisches Liederbuch, or tracing the life of Schubert among his friends as he completed his final work, Die Winterreise. His ongoing duo partnership with pianist Laura Loewen is at the heart of many of these collaborations.

PAUL BRUCH-WIENS, PILATE

Paul Bruch - Wiens is a baritone who has sung with Manitoba Opera, Little Opera Company, the WSO, and all the groups represented in the Baroque Festival. Additionally, Paul is a co-founder of Polycoro, and currently sits as the Vice-President of the Manitoba Opera Board of Trustees, as well as the Chair of the Board for Flipside Opera and Art Song Collective. Paul cares avidly for the performing classical arts, because it has enhanced and enriched his personal development. He believes that attendance in and the pursuit of a performing arts career positively shapes people’s lives.

Paul is a Private Wealth Manager with Quadrant Private Wealth, where his practice works predominantly with incorporate professionals and business owners. He lives in “The Flats” in Winnipeg, with his spouse Dawn Bruch-Wiens, their two young children, a dog and three cats.

JANE FINGLER, SOPRANO

Jane Fingler is a Toronto-based soprano from Winnipeg who is currently pursuing a DMA in Historical Performance - Voice from the University of Toronto, where she also recently completed her Masters in Historical Performance - Voice (2021). She regularly performs as a chorister and soloist and has performed with groups including Tafelmusik, The Theatre of Early Music (Toronto), Ottawa Bach Choir, The Elora Singers, Choir 21, Note Bene Players and Singers (Waterloo) and Winnipeg groups Canzona Baroque Choir, Polycoro and Camerata Nova Vocal Group (now called “Dead of Winter”). Solo highlights include performing Handel's "Messiah" with The Winnipeg and Regina Symphony Orchestras, the Okanogan Festival Chorus (Kelowna), the Peterborough singers and in Handel’s "Israel in Egypt" with Canzona and the Manitoba Chamber Orchestra. She recently sang in a one-singer-per-part performance of Bach's B minor Mass at the Oberlin Conservatory in Ohio. Although she is passionate about early music, Jane has also performed a wealth of contemporary music in many choral performances in the Winnipeg New Music Festival, as a soloist in Hilmar Hilmarsson’s composition "Between Friends" for orchestra and soprano, and more recently, in performances by Soundreams Choir 21 in Toronto.  She looks forward to another busy season, including performing as a core member of Tafelmusik baroque choir and orchestra and as a member of the newly formed Toronto early music vocal quintet, Diapente. 

HAITHAM HAIDAR, EVANGELIST

Haitham Haidar is a Lebanese-Palestinian Canadian tenor, currently based in Montreal. He is a proud graduate of Yale’s Institute of Sacred Music, McGill’s Schulich School of Music, and the University of British Columbia. Praised for his ‘ductile,’ ‘bright,’ and ‘robust’ tenor, Haitham enjoys performing oratorio, opera, and chamber music across North America, Europe, and Asia. Haitham is also a proud member of Kaleidoscope Vocal Ensemble (KVE), whose mission aims to present vocal music with the highest artistic excellence, while celebrating racial, ethnic, and gender diversity. 

Haitham has recently been seen as the tenor soloist with the Newfoundland Symphony Orchestra in Handel’s Messiah under the baton of Kathleen Allan, and as an ensemble member with Apollo’s Fire, Artefact, and Spire ensembles. Upcoming performances include those with members of KVE with 5 Boroughs Music Festival in NYC and at the Indianapolis Early Music Festival.

Haitham’s approach to performance has always been humanity first. Being an Arab immigrant in North America comes with its unique set of oppressive challenges and it is because of that and what he sees around him in the field, that he aims to touch people’s hearts with music and compassion and make change in the world the best way he knows how.

NOLAN KEHLER, TENOR

Winnipeg-based tenor Nolan Kehler brings an energy to the stage that is infectious for an audience. A participant in Manitoba Opera’s Digital Emerging Artists Program, Nolan’s most recent opera appearances have included Ferrando in Good Mess Opera Theatre’s Cosi fan tutte in Calgary, and online performances in Pacific Opera Victoria’s Garden of Alice. On the concert stage, Nolan has appeared as a soloist in Dead of Winter’s Captive in works by Cree composer Andrew Balfour and in Handel’s Messiah with the Regina Symphony Orchestra and Canzona. The 2022-2023 season will see Nolan continue to interpret Andrew Balfour’s works in Notinikew with Edmonton’s Chronos Vocal Ensemble, as well as appearances with the Winnipeg Symphony Orchestra in Rocky Mountain High celebrating the music of John Denver with his long-time conductor and arranger Lee Holdridge. Nolan will also be singing the Evangelist in the CMU Festival Chorus’s Weihnachts-Oratorium, and the role of Oronte in Handel’s Alcina alongside fellow Winnipeggers Tracy Dahl, Andriana Chuchman and the Manitoba Chamber Orchestra. When he is not performing on stage and screen, Nolan serves as the Provincial Coordinator for the Manitoba chapter of Opera InReach, which aims to provide accessible opera education to schools from a wide variety of perspectives and backgrounds in Canadian vocal music. Nolan can also be heard over the airwaves on CBC Manitoba’s Weekend Morning Show introducing curated classical music selections in his role as technical producer.

KRIS KORNELSEN, BARITONE

Having sung for over 25 years in Winnipeg professional choirs and as a soloist, Kris Kornelsen, bass-baritone, enjoys the diversion from his career as a CPA. Over the years, he has sung as both a soloist and chorister with Canzona, The Winnipeg Singers, Polycoro and Camerata Nova and has enjoyed guest appearances with The Winnipeg Symphony Orchestra, The Manitoba Chamber Orchestra, The Mennonite Oratorio Choir and the Winnipeg Philharmonic Choir. Some of the solo work that Kris has performed includes Handel’s Messiah, Haydn’s Creation, Bach’s St. John and St. Matthew’s Passions, Kurt Weill’s Seven Deadly Sins and Monteverdi Vespers. Kris loves to sing with large and small groups, including the mixed quartet Encore. Kris is passionate about communicating and bringing joy to audiences through his music, singing everything from classical to vocal pop and jazz, as well as gospel. He brings a bright yet warm vocal quality marked by sensitive phrasing to his performances.

VICKI ST. PIERRE, ALTO

Contralto Vicki St. Pierre’s voice “invitingly combines clarity of expression and beauty of tone,” and is described as “rich with both a darkness and brightness.” As a specialist in early music, she has performed internationally with such groups as the Academy of Ancient Music, Tafelmusik, Les Violons du Roy, Portland Baroque Orchestra, Sacabuche, and the Pacific Baroque Orchestra. She has also performed with Symphony Nova Scotia, the Edmonton Symphony Orchestra, the Calgary Philharmonic Orchestra, and the Victoria Symphony Orchestra. She has appeared on the operatic stage with Opera Atelier, Ensemble Masques de Montreal, Toronto Masque Theatre, and Early Music Vancouver, among others. She has directed choirs across Canada and in the UK, and has been an assistant conductor with Opera Atelier. Vicki has a doctorate in vocal performance from the University of Toronto, and has been a faculty member at Mount Allison University in Sackville, NB since 2015. In 2020, Dr. St. Pierre was appointed Interim Dean of Arts, and in early 2021, she was offered the position of Dean of Arts for a 5-year term.

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