· GOETHE-INSTITUT CHOIR

JOHANN BA SEBASTIAN

MONDAY, 8 DECEMBER 2014 NATIONAL CONCERT HALL DUBLIN

WITHA SELECTION OF CHRISTMAS CAROLS

www.goetheinstitutchoir.ie

ORCHESTRA OF ST. CECILIA The Orchestra of St.Cecilia was formed in January 1995. Drawn from the finest of Dublin's professional musicians it has a notable reputation

for the excellent quality of its performances, and is a firmly established part of Ireland's musical life,

particularly through its 10 year Bach Cantata project in which all 200 of Bach's church cantatas were performed.

In addition to performing outside Dublin, the Orchestra presents a regular series of concerts in association with the National Concert Hall. Highlights have been the complete Mozart Piano Concertos with Hugh Tinney, the complete Beethoven Symphonies and Piano Concertos conducted and performed by Barry Douglas, a Mozart series conducted by Kenneth Montgomery and an outstanding Beethoven symphony series conducted by Sir Neville Marriner.

In 2 013, the Orchestra completed the first half of the project to perform all 108 symphonies of Haydn.

Orchestra of St. Cecilia 10 Upper Beechwood Avenue Ranelagh, Dublin 6

Tel/Fax +353 11t126131t orchsc@eircom.net www.orchestrastcecilia.ie

Manager/ Artistic Director: Lindsay Armstrong

1stViolins Therese Ti money (leader) Margaret Burns Sylvia Roberts David O'Doherty

2ndViolins Flutes Elizabeth Mclaren Madeleine Staunton Dara O'Connell Sinead Farrell Melanie Briggs Oboe d'amore Violas Ruby Ashley Elazabeth Csibi Jenny Magee Lisa Quinn Oboe/Cor anglals Cellos Patricia Corcoran

Niall O'Loughlin Rebeca Halliday

Claire Fitch Bassoon Bass Ates Kirkan Aura stone Trumpets Organ Calm Byrne David Leigh Niall O'Sullivan

David Collins

Timpani Chris Stynes

GOETHE-INSTITUT CHOIR

CHRISTMAS JOHN DEXTER CONDUCTOR

Margaret Bridge Soprano Sharon Carty Contralto Simon Bode Tenor Ciaran Judge Bass

National Concert Hall Bth December 2014

David Leigh Organ Orchestra of St Cecilia

Johann Sebastian Bach Weihnachtsoratorium I Christmas Oratorio BWV 248

Part I: (Christmas Day) Jauchzet, frohlocket, auf, preiset die Tage

Part II: (Stephen's Day) Und es waren Hirten in derselben Gegend

INTERVAL

Christmas carols God Rest Ye, Merry Gentlemen Ar fore dydd Nadolig Lord of the Dance Stille Nacht

Johann Sebastian Bach Weihnachtsoratorium I Christmas Oratorio BWV 248

Part VI: (Feast of the Epiphany) Herr, wenn die stolzen Feinde schnauben

Prugrannnc note; com11/iled l>v Dr. Werner J. Blau MR/A

Programme designed and edited /Jv Martine Maguire Weft,,, kc www.mmw-design.com

Printed bv Dnect Prrn t 087 2480649 directprint@eircom.net

Johann Sebastian Bach 1685-1750

Johann Sebastian Bach was born into a family of notable musicians. His father was court trumpeter for the Duke of Eisenach and director of Eisenach's civic orchestra, and his uncle and older brother were both well-known

organists. His first musical training was from his father, who taught him the violin and perhaps harpsichord. He also attended the Latin School at Eisenach, where Luther had been a student a century before, and attracted attention for his fine treble voice. He continued his organ studies with his brother Johann Christoph, but his training in composition was haphazard. He was largely self-taught, th rough the practical expedient of copying manuscripts of composers like Froberger and Pachelbel. He obtained his first position as a church organist in 1703 at the age of 18. He held a series of church and court appointments over the next twenty years, continually moving to positions which offered greater musical possibilities, larger salaries and fresh starts with new employers.

In 1723, he took up the post of Cantor (Director of Choirs and Music) in Leipzig, a post he was to hold for the remainder of his life. He was responsible for the music at all four of Leipzig's main churches, musical education of the students at St. Thomas School, direction of the municipal orchestra, and later, direction of the Collegium

Musicum, an ensemble associated with the University of Leipzig which gave regular concert performances. In addition to these duties, Bach set himself the task of composing a cycle of cantatas for each Sunday in the liturgical year, and completed two such cycles in his first two years in Leipzig, nearly 120 cantatas. During his tenure there, he composed an astounding five complete cycles of cantatas, almost 300 in number.

Bach composed the Christmas Oratorio in 1734. Although we now think of it as a single work, it is actually composed of six cantatas. Bach presented the individual cantatas one at a time over the period between Christmas and the Feast of the Epiphany. As usual at the time, he re-used material from two secular cantatas composed in the previous year: Sound, you drums! Resound, you trumpets! (BWV214), written for the birthday of the Princess of Saxony, and Hercules at the Crossroads (BWV213), written for the birthday of the Prince-Elector of Saxony. Most, if not all of the congregation would not have heard either cantata before. Bach probably enlisted the help of his librettist Picander (pen name of the poet Christian Friedrich Henrici) in selecting text that exactly matched the rhythms of the original texts. Picander had provided the librettos for those two secular cantatas.

PART I: Jauchzet, frohlocket, au!, preiset die Tage - Cantata for Christmas Day

The opening chorus of the Christmas Oratorio is a paraphrase, taken from the secular birthday cantata for Maria Josepha, Queen of Poland and Electress, from which Bach subsequently transcribed a number of movements for the oratorio. The text for the original chorus called upon drums, trumpets and strings to fill the air. Bach's transformation of this material to wonderful and idiomatic Christmas music is a marvel. The opening chorus begins with the drums and is followed up by a mighty rush with the strings and winds to the dazzling entrance of the trumpets. Surrounded by two oboes d'amore, the alto recitative expresses contentment with the impending birth, leading us to the first aria, a paraphrase from BWV 213. The original text, a denunciation of lust and the serpents of sin, now becomes a call to action----prepare yourself Zion, to behold the fairest.

The first and final chorales of the oratorio are a setting of the Passion chorale, which we usually associate with Lent. However, Bach's congregations would have been familiar with it as it exists in previously heard cantatas, most notably BWV 135. The movement that follows for bass soloist and the sopranos of the choir is among one of the most interesting movements in the entire cantata canon of Bach. Bach gives the sopranos four chorale phrases, each in a different key, and each is preceded and followed by an instrumental ritornello framing the entire movement. Furthermore, the chorale statements are extended by the bass's additional explanatory comment. This unique hybrid structure leads us to the powerful bass aria, another paraphrase from BWV 214 whose original form was a song of homage to the queen. A wonderful and grand setting of Martin Luther's most beloved chorale Vom Himmel hoch, da komm ich her, with trumpets and drums punctuating each cadence, ends the cantata.

s. Chor Jauchzet, frohlocket, auf, preiset die Tage, RUhmet, was heute der Htichste getan! Lasset das Zagen, verbannet die Klage, Stimmet volt Jauchzen und Fr6hlichkeit an! Dienet dem H6chsten mit herrlichen Ch6ren, LaSt uns den Namen des Herrschers verehren!

s.Chorus Celebrate, rejoice, rise up and praise these days, glorify what the Highest has done today! Abandon despair, banish laments, sound forth full of delight and happiness! Serve the Highest with glorious choruses, let us honour the name of the Supreme Ruler!

2. Rezltatlv T (EvanpUst) Es begab sich aber zu der Zeit, daB ein Gebot von dem Kaiser Augusto ausging, daB alle Welt geschitzet wUrde. Und jedermann ging, daB er sich schitzen lieBe, ein jeglicher in seine Stadt. Da machte sich auch auf Joseph aus GaliUla, aus der Stadt Nazareth, in das jUdische Land zur Stadt David, die da heiBet Bethlehem; darum, daB ervon dem Hause und Geschlechte David war: auf daB er sich schitzen lieBe mit Maria, seinem vertrauten Weibe, die war schwanger. Und als sie daselbst waren, kam die Zeit, daB sie gebiren sollte.

J. Rezltatlv A Nun wird mein liebster Briutigam, Nun wird der Held aus Davids Stamm Zum Trost, zum Heil der Erden Einmal geboren werden. Nun wird der Stem aus Jakob scheinen, Sein Strahl bricht schon hervor. Auf, Zion, und verlasse nun das Weinen, Dein Wohl steigt hoch empor!

4-ArleA Bereite dich, Zion, mit zirtlichen Trieben, Den Schtinsten, den Liebsten bald bei dlr zu sehn! Deine Wangen mUssen heut viel schtiner prangen, Elle, den Briutlgam sehnlichst zu lieben!

5. Choral Wie soll ich dich empfangen Und wie begegn• ich dir? O aller Welt Verlangen, O meiner Seelen Zier! O Jesu, Jesu, setze mir selbst die Fackel bei, Damit, was dich erg6tze,

• Mir kund und wissend sel!

2. Recitative T (EvanpUst) It came to pass at that time, however, that a decree went out from Coesar Augustus that the whole world should be appraised. And everyone went to be appraised, each to his own city. So Joseph also went out of Galilee, out of the city of Nazareth, Into the Jewish te"ltory to the city of David, which was catted Bethlehem; since he was of the house and race of David; so that he might be appraised with Mary, his betrothed wife, who was pregnant. And while they were there, the time came for her to deliver.

3. Recitative A Now my dearest Bridegroom, now the hero from David's branch, for the comfort, for the salvation of the earth, will be born at last Now the Star out oflacob will shine, its light already breaks forth. Arise, Zion, and give up your weeping now, your happiness rises high above you!

4-ArlaA Prepare yourself, Sion, with tender efforts, to behold your lovely one, your beloved, near you soon! Your cheeks must now glow much more radiantly, hurry to love the Bridegroom with passion!

5. Chorale How shall I embrace You, and how encounter You? O desire of the whole world, O adornment of my soul! O Jesus, Jesus, place the torch near me Yourself, so that what gives You pleasure be known and fomlllar to me!

6. Rezltatlv T (EvanpUst) 6. Recitative T (EvanpUst) Und sie gebar ihren ersten Sohn und wickelte ihn And she bore her first son, and wrapped Him in Windeln und legte ihn in eine Krippen, denn sie In swaddUng clothes and laid Him In a manger, hatten sonst keinen Raum in der Herberge. since there was no other room In the Inn.

7. Choral S und Rezltatlv I 7. Chorale Sand Recitative I Er ist auf Erden kommen arm, He came to earth poor, Wer will die Liebe recht erhtihn, Who can rightly exalt this love, Die unser Helland vor uns hegt? that our Saviour harbours for us? DaB er unser sich erbarm, So that He might have sympathy for us, Ja, wer vermag es einzusehen, Indeed, who could possibly have predicted Wle ihn der Menschen Leid bewegt? how the sorrow of humanity moved Him? Und In dem Himmel mache relch, And make us rich In heaven, Des Htichsten Sohn ktimmt In die Welt, The Son of the Highest came Into the world, Well Ihm ihr Hell so wohl geflllt, since Its salvation pleased Him so much, Und seinen lieben Engeln glelch. and like His dear angels. So will er selbst als Mensch geboren werden. thus He Himself will be born a human. Kyrieleis! Kyrie elelson!

&~I &~I GroBer Herr, o starker Ktinig, Great Lord, o powerful King, Liebster Helland, o wie wenig dearest Saviour, o how little Achtest du der Erden Pracht! you care about the glories of the earth! Der die ganze Welt erhllt, He who sustains the entire world, lhre Pracht und Zier erschaffen, who created Its magnificence and beauty, MuB in harten Krippen schlafen. must sleep In a harsh manger.

,. Choral ,. Chorale Ach mein herzliebes Jesulein, Ah, my heart's beloved little Jesus, Mach dir ein rein sanft Bettelein, make Yourself a pure, soft little bed Zu ruhn in meines Herzens Schrein, within my heart's chamber In which to rest, DaB lch nimmer vergesse deinl so that I never forget You!

~~~~~~~~~~~·

PART II: Und es waren Hirten in derselben Gegend - Cantata for the second day of Christmas

This is the only one of the six cantatas not to begin with a celebratory chorus but with an expansive sinfonia. With the four oboes as shepherds accompanied by flutes and strings as the heavenly choir of angels, the gently undulating dotted rhythms shape a lush, pastoral effect. The Evangelist then paints the picture of the shepherds in the fields when the Angel of the Lord appears. The unsophisticated, yet beautiful chorale Brich an, o schones Morgenlicht contemplates the child's radiance. Two short recitatives act as a bridge to the first aria of the cantata, the first accompanied by strings and the second by the oboe choir. In the first the Angel, encompassed by a halo of sustained strings, announces the birth of the saviour. The bass, backed by emphasizing woodwind chords, brings a reminder of the ancient promise. The tenor and flute aria is a call for them to gather, hasten and see for themselves the child who can refresh both body and spirit, as depicted by sweeping melisma in the voice and flute. The Evangelist then describes the infant Jesus in the manger. The chorale tune Vom Himmel hoch, coming here again, paints a darkish picture of the child in the gloomy stable where oxen once fed setting the scene for the gorgeous slumber aria for alto, flute, and strings. Notice how the flute hovers above the alto voice like a halo. The chorus then sings, without instrumental introduction, the energetic "Glory to God" chorus. There are two stunning moments when "peace on earth" is called for, compelling the choir to sing in hushed tones while the primarily eighth-note-driven continua line temporarily subsides. The section ends with Vom Himmel hoch, this time accompanied by motives from the opening sinfonia.

s. (so.) Sinfonia

:a. (ss.) Rezltatlv T (EvangeUst) Und es waren Hirten in derselben Gegend auf dem Felde bei den HUrden, die hUteten des Nachts ihre Herde. Und siehe, des Herren Engel trat zu ihnen, und die Klarheit des Herren leuchtet um sie, und sie furchten sich sehr. (Luke 2:8-9)

3. (s:a.) Choral Brich an, o sch6nes Morgenlicht, Und la'B den Himmel tagen! Du Hirtenvolk, erschrecke nicht, Weil dir die Engel sagen, Da'B dieses schwache Knlbelein Soll unser Trost und Freude sein, Dazu den Satan zwingen Und letztlich Friede bringen!

If· (s3.) Rezltatlv T 5 (EvangeUst, EngeO Und der Engel sprach zu ihnen: - FUrchtet euch nicht, siehe, ich verkUndige euch gro'Be Freude, die allem Volke widerfahren wird. Denn euch ist heute der Heiland geboren, welcher ist Christus, der Herr, in der Stadt David. -

5. (Slf.) Rezltatlv B Was Gott dem Abraham verhei'Ben, Das Ui'Bt er nun dem Hirtenchor erfUllt erweisen. Ein Hirt hat alles das zuvor von Gott erfahren mUssen. Und nun muff auch ein Hirt die Tat, Was er damals versprochen hat, Zuerst erfUllet wissen.

s. (so.) Sinfonia

z. (ss.) Recitative T (EvanpUst) And there were shepherds In the same region In the fields near the sheepfolds, who guarded their flock at night. And behold, the angel of the Lord approached them, and the brilliance of the Lord shone around them and they were very afraid.

3. (sz.) Chorale Break forth, o lovely light of morning, and let heaven dawn! You shepherd-folk, do not fear, for the angel tells you that this weak little boy shall be our comfort and Joy, compelling Satan as well and bringing peace at last!

4. (s,.) Recitative T S (EvanpUst, AnpO And the angel said to them: - Do not be afraid; behold, I proclaim great Joy for you, which will occur for all people. For today the Saviour Is born for you, which Is Christ, the Lord, In the city of David. -

5. (Sit-) Recitative B What God promised to Abraham, now, fulfilled, He has had announced to the group of shepherds. A shepherd, then, first of alt had experience of God. And now, also, a shepherd Is first of all to know the fulflllment of what once was promised.

6. (ss.) Arie T Frohe Hirten, eilt, ach eilet, Eh ihr euch zu lang verwellet, Eilt, das holde Kind zu sehn! Geht, die Freude heiBt zu sch6n, Sucht die Anmut zu gewinnen, Geht und labet Herz und Slnnen!

7. (s6.) RezltatlvT (EvangeUst) Und da habt zum Zeichen: lhr werdet finden das Kind in Windeln gewlckelt und in einer Krippe liegen.

a. (s7.) Choral Schaut hin, dort liegt Im finstem Stall, Des Herrschaft gehet Uberall! Da Speise vormals sucht ein Rind, Da ruhet itzt der Jungfrau'n Kind.

9. (s&.) Rezltatlv B So geht denn hin, ihr Hirten, geht, DaB ihr das Wunder seht: Und findet ihr des H6chsten Sohn Un einer harten Krippe liegen, So singet Ihm bei seiner Wlegen Aus einem sUBen Ton und mlt gesam­tem Chor dies Lied zur Ruhe vor!

so. (s9.) Arie A Schlafe, main Llebster, genieBe der Ruh, wach nach diesem vor alter Gedeihen! Labe die Brust, empfinde die Lust, Wo wir unser Herz erfreuen!

6. (s5.) Arla T Happy shepherds, hurry, ah hurry, before you delay too long, hurry to see the lovely Child! Go, this Joy Is so exquisite, seek to achieve this loveliness, go and delight heart and senses!

7. (s6.) Recitative T (EvanpUst) And there you will have as a sign: you will find the Child wrapped In swaddling clothes and lying In a manger.

8. (s7.) Chorale Look there, there He lies In a dark stall, whose majesty encompasses everything! Where once an ox searched for food, now the Child of the Virgin rests.

9. (sa.) Recitative B Then go there, you shepherds, go, so that you see the miracle: and when you find the Son of the Highest lying In a harsh manger, then sing to Him by His cradle In a sweet tone and with full chorus this lullaby!

so. (s9.) Arla A Sleep, my beloved, enjoy Your rest, and awaken a,er It for all the fortunate! Let your heart delight, experience the Joy that rejoices our hearts!

11. (20.) Rezitativ T (Evangelist) Und alsobald war da bei dem Engel die Menge der himmlischen Heerscharen, die lobten Gott und sprachen:

12. (21.) Chor (Die Engel) Ehre sei Gott in der Hohe und Friede auf Erden und den Menschen ein Wohlgefallen.

13. (22.) Rezitativ B So recht, ihr Engel, jauchzt und singet, Dafi es uns heut so schon gelinget! Auf denn! Wir stimmen mit euch ein, Uns kann es so wie euch erfreun.

14. (23.) Choral Wir singen dir in deinem Heer Aus alter Kraft Lob, Preis und Ehr, Dafi du, o tang gewUnschter Gast, Dich nunmehr eingestellet hast.

11. (20.) Recitative T (Evangelist) And immediately, with the angel, there was a throng of the heavenly hosts, who praised God and said:

12. (21). Chorus (The Angels) Glory be to God in the highest and peace on earth and a happy occurrence for humanity.

13. (22) Recitative B Thus rightly, you angels, rejoice and sing, that it works out so beautifully for us today! Up then! We play along with you; we can celebrate just as you do.

14. (23.) Chorale We sing to You in Your host with all our might praise, glory and honour, since You, o long-awaited guest, from now on have become present.

I I

I PART VI: Hen; wenn die stolzen Felnde schnauben - Cantata for Epiphany

The festival of Epiphany, the traditional twelfth day of Christmas, completes the narrative of the Wise Men and the revelation of the arrival of the saviour to the world. Bach, therefore, celebrates with the maximum of musical ceremony, recalling the trumpets and drums. While the narration is concerned with the ar­rival of the Wise Men, much of the music exhibits a darker cast heading toward Lent. The opening chorus has a complexion that is both passionate and vertigi­nous, going in one direction then veering off unex­pectedly in another, as befits the text, which is con­cerned with the treachery of Herod. After a bit of nar­ration, the soprano sings an accompanied recitative and aria, rather abstract in its condemnation of Herod and its pronouncement of God's power. The aria is a wonderful piece, full of the trickiest phrasing and un­expected ideas, very much in the manner of the open­ing chorus. After more narration and a chorale setting, Bach abandons the Wise Men, and in the tenor recita­tive and aria again concentrates on the treachery of Herod. The little four-voice recitative is thirty seconds of magic and leads into the astonishing final chorus, a triumphant trumpet-and-drum affair in which is im­bedded the Passion chorale. The Christmas Oratorio begins and ends, significantly, with a Passion chorale, much in the manner of many nativity paintings of the period that show in the background a little sapling growing which is meant to be the tree from which the cross will be made.

s. (s4.) Chor Herr, wenn die stolzen Feinde schnauben, so gib, daft wir im festen Glauben nach deiner Macht und HUlfe sehnl Wir wollen dlr allein vertrauen, So ktinnen wlr den scharfen Klauen Des Feindes unversehrt entgehn.

2. (s5.) Razltatlv T, B Da berief Herodes die Weisen helmlich und erlemet mit Reil von Ihnen, wenn der Stem erschienen wire. Und welset sie gen Bethlehem und sprach: - Zlehet hin und forschet fleiftig nach dem Kindlein, und wenn ihr's findet, sagt mir's wleder, daft ich auch komme und es anbete. -

J. (s6.) Razltatlv S Du Falscher, suche nur den Herm zu fllllen, nlmm alle falsche List, Dern Helland nachzustellen; Der, dessen Kraft keln Mensch ermiftt, bleibt doch in sichrer Hand. Dein Herz, dein falsches Herz lst schon, nebst alter selner List, des Htichsten Sohn, Den du zu stUrzen suchst, sehr wohl bekannt.

s. '54-) Chorus Lord, when our proud enemies snort. then grant that, In firm faith, we can look far Your help and strength! We will trust In You alone, thus we can escape the sharp claws of the enemy unscathed.

2. (s5.) Recitative T, B Then Herod summoned the sages secretly and cleverly discovered from them when the star had appeared. And he directed them towards Bethlehem and said: -Go there and seekdlllgentlyfor the Infant, and when you find It, report to me, so that/ can also come and pay my devotions to Him. -

J. (s6.) Recitative S Uar, you seek only to destroy the Lord; You employ all false trickery to supplant the Saviour; yet He, whose power no man can measure, remains In secure hands. Your heart, your false heart Is already, with all Its deceit, very well known to the Son of the Highest whom you seek to crush.

It- (57.) Arie S Nur ein Wink von seinen Hlnden StUrzt ohnmlchtger Menschen Macht. Hier wird alle Kraft verlacht! Spricht der H6chste nur ein Wort, Seiner Feinde Stolz zu enden, 0, so mUssen sich sofort Sterblicher Gedanken wenden.

5. (58.) Rezltatlv T (Evanpllst) Als sie nun den K6nig geh6ret hatten, zogen sie hin. Und siehe, der Stem, den sie im Morgenlande gesehen hatten, ging fUr ihnen hin, bis daB er kam und stund oben Uber, da das Kindlein war. Da sie den Stem sahen, wurden sie hoch erfreuet und gingen in das Haus und funden das Kindlein mit Maria, seiner Mutter, und fielen nieder und beteten es an und tlten ihre Schltze auf und schenkten ihm Gold, Weihrauch und Myrrhen.

6. (59.) Choral lch steh an deiner Krippen hier, O Jesuleln, meln Leben; lch komme, bring und schenke dir, Was du mir hast gegeben. Nimm hin! Es ist mein Geist und Sinn, Herz, Seel und Mut, nimm alles hin, Und laB dirs wohlgefallen!

7. (6o.) Rezltatlv T (EvanpUst) Und Gott befahl Ihnen im Traum, daB sie sich nicht sollten wieder zu Herodes lenken, und zogen durch einen andem Weg wieder in ihr Land.

If· (57.) Arla S Only a wave of His hands topples the Impotent power of humans. Here all strength Is laughable! If the Highest speaks only a word, to terminate the pride of His enemies, o, then how Immediately must the thoughts of mortals be turned aside!

5. (s8.) Recitative T (EvanpUst) When they had heard the King, they went away. And behold, the star which they had seen In the East went before them until ft came and stood over where the Infant was. When they saw the star, they were highly delighted, and went Into the house, and found the Infant with Mary, His mother; and they fell down and worshipped Him and presented their treasures; and they gave Him gold, {ranlc/ncense, and myrrh.

6. (59.) Chorale I stand here by Your cradle, o little Jesus, my life; I come, I bring and give to You, what You have given to me. Take It! It Is my spirit and mind, heart, sou, and w/1, take all of ft, and let it be pleasing to You!

7. (60.) Recitative T (EvanpUst) And God commanded them In a dream that they should not Journey back to Herod, and they travelled by another way back to their own land.

8. (61.) Rezitativ T So geht! Genug, mein Schatz geht nicht von hier, Er bleibet da bei mir, ich will ihn auch nicht von mir lassen. Sein Arm wird mich aus Lieb mit sanftmutsvollem Trieb Und groBter Zartlichkeit umfassen; er soll mein Brautigam verbleiben, ich will ihm Brust und Herz verschreiben. lch weiB gewiB, er liebet mich, mein Herz liebt ihn auch inniglich und wird ihn ewig ehren. Was konnte mich nun fUr ein Feind Bei solchem GlUck versehren! Du, Jesu, bist und bleibst mein Freund; Und werd ich angstlich zu dir flehn: Herr hilf!, so laB mich HUlfe sehn!

9. (62.) Arie T Nun mogt ihr stolzen Feinde schrecken; Was konnt ihr mir fUr Furcht erwecken? Mein Schatz, mein Hort ist hier bei mir. lhr mogt euch noch so grimmig stellen, Droht nur, mich ganz und gar zu fallen, Doch seht! Mein Heiland wohnet hier.

10. (63.) Rezltativ SAT B Was will der Hollen schrecken nun, Was will uns Welt und SUnde tun, Da wir in Jesu Handen ruhn?

11. (64.) Choral Nun seid ihr wohl gerochen an eurer Feinde Schar, Denn Christus hat zerbrochen, was euch zuwider war. Tod, Teufel, SUnd und Holle Sind ganz und gar geschwacht; Bei Gott hat seine Stelle das menschliche Geschlecht.

8. (61.) Recitative T Go then! It is enough, my treasure does not leave here, He remains here with me, I also will not let Him leave me. His arm will, out of love, embrace me with tender emotions and the greatest gentleness; He shall remain my bridegroom, I will dedicate my heart and breast to Him. I surely know that He loves me, my heart loves Him inwardly as well and will always honour Him. What kind of enemy now, amid such happiness, could harm me! You, Jesus, are and remain my Friend; and if I will beseech you anxiously: Lord, help! then let me see assistance!

9. (62.) Aria T Now, you arrogant enemies, you may tremble; what kind of fear can you arouse in me? My treasure, my sanctuary is here with me. You may seem still so horrible, threatening to defeat me once and for all, yet see! My Saviour lives here.

10. (63.) Recitative SAT B How can hell frighten now, what can the world and sin do to us, since we are safe in Jesus' hands?

11. (64.) Chorale Now you are well avenged upon the horde of your enemies, since Christ has pulverized what was contrary to you. Death, devil, sin and hell are weakened once and for all; the place of the human race is next to God.

God Rest ye, Merry Gentlemen Trad., arr. John Dexter

God rest ye, merry gentlemen, Let nothing you dismay, Remember Christ our Saviour Was born on Christmas Day; To save us all from Satan's power When we were gone astray.

O tidings of comfort and joy, Comfort and joy; O tidings of comfort and joy!

From God our heavenly Father A blessed angel came; And unto certain shepherds Brought tidings of the same; How that in Bethlehem was born The son of God by name. 0 tidings ...

Ar fore dydd NadoU1 Trad. Welsh#

Ar fore dydd Nadolig Esgorodd y Forwynig Ar Geidwad bendlgedig; Ym Methlem dref Yganwyd Ef, Y rhoes el lef drosom ni. O Geidwad aned, Fe wawrlodd arnom ddydd. Oros euog ddyn fe'i lladdwyd Ac mewn bedd gwag fe'i dodwyd Ar 61 y gair 'Gorffennwyd'; Ond daeth yn rhydd y trydydd dydd . . • O'r beddrod prudd, drosom m. O Geidwad aned, Fe wawriodd arnom ddydd. o rasol Fair Forwynig, Mam Ceidwad bendigedig,

Now to the Lord sing praises Yr lesu dyrchafedig; All you within this place, Ger gorsedd nef And with true love and brotherhood Eiriola'n gref Each other now embrace; A chwyd dy lef drosom ni. This holy tide of Christmas O Geldwad aned, All others doth deface. o tidings... Fe wawriodd arnom ddydd.

·~~~~~~___L_~~~~~

arr. John Hugh Thomas

On Christmas morn A blessed Saviour Was to the Virgin bom; In Beth'lem town He came to birth, For us he cried. O newborn Saviour For us new day has dawned. Slain was he for guilty man And placed in empty grave Accomplished was all; But came he free for us on Easter day from sadness of the grave. O newborn Saviour For us new day has dawned.

Lord of the Dance Trad. Shaker, arr. Stuart Nicholson With sincerest apologies to Sidney Carter, Saint-Saens, Borodin, Rogers, Lowe & Strauss

I danced in the morning When the world was begun, And I danced in the moon And the stars and the sun, And I came down from heaven And I danced on the earth, At Bethlehem I had my birth.

Dance, then, wherever you may be, I am the Lord of the Dance, said he. And I'll lead you all, wherever you may be, and I'll lead you all in the Dance, said he.

I danced on the Sabbath And I cured the lame; The holy people Said it was a shame. They whipped and they stripped And they hung me on high, And they left me there On a Cross to die.

I danced on a Friday When the sky turned black. It's hard to dance With the devil on your back. They buried my body And they thought I'd gone, But I am the Dance,

O gracious Mary, Virgin I danced for the scribe And I still go on. Blest Mother of the Saviour and the pharisee, Our Jesus the exalted; But they would not dance They cut me down and I leapt By heaven's throne And they wouldn't follow me. up high; I am the life that'll Speak strongly for us I danced for the fishermen, never, never die; I'll live in you And raise your voice. For James and John. If you'll live in me. o newborn Saviour They came with me I am the Lord of the Dance,

d d And the Dance went on. said he.

___ Fo_r_u_s_n_ew_.a_y_h_a_s_da_w_n_,_·--~-------------------•

Stille Nacht Franz Gruber

Silent night, holy night All is dark, save the light Shining where the mother mild Watches over the holy child Sleep in heavenly peace Sleep in heavenly peace

Ofche chiuin, ofche Mhic De each 'na suan dfs araon Dfs is dflse 'faire le speis Nafon beag, naoigheal ceannann tais caomh Crfost, 'na chodladh go seimh Crfost, 'na chodladh go seimh

AUDIENCE TO SING ALONG IN VERSE 3:

Stille Nacht, heilige Nacht Alles schllft; einsam wacht Nur das traute hochheilige Paar Holder Knabe im lockigen Haar Schlaf in himmlischer Ruh Schlaf in himmlischer Ruh

GOETHE·INSTITUT CHOIR Founded in 1965, the Goethe-lnstitut Choir comprises a refreshing mix of singers of rnany nationalities and ages. With renowned conductor John Dexter at the helm, the choir lives up to its high reputation and plays a vital and vibrant role in the cultural life of Dublin. Programmes have featured the music of a wide range of composers including Vittoria, Schutz, Monteverdi, JS Bach, Handel, Schubert, Mozart, Beethoven, Bruckner, Haydn; Rossini, Faure, Britten and Jenkins.

The choir performs at least three concerts each year, including the very popular Christmas concert at the National Concert Hall and the annual Good Friday concert at St Patrick's .Cathedral in aid of the carmichael Centre. The schedule has also included participation in special events such as the JS Bach Cantatas Series and the opening gala concert at Cork Choral Festival.

The choir has also performed with the RTE Concert Orchestra on a number of occasions, accompanying Bryn Terfel f n 2013 and performf ng Karl Jenkins' Big 70 birthday concert conducted by the composer in 2014. The Choir's next concert, featuring Edward Elgar's Dream of Gerontius will take place on Good Friday, 3rd April 2015 at St Patrick's Cathedral, Dublin.

www.pethelnstltutcholr.le

SOPRANO Geraldine Hynes ALTO Siobhan Parkinson John O'Riordan Brigitte Bark Rosemary Judge Elzbieta Bieniaszewicz Katerina Psimopoulos Liam Shorten Irene Black June Kelly Imelda Byrne Crea Ryder Darragh Whelan Isolde Blau Mary Kelly Anna Casey Sally Walker Teresa Bolger Una Kinirons Deirdre Clare Laetitia West BASS

Tanja Brohl-Whelan Joy Kleinstuber Orta Condon Werner Blau

Cliona Brophy Agnieszka Legowik Aoine Devlin TENOR David Denby

Katherine Campbell Suzanne Little Alison Dexter Robin Adams Dan Farrelly

Nuala Cuffe Sophia Millington-Ward Traudi Ferguson Ray Bates Eoin Garrett

Brigid Curtin Claire Monahan Ellis Gordijn Tina Blau Michael Geaney

Vania T. I. da Silva Joan Murphy Becky Gu~mundsson George Dikker Colin Holman

Corry de Jongh Sarah O'Connell Jill Guyonnet Anna Fisch Martin Kerin

Maire Donovan Erner O'Connor Susan Jacobs Laetitia Girot de Langlade Frank Lyons

Jacqui Enright Cecily O'Flynn Sophie Jacobs Derval Igoe Eanna Mulloy

Camilla Fanning Marianne O'Regan Claudia Murray Martine Maguire-Weltecke Ciaran Mulloy

Isolde Haines Amanda Piesse Mary Nolan Mairead McNamara Liam Mulloy

Anna Hickey Jane Reddy Maire Owens Michael Meldon Geraint Waters

Anna Hofheinz AoifeWebb Luf seach Owens Stephanie Offergeld

Margaret Bridge Soprano

Margaret Bridge is a former young artist with Opera Theatre Company, with whom she has given many concerts and performances around Ireland, including recitals at the National Concert Hall in August 2013 and a National Christmas concert tour in December 2013. Operatic roles include Pat Nixon {partial cover) for Wide Open Opera's production of Nixon in China, Monica (The Medium) for Mid-West Opera, and Lady Billows (Albert Herring)

and First Lady (Magic Flute), both for RIAM. She has appeared as a soloist several times for Dublin University Choral Society including Handel's Messiah and Mozart's Requiem. In June 2013, Margaret performed in recital and in Vivaldi's Gloria for the Festival de Musique in Leran, France. Prior to pursuing performance, Margaret completed a degree in Music at Trinity College Dublin, where she won a scholarship in 2010. She is currently in her second year of the Masters in Performance at the Royal Irish Academy of Music where she studies under Virginia Kerr and Dearbhla Collins. Forthcoming engagements include the role of Erisbe for the Royal Irish Academy of Music's production of Cavalli's L'Ormindo in January 2015, at the Samuel Beckett theatre.

Sharon Carty Contralto Irish mezzo-soprano Sharon Carty studied at the Royal Irish Academy of Music and the University for Music and performing Arts, Vienna and was a member of the opera studio at Oper Frankfurt from 2010-2012. She returned to Frankfurt in the 2012/2013 season to reprise her role as Aloes in in the critically acclaimed David Alden production of Chabrier's L'Etoile, as well as to sing Dido in the Barrie Kosky production of Dido and Aeneas, a debut which was lauded as "quite simply sensational" (Der Opernfreund). January 2014 saw her creating the role of Oscar in the world premiere of Fabrice Bolton's "Oscar und die Dame in Rosa" at Th eater Freiburg, the Stuttgarter Zeitung describing her performance as that of a "young, agile, bright and round first-class Mezzo". Her opera repertoire includes Ruggiero, Maddalena, Suzuki, Cherubino, Hansel, Sesto and she recently performed the role of Nancy T'ang in the Irish premiere of Nixon in China with Wide Open Opera.

Sharon enjoys a busy concert schedule, working regularly with orchestras such as the Wiener Akademie, Capella lstrapolitana, Camerata Ireland, RTE Concert Orchestra, National Symphony Orchestra of Ireland, Irish Baroque Orchestra and Camerata Ireland. The Stream in the Valley, a Music Network-funded recording of English and Irish songs and duets by Benjamin Britten and other composers was released in March 2014 on the GENUIN label. Plans for 2014/2015 include role debuts with Annina in a new production of Der Rosenkavalier at Oper Frankfurt and Medoro in Orlando at Th eater Frei burg under the direction of Julia Jones, as well as the St. Matthew Passion O.S.Bach) with the RTE NSO on Good Friday 2015 and several Schubert song recitals with award­winning pianist Jonathan Ware. Sharon was recently announced as one of Opera Theatre Company's inaugural "Opera Hub" artists.

Simon Bode Tenor

•

Simon Bode is currently a member of the ensemble of Oper Frankfurt, having graduated from the prestigious Opera Studio programme in 2013. Since his engagement in Frankfurt he has sung in numerous new productions and revivals, including his role-debut as Belmonte in Christof Loy's staging of Die Entf{Jhrung aus dem Serail, Fenton in Verdi's Fallstaff, as well as Tamino in Die Zauberflote. Born in Hamburg in 1984,

Simon began his musical training early, with violin and piano lessons, winning prizes on both instruments. He completed his vocal studies in July 2010 with Prof. Charlotte Lehmann at the University for Music and Theatre in Hannover and now additionally studies with Neil Semer in New York. The young singer's talent was rewarded early in his career, with many prizes and scholarships.

In early 2014 Simon sang Don Ottavio in a new production of Don Giovanni at the Norwegian National Opera in Oslo, after having made his house debut there in the 2012/2013 season. 2014 also saw him sing in the world premiere of Peter Eotvos' Der goldene Drache at Oper Frankfurt, earning him several

nominations as "young singer of the year" in the "Opernwelt" magazine poll of opera critics. Simon has already appeared as a guest at Th eater Heidelberg, at the Hannover State Opera, the Braunschweig State Opera, at the Schleswig-Holstein Music Festival, and has given song recitals at numerous festivals, including The Mecklenburg­Vorpommern Festival, Heidelberger Friihling, the Weilburger Schloss concerts and can regularly be heard on radio-broadcasts. In 2012 he made his debut with the NOR Hamburg (The New Work) and participated in a concert tour of JS Bach's St. Matthew Passion in France with Les Talens Lyriques.

Alongside opera and concert, Simon's passion lies with the song and chamber music repertoire. He counts among his chamber music partners the pianists Graham Johnson, Igor Levit, Nicholas Rimmer and Jan Philip Schulze

as well as the accordionist Elsbeth Moser, with whom he has performed many works and world-premieres outside of the standard concert repertoire. In 2011 his debut CD on the Hyperion label was released, featuring Brahms songs, which he recorded together with Graham Johnson. In the current season, he will make his Wigmore Hall recital debut in February 2015, accompanied by Igor Levit, after making his Frankfurt debut as Lechmere in Brittens opera Owen Wingrave. He also can been seen for the first time at the National Opera of Bordeaux, followed by his first Don Ottavio at Frankfurt Opera in May 2015.

Ciaran Judge Bass Bass-baritone Ciaran Judge studied singing with Philip O'Reilly, Dr Veronica Dunne and the late Cait Cooper, winning the Royal Irish Academy of Music Oratorio Prize. His Bach performances include the Christmas Oratorio, Magnificat and not nearly enough cantatas, while his many other operatic and concert appearances include title roles in Gianni Schicchi and Don Pasquale, Don Magnifico (Cenerentola), Orff Carmina Burana, and Monteverdi 1.61.0 Vespers. He has been described variously as 'italianissimo - a true buffo' by the great tenor Ugo Benelli, and as 'too loud' by his son Davy (3).

David Leigh Organ at the age of nineteen, and is a former student of David Sanger and of Nicolas

David Leigh is the Assistant Organist Kynaston. He has performed as a recitalist and Director of the Cathedral Girl in the major venues on both sides of the Choristers at St Patrick's Cathedral Irish sea, including the cathedrals of Dublin, the National Cathedral Westminster, Wells, Canterbury, Gloucester, of the Church of Ireland. He also Ely, Lincoln and Coventry, the Ulster pursues a busy freelance career as Hall, and on a number of occasions, The a choral and orchestral conductor, National Concert Hall, Dublin, where he orchestral keyboard player and is a frequent soloist in the "Pipeworks at concert organist, and is the Musical the NCH" series. He especially champions Director of The University of Dublin large-scale late nineteenth- and twentieth-Choral Society and of chamber choir century repertoire, having given the first The Gaudete Singers. Freelance performances in Ireland of a number of work includes regular appearances major works; he has also presented cycles in a wide-ranging repertoire with of the complete symphonies of Louis Vierne, the RTE Concert Orchestra, National and of the complete Messiaen organ music,

Symphony Orchestra, Ulster Orchestra and other major the latter jointly with Tristan Russcher. Irish performing groups. In June 2003 David became only the fifth

David was educated at Bolton School and Oxford, person to perform in its entirety Francis where he read music as organ scholar of St Peter's Pott's monumental organ symphony College and was Assisting Organist at Magdalen Christus, which lasts for approximately two College. He was organ scholar successively at Blackburn and a half hours, a performance which he and Lichfield Cathedrals before university, and moved repeated in the Pipeworks festival in 2011.

to Dublin to take up his current position in January He is broadcast regularly on RTE and BBC 199 7. He won the Turpin and Durrant prizes in the television and radio, has toured extensively Roya l College of Organists' Fellowship examination in Ireland, the UK, most European countries

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and the USA, and features on numerous CD recordings as conductor, accompanist, continua and orchestral keyboard player (including, unusually, the soundtrack of the film The League of Gentlemen's Apocolypse with the RTE Concert Orchestra in 2005), in addition to three celebrated solo discs made on the organ of St Patrick's. A CD of organ duets, made with friend and colleague Charles Harrison on the organ of Lincoln Cathedral, was released to critical acclaim on the Guild label in May 2011.

~ ¥ • • •

- Carmichael Centre for Voluntary Groups presents . ·-

Dublin's Good Fri.day Concert ... : .. · ··: . · .:

· · . · ·_: · Conductor .John Dexter · . · · · . . . . '

Sair.a.t Patrick's Cathedral, .Dublin · · . Good Friday, 3rd Apr.ii 2015 at 8.00 pm

www.carmichaelcentre.ie