the promise of the passion: graun's der tod jesus

7/29/2019 The Promise of the Passion: Graun's Der Tod Jesus

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Calvary Presents …

The Promise of the Passion:

Graun’s Der Tod Jesu(The Death of Jesus)

Music for Good Friday Concert Series

A Benefit Performance forthe Shalom Scholarship Fund

Calvary Baptist Church755 8th Street. NWWashington, DC 20001

April 6, 20127:30 p.m.



The Chalice Singers & Ensemble

Cheryl Branham, Conductor

Concerti Singers

Natalie Barrens Soprano

Susan Sevier Mezzo-Contralto

Dwayne Pinkney Tenor

Rameen Chaharbaghi Baritone

Ripieni Singers

Rachel Barham Soprano

Marguerite Toscano AltoTerrance Johns Tenor

Kyung Kok Bass-Baritone

Instrumentalists

Pamela Lassell Violin

Lisa Cridge Violin

Evelyn Harpham Viola

Danielle Cho Cello

Eric Seay ContrabassGary Davison Organ

Special Note: Tonight, Gary Davison plays a portative organ built in 1986 by Karl

Wilhelm, a beautiful one-manual, 4-stop instrument in the Germanic tradition

incorporating 8' Gedackt, 4' Rohrflote, 2' Principal, and 1-1/3' Quinte. We are

indebted to Washington DC organist William Neil, who owns this fine instrument.

Tonight’s concert is a production of Serate Musicali LTD and the Calvary Presents…

concert series. The proceeds from this performance benefit the Shalom Scholarship

Fund, a scholarship created to help students in El Salvador continue their education.

There, public education ends at the 8th grade. With the assistance of Shalom, future

leaders without the means to do so can finish high school and go on to college.



ProgramDer Tod Jesu (1755)

Music: Carl Heinrich Graun (1704-1759)

Text: Karl Wilhelm Ramler (1725-1798)

1. Choral: Du, dessen Augen flossen Ensemble

2. Tutti: Sein Odem ist schwach Ensemble

3. Recitative: Gethsemane! Gethsemane! Ms. Barrens

4. Aria: Du Held, auf den die Köcher Ms. Barrens

5. Choral: Wen hab' ich sonst als dich allein Ensemble

6. Recitative: Ach mein Immanuel! Ms. Sevier

7. Aria: Ein Gebeth um neue Stärke Ms. Sevier

8. Recitative: Nun klingen Waffen Mr. Pinkney

9. Aria: Ihr weichgeschaffnen Seelen Mr. Pinkney

10. Tutti: Unsre Seele ist gebeuget zu der Erden Ensemble

11. Choral: Ich will von meiner Missethat Ensemble

12. Recitative: Jerusalem voll Mordlust ruft Mr. Chaharbaghi

13. Aria: So stehet ein Berg Gottes Mr. Chaharbaghi

14. Tutti: Christus hat uns ein Vorbild gelassen Ensemble

15. Choral: Ihr werde Dir zu Ehren alles wagen Ensemble

16. Recitative: Da steht der traurige Ms. Sevier

17. Duetto: Feinde, die ihr mich betrübt Ms. Barrens

Ms. Sevier

18. Recitative: Wer ist der Heilige Ms. Barrens

19. Aria: Singt dem göttlichen Propheten Ms. Barrens

20. Tutti: Freuet euch alle Ihr Frommen Ensemble

21. Choral: Wie herrlich ist die neue Welt Ensemble

22. Recitative: Auf einmal fällt der aufgehaltne Schmerz Mr. Chaharbaghi

23. Accompagnement: Es steigen Seraphim Mr. Chaharbaghi

24. Choral: Ihr Augen, weint! Ensemble

25. Chor: Hier liegen wir Ensemble

Please NO APPLAUSE due to the sacred nature of the performance and in reverence to the meaning of

Good Friday. Join us in Woodward Hall, to the left as you exit the sanctuary, for a reception if you wish to

express your appreciation to the performers. Donations for the Shalom Scholarship fund will be collected

as you leave the Sanctuary and in Woodward Hall. Program duration: approximately 1 hour 20 minutes.



Biographies

Natalie Barrens, soprano, a native of Albuquerque, New Mexico, received her

Bachelor’s degree in Music from Southern Methodist University’s Meadows

School of the Arts and her Master’s degree in Vocal Performance from Brooklyn

College Conservatory of Music. Ms. Barrens is a current member of The FridayMorning Music Club and a former member of The 7 Sopranos. She is the

Soprano soloist for Calvary Baptist Church, located in DC's Chinatown. Ms.

Barrens has performed the role of Tituba in Robert Ward’s The Crucible where

she worked with Mr. Ward, the Second Lady (Die Zauberflöte), as well as part

of the Second Prisoner in the North American premiere of Bruno Rigacci’s

Ecuba, she has also performed the roles of Oberto (Alcina) and Illia (Idomeneo) in the California

MusicFestival. Ms Barrens varying range of roles includes Sally Brown in You're A Good Man

CharlieBrown to Lakmé and Fiordiligi. She was featured as a soloist with the Montgomery

CountyCollege Choir and Orchestra and most recently sang the soprano solo in Brahms’ German

Requiem in Silver Spring, Maryland. In addition to numerous appearances in the NorthernCalifornia, New York, Western Massachusetts and Philadelphia areas, Ms. Barrens has given

recitals in her native Albuquerque (www.nataliebarrens.com).

Susan Sevier, contralto, equally at home in oratorio, opera, and theatrical

musicals, with repertoire from Handel to Wagner to Sondheim, receives general

acclaim for her sacred music performances: for her recent performance of Haydn’s

rarely performed Stabat Mater, the Concertnet.com critic said: “Contralto Susan

Sevier is always a joy to hear. A ‘true’ contralto of enormous depth and range, she

conveyed a great sense of pathos and sorrow in her singing”, and, for her

performances in the Opera Bel Canto production of Rossini’s Petite Messe

Solennelle , the Washington Post critic called her performance of the “Agnus Dei” as “eloquent”. Recent opera performances include Wagner’s Das Rheingold Erda with the Washington National

Wagner Society and the West End Opera in NY, and as Rossweisse in Act III of Die Walküre,

featuring James Morris as Wotan and Christine Brewer as Brunhilde at Baltimore’s Meyerhoff

Symphony Hall; as “The Witch” in Humperdinck’s Hansel & Gretel , and as Acuzena in Verdi’s Il

Trovatore with the Maryland Opera Society; as Marcellina, in Mozart's Le Nozze di Figaro at the

Tuscia Opera Festival (Italy); and as Verdi’s Amneris in Aida, Acuzena in Il Trovatore, and as

Mozart’s Dritte Dame with the Bourgas Philharmonic and Opera Society (Bulgaria). Her musical

theatre credits include appearances as the Duchess of Plaza Toro in the Mt. Vernon Players

production of Gilbert & Sullivan’s Gondoliers; Bloody Mary in South Pacific at the Ashlawn

Summer Festival; and Frau Peachum in the Brecht/Weill Three Penny Opera at the TheatreProject in Baltimore, for which Baltimore’s City Paper review cited her “excellent performance”.

Ms. Sevier appears courtesy of Serate Musicali, Ltd. (www.seratemusicali.org).

http://www.nataliebarrens.com/

http://www.seratemusicali.org/




http://www.nataliebarrens.com/



Dwayne Pinkney, tenor, is a native of Washington, D.C. From a young age he

was interested in singing and ultimately attended the Duke Ellington School for

the Arts in Washington, D.C. Upon graduation, Mr. Pinkney decided to attend

Morgan State University in Baltimore, Maryland. During his time at Morgan,

he performed with the nationally acclaimed Morgan State University Choir, the

Opera Workshop and various other organizations on campus. Mr. Pinkney hasserved as President, Vice President and Secretary of the Pi Eta Chapter of Phi

Mu Alpha Sinfonia Fraternity of America Inc. and was also given the honor of

being Mr. Senior for the 2009-2010 school year. In May of 2010, Mr. Pinkney received his

Bachelors of Arts in Music from Morgan State University. Dwayne has studied with Samuel Bonds,

Lorriana Markovic and James Bailey. Mr. Pinkney plans to pursue a Master of Arts in Teaching

degree in early childhood education. Also outside of school, Mr. Pinkney has had the opportunity

to work with Opera Vivente and the Handel Choir of Baltimore. Mr. Pinkney is currently working

as a paraprofessional with The District of Columbia Public School System, serves as the tenor

section leader at Calvary Baptist Church in Washington, DC, sings with Thomas Chircle Singers, a

professional chorus in Washington, DC and applying to graduate school in hopes to be in school

and a lead teacher in the fall of 2012.

Rameen Chaharbaghi, Baritone, is known for his nuanced singing and his

polished stage presence, has sung numerous operatic roles, including Dr.

Falke (Die Fledermaus) with Victorian Lyric Opera Company, Papageno (Die

Zauberflöte) with Bel Cantanti Opera Summer Festival, Malatesta (Don

Pasquale) and Belcore (L’elisir d’amore) with Repertory Opera Theater of

Washington, and Ben (The Telephone) at the University of Maryland.

Rameen has also appeared in Maryland Opera Studio’s productions of Il

barbiere di Siviglia, Eugene Onegin, and Così fan tutte.

Outside of the operatic repertoire, Rameen excels in a multitude of genres, including chamber

music, art song, oratorio, and theater. He has sung Barber’s chamber work Dover Beach in San

Francisco and in Maryland, and has appeared as the bass soloist at the University of Maryland in

performances of several Bach Cantatas. His singing has earned him several awards, including first

place at the state level of the National Association for Teachers of Singing student auditions, the

Presser Foundation Scholarship, and the Stringer Foundation Scholarship.

Rameen received his Bachelor’s degree in Music Education at the University of Maryland. In his

studies to become a teacher, he discovered that his true passions were performance and

composition, and he premiered several of his own compositions, including the song cycles

Strange Boy and Ahanghaye Rudaki, set to classic Farsi poetry. He also performed withMaryland’s renowned choirs, including the Chamber Singers and University Chorale, under the

baton of Ed Maclary. Rameen is also a recent alumnus of the OperaWorks Advanced Artist

Program in Los Angeles. This summer, Rameen will be attending the CoOPERAtive training

program in New Jersey, where he will perform in solo concerts and receive training from some of

the industry’s most knowledgeable professionals. He currently lives in Silver Spring, Maryland.



Gary Davison, Organist, is an internationally acclaimed musician of diverse

talents. His work as a keyboard artist, composer, and conductor has been

described by various critics as "seductive and spirited...smooth, flexible and

clear, allowing the music to shine from within" (Hamburger Abendblatt,

Germany), "persuasive ...imaginative and polished... sumptuous andengaging" (The Washington Post), as well as "breathtaking and exquisite" (The

Journal of the Association of Anglican Musicians).

Mr. Davison has been a featured artist throughout the United States and Europe, on public

radio, and in such notable venues as The National Cathedral and The Kennedy Center for the

Performing Arts in Washington, DC, Saint Thomas Church and Columbia University in New York

City, the renowned Methuen Memorial Music Hall in Massachusetts, Harvard University and

Church of the Advent in Boston, London's Southwark Cathedral and Hamburg's famed

Hauptkirche Sankt Katherinen. Both The American Guild of Organists and The Association of

Anglican Musicians have featured him at regional and national conventions.

Currently, Mr. Davison is the Organist and Choirmaster of Saint Francis Episcopal Church in

Potomac, Maryland. He served as Composer-in-Residence and Keyboard Artist for the

Washington area's Cantate Chamber Singers for seven seasons, and has held two fellowships in

composition at The Virginia Center for the Creative Arts.

Chalice Singers and Ensemble. The Chalice Singers and Ensemble were

founded in 2009 to celebrate life through music-making, using

performances and educational programs to lift up the soul and to help heal

the bodies of those in need. This is their seventh benefit program, the first

being the very successful “One Child, One Life, One Light” concert, featuringas guests the Kieskamma Gospel Choir from Hamburg, SA. Please contact Cheryl Branham,

[email protected] for more information.

Cheryl Branham, Conductor, and pianist Cheryl Branham currently serves as

Director of Music at historic Calvary Baptist Church in downtown Washington

DC, where she conducts the Calvary Chamber Singers, Sanctuary Choir,

Festival Choir, Handbell Choir, and supervises the Children’s Choir program.

She was instrumental in planning Calvary’s 150th Anniversary Season of

Celebration for 2011-12, and this season she will conduct four concert eventsas part of that series. A former assistant conductor of The Washington

Chorus, working alongside Robert Shafer, Cheryl’s principal conducting teachers include John

Farrer, Daniel Lewis, and Donald Thulean at California Conducting Institute; Ann Howard Jones

and David Hoose at Boston University; Bingham Vick Jr. and Thomas Joiner at Furman

University. In demand as a collaborative pianist throughout the DC area, she also teaches piano

in the Arts Adjunct program of the Holton-Arms School in Bethesda.



About Tonight’s Program

The great Spanish mystic, St. John of the Cross, once wrote: “It is not the act of a good

disciple to flee from the Cross in order to enjoy the sweetness of easy piety.” Tonight,

we do not flee.

We’ve called our program The Promise of the Passion because if we are Christian, we

gather tonight to remember Jesus at his most human, at that time in the liturgical

calendar set aside to remember his physical death. We weep for his humanity and for

our own, as we wonder what is next. But even in our sorrow and our fear, we know that

there is a promise in his suffering, a promise of hope and light for us. And if we are not

practicing Christians, we gather simply because we are human ourselves and experience

in that humanness the same trials and challenges that are part of Jesus’ story on this

day.

What We Mean by Passion

The Passion is a theological term used for the events and suffering – physical, spiritual,

and mental – of Jesus in the hours before and including his trial and execution by

crucifixion. The Crucifixion of Jesus is an event central to Christian beliefs.

The origin of the word is Greek, from the verb paschō, to suffer. Those parts of the four

Gospels that describe these events are known as the "Passion narratives". In the

liturgical calendar, Holy Week, beginning on Palm Sunday and ending on Easter

Saturday, commemorates the events of the Passion narrative.

Why We Sing the Passion Story

If we are lovers of classical vocal music, when we hear the word “Passion” in

relationship to music, we first think of the Passion settings by J. S. Bach. While his great

works, the St. Matthew Passion and the Passion of St. John, may be the most often

performed and the most familiar to us, they are just two works among a large liturgical

genre that reached its zenith in the first half of the 18th century in Germany. The

practice of reading the Passion narrative from the Gospels during Holy Week dates back

at least to the 4th century. In the 5th century Pope Leo ordered the gospel of Matthew

to be read on Palm Sunday and the following Wednesday and that of John on Good

Friday. The practice of singing the Passion began in the Middle Ages, possibly as early as

the 8th century. By the 13th century different singers were used for different charactersin the narrative. The 15th century polyphonic settings began to add turba passages

(turba, while literally meaning "crowd," is used in this case to mean any passage in

which more than one speaker speaks simultaneously).

In the later 15th century a number of new styles began to emerge, that included the

type of Passion setting we will hear tonight: the Summa Passionis, a poetic text that



draws on the events of all four Gospel narratives. Familiar works in this genre include

The Seven Last Words of Christ by Franz Joseph Haydn and the version by Theodore

Dubois, as well as The Crucifixion by John Stainer.

The work we hear tonight, like the Passions of J.S. Bach, is a creation of the Protestant

Reformation in Germany. Martin Luther believed that the suffering of Christ must beexperienced by all who believe and not through words alone. And so, the sung Passion,

the Passion Cantata and the Passion Oratorio became important sacred music genres in

the German states of the day.

Church Music in 18th-Century Germany

In our present day, Passion music such as we hear tonight rarely appears in a liturgical

setting. Even if the performance we attend is set in a church, as it is tonight, we

generally will experience this music in a concert setting. But in the composer’s day, the

crowds arriving at church to experience this music would come not just for the music

but for the worship: a Passion setting would be part of a larger service, often 4 or 5

hours long, including other music before or after, one or more sermons, and multiple

prayers. The music took the place of the readings – it told the story of Good Friday in

the form of music. The singing of the Passion would also be the first concerted music

(music with instruments) that was offered in church during the entire season of Lent, a

time of austerity and reflection, during which instrumental music was banned from

service.

And, most likely, the performing forces would have been similar to what you see and

hear tonight. We know from the performing parts that remain to us from the 18th

century that singing forces were organized in a similar fashion to that of theinstrumental performers: there were concerti singers (soloists, who sang all parts in the

choruses and chorales as well) and ripieni singers (who were applied to specific

movements to broaden the fullness and the impact of the sound). The practice of

performing Bach’s Passions, for example, with soloists, large choruses and even larger

orchestras is one developed during the 20th

century as amateur choral societies and

symphonic choruses embraced the works for performance in large concert halls.

The Composer, Carl Heinrich Graun (1703 or 1704-1759)

Carl Heinrich Graun was a very famous man in his day, even though he is virtually

unknown to any but the most serious Baroque music specialist today. A contemporary

Johann Adolf Hasse, George Phillip Telemann, and of J. S. Bach, he was a well-known

and celebrated composer of his time, and a tenor, Kapellmeister to the court of

Frederick the Great of Prussia, and founder of the Italian Opera in Berlin. With all that

accomplishment, even in his day, Graun was most famous for his religious music, and in

particular, for the work that we perform this night, Der Tod Jesu (The Death of Jesus).



Der Tod Jesu (The Death of Jesus)

Tonight, the work we perform is made of music by Graun set to a text by the poet Carl

Wilhem Ramler (1725-1798), a very popular devotional text, set to music by Graun, and

Telemann and J C F Bach (son of J.S.), among others. Graun’s setting of Der Tod Jesu

received its first performance on the Wednesday of Holy Week in 1755 in Berlin’sDomkirche (Cathedral), “in the presence of an uncommonly large crowd,” according to

contemporary sources. Telemann’s version premiered a week earlier in Hamburg.

Der Tod Jesu, often called a Passion Cantata (as compared to a Passion Oratorio such as

those written by Bach and Telemann, that assign arias to specific characters in the

drama) continued its popularity in Berlin through the 19th century, with its last Holy

Week performance in 1894 before its revival as a concert work in the late 20th century.

The text was published in 1760 as part of a trilogy: Geistliche Kantaten: Der Tod Jesus

(1754), Die Hirten bei der Krippe Zu Bethlehem (1757) and Die Auferstehung und

Himmelfart Jesu (1760)i. These libretti are the most frequently set texts for German

cantatas and oratorios in the second half of the 18th century. Ramler’s text does not

attempt to recount, step by step, the events of the narrative, but instead focuses on the

gift of redemption offered to Christians in the moment of Jesus’ sacrifice. The result is a

meditation on the Passion story, including familiar hymns, poetry and parallel Biblical

texts designed to expand the listener’s experience of the event.

While the argument about whether or not the passions are “dramatic” works or not

continues to rage in the musical world, we can see from the structure that Graun’s Der

Tod Jesu is a purely sacred work. No Evangelist, no direct representation of Jesus or

Peter or any other character graces the pages. In fact, you will hear the women sing

some of the most famous of the seven last words of Christ.

The structure is quite simple: each recitative describes an important event in the story

and the following aria comments on the event. For example, in the recitative No. 6,

“Ach, mein Immanuel”, the mezzo-soprano describes the events in the Garden of

Gethsemane, when the Apostles sleep rather than watch as asked. The last line is: “O

wake and pray, Brothers!”. The following aria, “Ein Gebet um neue Stärke”, comments

on the possibility and beauty of prayer.

The work also includes both chorales (originally hymn tunes sung by the congregation)

and choruses. The chorales provide a moment of rest and reflection for the listener:

familiar tunes, set with text that underscores the meaning of what they have just heard

or are about to hear. The chorale was a central feature of the Lutheran liturgy of the

day and would have been very familiar to the worshipers of the day (even we will clearly

hear”O Sacred Head Now Wounded” in the opening chorale). . The choruses provide the

commentary of the crowd (the turba) on the segment of the story in the following or

preceding section.



As is often the case with Baroque music, our modern ears may experience this work as

inappropriately cheerful for the subject matter. However, the tone is completely

appropriate to the theological vision of the Enlightenment in which it was written. Jesus

was worshipped primarily as a hero (a theory of atonement that theologians label as

“Christus Victor”, and the Passion story was set to music that reflected the great joy

brought to humankind through the efforts of his suffering and death.

Tonight, we will be performing from the Carus Verlag edition 10.379, edited by Herbert

Lölkes.

About this Concert Series

Calvary Presents… is a performance series created to showcase the work of local artists

and arts organizations, residing at and supported by the ministry of the Calvary Baptist

Church of Washington, D.C. For more information, visit our website, www.calvarydc.org.

On a Personal Note: Six Years Ago…

Six years ago, before I was a member of this community, when hardly anyone knew

anything about me, the wonderful, loving and faith-filled members of this church

welcomed my proposal for the first Music for Good Friday concert. That night, we

performed music by Pergolesi and Donizetti, and we remembered: we remembered the

events of Good Friday, and the man who brought music into my life again, my first

teacher, Michael Patterson.

Six years later, we are here again, singing, playing and remembering, remembering the

ever-present sacrifice of this day, remembering 150 years of worship and faith that havelived on this corner in Washington, DC; remembering that we are a community formed

to live out the mission of the Gospel about which we sing, whatever that may mean.

I am most personally grateful for the chance to make wonderful, meaningful music here,

with all that has meant to my own life and my own spiritual journey. The fact that this

program exists is a testament to the amazing openness and faith of this congregation, its

inspiring pastor the Rev. Dr. Amy Butler and its staff, its lay leadership, the hard work of

our Mission Board, our music staff and our guest performers, and most especially, our

talented and energetic music director, Dr. Cheryl Branham.

As performers, we feel blessed by the opportunity to speak through music, especially

the opportunity to speak for those whose voices are muted and ignored. We hope that

if some part of this evening’s music moves or inspires you, you will consider helping

these students who thirst for education, who thirst to honor the sacrifice about which

we sing tonight. Susan Sevier

i Sacred Cantatas: The Death of Jesus (1754), The Shepherds at the Cradle in Bethlehem (1757), and The

Resurrection and Ascension of Jesus (1760)



Text and Translation

No 01. Choral: Du, dessen Augen flossen

Du, dessen Augen flossen,

Sobald sie Zion sahn,

Zur Freveltat entschlossen,

Sich seinem Falle nah’n;

Wo ist das Thal, die Höhle,

Die, Jesu! dich verbirgt?

Verfolger seiner Seele,

Habt ihr ihn schon erwürgt?

Thou, who wept tears

On seeing Zion

Resolved to commit the crime

That led to its fall;

Where is the valley, where the cave

That hides Thee, O Jesus?

You who persecute His soul,

Have you already strangled Him?

No 02. Chor: Tutti: Sein Odem ist schwach

Sein Odem ist schwach: Seine Tage

Sind abgekürzet. Seine Seele ist voll Jammer.

Sein Leben ist nahe bei der Hölle.

His breath is weak: His days

Are short. His soul is full of misery.

His life is near Hell.

No 03. Recitative: Gethsemane! Gethsemane!

Gethsemane! Gethsemane!

Wen hören deine Mauren

So bange, so verlassen trauren?

Wer ist der peinlich langsam sterbende?

Ist das mein Jesus? Bester aller Menschenkinder,

Du zagst, du zitterst, gleich dem Sünder,

Dem man sein Todesurtheil fällt?

Ach seht! er sinkt, belastet mit den Missethaten

Von einer ganzen Welt.

Sein Herz, in Arbeit, fliegt aus seiner Höhle,

Sein Schweiss rollt purpurroth

Die Schläf’ herab: Er ruft: Betrübt ist meine Seele

Bis in den Tod!

Gethsemane! Gethsemane!

Who is it that your walls can hear

Lamenting so fearfully and alone?

Who is dying so painfully and slowly?

Is it my Jesus? O finest of all human beings,

Dost Thou quake and tremble, like the sinner

Who is sentenced to death?

Behold! His strength is failing, weighed down

By the evil deeds of the entire world.

His panting heart leaves its house,

His purple sweat courses down

His temples: He cries: My soul is afflicted

Unto death!

No 04. Aria: Du Held, auf den die Köcher

Du Held, auf den die Köcher

Des Todes ausgeleert,

Du hörest den, der schwächer

Am Grabe Trost begehrt,

Du willst und kannst sein Schutzgott seyn.

Wenn ich am Rande dieses Lebens

Abgründe sehe, wo vergebens

Mein Geist zurücke strebt;

Wenn ich den Richter kommen höreMit Waag’ und Donner, und die Sphäre

Von seinem Fusstritt bebt,

Wer wird allda mein Schutzgott seyn?

O hero, struck by all

Of Death’s quivers,

Thou dost hear those weaker ones

Who long for comfort at the graveside,

Thou wilt be their protective God.

When I am about to depart this life

And see the abyss open, when in vain

My spirit struggles to cling to life;

When I hear the Judge approachWith scales and thunder, and the universe

Trembles as he draws near,

Who will then be my protective God?




No 05. Choral: Wen hab' ich sonst als dich allein

Wen hab’ ich sonst als dich allein,

Der mir in meiner letzten Pein

Mit Trost und Rath weiß beyzuspringen?

Wer nimmt sich meiner Seele an,

Wenn nun mein Leben nichts mehr kann,

Und ich muss mit dem Tode ringen,Wenn allen Sinnen Kraft gebricht?

Tust du es, Gott, mein Heiland, nicht?

Who else have I but You alone

Who to me in my last suffering

With trust and comfort to rush to my aid?

Who will accept my soul,

When now my life nothing more can be,

And I must with Death struggle,When all my strong senses are broken?

You do all this, God, my Savior, yes?

No 06. Recitative: Ach mein Immanuel!

Ach mein Immanuel! Da liegt er, tief gebückt

Im Staube, ringt dem Tod’ entgegen, blickt

Gen Himmel, jammert laut:

Lass, Vater, diese Stunde,

Lass sie vorüber gehn! Nimm weg!

Nimm weg den bittern Kelch von meinem Munde!

Du nimmst ihn nicht? Wohlan, dein Wille soll geschehen.

Erheitert steht er auf von der erstaunten Erde,

Gestärckt durch eines Engels Hand.

Und seht!

die Jünger hat ein Schlummer übermannt;

Hier liegen sie gestützt mit trauriger Geberde.

Betrachtend steht der Menschenfreund und spricht

mit über sie gehängtem holdem Angesicht:

Der Geist ist willig nur der Leib ist schwach;

Und bückt sich, Petrus Hand sanft anzurühren,

nieder:

Auch du bist nie mehr wach?

O wacht und betet, meine Brüder!

Ah, my Emmanuel! There He lies, bent deep

In the dust, struggling towards death, gazing

Heavenward and crying out:

Father, let this hour ,

Let this hour pass away! Take it away!

Take away the bitter chalice from my mouth!

You take it not?Then, Thy will shall be done.

Exhalted, He rises from the astonished earth,

Strengthened by an angel’s hand.

And see!

The disciples are overcome with sleep;

Here they lie sadly slumped on the ground.

Looking at them stands Jesus and ,

Speaks to them, his face inclined to them:

The spirit is willing but the flesh is weak;

And He bends low to gently touch Peter’s hand:

Are you too no longer awake?

O wake and pray, my brothers!

No 07. Aria: Ein Gebeth um neue Stärke

Ein Gebeth um neue Stärke,

Zur Vollendung edler Werke,

Theilt die Wolken, dringt zum Herrn,

Und der Herr erhört es gern.

A prayer for new strength,

For the accomplishment of new works,

Parts the clouds and reaches the Lord,

And the Lord hears it gladly.




No 08. Recitative: Nun klingen Waffen

Nun klingen Waffen,

Lanzen blinken bey dem Schein

Der Fackeln, Mörder dringen ein:

Ich sehe Mörder:

Ach! Es ist um Ihn geschehen!

Er aber unerschrocken nahet sichDen Feinden selbst; grossmüthig spricht er:

Sucht ihr mich? Sucht ihr mich,

So lasset meine Freunde gehen.

Die schüchternen Gefährten fliehn auf dieses Wort.

Ihn bindet man, Ihn führt man fort.

Sein Petrus folgt, der einzige von allen,

Er folgt, zur Hülfe schwach, von fern;

Mitleidig folgt er seinen Herrn

Zum Cajaphas. Was hör ich hier für Worte schallen!

Ach ist es Petrus, der itzt spricht:

Ich kenne diesen Menschen nicht,Diesen Menschen kenn’ ich nicht,

ich kenn’ ihn nicht,

Ich kenne diesen Menschen nicht.

Wie tief bist du von deinem Edelmuth gefallen!

Doch siehe! Jesus wendet sich,

Und blickt ihn an: er fühlt den Blick,

Er geht zurück,

Er weinet bitterlich.

Weapons clash,

spears gleam in the glow

Of torches, murderers force their way in:

I see murderers:

ah! He is doomed!

Yet He without fear approachesThe foe; magnanimously He speaks:

Is it me you seek? If it is me you seek,

Let my friends depart.

Whereupon His timid companions flee.

They bind Him, they lead Him away.

Peter alone follows Him,

He follows from afar, too weak to help;

Compassionately he follows his Lord

To Caiaphas. What words I hear ring out!

It is Peter who now speaks:

I do not know this man,

I do not know him,

I do not know him,

I do not know this man.

How far have you fallen from your charity!

But behold! Jesus turns

And looks at him: he feels the gaze,

He turns,

He weeps bitterly.

No 09. Aria: Ihr weichgeschaffnen Seelen

Ihr weichgeschaffnen Seelen,

Ihr könnt nicht lange fehlen;

Bald höret euer Ohr

Das strafende Gewissen,

Bald weint aus euch der Schmerz.

Ihr thränenlosen Sünder bebet!

Einst mitten unter Rosen hebet

Die Reu den Schlangenkamm empor,

Und fällt mit unheilbaren Bissen

Dem Frevler an das Herz.

O you weak-minded souls,

You cannot err for long;

You shall soon hear

Chastising conscience,

You shall soon weep with pain.

Tremble, you sinners who do not weep!

One day among your bed of roses

Remorse will rise up like a snake

And attack the sinner’s heart

With a poisonous bite that cannot be cured.

No 10. Tutti: Unsre Seele ist gebeuget zu der Erden

Unsre Seele ist gebeuget zu der Erden.

O wehe! dass wir so gesündiget haben.

Our soul is deeply bowed to earth.

Alas that we have sinned so much!




No 11. Choral: Ich will von meiner Missethat

Ich will von meiner Missetat

Zum Herren mich bekehren,

Du wollest selbst mir Hülf’ und Rat

Hierzu, o Gott! bescheren,

Und deines guten Geistes Kraft,

Der neue Herzen in uns schafft, Aus Gnaden mir gewähren.

I want from my misdeeds

To my Lord to convert;

You wanted, O God,to lend me help

And counsel in this,

And the strength of your good spirit,

A new heart in us creates,By grace to me is granted.

No 12. Recitative: Jerusalem voll Mordlust ruft

Jerusalem voll Mordlust ruft mit wildem Thon:

Sein Blut komm über uns, sein Blut komm über uns,

Und unsre Söhn’ und Töchter!

Du siegst Jerusalem, und Jesus blutet schon;

In Purpur ist er schon des Volkes Hohngelächter:

Damit er ohne Trost in seiner Marter sey,

Damit die Schmach sein Herz ihm breche.

Voll Liebe steht er da,Von Gram und Unmuth frey,

Und trägt sein Dornen Diadem.

Und eine freche, verworfne Mörderhand fasst

einenStab

und schlägt sein Haupt: Ein Strom quillt

Stirn und Wang’ herab.

Seht welch ein Mensch!

Des Mitleids Stimme,

vom Richtstuhl des Tyrannen,

Spricht: Seht welch ein Mensch!

Und Juda hört sie nicht,

Und legt dem Blutenden mit unerhörtem

Grimme den Balken auf, woran er langsam,

Woran er langsam sterben soll.

Er trägt ihn willig und sinkt ohnmachtsvoll.

Nun kann kein edles Herz die Wehmuth mehr

Verschliessen, die lang verhaltnen Thränen fliessen.

Er aber sieht sich tröstend um und spricht:

Ihr Töchter Zions weinet nicht, weinet nicht,

Ihr Töchter Zions weinet nicht, weinet nicht.

Jerusalem cries savagely and bloodthirstily:

Let His blood be upon us, His blood be upon us,

And upon our sons and daughters!

Jerusalem is victorious, and Jesus bleeds to death;

Wearing purple, He is mocked by the people:

That He might suffer torment without comfort,

That shame might break His heart.He stands there full of love,

Without sorrow or displeasure,

And wears His crown of thorns.

And an insolent, depraved and murderous hand

seizes a stick

And beats His head: a river streams

Down His brow and cheeks.

Behold him: what a human being!

Compassion’s voice,

from the tyrant judge’s seat,

Says: Behold, what a human being!

And Judea does not hear it,

And with outrageous fury raises up

The bleeding man onto the cross,

Where He is slowly to die.

He bears it willingly and faints.

No noble heart can now refrain from sadness,

Tears, long held in check, now flow.

But He, comforting Himself, looks round and says:

O daughters of Zion, do not weep,

O daughters of Zion, do not weep.

No 13. Aria: So stehet ein Berg Gottes

So stehet ein Berg Gottes,

Den Fuss in Ungewittern,

Das Haupt in Sonnenstrahlen,

So steht der Held aus Kanaan.

Thus does a mountain of God stand,

Its foot washed by thunderstorms,

Its head glittering in sun,

Thus stands the hero of Canaan.

.




No 14. Tutti: Christus hat uns ein Vorbild gelassen

Christus hat uns ein Vorbild gelassen,

Auf dass wir sollen nachfolgen seinen Fußstapfen.

Christ has left us an example,

That we might follow in His footsteps.

No 15. Choral: Ihr werde Dir zu Ehren alles wagen

Ihr werde Dir zu Ehren alles wagen,

Kein Kreutz nicht achten,

kein Schmach noch Plagen,

Nichts von Verfolgung,

nichts von Todes Schmerzen

Nehmen zu Herzen.

You shall dare all to honor Christ,

Do not ignore the Cross;

Not shame, nor plagues,

Nothing of affliction,

Nothing of the pain of death,

Take to heart.

No 16. Recitative: Da steht der traurige, verhängni svolle Pfahl

Da steht der traurige, verhängnisvolle Pfahl:

Unschuldiger, Gerechter! hauche doch einmal

Die matt gequälte Seele von dir! Wehe! wehe!

Nicht Ketten, Bande nicht, ich sehe

Gespitzte Keile! Jesus reicht die Hände dar,Die teuren Hände, deren Arbeit Wolthun war.

Auf jedem wiederholten Schlag, durchschneidet

Die Spitze Nerv und Ader und Gebein.

Er leidet es mit Geduld, bleibt heiter,

und hängt da,

Zur Schmach erhöh’t, voll Blut,

in Todesschmerzen am Golgotha.

Ihr Männer Israels, o ruft in eure Herzen

Erbarmung! Lasst die Rach im Tode ruhn!

Umsonst: die Väter höhnen ihn;

Ihr Hohn ist bitter, grausamfröhlich ihre Minen.Und Jesus ruft: Mein Vater, ach! vergieb es ihnen:

Sie thun unwissend, was sie thun.

There stands the sad and fateful stake:

Blameless one, just one! Breathe but once

Your weak hurting soul from you!. Woe!

It is not chains, not ropes that I see,

But sharpened nails! Jesus spreads His hands,His dear hands, from whom came good works.

At every blow, the nails cut through

His nerves, his veins, his bones.

He suffers with patience, remains serene,

and hangs on the cross,

Raised up to be scorned, bleeding,

suffering pangs of death, on Calvary.

You men of Israel, O call into your hearts

Pity! Be not vengeful in death!

In vain: the fathers scorn him;

Their scorn is bitter, cruelly joyful their faces.And Jesus cries: My Father, ah! forgive them:

For they know not what they do

No 17. Duetto: Feinde, die ihr mich betrübt

Feinde, die ihr mich betrübt,

Seht, wie sehr mein Herz euch liebt:

Euch verzeihn ist meine Rache.

Die ihr mich im Unglück schmäht,

Hört mein ernstliches Gebeth:

Dass euch Gott beglückter mache.

Solche Tugend lernt ein Christ.Gott! Gott! Jehova, Heiligster,

Du verzeihst dem Uebertreter

Alle Schuld.

Gott! Gott! Jehova, Gütigster,

Du erzeigst dem Missethäter

Tausend Huld.

Selig wer dir ähnlich ist!

Enemies who sadden me,

See how much my heart loves you:

My revenge is to pardon you.

You who revile me in my misery,

Hear my earnest prayer:

That God might make you happier.

A Christian learns such virtue.God! God! Jehovah, most holy one,

Pardon the transgressor

All his sins.

God! God! Jehovah, most gracious one,

Look upon the malefactor

With favour.

Blessed be he who resembles Thee.




No 18. Recitative: Wer ist der Heilige

Wer ist der Heilige, zum Muster uns verliehn,

Und unter diesen Missethätern aufgehenket?

An seiner Tugend kennt ihr ihn.

Schmach, Folter, Todesangst vergisst er, und

bedenket, Maria, dein verlassnes Alter,

und ertheilt dem Freunde

seines Busens diesen letzten Willen:

O Jüngling, das ist deine Mutter! Dieser eilt,

Ein Schüler Jesu, sein Vermächtniss zu erfüllen:

Und Jesus sieht es an:

Und wird noch mehr entzückt

und fühlet keine Wunden,

Weil er itzt einen Strahl von Trost den trüben

Stunden noch eines reuerfüllten Sünders schenken

kann:

Er kehrt sein Antlitz hin zu dem an seiner SeiteGekreutzigten Verbrecher, ihm zu prophezeihn:

Ich sage dir, du wirst noch heute

Mit mir im Paradiese sein.

Who is the saintly one, given us as an example,

And hanged together with these criminals?

You shall know Him by His virtue.

He forgets outrage, torture, fear of death, and

thinks, Maria, of you in your abandonment,

and imparted to his friend

This last will of his bosom:

Oh boy, this is your mother! This hastens,

A disciple of Jesus to fulfill his bequest:And Jesus

And Jesus looks at it:

And even more delighted

and feels no wounds,

Because He can now give a ray of comfort to the

Final sad hours of a truly penitent sinner:

He turns His face toward the side of The crucified criminal , and prophesies to him:

I tell you, you shall even today

Be with me in Paradise.

No 19. Aria: Singt dem göttlichen Propheten

Singt dem göttlichen Propheten,

Der den Trost vom Himmel bringet:

Dass der Geist sich aufwärts schwinget;

Erdensöhne singt ihm Dank.

.

Sing to the divine prophet,

Who brings comfort from Heaven:

That the spirit might soar upwards;

The sons of earth sing to him their thanks.

No 20. Tutti: Freuet euch alle Ihr Frommen

Freuet euch alle Ihr Frommen, denn des Herren

Wort ist wahrhaftig. Und was er zusaget,

Das hält er gewiss.

Rejoice, all devout ones, for the word of the Lord

Is true. And when He promises,

He truly keeps His word.

No 21. Choral: Wie herrlich ist die neue Welt

Wie herrlich ist die neue Welt,

Die Gott den Frommen vorbehält,

Kein Mensch kann sie erwerben.O Jesu, Herr der Herrlichkeit,

Du hast die Stätt’ auch mir bereit’t,

Hilf sie mir auch ererben.

Einen kleinen

Blick in jene

Freuden-Scene

Gieb mir Schwachen,

Mir den Abschied leicht zu machen.

How splendid is the new world

That God reserves for the devout,

No human can acquire it.O Jesus, Lord of splendors,

Thou hast also accorded me this place,

Help me to acquire it.

A small glimpse

Into that world

Of joy

Will enable me, in my weakness,

To die with ease.




No 22. Recitative: Auf einmal fällt der aufgehaltn e Schmerz

Auf einmal fällt der aufgehaltne Schmerz,

Des Helden Seele wütend an: Sein Herz

Hebt die gespannte Brust. In jeder Ader wühlet

Ein Dolch. Sein ganzer Körper fliegt

Am Kreutz empor. Er fühlet

Des Todes siebenfache Gräuel. Auf ihm liegt Die Hölle ganz. Er kann ihn nicht mehr fassen,

Den Schmerz, der ihn allmächtig drückt; Er ruft:

Mein Gott! mein Gott! wie hast du mich verlassen?

Und seht, die finstre Stunde rückt

Vorbey. Nun seufzet er: Mich dürstet, mich dürstet!

Ihn erfrischet

Sein Volk mit Wein, den es mit Galle mischet.

Nun steigt sein Leiden höher nicht;

Nun triumphirt er laut, und spricht:

Es ist vollbracht: Es ist vollbracht!

Empfang, o Vater, empfang, o Vater, meine Seele!Und neigt sein Haupt auf seine Brust und stirbt.

Suddenly the repressed pain

Attacks the hero’s soul with fury: His heart

Rises up in His tensed breast. A dagger digs deep

In every vein. His whole body soars

Upon the cross. He feels

The sevenfold torment of death. He feelsNothing but hellish pain,

Which penetrates His whole being; He cries:

My God, my God, why hast Thou forsaken me?

And behold, darkness falls.

Now He sighs: I am thirsty, I am thirsty!

His subjects

Refresh Him with wine, mixed with gall.

Now His suffering has reached its peak;

Now He rejoices out loud, and says:

It is finished! It is finished!Receive, O Father, receive, O Father, my soul!

And He inclines His head upon His breast and dies.

No 23. Accompagnement: Es steigen Seraphim von allen Sternen nieder

Es steigen Seraphim von allen Sternen nieder,

Und klagen laut: Er ist nicht mehr!

Der Erde Tiefen schallen wieder:

Er ist nicht mehr!

Erzittre, Golgotha! Er starb auf deinen Höhen!

O Sonne fleuch, und leuchte diesem Tage nicht!

Zerreisse, Land, worauf die Mörder stehen!

Ihr Gräber thut euch auf! Ihr Väter steigt ans Licht!

Das Erdreich das euch deckt,

Ist ganz mit Blut befleckt.

Er ist nicht mehr! So sage

Ein Tag dem anderen Tage:

Er ist nicht mehr!

Der Ewigkeiten Nachhall klage:

Er ist nicht mehr!

Seraphim descend from all the stars,

Lamenting loud: He is no more!

The entire earth echoes:

He is no more!

Tremble, Golgotha! He died upon your heights!

Flee, O sun, and do not brighten this day!

Break open, O earth, on which the murderers

stand!

Open, O graves! Your Father ascends!

The earth that covers you

Is stained all over with blood.

He is no more! Let each day

Say to the next:

He is no more!

Let eternity lament and echo:

He is no more!




No 24. Choral: Ihr Augen, weint!

Ihr Augen, weint!

Der Menschenfreund

Verlässt sein theures Leben:

Künftig wird sein Mund uns nicht

Lehren Gottes geben.

Weinet nicht!

Es hat überwunden der Löwe vom Stamm Juda!

Ihr Augen, weint!

Der Menschenfreund

Sinkt unter tausend Plagen;

Konnte seine sanfte Brust

So viel Schmerz ertragen.

Weinet nicht!


Ihr Augen, weint!

Der Menschenfreund

Der Edle, der Gerechte,

Wird verachtet, wird verschmäht,

Stirbt den Tod der Knechte.

Weinet nicht!


Weep, O eyes!

The friend of man

Abandons His dear life:

His lips shall no more

Inform us of God’s teachings.

Do not weep!

The Lion of Judah has conquered!

Weep, O eyes,

The friend of man

Dies amid a thousand torments;

How could His gentle breast

Bear so much pain.

Do not weep!


Weep, O eyes,

The friend of man,

The noble one, the just one,

Is despised, is scorned,

Dies a vassal’s death.

Do not weep!


No 25. Chor: Hier liegen wir

Hier liegen wir gerührte Sünder,

O Jesu! O Jesu, tiefgebückt,

Mit Thränen diesen Staub zu netzen,

Der deine Lebensbäche trank:

O Jesu! Nimm unser Opfer an,

O Jesu nimm es an, nimm unser Opfer an.

Freund Gottes und der Menschenkinder,

Der seinen ewigen Gesetzen

Des Todes Siegel aufgedrückt,

Anbethung sey dein Dank,

Den opfre jedermann.

Here we lie, compassionate sinners,

O Jesus! O Jesus, and bow down deep

To wet with tears this dust

Which drank in Thy life’s blood:

O Jesus! Accept our sacrifice,

O Jesus, accept it, accept our sacrifice.

Friend of God and friend of man,

Who has set the seal of death

Upon His eternal laws.

Let adoration be Thy reward,

Offered Thee by everyone.



The Shalom Scholarship Fund

In 1998, Laura Beth Blythe-Goodman initiated the Shalom Scholarship Fund (known in

the Mayan language as Colmecac – a Mayan word for school – along with the help of

the Latino Fellowship, the Women’s Missionary Society and the rest of Calvary Baptist

Church – as an outgrowth of her Girl Scout Silver Award project. In recent years, the

Mission Board has become a co-sponsor for the annual fund-raising dinner and other

fund raising events throughout the year.

The fund supports students from two Baptist churches in El Salvador with scholarship

assistance. Currently, we have 11 students from these two churches: the Shalom

Baptist Church in San Salvador or the Church of Light & Peace in San Juan Nonuelco (a

small village a couple of hours south of San Salvador). In 2012, we are working to raise

$10,000 to ensure that all can attend University.

Motivated to complete their education, many of these students also work to support

their families. One young woman rises each morning at 4:00 am to sell bread before shegoes to class. This is just one example of the dedication these students demonstrate

while pursing their education.

The cost of a university education is around $1500 a year in El Salvador. But even this

minimal cost is a challenge to the students in our sister churches as their families have

very limited resources.

Because our own Pastor Edgar's daughter, Xochitl, lives in San Salvador and manages

the scholarship for us on that end, we have no administrative costs. Every dollar you

give goes directly to helping the students.

During a recent visit to El Salvador, members of our congregation had an opportunity to

meet with many of the students, and with Pastor Fito, their mentor. Pastor Fito thanked

us and thanked God for this scholarship assistance. He explained that the support we

give to these students means they can then help their communities and their country

which still struggles with the devastation from the civil war of the 1980's.

Tonight, you too can contribute to the education of a student who wants to help make

their world, and ours, a better place. Please, give whatever you can to help a young

person’s dreams become reality. As you exit the Sanctuary, there will be people

standing by to collect your donation. Thank you for your generous gifts tonight.



Calvary Baptist Church755 Eighth Street NW

202.347.835fax 202.347.6360

the promise of the passion: graun's der tod jesus

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