• Jesus is Lord

     Yasou ya ibn Allah! Jesus is Lord!

    Shookran Taree2 Yasoo3! Amin! Al Ma7ee!

    Here is a great song (tarneema) by (Rogé [Roger] Bahu) :
    Ya Yasou ya ibn Allah

    I made this video!

     

  • Eschatology Considered

    In my eschatology (the study of the End Times), I’m a premillennial dispensationalist. I believe in a return of Christ before the 1,000 year Millennium in which Christ will rule the earth from Jerusalem. I also believe in a pretribulation rapture of the Church, where Christ will meet us, His saints, in the air. We’ll return to Heaven for 7 years for the Marriage Supper of the Lamb. During this 7 year Great Tribulation the Antichrist and the Beast will terrorize the earth and God will show His mighty wrath upon mankind. Jesus came the first time as a suffering servant, as the meek Lamb of God; He was sacrificed for our sins. But when Christ returns at His Second Coming it will be as the King of Kings, the Lion of the tribe of Judah. He will utterly annihilate His enemies and destroy evil once and for all, including Satan and his demons, as well as reprobate mankind. We dispensationalists believe Scripture is best understood under a framework of roughly 7 dispensations in terms of how God deals with mankind. This is in opposition to covenant theology which asserts that God works primarily through covenants. I have a blessed hope that Christ will come for us and we’ll be snatched away, in the twinkling of an eye, to be with Him forever. The dead in Christ will rise first and then we who are alive will also be raptured out of the world, before the Antichrist appears on the world stage. I believe the rapture is imminent and could happen at anytime with no events needing to  happen before it will occur.

    After talking about what I believe positively let me say a few words about what I reject. I reject amillennialism which teaches there is no 1,000 year Millennium of Christ on earth. In my understanding amillennialism (which was popularized in the 5th century by Augustine in his book City of God) spiritualizes the text to a degree not supported by sound hermeneutics. It sees Biblical events and prophecies as primarily alleghorical/metaphorical/symbolic. It’s true that are things in Scripture which have a spiritual component and are best interpreted as allegorical, however that is not the case when it pertains to eschatology. The second major eschatological position which I reject is postmillennialism. Postmillennialism teaches the return of Christ to earth will happen after the 1,000 year millennium. Further, most postmillennialists believe that the Church will be able to subdue evil in the world to a high degree and that once the world is properly Christianized Christ will return. Any student of history can see how evil has been multiplying since Christ ascended to Heaven, and how things are generally getting worse overall and not better. The carnage of the 20th century alone disproves the postmillennial positon, or at the very least makes it untenable. I also reject the eschatological position known as preterism. Preterism teaches that most events of Bible prophecy in books such as Daniel and Revelation were fulfilled with the destruction of Jerusalem in 69AD by General Titus. Many amillennialists and postmillennialists are partial preterists. They believe many prophetic events such as the Great Tribulation, the abomination of desolation in the temple, and the reign of the Antichrist and the Beast system were already fulfilled by 69AD. They still believe in Christ’s Second Coming and some of them believe in a literal Millennium, although most of them do not believe in a pretribulational rapture of the Church. Full preterism is heresy since it denies Christ’s Second Coming and the New Heavens and New Earth.

    Further I should mention that there are several different schools of thought on the nature and timing of the Biblical events:
     

    1. PRETERIST

    This school regards the predictions as fulfilled during the decline and fall of the Roman Empire, when the church was under the pressures of imperial persecutions.

    According to Preterism, all prophecy in the Bible is really history. The preterist interpretation of Scripture regards the book of Revelation as a symbolic picture of first-century conflicts, not a description of what will occur in the end times. The term Preterism comes from the Latin praeter, meaning “past.” Thus, Preterism is the view that the biblical prophecies concerning the “end times” have already been fulfilled—in the past. Preterism is directly opposed to futurism, which sees the end-times prophecies as having a still-future fulfillment.

    Preterism is divided into two types: full (or consistent) Preterism and partial Preterism. 

    2. HISTORICIST

    In historicism biblical prophecies are interpreted as representative of literal historical events. Historicism looks at the whole of Bible prophecy as a sweeping overview of church history, from Pentecost to the end times. This approach involves interpreting symbols or figures in the Bible as metaphors for actual events, nations, or persons of history. Historicism was especially popular during the Reformation, when it was used to suggest that the Catholic Church was part of the end-times apostasy, with the pope as the Antichrist.

    Here are some examples of how historicism usually interprets events in Revelation: the seven churches in Rev. 2–3 are symbolic of seven ages of church history, starting with the apostolic church (the church of Ephesus) and ending with the modern-day, lukewarm church (the church of Laodicea). The seals in chapters 4—7 represent the decline and fall of the Roman Empire. The “little scroll” given to John Rev. 10 is a picture of the Protestant Reformation.

    The beasts of Rev. 12 and 13 represent Catholicism and the papacy. Other passages in Revelation are linked to the invasion of the Huns, the spread of Islam, and the rise of the modern missionary movement.

    3. FUTURIST

    This is my position. In this view, we believe most of the events of Biblical prophecy will occur in the future. The basic premise of the futurist viewpoint is that the majority of the prophecies in Revelation still await a future, literal fulfillment. This view of interpreting Revelation is very popular today, particularly among dispensationalists. It is the method used by the authors of the bestselling Left Behind series. Those who hold this view generally believe that everything after Rev. 3 will be fulfilled in the future.

    The futurist viewpoint often divides Revelation into three sections, which are defined in Rev. 1:19. There, the apostle John is instructed to “write, therefore, what you have seen, what is now and what will take place later.” Following this three-part outline, Rev. 1 contains John’s vision of the risen Christ and represents the past (“what you have seen”). Chapters 2 and 3, which contain the letters to the seven churches, describe the present (“what is now”). Finally, chapters 4–22 describe events in the future (“what will take place later”).

    This school believes that the central block of predictions applies to the last few years leading up to the second coming. It is therefore still future to us today, hence the label. It concerns the climax of evil control in the world, which will be the ‘Great Tribulation’ for the people of God (Rev 7:14; also referred to by Jesus in Matt 24:12–22).

    All the events will be compressed into quite a short time – three and a half years, to be exact (explicitly referred to as ‘a time, times and half a time’ or ‘forty-two months’ or ‘one thousand, two hundred and sixty days’; 11:2–3; 12:6 and 12:14, quoting Dan 12:7).

    There are differing viewpoints concerning the end times among faithful, Bible-believing Christians. We believe that the futurist viewpoint of Revelation is the one that is most consistent with a literal interpretation of the Bible overall and the one that best acknowledges the book’s own claim to be prophecy (Rev. 22:710). Whichever view one takes, all Christians should be preparing themselves to meet Jesus Christ and be waiting for His return (John 14:3).

    4. IDEALIST

    This approach removes all specific time references and discourages correlation with particular events. Revelation pictures the ‘eternal’ struggle between good and evil and the ‘truths’ contained in its narratives can be applied to any century. The battle between God and Satan is ongoing, but the divine victory can be experienced by an ‘overcoming’ church at any time. The ‘essential message’ can be universally applied throughout time and space. The main and perhaps only merit of this view is that the message of the book becomes directly relevant to all who read it.

    This, however, is to treat Revelation as ‘myth’. It is spiritually true, but not historically true. These are fictional events, but the stories contain truths – as in Aesop’s fables or Pilgrim’s Progress. The truths must be dug out of the narrative before being applied. The cost of this ‘demythologising’ process is to jettison a great deal of material, dismissing it as poetic licence which belongs to the package rather than the content.

    Behind all this is the Greek philosophy which separated spiritual and physical, sacred and secular, eternity and time. God, they said, is timeless. So truth is timeless, though it is also therefore timely. But it is not in ‘the times’. Their notion of history as cyclical cut out the concept of the ‘end-time’, the idea that time would reach a climax or conclusion.

    This has serious consequences for ‘eschatology’ (the study of ‘the last things’, from the Greek word eschatos = ‘end’ or ‘last’). Events like the second coming and the day of judgement are transferred from the future to the present, from then to now. Eschatology becomes ‘existential’ (i.e. concerned with the present moment of existence, or it is said to be ‘realised’ (as in ‘realising’ investments – having the money to spend now). Of course, radical changes have to be made to the ‘predictions’ to make them fit the present – usually by ‘spiritualising’ them (a ‘Platonic’ way of thinking).

    Summary

    There are four different answers to the question: what period of time does Revelation cover?    

    The preterist replies: the first few centuries AD.    

    The historicist replies: all the centuries AD from the first to the second advent.  

    The futurist replies: the last years of the last century AD.      

    The idealist replies: any century AD, none in particular.

     

    All of these different eschatological positions are allowed in my Facebook Eschatology group except for full preterism! Partial preterism is allowed in my Eschatology group, although I strongly disagree with it. 

    Further, I believe covenant theology is deficient, and dispensational theology makes a better fit of the Biblical data into a comprehensive system of interpretation using a grammatical-historical hermeneutic while employing contextual literalism (the interpretation is literal unless the context of the Scriptures clearly shows it is not meant to be literal). 

    If you’re looking to better understand the premillennial pretribulation rapture position I highly recommend the book “Things to Come” by J. Dwight Pentecost and “Revelation (The John Walvoord Prophecy Commentaries)” by John Walvoord.

    If you’d like to join my Eschatology (study of the End Times) Facebook group please click >>>here<<< to join!

     

  • Some thoughts on America

    One of the things which I admire about President Ronald Reagan was his ability to work with Democrats in Congress, and have true bipartisan cooperation. Democrats and Republicans still had strong disagreements, yet for the common good they found ways to come together to benefit the citizens of our great country.

    Today we rarely see such bipartisan efforts. Their is such rancor and acrimony between political parties. It’s so bad that we’ve had multiple government shutdowns where the federal government ran out of funding due to Republican and Democrats fighting each other. This should embarrass us as Americans. Our modern era seems to be one of hyper-partisanship and divisiveness. Your political opponents are demonized and seen as the enemy. Even very militaristic language is used by politicians and political pundits. Each side has their own niche media which mocks, ridicules, distorts, defames, spins, and misrepresents the other side., And each side has their own cult of personality celebrity stars who fill stadiums with their supporters cheering for them like they are rock stars.

    The Trump rallies have always been very polarizing and a sort of bully pulpit for Trump to connect with his base. I didn’t like Trump’s divisiveness, and even the poisonous language he used when discussing Democrat (or even fellow Republican) opponents. It reminded me of ancient Rome and the Emperor giving a speech to the crowds at the Coliseum. Trump knew what his bloodthirsty base wanted and he was very pleased with himself for going there and denigrating his, and by extension their, opponents.

    Trump’s rallies have disturbingly reminded me of the 1935 Nazi propaganda film “Triumph of the Will” by controversial director Leni Riefenstahl who directed, produced, edited and co-wrote the film. It chronicles the 1934 Nazi Party Congress in Nuremberg, which was attended by more than 700,000 Nazi supporters.The use of symbolism, the nationalistic flags and banners and chants, the throngs of adulating people focused on one man, and his near hypnotic, mesmerizing power over them. With a single phrase he can whip them up into a frenzy. The parallels between Hitler and Trump are too difficult to ignore. Also the way Trump outspokenly supported neo-Nazi thugs like the Proud Boys – akin to Hitler’s Brown Shirts. The Nazis Big Lie was the vilification of the Jews as the enemy of the German state. Trump’s Big Lie is the Stop the Steal narrative he keeps pushing (including in his 10 minute recent NPR interview where he storms out like a petulant child) which claims that the 2020 presidential election was rigged with massive voter fraud, and that he and not President Biden was the rightful winner. Federal judges appointed by Republicans found no evidence of this corruption and voter fraud, and Trump’s own political party, the Republicans in Congress, certified the election and declared Joe Biden the winner of the Electoral College. 

    I hope Trump doesn’t run again. I voted for him in 2016, but I quickly grew tired of his boorish and infantile behavior. A major newspaper documented that in 4 years Trump knowingly lied around 30,000 times! He is a pathological liar and a master manipulator. He is no Ronald Reagan! I believe Trump has some conservative policies, but I get the impression he holds to them for expediency and because he calculated that would resonate with a majority of Americans. His comments about grabbing ladies’ private parts are absolutely disgusting and shows he views women as mere sex objects. Trump is no Christian. No regenerated person trusting in Christ alone could act the way he has. It’s sad the Religious Right in America hitched their wagon to Trump. I lost count of all the pastors declaring that  Trump was God’s anointed. Many Trump supporters still believe this today and give blind faith in Trump as a sort of Messiah figure who will save America from Satan. The only way to save America is for millions of Americans to repent, believe the Gospel, and trust in Christ alone.

    Another great blight on our nation was the January 6, 2021 attempted insurrection at Congress which Trump encouraged by telling his supporters that the presidential election was stolen from him. He also made remarks just before the violence started which emboldened those who took part in the attempted insurrection. America the great bastion of freedom and democratic fair elections was made a global laughing stock that day. Truly a shameful day in our history.

    I feel a second term as president for Trump would be disastrous for our nation and he’d spend most of  his time trying to get even with everyone he feels has wronged him in some way – and it’s a big list. And telling tens of thousands of more lies. The Republican Party needs to cut ties with Trump and his entire family and back a true conservative Christian in the 2024 presidential elections.

    We must fight back against this sort of thing, and get back to real news, substantive debates and rallies without demonizations and toxic distortions. Democrats also have guilt in this matter. Both sides need to do much better. We have to demand better of them and hold them responsible.

    As a Reformed Christian it greatly distresses me to see the idolatry which tens of millions of American Christians have in Trump. We are to do what pleases Christ and to follow His Word at all costs. Trump is closer to a King Nebuchadnezzar, the Babylonian despot, than he is to King David. And I personally heard and saw Trump distance himself from Christian doctrine when at a prayer breakfast Trump said that he didn’t believe in loving his enemies or turning the other cheek. If Trump’s supporters can’t see  he is no man of God,  they are blinded by politics and not living faithfully as witnesses to the truth. Many of them are in deep denial, and are outright delusional in what lies and untruths they’ll believe. Every single insane QAnon conspiracy theory is taken as gospel truth by many Trump supporters such as US House representative of Georgia, Marjorie Taylor Greene.

    I  truly hope we can break the Republican-Democrat two party system’s monopoly and elect to Congress and the Presidency truly Christian and conservative political parties. I’m hoping we can get back to Reagan conservatism.

  • Bach's St. John Passion

     

    J.S. Bach’s St. John Passion (Johannes-Passion)

    Passion in 2 Parts – BWV 245

    Bach composed this work in Leipzig during 1727 for the Good Friday (the Friday before Easter) vesper services. It was written in 1723 during Bach’s first year as director of church music in Leipzig and was first performed on April 7, 1724, at Good Friday Vespers at the St. Nicholas Church. It was the first Passion music he had written as cantor in Leipzig.

    According to Wikipedia:

    The St John Passion is written for a four-part choir with soloists, as well as an instrumental ensemble of strings and basso continuo with pairs of flauti traversi and oboes, the latter both doubling on oboe da caccia. For special colors Bach also used lute, viola d’amore and viola da gamba, instruments that were already old-fashioned at the time.[citation needed]

    In present-day performances the part of Jesus is often given to one bass soloist, Pilate and the bass arias to another. Some tenors sing the Evangelist – a very demanding part – and the arias. The smaller parts (Peter, Maid, Servant) are sometimes performed by choir members.[citation needed]

    Bach followed chapters 18 and 19 of the Gospel of John in the Luther Bible, and the tenor Evangelist follows exactly the words of that bible.

    Libretto:

    The thread running through the St John Passion is the biblical passage traditionally read on Good Friday, John 18 and 19. Jesus was captured, led before Kaiphas and Pontius Pilate, judged, crucified and put to death. The biblical passage is presented by the solo tenor (the Evangelist), and the various roles (Jesus, Pilate, the disciples and the people) are taken by the other singers. At key moments, Bach added well-known hymns, which are sung and played by the whole ensemble. For the solo arias, he used poetry from popular Passion anthologies by Barthold Heinrich Brockes, Christian Weise and Christian Heinrich Postel.

    The Passion story as told in the Gospel of John is different from that told by the other three evangelists – Matthew, Luke and Mark. John’s version places the emphasis on Christ’s divine origin. Throughout his suffering, this divine origin still plays a role and nowhere is Jesus as human as in the other gospels. He is not afraid and knows everything that will happen – so also that the crucifixion will not be the end of him. This is immediately apparent in the opening chorus, where Christ is invoked as ‘Herrscher dessen Ruhm in allen Landen herrlich ist’. This contrasts with the opening chorus in the St Matthew Passion, which is about the lamb being led to the slaughter.

    Bach often adds an extra dimension to the words through his music with symbolism. A fairly direct expression of the words is to be found in many of the recitatives, for instance when the Evangelist tells how Jesus is flogged. The flogging is clearly heard, both in the singing and in the accompanying continuo. In the aria ‘Ach mein Sinn’, Peter’s disquiet and remorse is supported by the strings. The accompaniment is turbulent and restless, and the aria ends abruptly. The short choir sections contain a lot of shouting, screaming and cursing. Bach underlines the shouting and jeering with his music. In the chorus ‘Bist du nicht’, for example, the voices enter in increasingly rapid succession and at shorter intervals, so that it seems almost as if more and more people join in the shouting.

    There is also symmetry exhibited in this work. The chorale ‘Durch dein Gefängnis Gottes Sohn’ is seen as the heart of the Passion. Many of the fast tutti choruses sung before this chorale return after it, but then with different words and in reverse order (like, for example, ‘Wir haben ein Gesetz’ – ‘Lässest du diesen los’ of ‘Sei gegrüßet’ – ‘Schreibe nicht’). Furthermore, the chorale summarises the essence of the Passion once again: ‘Durch dein Gefängnis Gottes Sohn, muss uns die Freiheit kommen’.

    Highlights

    • opening chorus: “Herr, unser Herrscher …” (“Lord, our master, …”). There is an orchestral intonation of 36 bars before the explosive entrance of the chorus. Each of these bars is a single stress of lower tones, weakening till the end of the bar. These bass beats are accompanied by the remaining instruments of higher tunes, by legato singing the prospective theme. The last six bars of the orchestral intro produce a robust crescendo, arriving to shouting forte initial three bars of the chorus, where the chorus joins to the long sequence of deep stresses by Herr, Herr, Herr. Soon, after the first portion of the theme, comes the triple Herr, Herr, Herr again, but this time, at the end of the bars, as a contra answer for the corresponding orchestral deep stresses at the beginning of the bars. Finally, the entire A section is repeated.”Herr, unser Herrscher” and “O Mensch, bewein dein Sünde groß” are very different in character. The latter is full of torment in its text, but a serenely majestic piece of music. “Herr, unser Herrscher” sounds as if it has chains of dissonance between the two oboes and the turmoil of the roiling sixteenth notes in the strings. Especially, when they invade the bass, it is full of anguish and therefore it characterizes the St John Passion.
    • commenting arias: The first part of the St John Passion includes three commenting arias. There is an alto aria, “Von den Stricken meiner Sünden” (From the bonds of my sins). This includes an intertwined oboe line that brings back many characteristics of the opening chorus. Another aria is an enchanting flute and soprano duet, “Ich folge dir gleichfalls”. In this piece the verbs “ziehen” (to pull) and “schieben” (to push) stimulate Bach’s delight in musical illustration. The third aria is a passionate tenor solo that is accompanied by all the instruments, “Ach, mein Sinn” (O my soul).
    • the death of Jesus: “Es ist vollbracht! …” (“It is accomplished; what comfort for suffering human souls! I can see the end of the night of sorrow. The hero from Judah ends his victorious fight. It is accomplished!” Es ist vollbracht! on YouTube). The central part is essentially a viola da gamba solo and an alto aria. The theme is introduced by the viola da gamba gently accompanied by the basso continuo setting. Then comes the solo vocal interpretation.
    • closing chorale: Ach Herr, lass dein lieb Engelein … (O Lord, let your dear little angels …). This chorale – with alternative lyrics – is still in regular use in the congregations. The beginning of the theme is a descending sequence, but in overall the theme is full of emotion as well. Singing this chorale standalone, however, does not sound as a closing chorale, except if it is sung at the end of a real ceremony.

    Netherlands Bach Society
    Jos van Veldhoven, conductor

    Soloists:

    • Raphael Höhn, Evangelist (tenor)
    • Myriam Arbouz (soprano)
    • Maria Valdmaa, Maid (soprano)
    • Daniël Elgersma (alto)
    • Marine Fribourg (alto)
    • Gwilym Bowen (tenor)
    • Guy Cutting, Servant (tenor)
    • Felix Schwandtke, Jesus (bass)
    • Drew Santini, Peter (bass)
    • Angus Mc Phee, Pilate (bass

    A note about this performance. A cast of singers was selected under the age of 35. Apart from the leaders, all the orchestra members are also younger than 35.

    This wonderful performance, from 4 years ago is at times more dramatic and intense than the St. Matthew Passion. It starts with an explosive opening chorus  Herr, unser Herrscher” (Lord, thou our master). No listener can be left unmoved by the bleak magnificence of this chorus “, set to the text of Psalm 8. Throbbing bass notes, streams of blood and violent blows in the middle voices as well as incessant friction in the mercilessly descending woodwinds create a soundscape that goes beyond subjective suffering and reveals a horizon of universal significance. In what is perhaps the darkest setting of devotional music in history, the composer inimitably captures the inextricable nature of death and glorification of the Saviour. Bach uses extensive word painting and leitmotifs throughout this work.

    Please enjoy the performance of this moving and powerful work!

    Act 1: Verrat und Gefangennahme / Betrayal and capture
    0:00:17 Chorus Herr unser Herrscher
    0:10:33 Rezitativ+Chorus Jesus ging mit seinen Jüngern
    0:13:03 Choral O große Lieb
    0:14:05 Rezitativ Auf daß das Wort erfüllet würde
    0:15:16 Choral Dein Will gescheh

    Act 2: Verleumdung / Defamation
    0:16:23 Rezitativ Die Schar aber und der Oberhauptmann
    0:17:06 Arie Von den Stricken meiner Sünden
    0:21:40 Rezitativ Simon Petrus aber folgete Jesu nach
    0:21:56 Arie Ich folge dir gleichfalls
    0:25:24 Rezitativ Derselbige Jünger war dem Hohenpriester bekannt
    0:28:31 Choral Wer hat dich so geschlagen
    0:30:37 Rezitativ+Chorus Und Hannas sandte ihn gebunden
    0:32:53 Arie Ach, mein Sinn
    0:36:05 Choral Petrus, der nicht denkt zurück

    Act 3: Verhör und Geißelung / Interrogation and flagellation
    0:37:40 Choral Christus, der uns selig macht
    0:38:55 Rezitativ Da führeten sie Jesum
    0:39:31 Chorus Wäre dieser nicht ein Übeltäter
    0:40:30 Rezitativ Da sprach Pilatus zu ihnen
    0:40:42 Chorus Wir dürfen niemand töten
    0:41:18 Rezitativ Auf daß erfüllet würde das Wort
    0:43:00 Choral Ach großer König
    0:44:47 Rezitativ Da sprach Pilatus zu ihm
    0:46:12 Chorus Nicht diesen, sondern Barrabam
    0:46:22 Rezitativ Barrabas aber war ein Mörder
    0:46:55 Arioso Betrachte, meine Seel
    0:49:23 Arie Erwäge, wie sein blutgefärbter Rücken
    0:56:07 Rezitativ Und die Kriegskneckte flochten eine Krone
    0:56:24 Chorus Sei gegrüßet, lieber Judenkönig
    0:56:57 Rezitativ Und gaben ihm Backenstreiche
    0:57:50 Chorus Kreuzige, kreuzige
    0:58:41 Rezitativ Pilatus sprach zu ihnen
    0:58:59 Chorus Wir haben ein Gesetz
    1:00:10 Rezitativ Da Pilatus das Wort hörete
    1:01:36 Choral Durch dein Gefängnis, Gottes Sohn
    1:02:46 Rezitativ Die Jüden aber schrieen und sprachen
    1:02:50 Chorus Lässest du diesen los
    1:03:57 Rezitativ Da Pilatus das Wort hörete
    1:04:35 Chorus Weg, weg mit dem
    1:05:31 Rezitativ Spricht Pilatus zu ihnen
    1:05:42 Chorus Wir haben keinen König
    1:05:54 Rezitativ Da überantwortete er ihn
    1:06:46 Arie Eilt, ihr angefochtnen Seelen

    Act 4: Kreuzigung und Tod / Crucifixion and death
    1:10:32 Rezitativ Allda kreuzigten sie ihn
    1:11:46 Chorus Schreibe nicht: der Jüden König
    1:12:20 Rezitativ Pilatus antwortet
    1:12:39 Choral In meines Herzens Grunde
    1:13:58 Rezitativ Die Kriegsknechte aber
    1:14:32 Chorus Lasset uns den nicht zerteilen
    1:15:54 Rezitativ Auf daß erfüllet würde die Schrift
    1:17:46 Choral Er nahm alles wohl in acht
    1:19:10 Rezitativ Und von Stund an nahm sie der Jünger
    1:20:28 Arie Es ist vollbracht
    1:25:55 Rezitativ Und neiget das Haupt
    1:26:21 Arie Mein teurer Heiland, laß dich fragen
    1:30:35 Rezitativ Und siehe da, der Vorhang im Tempel zerriss
    1:31:03 Arioso Mein Herz, in dem die ganze Welt
    1:32:01 Arie Zerfließe, mein Herze
    1:38:35 Rezitativ Die Jüden aber, dieweil es der Rüsttag war
    1:40:43 Choral O hilf, Christe, Gottes Sohn

    Act 5: Grablegung / Burial
    1:41:57 Rezitativ Darnach bat Pilatum Joseph von Arimathia
    1:43:44 Chorus Ruht wohl, ihr heiligen Gebeine
    1:50:43 Choral Ach Herr, laß dei lieb Englein 

     

    Libretto – English Translation by Francis Browne(April 2006)

    First Part

    1.Chorus
    Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Continuo
    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
    Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Continuo
    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
    Oboe I/II, Violino I/II, Viola, Continuo
    Jesum von Nazareth.
    Jesus of Nazareth.

    2c. Recitative
    Continuo
    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
    Oboe I/II, Violino I/II, Viola, Continuo
    Jesum von Nazareth.
    Jesus of Nazareth.

    2e. Recitative
    Continuo
    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
    Flauto traverso I/II e Oboe I e Violino I col Soprano, Oboe II e Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Flauto traverso I/II e Oboe I/II e Violino I col Soprano, Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Oboe I/II, Continuo
    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
    Continuo
    Evangelist:
    Simon Petrus aber folgete Jesu nach und ein ander Jünger.
    But Simon Peter and another disciple followed Jesus.

    9. Aria Soprano
    Flauto traverso I/II, Continuo
    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
    Continuo
    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
    Flauto traverso I/II e Oboe I/II e Violino col Soprano, Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Flauto traverso I/II e Oboe I e Violino I col Soprano, Oboe II e Violino II coll’Alto, Viola col Tenore, Continuo
    Bist du nicht seiner Jünger einer?
    Aren’t you one of his disciples?

    12c. Recitative
    Continuo
    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
    Violino I/II, Viola, Continuo
    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
    Flauto traverso I/II e Oboe I e Violino I col Soprano, Oboe II e Violino II coll’Alto, Viola col Tenore, Continuo
    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!

    Second Part

    15. Chorale
    Flauto traverso I/II e Oboe I e Violino I col Soprano, Oboe II e Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Flauto traverso I/II, Oboe I e Violino I, Oboe e Violino II, Viola, Continuo
    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
    Continuo
    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
    Flauto traverso I/II e Violino I, Oboe I, Oboe II e Violino II, Viola, Continuo
    Wir dürfen niemand töten.
    We are not allowed to put anyone to death.

    16e. Recitative
    Continuo
    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
    Flauto traverso I/II e Oboe I e Violino I col Soprano, Oboe II e Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Flauto traverso I/II e Oboe I e Violino I, Oboe II col Soprano, Violino II coll’Alto, Viola col Tenore, Continuo
    Nicht diesen, sondern Barrabam!
    Not this man, but Barrabas!

    18c. Recitative
    Continuo
    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
    Viola d’amore I o Violino I solo con sordino, Viola d’amore II o Violino II solo con sordino, Liuto o Organo 8va, Organo, Cembalo 8va
    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
    Viola d’amore I o Violino I solo con sordino, Viola d’amore II o Violino II solo con sordino, Continuo
    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
    Continuo
    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
    Flauto traverso I e Oboe I, Flauto traverso II e Oboe II, Violino I/II, Viola, Continuo
    Sei gegrüßet, lieber Jüdenkönig!
    Hail to you, king of the Jews!

    21c. Recitative
    Continuo
    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
    Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Continuo
    Kreuzige, kreuzige!
    Crucify him,crucify him!

    21e. Recitative
    Continuo
    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
    Continuo
    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
    Continuo
    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
    Flauto traverso I/II e Oboe I/II e Violino I col Soprano, Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    Evangelist:
    Die Jüden aber schrieen und sprachen:
    But the Jews cried out and said:

    23b. Chorus
    Oboe e Violino I col Soprano, Oboe d’amore e Violino II coll’Alto, Flauto traverso I/II in octava e Viola col Tenore, Continuo
    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
    Continuo
    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
    Violino I/II, Viola, Oboe col Soprano, Oboe d’amore coll’Alto, Flauto traverso I/II in octava col Tenore, Continuo
    Weg, weg mit dem, kreuzige ihn!
    Away with him, away with him, crucify him!

    23e. Recitative
    Continuo
    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
    Flauto traverso I/II, Oboe e Violino I, Oboe d’amore e Violino II, Viola, Continuo
    Wir haben keinen König denn den Kaiser.
    We have no king but Caesar.

    23g. Recitative
    Continuo
    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 B e Coro
    Violino I/II, Viola, Continuo
    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
    Continuo
    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
    Flauto traverso I e Oboe I, Flauto traverso II e Oboe II, Violino I/II, Viola, Continuo
    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
    Continuo
    Evangelist:
    Pilatus antwortet:
    Pilate replied:
    Pilatus:
    Was ich geschrieben habe, das habe ich geschrieben.
    What I have written, I have written.

    26. Chorale
    Flauto traverso I/II e Oboe I/II e Violino I col Soprano, Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Flauto traverso I/II, Oboe I e Violino I, Oboe d’amore e Violino II, Viola, Continuo
    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
    Continuo
    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
    Flauto traverso I/II e Oboe I/II e Violino I col Soprano, Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Violino I/II, Viola, Viola da gamba sola, Continuo
    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
    Continuo
    Evangelist:
    Und neiget das Haupt und verschied.
    And he bowed his head and passed away

    32. Aria Bass and Chorus
    Violino I col Soprano, Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Flauto traverso I/II, Oboe d’amore I/II, Violino I/II, Viola, Continuo
    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
    Flauto traverso solo, Oboe da caccia solo, Continuo
    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
    Continuo
    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
    Flauto traverso I/II e Oboe I/II e Violino I col Soprano, Violino II coll’Alto, Viola col Tenore, Continuo
    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
    Continuo
    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
    Flauto traverso I/II, Oboe I/II, Violino I/II, Viola, Continuo
    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
    Flauto traverso I e Oboe I e Violino I col Soprano, Flauto traverso II e Oboe II e Violino II coll’Alto, Viola col Tenore, Continuo
    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!

     

    I hope you enjoyed the perfomance. Before you go I hope you’ll watch this performance from 37 years ago by Nikolaus Harnoncourt. This performance tries to faithfully perform the work as it would have been when Bach first performed it. So the tempos are faster, original Baroque instruments are used, and an all boys choir which also has soloists sing the Soprano and Alto parts which is usually sung by girls in our modern performances. Please enjoy this magical performance.

    Tolzer Knabenchor, Direction: Gerhard Schmidt-Gaden
    Concentus Musicus Wien, Conductor: Nikolaus Harnoncourt

    • Kurt Equiluz, tenor (Evangelist)
    • Robert Holl, bass (Jesus)
    • Soloists of the Tolzer Knabenchor, soprano, contralto
    • Thomas Moser, tenor
    • Anton Scharinger, bass

    Recorded: June 26-30, 1985.

  • Worship Music

    How we worship God matters. And part of worship is our music. David sung praises unto the Lord with his psalms. Yes the psalms are meant to be sung!  Have you noticed that so much of what passes for praise music these days is utterly banal,  if not outright blasphemous (viz, Jesus as their boyfriend). 

    You’ve probably heard a million times the same tired cliched songs with repetitive lyrics. Or as church musicians call them, 7-11-2 music. 7 words sung 11 times to 2 chords!

     
    What makes this all the more egregious and intolerable is that fact that there exists a rich body of doctrinally sound and musically pleasing praise music. That is the great hymns of the historic church. Such as “A Mighty Fortress Is Our God”, “Amazing Grace”, “How Great Thou Art”, “What a Friend We Have In Jesus”, or even a contemporary hymn such as “In Christ Alone”.

    Here is “Amazing Grace” performed by Celtic Woman.

     

    This hymn written by John Newton, a former slave  trader, beautifully expresses the reality of salvation by grace through faith in Christ. This  moving hymn has been used by God to bring countless people to faith. Here are the lyrics:

    Amazing grace, How sweet the sound

    That saved a wretch like me.

    I once was lost, but now I am found,

    Was blind, but now I see.

    ‘Twas grace that taught my heart to fear,

    And grace my fears relieved.

    How precious did that grace appear

    The hour I first believed.

    Through many dangers, toils and snares

    I have already come,

    ‘Tis grace has brought me safe thus far

    And grace will lead me home.

    The Lord has promised good to me

    His word my hope secures;

    He will my shield and portion be,

    As long as life endures.

    Yea, when this flesh and heart shall fail,

    And mortal life shall cease

    I shall possess within the veil,

    A life of joy and peace.

    When we’ve been there ten thousand years

    Bright shining as the sun,

    We’ve no less days to sing God’s praise

    Than when we’ve first begun.

    We should return to excellence in worship. In fact we must demand it. That includes praise music. Whether it’s a return to the great classic hymns of the Church, or using lyrically sound and musically elevated contemporary hymns.

    My favorite type of praise music is classical sacred music such as J.S. Bach, Handel, Palestrina, etc. I  believe we should give God our best in worship. He gave us talents, and the ability to compose beautiful music. We as the Body of Christ should no longer tolerate substandard praise music. I encourage you to listen to J.S. Bach’s sacred cantatas. Here is one of my favorites, “Herz und Mund und Tat und Leben” (BWV 147) performed by the Bach Foundation of Switzerland.

     

    Hymns are much more than a mere accompaniment. They are a substantial and important part of worship in their own right. Hymns share the Gospel, express our love for Christ, and present doctrinal truths in ways that are easy to remember. Here is an article which talks about 7 Biblical reasons why singing in worship matters.

    If you’re a church musician, a regular layperson, a pastor, or an elder. I urge you to fight for excellence in your worship music. You know good versus bad music so fight for the best, even if that means you have  to butt heads with the pastor or elders. Please make pastors understand how vitally important our worship music is. Not every church can have a trained choir, or a $50,000 pipe organ, but we can all sing. God looks at our heart. If our intent is to glorify God He’ll see that.

    Here are some hymns played on the pipe organ, which is my favorite instrument in worship music besides the human voice. The organ has over 1500 years of repertoire! Martin Luther said, “After theology, I give to music the highest place and the greatest honor.”

    There is a controversy in churches as to whether worship music should be acappella, with just the human voice, and no instruments, or if it should be music with instruments to accompany the voice. Those who follow the regulative principle of worship generally forbid instruments in worship music. The regulative principle is that we should only worship God in ways explicitly set forth in Scripture, otherwise it is forbidden. Some proponents of the regulative principle even sing only the Pslams and no hymns at all. I think this is motivated by well intention, but it’s an extreme position, and, in my view, an unbiblical one. I favor the normative principle of worship which allows all types of music not forbidden by Scripture.

    So whether you sing without any instruments, or have a full trained choir with a pipe organ, worship God by giving your best. Fight for excellence in worship music. 

    As a Calvinist I’ve encountered many with harsh and negative associations between Calvinism and church music. Here is an interesting article which explores the history.

    Psalm 150:3-6

    Praise him with the sound of the trumpet: praise him with the psaltery and harp.

    Praise him with the timbrel and dance: praise him with stringed instruments and organs.

    Praise him upon the loud cymbals: praise him upon the high sounding cymbals.

    Let every thing that hath breath praise the LORD. Praise ye the LORD.

     

    Here are 25 classic and contemporary hymns which I love! The name is given, with a link to a performance of the hymn on YouTube if you click on the name of the hymn, followed by the name of who wrote the hymn and the year they wrote it, followed by the first lines of the hymn.

    1. Amazing Grace – John Newton, England (1779)

    Amazing Grace, how sweet the sound / That saved a wretch like me / I once was lost but now am found / Was blind, but now, I see.

    2. How Great Thou Art – Carl Gustav Boberg, Sweden (1885)

    O Lord my God, When I in awesome wonder / Consider all the worlds Thy Hands have made / I see the stars, I hear the rolling thunder / Thy power throughout the universe displayed.

    3. Holy, Holy, Holy – Reginald Heiber, England (1826)

    Holy, holy, holy! Lord God Almighty! / Early in the morning our song shall rise to thee / Holy, holy, holy! Merciful and mighty / God in three persons, blessed Trinity!”

    4. It is Well – Horacio Spafford, written in the Atlantic Ocean (1873)

    When peace like a river, attendeth my way / When sorrows like sea billows roll / Whatever my lot, Thou hast taught me to know / It is well, it is well, with my soul.

    5. Great Is Thy Faithfulness – Thomas Chisholm, Kansas, USA (1923)

    Great is Thy faithfulness O God my Father / There is no shadow of turning with Thee / Thou changest not, Thy compassions, they fail not / As Thou hast been Thou forever wilt be.

    6. Praise To the Lord The Almighty – Joachim Neander, Germany (1665)

    Praise to the Lord, the Almighty, the King of creation! / O my soul, praise Him, for He is thy health and salvation! / All ye who hear, now to His temple draw near / Sing now in glad adoration!

    7. Be Thou My Vision – Dallán Forgaill, Ireland (6th Century)

    Be Thou my vision, O Lord of my heart / Naught be all else to me, save that Thou art / Thou my best thought, by day or by night / Waking or sleeping, Thy presence my light.

    8. All Creatures Of our God and King – St. Francis of Assisi, Italy (1225)

    All creatures of our God and King / Lift up your voice and with us sing / Alleluia! Alleluia!…Praise, praise the Father, praise the Son / And praise the Spirit, Three in One!

    9. All Hail The Power of Jesus Name – Edward Perronet, England (1779)

    All hail the power of Jesus’ name! / Let angels prostrate fall / Bring forth the royal diadem / And crown him Lord of all.

    10. Blessed Assurance – Fanny Crosby, New York City, USA (1873)

    Blessed assurance, Jesus is mine! / Oh, what a foretaste of glory divine! / Heir of salvation, purchase of God / Born of His Spirit, washed in His blood.

    11. To God Be The Glory – Fanny Crosby, New York City, USA (1872)

    To God be the glory, great things He hath done / So loved He the world that He gave us His Son / Who yielded His life our redemption to win / And opened the life-gate that all may go in.

    12. When I Survey The Wondrous Cross – Isaac Watts, England (1707)

    When I survey the wondrous cross / On which the Prince of glory died / My richest gain I count but loss / And pour contempt on all my pride.

    13. Jesus Paid it All – Elvina Hall, Maryland, USA (1865)

    I hear the Savior say, “Thy strength indeed is small / Child of weakness, watch and pray / Find in Me thine all in all” / Jesus paid it all, All to Him I owe / Sin had left a crimson stain, He washed it white as snow.

    14. A Mighty Fortress Is Our God – Martin Luther, Germany (somewhere between 1527 – 1529)

    A mighty fortress is our God, a bulwark never failing / Our helper He, amid the flood of mortal ills prevailing / For still our ancient foe doth seek to work us woe / His craft and power are great, and, armed with cruel hate, On earth is not his equal.

    15. How Firm A Foundation – John Rippon, England (1787)

    How firm a foundation, ye saints of the Lord / Is laid for your faith in His excellent Word! / What more can He say than to you He hath said / Who unto the Savior for refuge have fled?

    16. Come Thou Fount of Every Blessing – Robert Robison, England (1757)

    Come, Thou Fount of every blessing / Tune my heart to sing Thy grace / Streams of mercy, never ceasing / Call for songs of loudest praise.

    17. Crown Him With Many Crowns – Matthew Bridges, England (1852)

    Crown Him with many crowns, the Lamb upon His throne / Hark! How the heavenly anthem drowns all music but its own / Awake, my soul, and sing of Him who died for thee / And hail Him as thy matchless King through all eternity.

    18. At the Cross – Isaac Watts, England (1707)

    At the cross, at the cross where I first saw the light / And the burden of my heart rolled away / It was there by faith I received my sight / And now I am happy all the day!

    19. What a Friend We Have in Jesus – Joseph M. Scriven (words in 1855) and Charles Converse (music in 1868), Ireland

    What a friend we have in Jesus, all our sins and griefs to bear! / What a privilege to carry everything to God in prayer! / O what peace we often forfeit, O what needless pain we bear / All because we do not carry everything to God in prayer.

    20. Turn Your Eyes Upon Jesus – Helen Lemmel, England (1922)

    Turn your eyes upon Jesus / Look full in His wonderful face / And the things of earth will grow strangely dim / In the light of His glory and grace.

    21. In Christ Alone – Keith Getty and Stuart Townend, Northern Ireland/England (2001)

    In Christ alone my hope is found / He is my light, my strength, my song / This Cornerstone, this solid ground / Firm through the fiercest drought and storm / What heights of love, what depths of peace / When fears are stilled, when strivings cease / My Comforter, my All in All / Here in the love of Christ I stand.

    22. Untitled Hymn (Come to Jesus) – Chris Rice, USA (2003)

    Weak and wounded sinner / Lost and left to die / O, raise your head, for love is passing by / Come to Jesus / Come to Jesus / Come to Jesus and live!

    23. 10,000 Reasons – Matt Redman, England (2011)

    Bless the Lord, O my soul O my soul / Worship His holy name / Sing like never before, O my soul / I’ll worship Your holy name.

    24. I Will Glory in My Redeemer – Steve and Vicki Cook, Louisville, Kentucky, USA (2000)

    I will glory in my Redeemer / Whose priceless blood has ransomed me/ Mine was the sin that drove the bitter nails / And hung Him on that judgment tree / I will glory in my Redeemer / Who crushed the power of sin and death / My only Savior before the holy Judge / The Lamb who is my righteousness.

    25. Jesus, Thank You – Pat Sczebel, Louisville, Kentucky, USA (2003)

    The mystery of the cross I cannot comprehend / The agonies of Calvary / You the perfect Holy One, crushed Your Son / Who drank the bitter cup reserved for me / Your blood has washed away my sin / Jesus, thank You / The Father’s wrath completely satisfied / Jesus, thank You / Once Your enemy, now seated at Your table / Jesus, thank You.

  • Handel's Messiah


    Georg Friedrich Händel

    MESSIAH
    (1742)

    A Sacred Oratorio

    Here is a fantastic performance of Handel’s “Messiah”. This is a very Baroque performance. The soloists are fantastic, and the choir is superb and very fresh!

    Recorded live in the Sheldonian Theatre, Oxford, on Friday 3 December 2021.

    • Rowan Pierce, soprano
    • Esther Brazil, mezzo-soprano
    • Ted Black, tenor
    • Ashley Riches, bass-baritone

    Academy of Ancient Music
    Choir of The Queen’s College, Oxford
    Owen Rees, director

     

    PART THE FIRST:

    Scene 1: Isaiah’s prophecy of salvation
    00:40     1. Symphony
    03:48     2. Comfort ye my people (Accompagnato – Tenor)
    06:48     3. Every valley shall be exalted (Aria – Tenor)
    10:30     4. And the glory of the Lord (Chorus)
    Scene 2: The coming judgement
    13:25     5. Thus saith the Lord, the Lord of hosts (Accompagnato – Bass)
    15:18     6. But who may abide the day of His coming (Aria – Alto)
    19:48     7. And He shall purify (Chorus)
    Scene 3: The prophecy of Christ’s birth
    22:36     8. Behold, a virgin shall conceive (Recitative – Alto)
    23:00     9. O thou that tellest good tidings to Zion (Aria – Alto and Chorus)
    28:46     10. For behold, darkness shall cover the earth (Accompagnato – Bass)
    31:00     11. The people that walked in darkness (Aria – Bass)
    34:51     12. For unto us a child is born (Chorus)
    Scene 4: The annunciation to the shepherds
    39:15    13. Pifa
    40:12    14a. There were shepherds abiding in the field (Recitative – Soprano)
    40:25    14b. And Lo, the angel of the lord came up on them (Accompagnato – Soprano)
    40:44    15. And the angel said unto them (Recitative – Soprano)
    41:15    16. And suddenly there was with the angel (Recitative – Soprano)
    41:33    17. Glory to God (Chorus)
    Scene 5: Christ’s healing and redemption
    43:44    18. Rejoice greatly (Aria – Soprano)
    48:24    19. Then shall the eyes of the blind be opened (Recitative – Alto)
    48:58    20. He shall feed His Flock like a shepherd (Duet – Alto, Soprano)
    54:15    21. His yoke is easy (Chorus)

    PART THE SECOND:

    Scene 1: Christ’s Passion
    57:20    22. Behold the lamb of God (Chorus)
    59:48    23. He was despised (Aria – Alto)
    1:09:21   24. Surely he hath borne our griefs and carried our sorrows (Chorus)
    1:11:07    25. And with his stripes we are healed (Chorus)
    1:13:10   26. All we like sheep have gone astray (Chorus)
    1:17:24   27. All they that see him laugh him to scorn (Recitative – Tenor)
    1:18:08   28. He trusted in god that he would deliver him (Chorus)
    1:20:50   29. Thy rebuke hath broken his heart (Accompagnato – Tenor)
    1:22:26   30. Behold and see if there be any sorrow (Aria – Tenor)
    Scene 2: Christ’s Death and Resurrection
    1:23:50   31. He was cut off (Accompagnato – Soprano)
    1:24:10   32. But thou didst not leave his soul hell (Aria – Soprano)
    Scene 3: Christ’s Ascension
    1:26:35   33. Lift up your heads, O ye gates (Chorus)

    Scene 5: The beginnings of Gospel preaching
    1:30:04   38. How beautiful are the feet (Aria – Soprano)
    1:32:27   39. Their sound is gone out (Chorus)
    Scene 6: The world’s rejection of the Gospel
    1:34:13   40. Why do the nations so furiously rage together (Aria – Bass)
    1:37:12    41. Let us break their bonds asunder (Chorus)
    Scene 7: God’s ultimate victory
    1:39:11   42. He that dwelleth in heaven (Recitative – Tenor)
    1:39:23   43. Thou shalt break them with a rod of iron (Aria – Tenor)
    1:41:46   44. Hallelujah (Chorus)

    PART THE THIRD:

    Scene 1: The promise of eternal life
    1:46:20   45. I know that my Redeemer liveth (Aria – Soprano)
    1:52:02   46. Since by man came death (Chorus)
    Scene 2: The Day of Judgment
    1:54:12   47. Behold, I tell you a mystery (Accompagnato – Bass)
    1:54:50   48. The trumpet shall sound (Aria – Bass)
    Scene 3: The final conquest of sin

    2:04:07   52. If God be for us, who can be against us? (Aria – Soprano)
    Scene 4: The acclamation of the Messiah
    2:09:05   53. Worthy is the Lamb (Chorus)
    2:12:39   54. Amen (Chorus) Choir of The Queen’s College, Oxford
    Pinned by Choir of The Queen’s College, Oxford
    Choir of The Queen’s College, Oxford
    3 weeks ago (edited)
    PART THE FIRST:

    Scene 1: Isaiah’s prophecy of salvation
    00:40     1. Symphony
    03:48     2. Comfort ye my people (Accompagnato – Tenor)
    06:48     3. Every valley shall be exalted (Aria – Tenor)
    10:30     4. And the glory of the Lord (Chorus)
    Scene 2: The coming judgement
    13:25     5. Thus saith the Lord, the Lord of hosts (Accompagnato – Bass)
    15:18     6. But who may abide the day of His coming (Aria – Alto)
    19:48     7. And He shall purify (Chorus)
    Scene 3: The prophecy of Christ’s birth
    22:36     8. Behold, a virgin shall conceive (Recitative – Alto)
    23:00     9. O thou that tellest good tidings to Zion (Aria – Alto and Chorus)
    28:46     10. For behold, darkness shall cover the earth (Accompagnato – Bass)
    31:00     11. The people that walked in darkness (Aria – Bass)
    34:51     12. For unto us a child is born (Chorus)
    Scene 4: The annunciation to the shepherds
    39:15    13. Pifa
    40:12    14a. There were shepherds abiding in the field (Recitative – Soprano)
    40:25    14b. And Lo, the angel of the lord came up on them (Accompagnato – Soprano)
    40:44    15. And the angel said unto them (Recitative – Soprano)
    41:15    16. And suddenly there was with the angel (Recitative – Soprano)
    41:33    17. Glory to God (Chorus)
    Scene 5: Christ’s healing and redemption
    43:44    18. Rejoice greatly (Aria – Soprano)
    48:24    19. Then shall the eyes of the blind be opened (Recitative – Alto)
    48:58    20. He shall feed His Flock like a shepherd (Duet – Alto, Soprano)
    54:15    21. His yoke is easy (Chorus)

    PART THE SECOND:

    Scene 1: Christ’s Passion
    57:20    22. Behold the lamb of God (Chorus)
    59:48    23. He was despised (Aria – Alto)
    1:09:21   24. Surely he hath borne our griefs and carried our sorrows (Chorus)
    1:11:07    25. And with his stripes we are healed (Chorus)
    1:13:10   26. All we like sheep have gone astray (Chorus)
    1:17:24   27. All they that see him laugh him to scorn (Recitative – Tenor)
    1:18:08   28. He trusted in god that he would deliver him (Chorus)
    1:20:50   29. Thy rebuke hath broken his heart (Accompagnato – Tenor)
    1:22:26   30. Behold and see if there be any sorrow (Aria – Tenor)
    Scene 2: Christ’s Death and Resurrection
    1:23:50   31. He was cut off (Accompagnato – Soprano)
    1:24:10   32. But thou didst not leave his soul hell (Aria – Soprano)
    Scene 3: Christ’s Ascension
    1:26:35   33. Lift up your heads, O ye gates (Chorus)

    Scene 5: The beginnings of Gospel preaching
    1:30:04   38. How beautiful are the feet (Aria – Soprano)
    1:32:27   39. Their sound is gone out (Chorus)
    Scene 6: The world’s rejection of the Gospel
    1:34:13   40. Why do the nations so furiously rage together (Aria – Bass)
    1:37:12    41. Let us break their bonds asunder (Chorus)
    Scene 7: God’s ultimate victory
    1:39:11   42. He that dwelleth in heaven (Recitative – Tenor)
    1:39:23   43. Thou shalt break them with a rod of iron (Aria – Tenor)
    1:41:46   44. Hallelujah (Chorus)

    PART THE THIRD:

    Scene 1: The promise of eternal life
    1:46:20   45. I know that my Redeemer liveth (Aria – Soprano)
    1:52:02   46. Since by man came death (Chorus)
    Scene 2: The Day of Judgment
    1:54:12   47. Behold, I tell you a mystery (Accompagnato – Bass)
    1:54:50   48. The trumpet shall sound (Aria – Bass)
    Scene 3: The final conquest of sin

    2:04:07   52. If God be for us, who can be against us? (Aria – Soprano)
    Scene 4: The acclamation of the Messiah
    2:09:05   53. Worthy is the Lamb (Chorus)
    2:12:39   54. Amen (Chorus)


    PART ONE

    1. Sinfonia (Overture)

    2. Accompagnato

    Tenor

    Comfort ye, comfort ye my people, saith your God.
    Speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplished, that her iniquity is pardoned.
    The voice of him that crieth in the wilderness; prepare ye the way of the Lord; make straight in the desert a highway for our God.
     
    (Isaiah 40: 1-3)  

    3. Air

    Tenor

    Ev’ry valley shall be exalted, and ev’ry moutain and hill made low; the crooked straight and the rough places plain.  
    (Isaiah 40: 4)  

    4. Chorus

    And the glory of the Lord shall be revealed, and all flesh shall see it together: for the mouth of the Lord hath spoken it.  
    (Isaiah 40: 5)  

    5. Accompagnato

    Bass

    Thus saith the Lord, the Lord of hosts: Yet once a little while and I will shake the heavens and the earth, the sea and the dry land.
    And I will shake all nations; and the desire of all nations shall come.
     
    (Haggai 2: 6-7)  
    The Lord, whom ye seek, shall suddenly come to His temple, even the messenger of the Covenant, whom you delight in; behold, He shall come, saith the Lord of hosts.  
    (Malachi 3: 1)  

    6. Air

    Alto or soprano

    But who may abide the day of His coming, and who shall stand when He appeareth? For He is like a refiner’s fire.  
    (Malachi 3: 2)  

    7. Chorus

    And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.  
    (Malachi 3: 3)  

    8. Recitative

    Alto

    Behold, a virgin shall conceive and bear a son, and shall call His name Emmanuel, God with us.  
    (Isaiah 7: 14; Matthew 1: 23)  

    9. Air and Chorus

    Alto

    O thou that tellest good tidings to Zion, get thee up into the high mountain. O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid; say unto the cities of Judah, behold your g od!  
    (Isaiah 40: 9)  
    Arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.  
    (Isaiah 60: 1)  

    Chorus
    O thou that tellest. . . etc.

    10. Accompagnato

    Bass

    For behold, darkness shall cover the earth, and gross darkness the people; but the Lord shall arise upon thee, and His glory shall be seen upon thee.
    And the Gentiles shall come to thy light, and kings to the brightness of thy rising.
     
    (Isaiah 60: 2-3)  

    11. Air

    Bass

    The people that walked in darkness have seen a great light;
    and they that dwell in the land of the shadow of death, upon them hath the light shined.
     
    (Isaiah 9: 2)  

    12. Chorus

    For unto us a child is born, unto us a son is given, and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, the mighty God, the Everlasting Father, the Prince of Peace.  
    (Isaiah 9: 6)  

    13. Pifa (“Pastoral Symphony”)

    14a. Recitative

    Soprano

    There were shepherds abiding in the field, keeping watch over their flocks by night.  
    (Luke 2: 8)  

    14b. Accompagnato

    Soprano

    And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.  
    (Luke 2: 9)  

    15. Recitative

    Soprano

    And the angel said unto them: “Fear not, for behold, I bring you good tidings of great joy, which shall be to all people.
    For unto you is born this day in the city of David a Saviour, which is Christ the Lord.”
     
    (Luke 2: 10-11)  

    16. Accompagnato

    Soprano

    And suddenly there was with the angel, a multitude of the heavenly host, praising God, and saying:  
    (Luke 2: 13)  

    17. Chorus

    “Glory to God in the highest, and peace on earth, good will towards men.”  
    (Luke 2: 14)  

    18. Air

    Soprano

    Rejoice greatly, O daughter of Zion; shout, O daughter of Jerusalem!
    Behold, thy King cometh unto thee; He is the righteous Saviour, and He shall speak peace unto the heathen.
    Rejoice greatly. . . da capo
     
    (Zecharaiah 9: 9-10)  

    19. Recitative

    Alto

    Then shall the eyes of the blind be opened, and the ears of the deaf unstopped.
    Then shall the lame man leap as an hart, and the tongue of the dumb shall sing.
     
    (Isaiah 35: 5-6)  

    20. Air (or Duet)

    (Alto &) soprano

    He shall feed His flock like a shepherd; and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.  
    (Isaiah 40: 11)  
    Come unto Him, all ye that labour, come unto Him that are heavy laden, and He will give you rest.
    Take his yoke upon you, and learn of Him, for He is meek and lowly of heart, and ye shall find rest unto your souls.
     
    (Matthew 11: 28-29)  

    21. Chorus

    His yoke is easy, and His burden is light.  
    (Matthew 11: 30)  

     

    PART TWO

    22. Chorus

    Behold the Lamb of God, that taketh away the sin of the world.  
    (John 1: 29)  

    23. Air

    Alto

    He was despised and rejected of men, a man of sorrows and acquainted with grief.  
    (Isaiah 53: 3)  

    He gave His back to the smiters, and His cheeks to them that plucked off His hair: He hid not His face from shame and spitting.
    He was despised. . . da capo  (Isaiah 50: 6) 

    24. Chorus

    Surely He hath borne our griefs, and carried our sorrows!
    He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him.
     
    (Isaiah 53: 4-5)  

    25. Chorus

    And with His stripes we are healed.  
    (Isaiah 53: 5)  

    26. Chorus

    All we like sheep have gone astray; we have turned every one to his own way. And the Lord hath laid on Him the iniquity of us all.  
    (Isaiah 53: 6)  

    27. Accompagnato

    Tenor

    All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying:  
    (Psalm 22: 7)  

    28. Chorus

    “He trusted in God that He would deliver Him; let Him deliver Him, if He delight in Him.”  
    (Psalm 22: 8)  

    29. Accompagnato

    Tenor

    Thy rebuke hath broken His heart: He is full of heaviness. He looked for some to have pity on Him, but there was no man, neither found He any to comfort him.  
    (Psalm 69: 20)  

    30. Arioso

    Tenor

    Behold, and see if there be any sorrow like unto His sorrow.  
    (Lamentations 1: 12)  

    31. Accompagnato

    Soprano or tenor

    He was cut off out of the land of the living: for the transgressions of Thy people was He stricken.  
    (Isaiah 53: 8)  

    32. Air

    Soprano or tenor

    But Thou didst not leave His soul in hell; nor didst Thou suffer Thy Holy One to see corruption.  
    (Psalm 16: 10)  

    33. Chorus

    Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in.
    Who is this King of Glory? The Lord strong and mighty, The Lord mighty in battle.
    Lift up your heads, O ye gates; and be ye lift up, ye everlasting doors; and the King of Glory shall come in.
    Who is this King of Glory? The Lord of Hosts, He is the King of Glory.
     
    (Psalm 24: 7-10)  

    34. Recitative

    Tenor

    Unto which of the angels said He at any time: “Thou art My Son, this day have I begotten Thee?”  
    (Hebrews 1: 5)  

    35. Chorus

    Let all the angels of God worship Him.  
    (Hebrews 1: 6)  

    36. Air

    Alto or soprano

    Thou art gone up on high; Thou hast led captivity captive, and received gifts for men; yea, even from Thine enemies, that the Lord God might dwell among them.  
    (Psalm 68: 18)  

    37. Chorus

    The Lord gave the word; great was the company of the preachers.  
    (Psalm 68: 11)  

    38. Air (or « duet and Chorus »)

    Soprano or alto (or soprano, alto and Chorus)

    How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.  
    (Isaiah 52: 7; Romans 10: 15)  

    39. Chorus (or air for tenor)

    Their sound is gone out into all lands,
    and their words unto the ends of the world.
     
    (Romans 10: 18; Psalm 19: 4)  

    40. Air (or « Air and Recitative »)

    Bass

    Why do the nations so furiously rage together, and why do the people imagine a vain thing?
    The kings of the earth rise up, and the rulers take counsel together against the Lord, and against His anointed.
     
    (Psalm 2: 1-2)  

    41. Chorus

    Let us break their bonds asunder, and cast away their yokes from us.  
    (Psalm 2: 3)  

    42. Recitative

    Tenor

    He that dwelleth in Heav’n shall laugh them to scorn; The Lord shall have them in derision.  
    (Psalm 2: 4)  

    43. Air

    Tenor

    Thou shalt break them with a rod of iron; thou shalt dash them in pieces like a potter’s vessel.  
    (Psalm 2: 9)  

    44. Chorus

    Hallelujah: for the Lord God Omnipotent reigneth.  
    (Revelation 19: 6)  
    The kingdom of this world is become the kingdom of our Lord,
    and of His Christ; and He shall reign for ever and ever.
     
    (Revelation 11: 15)  
    King of Kings, and Lord of Lords.  
    (Revelation 19: 16)  

    Hallelujah!

     

    PART THREE

    45. Air

    Soprano

    I know that my Redeemer liveth, and that He shall stand
    at the latter day upon the earth.
    And though worms destroy this body, yet in my flesh shall I see God.
     
    (Job 19: 25-26)  
    For now is Christ risen from the dead, the first fruits of them that sleep.  
    (I Corinthians 15: 20)  

    46. Chorus

    Since by man came death, by man came also the resurrection of the dead.
    For as in Adam all die, even so in Christ shall all be made alive.
     
    (I Corinthians 15: 21-22)  

    47. Accompagnato

    Bass

    Behold, I tell you a mystery; we shall not all sleep, but we shall all be changed in a moment, in the twinkling of an eye, at the last trumpet.  
    (I Corinthians 15: 51-52)  

    48. Air

    Bass

    The trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed.
    For this corruptible must put on incorruption and this mortal must put on immortality.
    The trumpet. . . da capo
     
    (I Corinthians 15: 52-53)  

    49. Recitative

    Alto

    Then shall be brought to pass the saying that is written: “Death is swallowed up in victory.”  
    (I Corinthians 15: 54)  

    50. Duet

    Alto & tenor

    O death, where is thy sting? O grave, where is thy victory?
    The sting of death is sin, and the strength of sin is the law.
     
    (I Corinthians 15: 55-56)  

    51. Chorus

    But thanks be to God, who giveth us the victory through our Lord Jesus Christ.  
    (I Corinthians 15: 57)  

    52. Air

    Soprano alto

    If God be for us, who can be against us?  
    (Romans 8: 31)  
    Who shall lay anything to the charge of God’s elect? It is God that justifieth, who is he that condemneth? It is Christ that died, yea rather, that is risen again, who is at the right hand of God, who makes intercession for us.  
    (Romans 8: 33-34)  

    53. Chorus

    Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom,
    and strength, and honour, and glory, and blessing.
    Blessing and honour, glory and power, be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever.
    Amen.
     
    (Revelation 5: 12-14)

     

  • American Gospel

    I just saw the documentary “American Gospel: Christ Alone” (2018). It clearly presents the Gospel and shows how for many Americans, they are merely nominal, cultural “Christians” who were raised in churches, read the Bible, even attend Christian schools, yet they never repented and believed the Gospel. They never trusted in Christ Alone. It also documents the explosive popularity of the Word of Faith movement in America, and how the prosperity [false] gospel has devastated millions of Americans. 

    The modern “American Gospel” is a distorted, corrupted gospel. American Gospel examines how the prosperity gospel (based on the Word of Faith movement) has distorted the gospel message (promises of “the American dream” of health, wealth, & prosperity), and, sadly, how this theology is being exported abroad.

    Here is the 1 hour version. The full documentary is 2 hours and 20 minutes in duration. The following is the first 40 minutes of the film, followed by testimony from viewers. 

    • “The great strength of the film is that it’s not only a negative examination of the Word of Faith movement, but also a very positive and helpful examination of biblical truth. ” – Tim Challies

    • “This is the best clarifying juxtaposition of truth and prosperity preaching I know of. I pray millions of people around the world will watch this for the glory of Christ and his Good News.” – John Piper

    • “I think suffering Christians will discover an unexpected balm in this film as they are reminded of the true hope provided in Christ Jesus.” – Reagan Rose

    The follow up documentary “American  Gospel: Christ Crucfied” (2019) is also excellent and worth watching. It examines how the Gospel has been watered down so as not to be offensive. It talks about postmodernism and progressive Christianity and how they’ve led to a false gospel which we’ve manufactured.

    You can rent or buy “American Gospel: Christ Alone” on Amazon Prime Video here

    You can rent or buy “American  Gospel: Christ Crucfied” on Amazon Prime Video here.

  • Christian America

    America was founded as a Christian republic! The vast majority of our Founding Fathers were men of sincere and deep faith in Christ. Sadly in recent decades fewer people in America now identify as Christian, and the number of people who are unaffiliated with  no religion has increased to 33%!

    According to recent polling by Pew Research Center, self-identified Christians make up 63% of U.S. population in 2021, down from 75% a decade ago! 33% of US adults now identify as atheists, agnostics or “nothing in particular” when asked about their religious identity. Most of the losses were in Protestants.

    This secularization of America is terrible and very dangerous. 

    In this video by historian David Barton he proves that America was founded as a Christian nation!

    In this next video Dr. Barton establishes the faith of our Founders as Christian, and he meticulously documents their thoughts on religion as it relates to government, education, and public affairs. They believed America would only succeed as long as its populace remained Christian. We still have a Christian majority in America, but it’s quickly fading.

    America was founded as a Christian nation, but not as a theocracy.

    Our Founders, for the most part, identified with the mindset of those they called “dissenting Protestants.” The dissenting Protestant insisted that civil government should have no role in the church nor in matters of faith and conscience. Freedom from government tyranny in matters of faith was an ideal that pervaded the thinking of America’s Founders.

    However, for there to be liberty without license, the Founders knew that the populace would have to be governed from within by virtuous values. That is why they all agreed that only Christianity provided the moral values and intellectual underpinnings for a stable and prosperous nation.

    The principles that made America great are universal principles that span time, race and space. They will work with any people or nation who have the courage to apply them. Here are five founding principles that made America great and will make her great again.

    Principle 1: Faith in God as the Creator and Moral Governor of the Universe

    The Founders considered belief in the God of the Bible as being essential for good citizenship. Unless the citizens would have a moral sense of obligation to their Creator, they would tend to live selfish, unrestrained lives, harmful to society.

    This was expressed by James Madison when he wrote, “Before any man can be considered as a member of civil society, he must be considered as a subject of the Governor of the Universe.” Madison, the chief architect of the U.S. Consitution, also wrote:

    The belief in a God All Powerful wise and good, is so essential to the moral order of the world and to the happiness of man, that arguments which enforce it cannot be drawn from too many sources nor adapted with too much solicitude to the different characters and capacities impressed with it.

    The Declaration of Independence begins by acknowledging the Creator and recognizing that all human rights come from Him. That is the basis on which John Dickinson, chairman of the committee for the Declaration of Independence, declared in 1776, “Our liberties do not come from charters for these are only the declarations of preexisting rights. They do not depend on parchment or seals; but come from the King of kings and the Lord of all the earth.”

    After being sworn in as president with his hand on a Bible, George Washington issued a proclamation designating Nov. 26, 1789, as a Day of Thanksgiving. The proclamation assumes the obligation of all citizens to acknowledge God’s existence and to show honor to Him. It opened with the following statement:

    Whereas it is the duty of all Nations to acknowledge the providence of Almighty God, to obey his will, to be grateful for his benefits, and humbly to implore his protection and favor, and whereas both Houses of Congress have by their joint Committee requested me to recommend to the People of the United States a day of public thanksgiving and prayer to be observed by acknowledging with grateful hearts the many signal favors of Almighty God.

    Indeed, although there was tolerance for those of various faiths, there was a hostility toward atheism in early America. This was born out when a judge in the court of Chester County in the state of New York, threw out the testimony of a witness when the witness admitted he did not believe in the existence of God.

    The judge said that by denying the existence of God, the witness had “destroyed all the confidence of the court in what he was about to say.” The judge went on to say that it was the first time he had met someone who did not acknowledge the existence of God.

    This event was recorded by the French sociologist, Alexis de Tocqueville, and occurred during his visit to America in 1831. Tocqueville said the incident was merely noted in the newspaper without further comment.

    Yes, belief in the all-knowing, all-powerful God of the Bible—the moral Governor of the Universe—was considered a necessity for a prosperous and stable nation by virtually all early Americans.

     

    Principle 2: Belief in the Bible as the Source of Ultimate Truth

    When George Washington placed his hand on a Bible to take the oath of office it was no mere formality, but a declaration that the Bible would be the ultimate source of wisdom and guidance for his administration. He also once said, “It is impossible to rightly govern the world without God and the Bible.”

    A 10-year project instituted to discover where the Founders got their ideas for America’s founding documents found that by far the single most cited authority in their writings was the Bible. They were people of the Book and consciously and unconsciously used it as the standard for measuring all other writings both ancient and modern.

    Knowing how the Founders esteemed and reverenced the Bible, it comes as no surprise that The First Continental Congress was opened with Bible reading and prayer. It is also no surprise that when Benjamin Franklin called the Constitutional Convention to Prayer, he quoted from both the Psalms and the Gospels.

    The Founders’ respect for the Bible is why the first English Bible published in America, in 1782, included a recommendation from Congress. The recommendation read:

    Resolved: That the United States in Congress assembled, highly approve the pious and laudable undertaking of Mr. Aitken, as subservient to the interest of religion as well as an instance of the progress of the arts in this country, and being satisfied from the above report, of his care and accuracy in the execution of the work they recommend this edition of the Bible to the inhabitants of the United States and hereby authorize him to publish this recommendation in the manner he shall think proper.

    The Founders lived at a time when the European Enlightenment and its emphasis on reason was drawing many on the European continent away from the Bible. America’s Founders, however, saw no dichotomy between the Bible and reason. William Novak says:

    Everywhere that reason led, Americans found the Bible. If they read Francis Bacon, they found the Bible. If they read Isaac Newton or John Milton, they found the Bible. In Shakespeare, they found the Bible. In the world of the Founders, the Bible was an unavoidable and useful rod of measurement, a stimulus to intellectual innovation.

    This primary role of the Bible in America’s founding was acknowledged by Andrew Jackson, America’s seventh president, when he said, “That book, sir, is the rock on which our republic rests.” Theodore Roosevelt, America’s 26th president, confirmed this, saying, “No other book of any kind ever written in English has ever so affected the whole life of a people.”

    Principle 3: Human Nature Has Been Flawed by Sin and Cannot Be Trusted With Unlimited Power

    The Founders held the traditional Christian belief that humanity had been created a noble creature in the image and likeness of God, but that this image had become marred because of the fall and sin (Gen. 1-3). Because the image was not erased, humanity is capable of very noble deeds; but since the image is marred, he is also capable of very dastardly deeds.

    Although modern society does not want to hear about sin, human history cannot be understood apart from it. Only the Biblical account of the entry of sin into the world provides the context for understanding the wars, genocides, inquisitions, holocausts, and cruelties that have been an ongoing part of human history down to the present time.

    Yes, salvation through Jesus Christ restores the image of God in mankind, but this restoration is a process that is not completed in this world. Humanity—even Christian humanity—in this flawed condition cannot be trusted with unlimited power.

    The historian, Benjamin Hart, wrote, “A central assumption of America’s Founders was original sin, meaning the corruption of man’s character.”

    “Take mankind in general,” said Alexander Hamilton, “they are vicious.” James Madison added, “If men were angels no government would be necessary,”

    It was this mistrust of human nature that influenced the Founders to divide the powers of government into three branches and to provide checks and balances to keep any individual or group from gaining unlimited power. The Founders would agree with Sir John Acton, who said, “Power corrupts; absolute power corrupts absolutely.”

    Marxism and liberalism claim that the problem with human corruption stems from corrupt institutions. The Bible teaches the opposite. It is corrupt human beings who create corrupt institutions. The Founders, therefore, not only instituted a limited government, but also counted on Christianity to provide the moral and intellectual influence necessary for a stable society, for only a virtuous people could be a truly free people.

    Principle 4: Christian Values and Morality Are Essential for a Stable and Prosperous Nation

    In his Farewell address after serving two terms as America’s first president, George Washington declared, “Of all the dispositions and habits which lead to political prosperity, religion [Christianity] and morality are indispensable supports.” He goes on to say that the person who would “labor to subvert these great pillars of human happiness” can never claim to be an American patriot.

    Thomas Jefferson was in complete agreement and he made Washington’s Farewell Address required reading at the University of Virginia, which he had founded. And notice that Washington did not call religion optional. The word he used was “indispensable” and Jefferson obviously agreed. It should be remembered that when the Founders used the word “religion” they were referring to Christianity.

    Jefferson may have had questions at times about certain aspects of Christian doctrine, but there is no question that he saw Christianity as providing the moral and intellectual system necessary for a stable society. Having read the Quran and the literature of ancient Greece, Rome and the Enlightenment, he stated, “Of all the systems of morality that have come under my observations, none appear to me so pure as that of Jesus.”

    Jefferson’s commitment to Christian values is why he closed all presidential documents with the appellation, “In the year of our Lord Christ.” It is also why he took money from the federal treasury to pay for missionaries to work among the Kaskasia Indian tribe and to build them a building in which to worship.

    Washington, Jefferson and all the Founders knew that the success of the nation they had formed hinged on the moral character of its citizens and their ability to govern themselves according to Biblical values. This is why John Adams, in a 1798 address to the officers of the Massachusetts Militia, declared:

    We have no government armed with power capable of contending with human passions unbridled by morality and religion … Our Constitution was made only for a moral and religious [Christian] people. It is wholly inadequate to the government of any other.

    The Founders did not believe that there could be liberty apart from virtue, or freedom apart from morality. Only Christianity offered the moral and intellectual underpinnings that would preserve the nation they had brought into existence. This is why Novak says, “The founders did not believe the constitutional government they were erecting could survive without Hebrew-Christian faith.”

    Principle 5: Government Exists to Protect Faith and Freedom

    No part of the Constitution has been so mangled and misapplied as that part of the First Amendment that reads, “Congress shall make no law concerning the establishment of religion or hindering the free exercise thereof.” Secularists have wrenched this statement from its historical context and original intent and made it to mean, not freedom of religion, but freedom from religion.

    The fact is, however, that the day after voting to ratify the First Amendment, those same Founders issued a proclamation for a day of prayer and thanksgiving. Congress continued to be opened with prayer and Bible reading and prayer continued to be a daily part of the normal school day in America. Presidents also continued to issue proclamations for special days of prayer and thanksgiving.

    When Jefferson used the phrase “wall of separation” in a letter to a Baptist association, he was assuring them that the First Amendment guaranteed them protection from persecution by the state such as they had known in the Old World and even in Jefferson’s home state of Virginia. Jefferson saw the First Amendment as a unilateral wall erected to keep the government out of the church, not to keep the influence of the church out of government.

    By implementing the First Amendment, the Founders were simply saying that America would never have a national, state church as had been the case in Europe since the time of Constantine. Indeed, it was from these oppressive state churches that their parents and grandparents had fled. They wanted to guarantee that no American citizen would ever be forced to act against their conscience and sincerely held religious beliefs.

    The Founders would be astonished to see how the First Amendment has been distorted by modern secularists into a weapon against religious liberty, the very thing they meant to protect. Their simple purpose was to make sure that Christianity would be protected from government intrusion and that no denomination would ever be singled out for special favors.

    America Founded as a Christian Nation

    Yes, America was founded as a Christian nation. This is not to be equated with a theocracy where individuals claim a direct mandate from God to rule and govern a people. The Founders had rejected that sort of thinking, but they had not rejected Christianity itself, for they considered Christianity to be necessary for the nation’s success and survival.

    America as a Christian nation was understood as late as 1892 as expressed in the Supreme Court ruling of Church of the Holy Trinity vs The United States. After reviewing thousands of historical documents, the nation’s highest Court declared:

    Our laws and our institutions must necessarily be based upon and embody the teachings of The Redeemer of mankind. It is impossible that it should be otherwise; and in this sense and to this extent our civilization and our institutions are emphatically Christian … From the discovery of this continent to the present hour, there is a single voice making this affirmation … we find everywhere a clear recognition of the same truth that this is a Christian nation.

    It is time to reject the lie that America was founded on secularism and multiculturalism. It is time for all freedom-loving people to stand up for truth. It is also time to pray for another Great Awakening that will return America to its founding principles, for only by returning to her founding principles will she ever truly be great again. 

    America must repent from its great wickedness and trust in Christ alone. If the secularization of America continues, our country will cease to be great, and God will destroy America for its great wickedness and idolatry! We must fight against historical revisionism which denies our Christian heritage. We must fight against abortion, LGBT values, poverty and other problems. Our Constitution can only ensure liberty and freedom if we are a Christian nation! True freedom is found in Christ alone!

     – Some text has been adapted from https://www.charismanews.com/politics/opinion/71951-5-founding-principles-that-made-america-great

  • Recollections from Childhood

    A cool breeze blows
    On a fresh Spring day

    The cicada buzz
    I feel calm

    The sun shines bright
    Warming my skin

    Robins fly above
    Circling me

    The heavenly smell of tulips
    Wafts through the air

    A lone bumble bee
    Buzzes near my head

    I feel the cool grass
    Beneath my feet

    I taste honeysuckle
    Mild and sweet

    Cars rumble past
    Their engines humming

    My sisters and I
    Play Red Rover

    A sudden soft rain
    Makes me feel whole

    Our tiger lilies sway
    In the swift wind

    I drift asleep
    Dreaming of Paradise

     

    by Zachary Uram, (c) 2022

  • Bach's Coffee Cantata

    This is a performance of Bach’s secular cantata Schweigt stille, plaudert nicht / Keep quiet, don’t chatter. Which is known popularly as the “Kaffeekantate” (Coffee Cantata). 

    BWV 211

    This performance was brought to my attention by my dear, longtime friend Professor Christina Alexandris in Athens, Greece.

    This work is more similar to an Italian comic opera than it is a German traditional cantata. Bach composed it probably between 1732 and 1735. He shows a master hand at conveying humor and lightheartedness in this expressive work which is about a rebellious daughter addicted to coffee! This proto-opera was something uncommon for Bach. Bach’s other operatic works are the Peasant Cantate and the Marriage Cantate. In these operatic intermezzos, Bach was stepping out of his comfort zone, and I think the result is brilliant. 

    As I said, although classified as a cantata, it is essentially a miniature comic opera! In a satirical commentary, the cantata amusingly tells of an addiction to coffee. Bach regularly directed a musical ensemble based at Zimmermann’s coffee house, in Leipzig, called a Collegium Musicum, founded by Georg Philipp Telemann in 1702. The libretto suggests that some people in 18th century Germany viewed coffee drinking as a bad habit. However, the work is likely to have been first performed at the coffee house in Leipzig.The cantata’s libretto (written by Christian Friedrich Henrici, known as Picander), features lines like “If I couldn’t, three times a day, be allowed to drink my little cup of coffee, in my anguish I will turn into a shriveled-up roast goat”. Bach wrote no operas: the cantata was written for concert performance, but is frequently performed today fully staged with costumes.

    This cantata is presented with a mixture of the recitative story with combined solo arias, mixed arias and orchestra interludes.  There is a historical connotation to the time Bach composes this cantata.  Coffee is introduced from the New World (South America). An innovation addictive drink and viewed by old fashion society as suspicious and dangerous to the health.  Bach writes this comic musical to amuse with good humor both coffee drinkers, their parents and older folk.   I listened to this funny cantata a few times to get the hidden sense of humor; I discovered the characters personalities are reflected through the simple melodies and the period instruments.

    The work is scored for three vocal soloists in the roles:

    • Narrator (Tenor)
    • Schlendrian – literally: Stick in the mud – the father (Bass)
    • Lieschen, the daughter (Soprano)

    The orchestra consists of flauto traverso, two violins obbligato, viola, cembalo and basso continuo.

    Conductor: Ton Koopman
    Amsterdam Baroque Orchestra and Choir

    • Schlendrian: Klaus Mertens (Bass)
    • Liesgen: Anne Grimm (Soprano)
    • Narrator: Lothar Odinus (Tenor)

    Please enjoy the performance of this charming and gay work!

    1 Recitative: Schweigt stille (Narrator) 0:00
    2 Aria: Hat man nicht mit seinen Kindern (Schlendrian)
    0:41
    3 Recitative: Du böses Kind (Schlendrian & Lieschen)
    3:33
    4 Aria: Ei! Wie schmeckt der Kaffee süße (Lieschen) 4:09
    5 Recitative: Wenn du mir nicht den Kaffee läßt (Schlendrian & Lieschen)
    8:42
    6 Aria: Mädchen, die von harten Sinnen (Schlendrian) 9:57
    7 Recitative: Nun folge, was dein Vater spricht! (Schlendrian & Lieschen)
    12:22
    8 Aria: Heute noch, lieber Vater (Lieschen) 13:11
    9 Recitative: Nun geht und sucht der alte Schlendrian (Narrator) 19:36
    10 Trio: Die Katze läßt das Mausen nicht 20:21


    The text is by Christian Friedrich Henrici (Picander). 

    English translation by Francis Browne (June 2005).

    1

    Recitative: Narrator [Tenor]

    Continuo

    Schweigt stille, plaudert nicht
    Keep quiet, don’t chatter
    Und höret, was itzund geschicht:
    and hear what’s going on now:
    Da kömmt Herr Schlendrian
    here comes Herr Schlendrian
    Mit seiner Tochter Liesgen her,
    with his daughter Liesgen
    Er brummt ja wie ein Zeidelbär;
    he’s growling like a honey-bear –
    Hört selber, was sie ihm getan!
    hear for yourselves what she has done to him.

    2

    Aria: Herr Schlendrian [Bass]

    Violino I/II, Viola, Continuo

    Hat man nicht mit seinen Kindern
    Don’t we have with our children
    Hunderttausend Hudelei!
    a hundred thousand muddles !
    Was ich immer alle Tage
    What always every day I
    Meiner Tochter Liesgen sage,
    say to my daughter Liesgen
    Gehet ohne Frucht vorbei.
    goes in one ear and out the other
    [lit. goes by without profit]

    3

    Recitative: Schlendrian [Bass], Liesgen [Soprano]

    Continuo

    Schlendrian:
    Du böses Kind, du loses Mädchen,
    You bad child, you wild girl!
    Ach! wenn erlang ich meinen Zweck:
    Oh! If only I could have my way :
    Tu mir den Coffee weg!
    get rid of coffee!

    Liesgen:
    Herr Vater, seid doch nicht so scharf!
    Father, don’t be so hard!
    Wenn ich des Tages nicht dreimal
    If three times a day I can’t
    Mein Schälchen Coffee trinken darf,
    drink my little cup of coffee,
    So werd ich ja zu meiner Qual
    then I would become so upset
    Wie ein verdorrtes Ziegenbrätchen
    that I would be like dried up piece of roast goat.

    4

    Aria: Liesgen [Soprano]

    Flauto traverso, Continuo

    Ei! wie schmeckt der Coffee süße,
    Ah! how sweet coffee tastes!
    Lieblicher als tausend Küsse,
    Lovelier than a thousand kisses,
    Milder als Muskatenwein.
    smoother than muscatel wine.
    Coffee, Coffee muss ich haben,
    Coffee, I must have coffee,
    Und wenn jemand mich will laben,
    and if anyone wants to give me a treat,
    Ach, so schenkt mir Coffee ein!
    ah!, just give me some coffee!

    5

    Recitative: Schlendrian [Bass], Liesgen [Soprano]

    Continuo

    Schlendrian:
    Wenn du mir nicht den Coffee lässt,
    If you don’t give up coffee,
    So sollst du auf kein Hochzeitfest,
    you won’t be going to any wedding
    Auch nicht spazierengehn.
    and you won’t go out walking either.

    Liesgen:
    Ach ja!
    Alright then !
    Nur lasset mir den Coffee da!
    Just leave me my coffee!

    Schlendrian:
    Da hab ich nun den kleinen Affen!
    I’ll get the little minx now!
    Ich will dir keinen Fischbeinrock nach itzger Weite schaffen.
    I shan’t get you the latest fashion in just your size.

    Liesgen:
    Ich kann mich leicht darzu verstehn.
    I can easily do without that.

    Schlendrian:
    Du sollst nicht an das Fenster treten
    You’re not to stand at the window
    Und keinen sehn vorübergehn!
    and you won’t see anyone going by!

    Liesgen:
    Auch dieses; doch seid nur gebeten
    I don’t mind that either; but please , I beg you,
    Und lasset mir den Coffee stehn!
    just let me keep my coffee!

    Schlendrian:
    Du sollst auch nicht von meiner Hand
    What’s more you won’t get from me
    Ein silbern oder goldnes Band
    a silver or gold ribbon
    Auf deine Haube kriegen!
    to put on your bonnet!

    Liesgen:
    Ja, ja! nur lasst mir mein Vergnügen!
    That’s fine! Just leave me my pleasure!

    Schlendrian:
    Du loses Liesgen du,
    You’re impossible Liesgen, you are,
    So gibst du mir denn alles zu?
    you would give up everything I say?

    6

    Aria: Schlendrian [Bass]

    Continuo

    Mädchen, die von harten Sinnen,
    Girls with obstinate minds
    Sind nicht leichte zu gewinnen.
    are not easily won over.
    Doch trifft man den rechten Ort,
    But if you hit the right spot,
    O! so kömmt man glücklich fort.
    oh then you’re in luck.

    7

    Recitative: Schlendrian [Bass], Liesgen [Soprano]

    Continuo

    Schlendrian:
    Nun folge, was dein Vater spricht!
    Now follow what your father says!

    Liesgen:
    In allem, nur den Coffee nicht.
    In everything else, but not coffee.

    Schlendrian:
    Wohlan! so musst du dich bequemen,
    Well then! You must get used to the idea
    Auch niemals einen Mann zu nehmen.
    that you won’t have a husband either.

    Liesgen:
    Ach ja! Herr Vater, einen Mann!
    Oh yes! Father, a husband!

    Schlendrian:
    Ich schwöre, dass es nicht geschicht.
    I swear, that won’t happen.

    Liesgen:
    Bis ich den Coffee lassen kann?
    Until I can give up coffee?
    Nun! Coffee, bleib nur immer liegen!
    Right! Coffee, remain forever untouched
    Herr Vater, hört, ich trinke keinen nicht.
    Father,listen, I won’t drink any at all.

    Schlendrian:
    So sollst du endlich einen kriegen!
    Then you’ll have a husband!

    8

    Aria: Liesgen [Soprano]

    Violino I/II, Viola, Cembalo, Continuo

    Heute noch,
    This very day,
    Lieber Vater, tut es doch!
    dear father, do it now!
    Ach, ein Mann!
    Ah, a husband!
    Wahrlich, dieser steht mir an!
    That’s just right for me!
    Wenn es sich doch balde fügte,
    If only it could happen at once,
    Dass ich endlich vor Coffee,
    so that at last instead of coffee
    Eh ich noch zu Bette geh,
    before I go to bed
    Einen wackern Liebsten kriegte!
    I could get a lusty lover!

    9

    Recitative: Narrator [Tenor]

    Continuo

    Nun geht und sucht der alte Schlendrian,
    Now old Schlendrian goes off and looks out
    Wie er vor seine Tochter Liesgen
    for his daughter Liesgen
    Bald einen Mann verschaffen kann;
    to see if he can get her a husband soon.
    Doch, Liesgen streuet heimlich aus:
    But Liesgen lets it be secretly known:
    Kein Freier komm mir in das Haus,
    no suitor of mine should come to the house
    Er hab es mir denn selbst versprochen
    unless he himself has promised
    Und rück es auch der Ehestiftung ein,
    and it is written also in the marriage contract
    Dass mir erlaubet möge sein,
    that I shall be permitted
    Den Coffee, wenn ich will, zu kochen.
    to make coffee whenever I want.

    10

    Chorus (Terzetto) [Soprano, Tenor, Bass]

    Flauto traverso, Violino I/II, Viola, Continuo

    Die Katze lässt das Mausen nicht,
    The cat does not leave the mouse,
    Die Jungfern bleiben Coffeeschwestern.
    young ladies remain coffee addicts.
    Die Mutter liebt den Coffeebrauch,
    The mother loves her cup of coffee
    Die Großmama trank solchen auch,
    the grandmother drank it also.
    Wer will nun auf die Töchter lästern!
    Who can blame the daughters!


     Here is the libretto in Polish. Translation by Wojciech Apel.

     

    Uciszcie się, nie gadajcie (BWV 211)

    Uciszcie się, nie gadajcie,
    A co stanie się, słuchajcie:
    Pan Schlendrian nadchodzi tu,
    Z córką swoją Liesgen kroczy;
    Ależ, jak ten niedźwiedź, mruczy.
    Słuchajcie, co zrobiła mu.

    Człek ma toć ze swymi dziećmi
    Sto tysięcy utrapień!

    Bezowocnie spływa bowiem
    Co mej córce Liesgen powiem,
    Choć powtarzam to co.dzień.

    Schlendrian
    Złe dziecię, dziewczyno pusta,
    Ach, kiedyż ja wygram mą sprawę:
    Rzuć ty wreszcie precz tę kawę!

    Liesgen
    Nie bądź ojcze tak surowy.
    Jeśli nie wypiję co dzień
    Trzech filiżaneczek kawy,
    To zostanie ze mnie cień,
    Wiór, jak z kozy pieczeń sucha.

    Oj, jak smaczna kawa słodka.
    Niż całusów tysiąc milsza,
    Niż muszkatołowe wino.

    Kawę, kawę muszę ja pić,
    A kto chce mnie czym pokrzepić,
    Niech kawy naleje jeno!

    Schlendrian
    Jeśli mi nie rzucisz kawy,
    To nie będziesz na zabawy,
    Ani też na spacer chodzić.

    Liesgen
    Zgoda!
    Byłem tylko kawę miała.

    Schlendrian
    Ależ głuptas z mej córeczki!
    Nie sprawię ci na fiszbinach
    Rozszerzanej sukieneczki.

    Liesgen
    Łatwo na to ja przystanę.

    Schlendrian
    Nie będziesz mogła w oknie stać
    By z przechodniów mieć zabawę!

    Liesgen
    To też, lecz daj się ubłagać
    I pozostaw mi mą kawę!

    Schlendrian
    Nie dostaniesz też z mej ręki
    Ni srebrnej, ni złotej wstęgi
    By czepek przyozdobić!

    Liesgen
    Dobrze, byłem sobie kawę mogła robić.

    Schlendrian
    Ach ty płocha Liesgen, ty,
    Przystaniesz na wszystko li?

    Schlendrian
    Dziewcząt co są uparte tak
    Nie łatwo jest przemóc. Wszak
    Gdy jej miejsce czułe znasz
    Łatwo już ją przekonasz.

    Schlendrian
    Bądź ojcu swemu posłuszną!

    Liesgen
    We wszystkim, ale nie z kawą.

    Schlendrian
    Więc się musisz i z tym zgodzić:
    Nigdy za mąż nie wychodzić.

    Liesgen
    Panie ojcze! Męża toć chcę!

    Schlendrian
    Klnę się, nie ma o tym mowy.

    Liesgen
    Póki kawy nie porzucę?
    Ach, kawo! Na zawsze żegnaj mi!
    Panie ojcze, odtąd nie tknę już kawy.

    Schlendrian
    Wreszcie; więc męża poszukam ci!

    Jeszcze dziś
    Drogi ojcze, zechciej iść!
    Mąż, ach mąż!

    Przed oczami stoi wciąż!
    Oby rzecz się szybko działa,
    Bym, gdy kawę ja odłożę,
    Jeszcze nim się spać położę
    Dziarskiego męża dostała!

    Chodzi i szuka teraz Schlendrian stary
    Jakby swojej córce Liesgen
    Rychło męża dać do pary;
    Lecz Liesgen skrycie głosi wszędzie:
    Zalotnik żaden w dom nie wejdzie,
    Zanim sam tego nie przyrzecze
    I bym też w kontrakcie ślubnym miała,
    Że mi dozwoli, gdy będę chciała,
    Bym kawę sobie gotowała.

    Kot nie da spokoju myszy,
    Panny zaś będą przy kawie trwać.
    Skoro mama kawę znała,
    Babcia także ją pijała,
    Któż córki zechce więc oczerniać.