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Bach Christmas Oratorio [1994-12-10]

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Subject:

JS Bach: Christmas Oratorio

Classification:

Concert

Sub-classification:

Programme

Location:

A1 Programmes

Year:

1994

Date:

December 10th, 1994

Text content:

IBRADITION
A proud tradition gained over many years is a

valuable asset for an Orchestra or an Industrial

Company.
Yet in the eyes (and ears) of our respective

audiences, it is no substitute for present day
performance.

BOC Gases and the Guildford Philharmonic
Orchestra have traditions spanning 108 years

and 50 years respectively.
May the way we both perform - today and for
many years to come - continue to attract and

satisfy those audiences whom it is our privilege
to serve.
Head Office:
BOC GASES, The Priestley Centre, |0 Priestley Road,
The Surrey Research Park, Guildford, Surrey, GU2 5XY
Phone: (0483) 579857 Fax: (0483) 50521 |
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] T WARSORP Jnr & Co. Ltd, Delta Works,
Midleton Industrial Estate, Guildford, Surrey, GU2 5XW
Phone: (0483) 34222 Fax: (0483) 304 347

Smith System Engineering,
providing an impartial consulting service to help our customers

make effective use of science and technology,
is committed to enhancing the quality of life
through sponsorship of the Arts

We are pleased to support

The Guildford Philharmonic Orchestra

Smith System Engineering, Surrey Research Park, Guildford GU2 5YP

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For a full programme of

Bach

Christmas Oratorio

Verdi

Te Deum

Scriabin

Prometheus — The Poem of Fire

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Te Deum

Elgar

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GUILDFORD LONDON SWINDON CHELMSFORD

b09wa8t4n

50th Anniversary Season
The GUILDFORD PHILHARMONIC

JUBILEE PATRONS

ORCHESTRA acknowledges with thanks the

Mr. & Mrs. P. C. Allam
Mr. J. C. Allison
Anon (3)

generous support of its MAJOR SPONSORS,
JUBILEE SPONSORS,

CORPORATE MEMBERS

and JUBILEE DONORS.
The SOUTH EAST MUSIC TRUST acknowledges
with thanks the generous support of the
JUBILEE PATRONS and MUSICIANS UNION.
MAJOR SPONSORS
& BOC GASES

ERICSSON Z
Hart Brown & Co., Solicitors

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JUBILEE DONATIONS
CableTel
Colgate-Palmolive Limited.
Lloyds Bank plc

All concerts in the current season are funded by

Councillor D. A. R. May
Mrs. Jill Mussett
Mrs. K. M. Sehmer

Dr. K. M. Urwin
Mr. & Mrs. John Wedgbury
Dr. P. D. Wickenden
Mr. & Mrs. M. J. Williams
Lilian G. Willis
Mrs. Jeni Young

GUILDFORD BOROUGH

with financial assistance from ‘:fl South East Arts,
the Guildford Philharmonic Society and the South East Music Trust

and the fi Musicians’ Union.
The financial support of all those listed above has made possible the ambitious programming of the anniversary season.

TAIN ROLES
Chief Manager, National Westminster Bank

South West Surrey Business Centre

We are delighted to sponsor this particular concert and in this way support the Guildford Philharmonic
Orchestra as it reaches its 50th Anniversary.This is quite a landmark, and we congratulate all those

involved, past and present, and look forward to many more years of memorable concerts.
The Bank in Guildford has also reached a landmark this year, with the opening of a new Business Centre

in absolutely magnificent premises situated in Stoke Road, just off the High Street. The premises conform
to a rigorous specification, with the high quality appointment reflecting the Centre’s customer base, and
our desire to be at the forefront of the delivery for Banking Services. The South West Surrey Business
Centre has responsibility for the whole corner of Surrey, from Farnham in the West, Haslemere and
Cranleigh in the South and East, extending to Woking in the North, also incorporating West Byfleet and
Sunningdale — but of course Sunningdale is in Berkshire! Accordingly, we have increased our staff numbers
significantly from 15 to 50, which is a sign that NatWest is not afraid to commit extra resources in order
to deliver a quality and premium service to its customers.

Specialist teams provide expert advice to private investors, growing businesses and large Corporates. All
operate from the Business Centre and each team concentrate on a specifically defined market segment,
with the overall concept of one-stop Banking for all our customers.

Customers are now served by these highly responsive relationship teams which have tremendous depths
of specialist knowledge within each particular market. Our customers are increasingly sophisticated and

frankly deserve the highest quality advice possible. The Bank has undertaken exhaustive research over
the past 2 to 3 years to establish precisely the needs of customers and also perhaps more importantly
what they do not want. With the benefit of this research and our aim to continually drive higher quality
and customer delivery, we have sought to address one of the most annoying things that our customers

found, and that is difficulties in locating the right person to speak to when seeking advice. We believe
that advice is available from teams established within each specialist sphere, who will no longer be
continually moving around. Another of our customers’ common pleas is for continuity of staff, which is
fundamental to a successful Banking partnership.
We are proud of the team assembled at 1 Stoke Road, and it is our intention for the specialist teams to

stay intact for some time, with staff career patterns now ‘dovetailing’ with continuity in specialist roles.
This continuity of relationships will create a partnership where our customer is the senior partner, with
us as their Bankers forming part of their team, providing professional advice committed to the ongoing
financial success of the customer.
Also, the Bank has addressed the anomalies of the amalgamation of 3 separate Banks in 1969 which

meant that, for example, in Guildford it supported 3 separate Branches in the one High Street.
Having now established the Business Centre, the Bank is moving apace to complete the final piece in the

Jjigsaw with the provision of a single Flagship Branch at the 151 High Street premises. Refurbishment is
expected to be completed and the Branch ready for opening in the New Year.

Our pledge to the Community of South West Surrey is simply to be first choice both for existing customers
and future customers in the event that they may need to seek additional advice.
Finally, returning our thoughts to the Guildford Philharmonic, we would wish to compliment them on a
particularly imaginative programme for the Jubilee Season and indeed to say how proud we are to be

involved with this sponsorship of the arts as one example of how we can play our part in the community.
A personal wish to you all for a Happy Christmas and a prosperous New Year.
TIAIN ROLES
National Westminster Bank, South West Surrey Business Centre — Just a ’phone call away — 0483 734747.

CIVIC HALL, GUILDFORD

RUTH HOLTON soprano

SATURDAY 10 DECEMBER 1994 AT 7.30 PM

Ruth studied music at Clare College, Cambridge,
where she was a choral exhibitioner. She has

The NatWest Christmas Concert

studied singing with Nancy Long and Julie
Kennard. She made her first solo recording in
Bach’s St. John Passion, under John Eliot Gardiner
and since than has become well known for her
performance of the baroque repertoire.
Last year she appeared in the Stuttgart, Trondheim
and Luncerne Festivals, singing in Bach’s B minor

Mass with Andrew Parrott and the Taverner
Consort.
Ruth’s concert work takes her all over the world.

CATHERINE KING alto
Brought up in Worcestershire, Catherine King won
a scholarship to Trinity College, Cambridge and
went on to study at the Guildhall School of Music

in London and later with Josephine Veasey. She
now appears regularly as a soloist in major British
and European festivals and has taken part in many

recordings with leading early music ensembles,

Leader: Hugh Bean

including New London Consort, The Consort of
Musicke, and the Taverner and Gabrieli Consorts.
Catherine also performs opera and contemporary

music, and has had several pieces written specially

NEVILLE CREED

Conductor

RUTH HOLTON

Soprano

CATHERINE KING

Alto

ANDREW KING

Tenor

GRAHAM TITUS

Bass

for her over the past two years.

ANDREW KING tenor
Andrew King enjoys a busy international career
encompassing music from the twelfth century to
the present day. His touring life is extensive
including Australia, the Middle East, the U.S.A.

GUILDFORD PHILHARMONIC CHOIR

and Japan where he toured twice in 1993. A
frequent performer at European festivals, he made
further appearances this year in Bruges, Utrecht,
York and the Proms.
Known particularly for his interpretation as

The Guildford Philharmonic acknowledges with

Evangelist in the Bach Passions he has given

most grateful thanks the sponsorship from

performances in Germany, France, Finland,

National Westminster Bank for this concert.

Northern Ireland and throughout England. Oratorio

engagements this season include Handel’s Messiah

FaA

and Ode for St. Cecilia’s Day and Monteverdi’s

Vespers in Graz and Basle; another performance
with the CBSO in Symphony Hall, Birmingham

of Mark Anthony Turnage’s Leaving which he
premiered to critical acclaim.

Keen to promote the art of chamber music singing,

Guildford Philharmonic Choir, and returned to the

he performs with a number of leading specialist

Guildhall to conduct. In 1988 he won the second

ensembles: Consort of Musicke, New London

prize in the First International Choral Conducting

Consort and Taverner Consort.

Competition held in Italy and in 1991 won a semifinal prize in the Leeds competition for Orchestral

GRAHAM TITUS baritone
Born in Newark, Graham Titus began his musical
career as organ

Conducting.
He has conducted the European Community

Chamber Orchestra in France and regulary

scholar of Clare College,

conducts in Denmark. He has given concerts with

Cambridge, where he read music. On leaving

the Bournemouth Sinfonietta, Bournemouth

Cambridge, he scored immediate success as a
singer and furthered his vocal studies with Joseph
Hislop and Elizabeth Flemming.

Symphony Orchestra, Guildford Philharmonic

Orchestra, The Royal Philharmonic ‘Pops’
Orchestra.

After joining Glyndebourne Festival Chorus, he

In November 1994 he was appointed Chorus

made his London concert debut in the Purcell Room

Director of the London Philharmonic Choir.

as the winner of the Young Musicians Platform and,

in the same year, was a finalist in the Leeds National
Musicians Platform. In the following year, he was
a prizewinner in ’s-Hertogenbosch International

This concert makrs the end of Neville’s long

association with the Guildford Philharmonic Choir
and we wish him well in his future career.

Singing Competition, and subsequently appeared
on Dutch radio and television. Since then he has

been a regular broadcaster for Radio 3.
In the world of opera, he has performed roles for
English National Opera, Opera North, London
Opera Factory, the Handel Opera Society and the
New Opera Company.

GUILDFORD PHILHARMONIC CHOIR
The Guildford Philharmonic Choir was formed by
Guildford Borough in order to perform the major
choral repertoire with the Guildford Philharmonic
Orchestra. As well as performing well-known
choral works, the choir specializes in twentieth

NEVILLE CREED Conductor
Neville Creed began his conducting career whilst
a choral scholar at Trinity College, Cambridge. He
then became Director of Choral Music at Tiffin
School in Kingston-upon-Thames, providing choirs
for several highly acclaimed recordings for radio,
television and disc. The Tiffin Boys’ Choir
recording of Mabhler’s 8th Symphony with the

London Philharmonic Orchestra under Klaus
Tennstedt gained a nomination for a ‘Grammy’
Award. During this time he became conductor of

the Milton Keynes Chorale and Assistant Chorus
Master of the London Philharmonic Choir.
In 1986 he was awarded a scholarship to study

conducting at The Guildhall School of Music where
he won the Ricordi Conducting Prize. Whilst at

the Guildhall he conducted the second British
staging of the opera ‘Julietta’ by Martinu. Since
completing his studies, he has founded the London

Musici Singers, been appointed Chorus Master of

the Bournemouth Symphony Chorus and the

century Briitish music and this has led to recordings
of Gerald Finzi’s Intimations of Immortality with

the Guildford Philharmonia and Patrick Hadley’s
The Trees So High with the Philharmonic Orchestra,

both recordings being conducted by Vernon
Handley.
The Choir is conducted by some of the most
eminent musicians, and as well as giving frequent
concerts in Guildford, the Choir occasionally visits
other British cities. In 1988 the Guildford

Philharmonic Choir visited Paris, in 1990 joined
forces with the Freiburger BachChor in Freiburg
Munster and

November

1993

gave

outstanding performance of Britten’s War Requiem

also with the Freiburger BachChor under Neville
Creed.
The Choir has been trained by Neville Creed, who

was appointed Chorus Master in 1987 and he is

assisted by Peter White. Jeremy Filsell is the
Choir’s accompanist.

JOHANN SEBASTIAN BACH
(1685-1750)

Christmas Oratorio,

BWV248

From 1723 until his death in 1750 Bach was employed

(6th January). The particular treatment of the

at Leipzig, where

Christmas

in addition to his duties for the

Story

church, he directed the Collegium Musicum and its

circumstances.

orchestral concerts. The repertoire in both cases was

DAy

contemporary, and in order to maximise his musical
material he used ‘parody’, the musical tradition
familiar from renaissance times of adapting existing
compositions to serve new purposes, to the extent that
this became a significant feature of his creative work.

Christmas Day

St Stephen’s Day

St John’s Day

Bach’s three oratorios — Christmas, Ascension and

was

determined

LESSON

these

ORATORIO

Birth; announcement

to the shepherds

Birth

Adoration of the

Announcement to

shepherds

the shepherds

Prologue to St John’s

Adoration of

Gospel

the shepherds
The naming

Easter — are quite different in character from the

Feast of the

The naming

Italianate genre which is best known through the

Circumcision

of Jesus

works of Handel, in which a story-line is traced

Sunday after

The Flight

The Wise Men at

number by musical number. Bach, on the other hand,

New Year

into Egypt

the Court of Herod

preferred to use the approach

Epiphany

The Wise Men

The Adoration of

from the East

the Magi

developed by his

Leipzig predecessor Erdmann Neumeister (16711756), who advocated mixing sequences of Biblical

texts, arias and chorales, along the lines of the

Although each part stands strongly on its own, there

conventional Lutheran church cantata. Accordingly,

is no question that Bach intended the sequence to be

the Christmas Oratorio is close to the St Matthew and

unified, and therefore the modern practice of

St John Passions in its deployment of Gospel

performing all or most of it as a single ‘concert” work

narratives proclaimed by a (tenor) narrator, while in

is entirely appropriate, especially during the Christmas

other respects it is little more than an extended series

period.

of six separate but related cantatas.

As ever, the practice of parody presents many

The provenance of the work is equally unusual. Much

interesting insights, with the music often proving

of the music was compiled from existing material,

equally suitable to two or more different texts. There

mostly secular cantatas, which had been written during

are, however, occasional oddities: for example, the

1733-34 in homage to the Dresden royal family.The

famous opening chorus, with its ceremonial

final cantata had a previous existence at the

opportunities for trumpets and drums, originated in

Thomaskirche in Leipzig. To the ‘borrowed’ material

music which was designed to welcome a Royal

Bach added various new recitatives, choruses and

personage rather than the infant Jesus.

chorales, to create a sequence of sixty-four musical
numbers, unevenly spread across the six cantatas.

Bach scored the Christmas Oratorio for four soloists
with four-part chorus, and an orchestra comprising

The six-part Christmas Oratorio was first performed

pairs of flutes, oboes (doubling oboes da caccia, one

at Leipzig in 1734-35, on the first three days of

bassoon, three trumpets, timpani, strings and chamber

Christmas (25th, 26th, 27th December), The Feast of

organ. This performance will omit the whole of Part

the Circumcision (1st January), the first Sunday after

Four, nos. 31 and 32 (Part Three), no. 47 (Part Five)

New Year (2nd January) and the Feast of the Epiphany

and no. 62 (Part Six).

PART ONE

NO. 1 CHORUS

Rejoice. exult! up, glorify the days,

praise what the All Highest this day has done!
Set aside fear, banish lamentation,
strike up a song full of joy and mirth!

Serve the All Highest with glorious choirs!
Let us worship the name of the Lord!

NO. 2 RECITATIVE
(Tenor)

The Evangelist: And it came to pass in those
days that there went out a decree from Caesar
Augustus, that all the world should be taxed. And

all went to be taxed, everyone into his own city.
And Joseph also went up from Galilee, out of the
city of Nazareth, into Judea, unto the city of
David, which is called Bethlehem, because he
was of the house and lineage of David, to be

taxed with Mary his espoused wife, being great
with child. And so it was, that, while they were

there, the days were accomplished that she
should be delivered.

NO.3 RECITATIVE
(Alto)
Now shall my beloved Bridegroom,
now shall the hero of David’s house

for the solace and salvation of earth
at last be born.
Now will the star of Jacob shine,

its radiance breaks through already.
Up, Zion, and leave weeping now,

ERSTER TEIL

NR. 1 CORO

Jauchzet, frohlocket, auf, preiset die Tage,
Rithmet, was heute der Hochste getan!

Lasset das Zagen, verbannet die Klage,

Stimmet voll Jauchzen und Frohlichkeit an!
Dienet dem Hochsten mit herrlichen Chéren,
LaBt uns den Namen des Herrschers verehren!

NR. 2 EVANGELISTA
Es begab sich aber zu der Zeit, daB ein Gebot
von dem Kaiser Augusto ausging, daf} alle Welt
geschitzet wiirde. Und jedermann ging, daf er

sich schitzen lieRe, ein jeglicher in seine Stadt.
Da Machte sich auch auf Joseph aus Galilia, aus
der Stadt Nazareth, in das jiidische Land zur
Stadt David, die da heiBet Bethlehem; darum daf
er von dem Hause und Geschlechte David war:

auf daB er sich schitzen lieBe mit Maria, seinem
vertrauten Weibe, die war schwanger. Und als sie

daselbst waren, kam die Zeit, daB sie gebiren
sollte.

NR. 3 RECITATIVO

Nun wird mein liebster Bréutigam,
Nun wird der Held aus Davids Stamm
Zum Trost, zum Heil der Erden

Einmal geboren werden.
Nun wird der Stern aus Jakob scheinen,

Sein Strahl bricht schon hervor.

Auf, Zion, und verlasse nun das Weinen,

thy good mounts on high!

Dein Wohl steigt hoch empor!

NO. 4 ARIA

NR. 4 ARIA

(Alto)

Prepare thyself, Zion, with tender desire
the Fairest and Dearest to behold with thee soon!

Thy cheeks
today must shine the lovelier,

hasten most ardently the Brideroom to love!

Bereite dich, Zion, mit zirtlichen Trieben,
Den Schonsten, den Liebsten bald bei dir zu

sehn!
Deine Wangen

Miissen heut viel schéner prangen,

Eile, den Briutigam sehnlichst zu lieben!

NO. 5 CHORALE

NR. 5 CHORAL

Now shall I receive Thee

Wie soll ich dich empfangen

and how encounter Thee?

Und wie begegn’ ich dir?

Oh, desired of all the world,

O aller Welt Verlangen,

oh, my soul’s adomment!

O meiner Seelen Zier!

Oh, Jesu, Jesu, set

O Jesu, Jesu, setze

the torch by me Thyself,

Mir selbst die Fackel bei,

whereby that which pleases Thee,

Damit, was dich ergotze,

may be manifest and known to me!

Mir kund und wissend sei!

NO. 6 RECITATIVE

NR. 6 EVANGELISTA

(Tenor)

The Evangelist: And she brought forth her

Und sie gebar ihren ersten Sohn und wickelte ihn

firstborn son, and wrapped him in swaddling

in Windeln und legte ihn in eine Krippen, denn

clothes, and laid him in a manger; because there

sie hatten sonst keinen Raum in der Herberge.

was no room for them in the inn.

NO. 7 CHORALE AND RECITATIVE

NR. 7 CHORAL E RECITATIVO

(Tenor & Chorus)
He came poor upon earth,

Er ist auf Erden kommen arm,

Who can extol the love aright,

Wer will die Liebe recht erhohn,

our Saviours cherishes for us?

Die unser Heiland vor uns hegt?

for that he pities us,

Dal} er unser sich erbarm,

Yea, who is capable of comprehending,

Ja, wer vermag es einzusehen,

how man’s distress so woved Him?

Wie ihn der Menschen Leid bewegt?

make us rich in heaven,

Und in dem Himmel mache reich,

The son of the All Highest comes into the world

Des Hochsten Sohn kommt in die Welt,

because its salvation pleases Him, so well,

Weil ihm ihr Heil so wohl gefilt,

and like unto Hs beloved angels.

Und seinen lieben Engeln gleich.

that He will Himself be born as man.

So will er selbst als Mensch geboren werden.

Lord have mercy on us!

Kyrieleis!

NO. 8 ARIA

NR. 8 ARIA

(Bass)

Great Lord and Mighty King,

GroBer Herr, o starker Konig,

beloved Saviour, oh, how little

Liebster Heiland, o wie wenig

dost Thou esteem earthly pomp!

Achtest du der Erden Pracht!

He who maintains the whole world,

Der die ganze Welt erhilt,

and did create its ornament and splendour,

Thre Pracht und Zier erschaffen,

must sleep in a hard manger.

MuB in harten Krippen schlafen.

NO. 9 CHORALE

NR. 9 CHORAL

Oh little Jesu, my heart’s love!

Ach mein herzliebes Jesulein,

Make Thyself a clean soft little bed,

Mach dir ein rein sanft Bettelein,

in which to rest in my heart’s inmost shrine,

Zu ruhn in meines Herzens Schrein,

that I may never forget Thee.

Dal ich nimmer vergesse dein!

SECOND PART

ZWEITER TEIL

NO. 10 SINFONIA

NR. 10 SINFONIA

NO.11 RECITATIVE

NR. 11 EVANGELISTA

(Tenor)

The Evangelist:

And there were in the same country shepherds

abiding in the field, keeping watch over their flock
by night. 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.

Und es waren Hirten in derselben Genend auf
dem Felde bei den Hiirden, die hiiteten des

Nachts ihre Herde. Und siehe, des Herren Engel
trat zu thnen, und die Klarheit des Herren

leuchtet um sie, und sie furchten sich sehr.

NO. 12 CHORALE

NR. 12 CHORAL

Break through, oh lovely light of morn,

Brich an, o schones Morgenlicht,

and let the heavens dawn!
You shepherd folk, be not afeared,

because the angel tells you:
that this weak babe

shall be our comfort and joy,
thereto subdue the devil

and bring peace at last.
NO. 13 RECITATIVE (Tenor, Soprano)

Und lal den Himmel tagen!
Du Hirtenvolk, erschrecke nicht,

Weil dir die Engel sagen,
Dal} dieses schwache Knibelein

Soll unser Trost und Freude sein,
Dazu den Satan zwingen

Und letztlich Friede bringen!
NR. 13 EVANGELISTA

The Evangelist:

Tenor

And the angel said unto them:

Und der Engel sprach zu ihnen:

Angel:
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

Sopran
Fiirchtet euch nicht, siehe, ich verkiindige euch

groB3e Freude, die allem Volke widerfahren wird.
Denn euch ist heute der Heiland geboren,

Saviour, which is Christ the Lord.

welcher ist Christus, der Herr, in der Stadt David.

NO. 14 RECITATIVE

NR. 14 RECITATIVO

(Bass)
That which God promised Abraham,
He now lets be manifested to the

Shepherd band, fulfilled.
A shepherd it was had to learn
all this before from God,

and now also must a shepherd
first know the act fulfilled,

Was Gott dem Abraham verheiBen,
Das 146t er nun dem Hirtenchor
Erf 1t erweisen.

Ein Hirt hat alles das zuvor
Von Gott erfahren miissen.

Und nun muf auch ein Hirt die Tat,
Was er damals versprochen hat,

which He promised then.

Zuerst erfiillet wissen.

NO. 15 ARIA

NR. 15 ARIA

(Tenor)
Joyful shepherds, haste, oh, haste,

lest you tarry too long,
haste to see the lovely babe!
Go, the joy is all too fair,
seek to gain grace,
g0, and refresh heart and mind!

Frohe Hirten, eilt, ach eilet,

Eh ihr euch zu lang verweilet
Eilt, das holde Kind zu sehn!

Geht, die Freude heiBt zu schon,

Sucht die Anmut zu gewinnen,
Geht und labet Herz und Sinnen!

NO. 16 RECITATIVE (Tenor)
The Evangelist:

NR. 16 EVANGELISTA

And this shall be a sign unto you: “Ye shall find
the babe wrapped in swaddling clothes, lying in a

Und das habt zum Zeichen: Ihr werdet finden das
Kind in Windeln gewickelt und in einer Krippe

manger.”

liegen.

NO.17 CHORALE

NR. 17 CHORAL

Behold here: there in a dark stable lies

Schaut hin, dort liegt im finstern Stall,
Des Herrschaft gehet iiberall!

the One who has dominion over all.
Where, before, an ox sought food,

Da Speise vormals sucht ein Rind,

there now rests the Virgin’s Child.

Da ruhet itzt der Jungfrau’n Kind.

NO. 18 RECITATIVE

NR. 18 RECITATIVO

(Bass)

So go then hence, you shepherds, go,

So geht denn hin, ihr Hirten, geht,

that you may witness the miracle;

Dal} ihr das Wunder seht:

and if you find the Son of the most High

Und findet ihr des Hochsten Sohn

lying in a hard manger,

In einer harten Krippe liegen,

then sing Him by His cradle,

So singet ihm bei seiner Wiegen

in a sweet voice

Aus einem siilen Ton

and with full choir,

Und mit gesamtem Chor

this lullaby to rest.

Dies Lied zur Ruhe vor!

NO. 19 ARIA

NR. 19 ARIA

(Alto)

Sleep, my Dearest, enjoy Thy rest,

Schlafe, mein Liebster, genie3e der Ruh,

from henceforth watch over the wellbeing of all.
Refresh Thy breast, experience the joy,

Wache nach diesem vor aller Gedeihen!

there where we gladden our hearts.

Empfinde die Lust,

Sleep, my Dearest.

Wo wir unser Herz erfreuen!

NO. 20 RECITATIVE (Tenor)

NR. 20 EVANGELISTA

The Evangelist:

Labe die Brust,

And suddenly there was with the angel a
multitude of the heavenly host, praising God, and

Und alsobald war da bei dem Engel die Mange
der himmlischen Heerscharen, die lobten Gott

saying:

und sprachen:

NO. 21 CHORUS

NR. 21 CORO

peace, good will toward men.

Ehre sei Gott in der Hohe und Friede auf Erden
und den Menschen ein Wohlgefallen.

NO. 22 RECITATIVE

NR. 22 RECITATIVO

Glory be to God in the highest, and on earth

(Tenor)

Up then! We will join in with you,

So recht, ihr Engel, jauchzt und singet, Dal} es
uns heut so schon gelinget!
Auf denn! wir stimmen mit euch ein,

for we can rejoice just as you.

Uns kann es so wie euch erfreun.

NO.23 CHORALE

NR. 23 CHORAL

We sing to Thee in Thy host

Wir singen dir in deinem Heer

Then fittingly, you angels, rejoice and sing,
that things turn out so favourably for us this day.

with all our might and main: praise, honour and
glory, that Thou, O long-desired Guest,
hast now appeared.

Aus aller Kraft Lob, Preis und Ehr,
Dal3 du, o lang gewiinschter Gast,

Dich nunmehr eingestellet hast.

INTERVAL

THIRD PART

DRITTER TEIL

NO.24 CHORUS

NR. 24 CORO

Ruler of Heaven, hear our stammering tones,

Herrscher des Himmels, erhore das Lallen,

let our feeble singing please Thee,

Lal3 dir die matten Gesiinge gefallen,

when Thy Zion exaltes Thee with psalms.

Wenn dich dein Zion mit Psalmen erhoht!

Hear our hearts’ triumphant praise,

Hore der Herzen frohlockendes Preisen,

when we now display our awe before Thee,

Wenn wir dir itzo die Ehrfurcht erweisen,

because our welfare is assured.

Weil unsre Wohlfahrt befestiget stecht!

NO.25 RECITATIVE (Tenor)

NR. 25 EVANGELISTA

The Evangelist:
And it came to pass, as the angels were gone

Und da die Engel von ihnen gen Himmel fuhren,

away from them into heaven, the shepherds said

sprachen die Hirten untereinander:

one to another:

NO. 26 CHORUS

NR. 26 CORO

Shepherds:

Lasset uns nun gehen gen Bethlehem und die

Let us now go even unto Bethlehem, and see this

thing which is come to pass, which the Lord hath

Geschichte sehen, die da geschehen ist, die uns der
Herr kundgetan hat.

made known unto us.
NR. 27 RECITATIVO
NO. 27 RECITATIVE (Tenor)

He has comforted His people,

Er hat sein Volk getrost’,

He has delivered His Israel,

Er hat sein Israel erlost,

sent help out of Zion

Die Hiilf aus Zion hergesendet

and ended our seffering.

Und unser Leid geendet.

Behold, shepherds, this has He done;

Seht, Hirten, dies hat er getan;

go, this is what you will find!

Geht, dieses trefft ihr an!

NO.28 CHORALE

NR. 28 CHORAL

This has he done for all us,

Dies hat er alles uns getan,

His great love to proclaim;

Sein grof} Lieb zu zeigen an;

in that all Christendom shall rejoice

Des freu sich alle Christenheit

and thank Him for it to all eternity.

Und dank ihm des in Ewigkeit.

Lord have mercy on us!

Kyrieleis!

NO.29 ARIA

NR. 29 ARIA (DUETTO)

(Soprano, Bass)
Lord, Thy compassion, Thy mercy

Herr, dein Mitleid, dein Erbarmen

Comfort us and make us free.

Trostet uns und macht uns frei.

Thy gracious favour and love,

Deine holde Gunst und Liebe,

Thy wonderous desire

Deine wundersamen Triebe

make new once more

machen deine Vatertreu

Thy father-faith.

Wieder neu.

NO. 30 RECITATIVE (Tenor)

NR. 30 EVANGELISTA

The Evangelist:
And they came with haste, and found Mary and

Und sie kamen eilend und funden beide, Mariam

Joseph and the babe lying in a manger. And when

und Joseph, dazu das Kind in der Krippe liegen.

they had seen it, they made known abroad the

Da sie es aber gesehen hatten, breiteten sie das

saying which was told them concerning the child.

Wort aus, welches zu ithnen von diesem Kind

And all they that heard it wondered at those

gesaget war. Und alle, vor die es kam, wunderten

things which were told them by the shepherds.

sich der Rede, die ihnen die ihnen die Hirten

But Mary kept all these things and pondered

gesaget hatten. Maria aber behielt alle diese

them in her heart.

Worte und bewegte sie in ihrem Herzen.

NO.33 CHORALE

NR. 33 CHORAL

I will keep Thee diligently in my mind,

Ich will dich mit Flei3 bewahren,

I will live

Ich wil dir

for Thee here,

Leben hier,

I will depart with Thee hence.

Dir will ich abfahren,

With Thee will I soar at last,

Mit dir will ich endlich schweben

filled with joy

Voller Freud

time without end,

Ohne Zeit

there in the other life.

Dort im andern Leben.

NO. 34 RECITATIVE (Tenor)

NR. 34 EVANGELISTA

The Evangelist:
And the shepherds returned, glorifying and

Und die Hirten ke hrten wieder um, preisten und

praising God for all the things that they had heard

lobten Gott um alles, das sie gesehen und gehoret

and seen, as it was told unto them.

hatten, wie denn zu ihnen gesaget war.

NO. 35 CHORALE

NR. 35 CHORAL

Be joyful, meanwhile,

Seid froh dieweil,

that our Saviour

Dal} euer Heil

is here born both God and man,

Ist hie ein Gott und auch ein Mensch geboren,

he, Who is

Der, welcher ist

the Lord and Christ,

Der Herr und Christ

in the city of David chosen of many.

In Davids Stadt, von vielen auserkoren.

FIFTH PART

FUNFTER TEIL

NO.43 CHORUS

NR. 43 CORO

Glory be to Thee, oh Lord!

Ehre Sei dir, Gott, gesungen,

Let praise and thanksgiving be prepared for Thee.

Dir sei Lob und Dank bereit’.

All the world extols Thee,

Dich erhebet alle Wellt,

because our well being is pleasing to Thee,

Weil dir unser Wohl gefillt,

because all our desire this day is fulfilled,

Weil anheut

because Thy blessing fills us so

Unser aller Wunsch gelungen,

gloriously with joy.

Weil uns dein Segen so herrlich erfreut.

NO. 44 RECITATIVE (Tenor)

The Evangelist:
Now when Jesus was born in Bethlehem of Judea

in the days of Herod the King, behold, there
came wise men from the east to Jerusalem,

NR. 44 EVANGELISTA

Da Jesus geboren war zu Bethlehem im

jiidischen Lande zur Zeit des Koniges Herodis,
siche, da kamen die Weisen vom Morgenlande

saying:

gen Jerusalem und sprachen:

NO.45 CHORUS AND RECITATIVE

NR. 45 CORO E RECITATIVO

(Alto & Chorus)

Wise men where is he that is born King of the Jews?
Seek him in my bosom,

here He dwells for my delight, and His.
for we have seen his star in the east,
and are come to worship him.

Blessed be ye, that ye have seen that light,

it came to pass for your salvation.
My Saviour Thou, Thou are the light,

that should have shone upon the heathen, too,
and they still do not know Thee,

when they already want to worship Thee.
How bright, how clear, beloved Jesu,
must Thy radiance be!

Wo ist der neugeborne Konig der Jiiden?

Sucht ihn in meiner Brust,

Hier wohnt er, mir und ihm zur Lust!
Wir haben seinen Stern gesehen im Morgenlande
und sind kommen, ihn anzubeten!
Wohl euch, die ihr dies Licht gesehen,

Es ist zu eurem Heil geschehen!
Mein Heiland, du, du bist das Licht,

Das auch den Heiden scheinen sollen,
Und sie, sie kennen dich noch nicht,

Als sie dich schon verehren wollen.

Wie hell, wie klar muB nicht dein Schein,
Geliebter Jesu, sein!

NO. 46 CHORALE

NR. 46 CHORAL

Thy brightness does consume all darkness,

Dein Glanz all Finsternis verzehrt,

transforms the gloomy night to light.

Lead us in Thy ways,

Die triibe Nacht in Licht verkehrt.
Leit uns auf deinen Wegen,

that Thy countenance

Dal} dein Gesicht

and glorious light

Und herrlich’s Licht

we may ever behold!

Wir ewig schauen mogen!

NO. 48 RECITATIVE (Tenor)

NR. 48 EVANGELISTA

The Evangelist:
When Herod The King had heard these things, he

Da das der Konig Herodes hérte, erschraker er

was troubled, and all Jerusalem with him.

und mit ihm das ganze Jerusalem.

NO. 49 RECITATIVE

NR. 49 RECITATIVO

(Alto)

Why are ye so sore afeared?

Can the presence of Jesu mine awake such fear

in you?
O, should not you rejoice

at is far rather,

Warum wolt ihr erschrecken?

Kann meines Jesu Gagenwart euch solche Furcht
erwecken?

O! solltet ihr euch nicht

Vielmehr dariiber freuen,

for He through it does promise

Weil er dadurch verspricht,

to restore the well being of mankind!

Der Menschen Wohlfahrt zu verneuen.

NO.50 RECITATIVE

NR. 50 EVANGELISTA

The Evangelist:

Und lie3 versammlen alle Hohepriester und

And when he had gathered all the chief priests

Schriftgelehrten unter dem Volk und erforschete

and scribes of the people together, he demanded

von ihnen, wo Christus sollte geboren werden.

of them where Christ should be born. And they

Und sie sagten ihm: Zu Bethlehem im jiidischen

said unto him: “In Bethlehem of Judea; for thus

Lande; denn also stehet geschrieben durch den

it is written by the prophet: And thou Bethlehem,

Propheten: Und du Bethlehem im jiidischen

in the land of Juda, are not the least among the

Lande bist mitnichten die kleinest unter den

princes of Juda; for out of thee shall come a

Fiirsten Juda; denn aus dir soll mir kommen der

governor that shall rule my people Israel.*

Herzog, der iiber mein Volk Israel ein Herr sei.

NO. 51 ARIA

NR. 51 ARIA (TERZETTO)

(Soprano, Alto, Tenor)

Oh, when will the time be ripe?

Ach, wenn wird die Zeit erscheinen?

Oh, when will the comfort of His people come?

Ach, wenn kommt der Trost der Seinen?

Be silent, He is surely already here!

Schweigt, er ist schon wiirklich hier!

Oh, Jesu, come then to me!

Jesu, ach so komm zu mir!

NO. 52 RECITATIVE

NR. 52 RECITATIVO

My Best Beloved already rules.

Mein Liebster herrschet schon.

A heart that loves His dominion,

Ein Herz, das seine Herrschaft liebet

and gives itself to Him completely for His own,

Und sich ihm ganz zu eigen gibet,

is my Jesu’s throne.

Ist meines Jesu Thron.

NO. 53 CHORALE

NR. 53 CHORAL

A heart’s chamber such as this is certainly no

Zwar ist solche Herzensstube

finely-appointed hall of princes, a dark pit rather;

Wohl kein schoner Fiirstensaal,

yet, no sooner shall Thy favour’s beam

Sondern eine finstre Grube;

but gleam within there,

Doch, sobald dein Gnadenstrahl

than it will seem to be filled with light.

In denselben nur wird blinken,

Wird es voller Sonnen diinken.
SIXTH PART

SECHSTER TEIL

NO. 54 CHORUS

NR. 54 CORO

Lord, if proud enemies rage,

Herr, wenn die stolzen Feinde schnauben,

let us then in steadfast faith

So gib, dal wir im festen Glauben

look to Thy might and help.

Nach deiner Macht und Hiilfe sehn!

We will put our trust in Thee alone,

Wir wollen dir allein vertrauen,

so may we withstand unharmed

So konnen wir den scharfen Klauen

the talons of the fiend.

Des Feindes unversehrt entgehn.

NO. 55 RECITATIVE (Tenor, Bass)

NR. 55 EVANGELISTA

The Evangelist:

Then Herod, when he had privily called the wise

Da berief Herodes die Weisen heimlich

men, inquired of them diligently what time the

underlernet mit Fleifl von ihnen, wenn der Stern

star appeared. And he sent them to Bethlehem,

erschienen wire? Und weiset sie gen Bethlehem

and said:

und sprach:

“Go and search diligently for the young child;

“Ziehet hin und forschet fleiig nach dem

and when ye have found him, bring me word

Kindlein, und wenn ihr’s findet, sagt mir’s

again, that I may come and worship him also.”

wieder, daf ich auch komme und es anbete.”

NO. 56 RECITATIVE

NR. 56 RECITATIVO

(Soprano)
You false man, seek only to bring the Lord low,

Du Falscher, suche nur den Herrn zu fillen,

use every false artifice

Nimm alle falsche List,

to waylay the Saviour;

Dem Heiland nachzustellen;

He whose strength no man can measure,

Der, dessen Kraft kein Mensch ermif3t,

ye remains in safe hands.

Bleibt doch in sichrer Hand.

Your heart, your false heart, along with all its

Dein Herz, dein falsches Herz ist schon,

craft, is known very well already to the most

Nebst aller seiner List, des Hochsten Sohn,

High’s Son, whose downfall you seek to

Den du zu stiirzen suchst, sehr wohl bekannt.

encompass.

NO. 57 ARIA

NR. 57 ARIA

(Soprano)
A mere wave of his hand

Nur ein Wink von seinen Hinden

casts down the might of impotent man.

Stiirzt ohnméchtger Menschen Macht.

Here all power shall be derided!

Hier wird alle Kraft verlacht!

The Almighty has but to speak a word to make

Spricht der Hochste nur ein Wort,

an end of His enemies’ pride; oh, thus the

Seiner Feinde Stolz zu enden,

thoughts of mortal men must change at once.

O, so miissen sich sofort
Sterblicher Gedanken wenden.

NO. 58 RECITATIVE

NR. 58 EVANGELISTA

The Evangelist: When they had heard the king,
they departed; and, lo, the star, which they saw in

Als sie nun den Konig gehoret hatten, zogen sie

the east, went before them till it came and stood

hin. Und siehe, der Stern, den sie im

over where the young child was. When they saw

Morgenlande gesehen hatten, ging fiir ihnen hin,

the star, they rejoiced with exceeding great joy.

bis daf} er kam und stund oben iiber, da das

And when they were come into the house, they

Kindlein war. Da sie den Stern sahen, wurden sie

saw the young child with Mary his mother, and

hoch erfreuet und gingen in das Haus und funden

fell down, and worshipped him: and when they

das Kindlein mit Maria, seiner Mutter, undfielen

had opened their treasures, they presented unto

nieder und beteten es an und titen ihre Schitze

him gifts; gold, frankincense and myrrh.

auf und schenkten ihm Gold, Weihrauch und
Myrrhen.

NO. 59 CHORALE

NR. 59 CHORAL

I stand here beside Thy manger,

Ich steh an deiner Krippen hier,

oh, babe Jesu, my life,

O Jesulein, mein Leben;

I come, bring and give to Thee

Ich komme, bring und schenke dir,

that which Thou hast given me.

Was du mir hast gegeben.

Take it, it is my mind and spirit,

Nimm hin! es ist mein Geist und Sinn,

heart, soul and mettle, take them all,

Herz, Seel und Mut, nimm alles hin,

and may it please Thee well!

Und laB dir’s wohlgefallen!

NO. 60 RECITATIVE

NR. 60 EVANGELISTA

(Tenor)

The Evangelist:

Und Gott befahl ihnen im Traum, daB} sie sich

And being warned of God in a dream that they

nicht sollten wieder zu Herodes lenken,

should not return to Herod, they departed into

undzogen durch einen andern Weg wieder in ihr

their own country another way.

Land.

NO. 61 RECITATIVE

NR. 61 RECTITATIVO

(Tenor)

So geht! Genug, mein Schatz geht nicht von hier,

Go then! enough, my treasure will not go from

Er bleibet da bei mir,

hence;

Ich will ihn auch nicht von mir lassen.

He will remain here with me;

Sein Arm wird mich aus Lieb

neither will I suffer Him to leave me.

Mit sanftmutsvollem Trieb

His arm will enfold me out of love,

Und groBter Zirtlichkeit umfassen;

with gentle courageous desire

Er soll mein Bridutigam verbleiben,

and greatest tenderness.

Ich will ihm Brust und Herz verschreiben.

He ever shall remain my bridegroom,

Ich weil} gewiB, er liebet mich,

I will bequeath Him heart and bosom.

Mein Herz liebt ihn auch inniglich

[ know for sure He loves me,

Und wird ihn ewig ehren.

my heart loves Him too, fondly,

Was konnnte mich nun fiir ein Feind

and will ever honour him.

Bei solchem Gliick versehren!

What enemy could do me harm

Du, Jesu, bist und bleibst mein Freund;

with such good hap?

Und werd ich dngstlich zu dir flehn:

Thou, Jesu, art and shalt remain my friend,

Herr, hilf!, so 1a3 mich Hiilfe sehn!

and were to implore Thee in anguish:
Lord, help me! then let me behold Thy Help!
NO. 63 RECITATIVE

NR. 63 RECITATIVO ‘A4

(Soloists)

What now of the terrors of hell?

Was wil der Hollen Schrecken nun,

What can the world and sin do to us,

Was will uns Welt und Siinde tun?

when we rest in Jesu’s hands?

Da wir in Jesu Hianden ruhn?

NO. 64 CHORALE

NR. 64 CHORAL

Now are you well avenged,

Nun seid ihr wohl gerochen

for, upon the host of your enemies,

An eurer Feinde Schar,

Christ has broken

Denn Christus hat zerbrochen,

that which was against you.

Was euch zuwider war.

Death, devil, sin and hell

Tod, Teufel, Siind und Holle

are quite diminished,

Sind ganz und gar geschwiicht;

the human race has its place

Bei Gott hat seine Stelle

at God’s side.

Das menschliche Geschlecht.

GUILDFORD PHILHARMONIC ORCHESTRA & CHOIR
First Violins:
Hugh Bean — Leader
Damin Falkowski
Sheila Beckensall
Rachel Maisey
Peter Newman

Second Violins:
Nicholas Maxted Jones
Rosemary Roberts
Julia Brocklehurst
Adrienne Sturdy
Timothy Callaghan
Andrew Bernardi

Violas:
John Meek
Justin Ward
Jean Burt

Soprano:

Alto:

Jacqueline Alderton

Sally Bailey

Adrian Buxton

Kathleen Aldridge

Iris Ball

Bob Cowell

Noreen Ayton

Evelyn Beastall

Geoffrey Forster

Jill Baker

Iris Bennett

Leslie Harfield

Louise Barnfield

Jean Brown

Maggie van

Penny Baxter

Jane Brooks

Margaret Braund

Barbara Buck

Mary Broughton

Juliet Butler

Peter Lemmon

Barbara Chevis

Andrew Reid

Andrea Dombrowe

Amanda Clayton

Christopher

Rachel Edmondson

Mary Clayton

Robinson

Suzanne Forbes

Janet Critchley

Wilson Rush

Joanna Garside

Fiona Davis

John Trigg

Jenny Hakim

Margaret Dentskevich

Jeni Young

Angela Hand

Valerie Edwards

Susan Hinton

Celia Embleton

Kathy Thulborn
Janice Brodie
Johan Franca

Nora Kennea

Joanne Frampton

Judith Lewy

Mandy Freeman

Anne Lyon

Rebecca Greenwood

Margaret Mackie

Ingrid Hardiman

Flutes:
Jane Pickles
Simon Hunt

Oboes & Oboe d’amore:
Victoria Walpole
Janice Knight
Oboe da caccia:
Geoffrey Browne
Stephen Forbes
Bassoon:
Nichola Hunka

Trumpets:
Martin Hurrell
Patricia Reid
Nicholas Betts

Elizabeth McCracken

Pamela Harman

Sophie McCracken

Carol Hobbs

Jacqueline Norman

Sheila Hodson

Susan Norton

Joy Hunter

Robin Onslow

Lyn Jackson

Alison Palmer

Helen Lavin

Margaret Parry

Kay McManus

Vivienne Parsons

Christine Medlow

Jessica Pires

Brenda Moore

Rosalind Plowright

Mary Moon

Jean Radley

Jean Munro

Susan Ranft

Alison Newell

Gillian Rix

Jennifer Nicholas

Joan Robinson

Arabella Onslow

Maureen Shortland

Anne Philps

Sheila Small

Susan Pope

Dawn Smith

Catherine Shacklady

Judy Smith

Gillian Sharpe

Timpani:

Pamela Smith

Judy A. Smith

Roger Blair

Kathy Stickland

Prue Smith

Organ:
Laurence Cummings

General Manager:
Kathleen Atkins
Music Administrator:
Peter Holt

Projects Consultant (SEMT):
Nick Bomford

Secretary:
Shirley Ewen

Koetsveld

Nick Lamb

Elaine Chapman

Cellos:

Bass:
Keith Hartley

Tenor:

Pamela Taylor

Rosemary Smith

Carol Terry

Liz Snell

Bass:
Peter Andrews

Graham Barwick
Roger Barrett

Michael Bradbeer
John Britten
Norman Carpenter

Walter Chattaway
Neil Clayton
Robert Coe
Rodney Cuff
Michael Dawe
Michael Dudley
Terence Ellis
Michael Golden
Nick Gough
Don Hendy
Peter Herbert
Laurie James
Michael Jeffery
Stephen Jepson

Michael Longford
Neil Martin

Chris New
Maxwell New
Barry Norman

John Parry
Peter Pearce

Enid Weston

Helge Stellpflug

Christine Wilks

Hilary Trigg

Elisabeth Willis

Nigel Pollock

Pamela Usher

David Ross

Lucinda Wilson

Janice Wicker

John Schlotel

Frances Worpe

June Windle

Ian Simmons

Maralyn Wong

Philip Stanford

Beatrice Wood

Roger Penny

Keith Torbet
Donald Walden

Andrew Whitehouse

Ralph Whitehouse

GUILDFORD PHILHARMONIC
Friday 27 January 1995 at 7.30 pm
Civic Hall, Guildford

80th Birthday Concert for Jack Brymer
Civic Concert