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Digital Recording



George Frideric Handel / Wolfgang Amadeus Mozart
The Messiah
Der Messias
Complete Recording
Oratorio in three parts by George Frideric Handel

An historically informed performance,
sung in German, with
Marlis Petersen ~ Soprano
Margot Oitzinger ~ Alto
Markus Schäfer ~ Tenor
Marek Rzepka ~ Bass
Hanoverian Court Orchestra (on period instruments)
Maulbronn Chamber Choir
Conductor: Juergen Budday

A concert recording from the basilica of the
UNESCO World Heritage Site Maulbronn Monastery
2nd & 3rd October 2006, recorded and created
by Andreas Otto Grimminger & Josef-Stefan Kindler
in co-operation with Juergen Budday.

2-CD-Box, DDD, ca. 133 min.
KuK 61, ISBN 978-3-930643-61-5, EAN 42 6000591 046 9
Copyright by K&K Verlagsanstalt anno 2007

This recording is part of a cycle of old testament oratorios by G. F. Handel and is one of the many concerts performed at Maulbronn monastery over the past years. The series combines authentically performed baroque oratorios with the optimal acoustics and atmosphere of this unique monastic church. This ideal location demands the transparency of playing and the interpretive unveiling of the rhetoric intimations of the composition, which is especially aided by the historically informed performance. So the music is played only on reconstructed historical instruments tuned to the pitch that was usual in the composer’s day. For the sake of authenticity, the tuning in this performance is therefore the same as that customarily used in Mozart’s times (a = c. 430 Hz).

The idea of writing an arrangement of Handel’s Messiah was not Mozart’s. He was in fact commissioned to do this by Baron Gottfried van Swieten. Van Swieten had founded the "Society of Associates" (Gesellschaft der Associierten) in Vienna, an exclusive circle that organised private performances of oratorios during Lent and at Christmas. Because of the reforms introduced by Emperor Joseph II, church music had suffered from drastic changes to the liturgy that had almost brought about its total demise. For this reason, the emphasis shifted to private performances. The Viennese aristocracy was part of van Swieten’s circle and its members also acted as patrons. For quite some time before he worked on the Messiah, Mozart been part of these concerts – he played cembalo under the direction of the court theatre composer, Starzer, who had already arranged Judas Maccabaeus. During this period, Mozart had access to van Swieten’s private library and was able to study scores by Bach and Handel, which he found deeply stimulating for his own creative work. In 1788 Mozart himself took over as director of these private concerts. In that same year he arranged Handel’s Acis and Galatea, then in March 1979 the Messiah, and in the following year, the Ode for St. Cecilia and Alexander’s Feast. The rehearsals for the Messiah took place in van Swieten’s apartments. The oratorio was first performed in Count Johann Esterhazy’s palais on 6th March 1789. The number of instrumentalists involved is not known, and there were supposedly only 12 singers in the choir.

Baron van Swieten, who was a great admirer of baroque music, wanted Mozart to "modernise" the oratorio. This was a perfectly normal demand – the original work and its composer still commanded great respect, of course, but this was no obstacle to updating something "old-fashioned" to bring it into line with modern taste. Mozart based his arrangement on the first edition of Handel’s score. From this, two copyists produced a working score. For the English libretto and the wind sections of the original, they substituted blank lines so that Mozart could write his own accompaniment and insert the text written by van Swieten. The latter was, in turn, based on the German translation done by F. G. Klopstock and C. D. Ebeling in 1775.

The biggest change was made to the airs, as they were believed to be the form most in need of "modernisation". Mozart in part changed the harmony structure, made cuts, varied the tempi, transposed the airs or assigned them to other vocal parts. Yet he retained the form of the air – with one exception. "If God be for us" (CD II, No. 23) appears in Mozart’s version as a recitative, not as an air. Van Swieten comments: "Your idea of turning the text of the cold air into a recitative is splendid... Anyone who is able to clothe Handel with such solemnity and taste that he pleases the fashion-conscious fops on the one hand, while on the other hand still continuing to show himself superior, is a person who senses Handel’s worth, who understands him, has found the source of his expression and who can and will draw inspiration from it. The mood of this "cold air" obviously had so little appeal for Mozart that he felt this was the one instance where he had to alter the formal structure, which in itself speaks volumes for his sensitivity in dealing with the original.

The choral sections remain almost unchanged. But here, however, Mozart introduces harmony. Woodwinds are added to the horn and trumpet sections and accompany the choral descant parts in unison. The trombones, on the other hand, are given the option of doubling the alto, tenor and base parts and precise stipulations are only made for two of the numbers. Before this version of the Messiah score first appeared in print, Rochlitz made the flowing comments in the music periodical, "Allgemeine Musikalische Zeitung": "He has exercised the greatest delicacy by touching nothing that transcends the style of his time ... The choral sections are left as Handel wrote them and are only amplified cautiously now and again by wind instruments."

One other change was made to the choral sections and it had to do with tempo. Mozart intervenes here, usually choosing a slower pace. In addition to slowing the movements down, he also "steals" some pieces from the choir. This applies in particular to certain virtuoso segments in the initial choral sections, which he gives to the soloists. Apart from the explanation that Mozart was doing this to illustrate baroque dynamics, this might also have been done for other reasons. It is quite possible that Mozart had no choir available whom he thought capable of performing these pieces. The airs were also shortened. For example, he cut the middle section of the bass air, "The trumpet shall sound". Of this Rochlitz wrote: "Those [airs], where Handel adhered more strictly to the conventions of his day, have been given a new and unparalleled accompaniment, one that Handel himself would have wanted, but which also incorporates the advances in instruments and taste made since his days; where the airs were too long or became unimportant, like the second part, for example, which was only written for voice and bass, such parts have been cut." Yet in comparison to other contemporary oratorio arrangements, Mozart’s cuts are minimal. They are aimed more at condensing and tightening up what is taking place. As a result, a performance of this arrangement only takes 2 ½ hours, a cut of almost half an hour. Rochlitz is of the opinion that this makes the oratorio "highly enjoyable for any kind of audience."

However, Mozart is not content with changes that are dull or conventional. He puts woodwinds into the airs to better interpret the basic mood. What’s more, he divests the bassoons of their bass function – repeatedly. To preserve the musical flow of an air, he provides the singer with instrumental support in cadences instead of giving him or her the freedom to improvise. And over and above having to adhere to the rules imposed by the contemporary conventions of good taste, Mozart also had to take other circumstances into consideration. For example, in his arrangement he cut out the organ – there was simply no organ available in the Viennese palais where the private performances were held. Another problem that Mozart had to contend with was the change that had taken place in trumpet playing between the time of Handel’s Messiah and Mozart’s arrangement of it. The break-up of the social order in the towns had led to the demise of the town piper guilds and, in turn, to the decline in the art of playing the clarion. The trumpets in a classical orchestra were not nearly as powerful as their predecessors, so in order to support the sound of the orchestra, Mozart "downgraded" them with regard to both harmony and rhythm. He modified the original passages or assigned them to other instruments such as the horn in the air "The trumpet shall sound" (CD II, No. 20), thus achieving a more virtuoso effect.

Yet the Messiah remains the work of Handel, despite the Mozart arrangement. Mozart did not write a new composition, he used the original as a template and arranged it – or to use a present-day idiom, he did a "cover version". In doing so, he achieved a synthesis of baroque counterpoint and classical style, which is why this version of the Messiah definitely offers a remarkable alternative to the "original".

Teresa Frick


Marlis Petersen - Soprano

After studying at the State University of Music & Performing Arts in Stuttgart as well as under Prof. Sylvia Geszty, Marlis Petersen received awards at the VDMK "Opera-Operetta-Concert" competition in Berlin. In 1993 she won 1st prize in the "International Master Class in Voice" at the Jacques Offenbach Festival. During 1993/94 she was a member of the ensemble at the Städtische Bühnen in Nuremberg, singing coloratura soprano. Besides giving concerts in German-speaking countries, she has made guest appearances at the Berlin, Bremen, Düsseldorf, Hanover, Munich, Frankfurt and Wiesbaden opera houses. Marlis Petersen works extremely closely with Helmuth Rilling and the International Bach Academy in Stuttgart and also performs with them in concerts throughout Europe and the USA. She has also given very successful concerts for RAI Turin and Santa Cecilia in Rome, at the Bregenz Festival, the Opéra Bastille, the Vienna State Opera and at London’s Covent Garden. Her latest successes have included performances in Hamburg, Geneva, Athens and Monte Carlo, at the Metropolitan Opera in New York and the Salzburg Festival.

Margot Oitzinger - Alto

Born in Graz in 1978, her first training in music (transverse flute) was at the J.J. Fux Conservatory. She took her school-leaving examination in 1966 and started to study voice at the University of Music and Dramatic Arts in Graz (KUG), where her supervisor was Annemarie Zeller. She studied ‘Lied and Oratorio’ and ‘Opera’ at the KUG. The 2003 summer semester marked the beginning of her studies with Rosemarie Schmied. In January 2004 Margot Oitzinger passed her final diploma in ‘Lied and Oratorio’ with distinction and was awarded the Ira Malaniuk Prize for the most promising young artist the following month. Master classes in Baroque and Renaissance voice with Jill Feldman and Marius von Alltena followed. She is a member of the ensemble ‘cantus graz’, ‚a piú voci‘ and the ensemble contralti. Performances as a soloist and ensemble singer at festivals such as the Handel Festival in Halle, the Styriarte (Styrian Festival), the ‘steirischer Herbst’, the ‘jeunesse’ and the ‘Bach XXI’. She performs mainly in Austria, Italy, Germany and Switzerland.

Markus Schäfer - Tenor

Studied voice and church music in Karlsruhe and Düsseldorf and won competitions in Berlin (Federal Competition in Voice) and Milan (Caruso Competition). He attended the Opera Studio in Zurich. He was then engaged by the opera house in Zurich and made his début there. This was followed by engagements at the Hamburg Staatsoper and the ‘Deutsche Oper am Rhein’ in Düsseldorf. Conductors he has worked with include Kent Nagano, Fabio Luisi, Michael Gielen, Stephan Soltesz, Nicolaus Harnoncourt, Leopold Hager, Helmuth Rilling, Philippe Herreweghe, René Jacobs, Sigiswald Kuijken and Yehudi Menuhin. CD recordings of him in "Cosi fan tutte" with S. Kuijken and the "St. Matthew Passion" with Harnoncourt and the "Concentus musicus" are outstanding; indeed, the latter was awarded a Grammy. As an interpreter of the Lied, he has had great success in Vienna and at the Schubertiade festivals in Feldkirch, Schwarzenberg and New York, where he performed works by Schubert and Schumann with pianist Hartmut Höll.

Marek Rzepka - Bass

Born in Mikolow (Poland), he began his training in voice in Krakow under Prof. Adam Szybowski. In 1993 he transferred to the University of Music in Dresden. In 2000 he passed the master classes given at the Dresdner University of Music by Prof. Hans-Joachim Beyer and Prof. Rudolf Piernay. Master classes with Brigitte Fassbaender, Peter Schreier, Thomas Quasthoff and Charles Spencer round off his training. His repertoire ranges from historical works to contemporary compositions. He has sung with Helmuth Rilling conducting and given concerts with Steven Stubbs, Eduardo López Banzo and the Balthasar Neumann Ensemble under Thomas Hengelbrock. Marek Rzepka has given guest performances at the Milan Auditorium, the Bologna Festival, the Dresden Music Festival, the Handel Festival in Halle, the Rheingau Music Festival, the Schleswig-Holstein Music Festival and the Schwetzingen Festival. He has appeared in opera productions in Belgium, France, the USA and Australia. Since 2001 he has been teaching voice at the Felix Mendelssohn-Bartholdy University of Music and Theatre in Leipzig.

Hanoverian Court Orchestra

The Hanoverian Court Orchestra maintains the tradition of the historic court orchestras and performs with both chamber and symphonic instrumentation. The fact that its members also play in other European Baroque formations, helps forge the sound of the ensemble. The repertoire of the Hanoverian Court Orchestra not only incorporates Baroque music in all its forms, but also Romantic pieces and Classical works, especially Mozart‘s operas and the Romantic genre. The continual involvement with the music of the 17th and 18th century has allowed each of the Court Orchestra’s musicians to become a master of his instrument. From this emerges the expressive and elegant playing that allows the Orchestra to maintain its prominent position. The Hanoverian Court Orchestra has been the orchestra in residence at the Herrenhausen Festival Weeks since 2006.

Maulbronn Chamber Choir

The Maulbronn Chamber Choir was founded by its director, Jürgen Budday, in 1983 and is one of the top choirs in Germany today. In addition to learning a baroque oratorio, the ensemble compiles a sacred and secular a-cappella programme every year, its focal point being 19th and 20th century literature. First prize at the Baden Württemberg Choir Competition in 1989 and 1997, second prize at the Third German Choir Competition in Stuttgart in 1990, and a victory at the Fifth German Choir Competition in Regensburg in 1998 document the chamber choir‘s extraordinary musical standard. The Maulbronn Chamber Choir has received, among others, invitations to the Ettlingen Palace Festival, the chamber music series of the Dresden Philharmonic, the cloister concerts at the Walkenried convent, the First International Festival of Sacred Music in Rottenburg, and the European Music Festival in Passau. The choir has also made a name for itself internationally. The 1983 debut tour through the USA with concerts in, among others, New York and Indianapolis, and the participation in the Festival of Music in New Harmony, Indiana, as well as concert tours through numerous European countries, Israel, Argentina (1993 and 1997), South Africa, and Namibia (2001) were all greeted with similar enthusiasm by the public and critics alike. The third tour through South America followed in autumn 2003 with concerts in Argentina and Uruguay. The Maulbronn Chamber Choir has in the meantime released 14 CDs.

Jürgen Budday

is director of church music and artistic director of the concert series at the monastery of Maulbronn, of the cantor choir and of the Maulbronn Chamber Choir. He studied music education, church music and musicology at the Academy of Music in Stuttgart and, since 1979, has taught at the Evangelic Theology Seminar in Maulbronn. For his teaching and artistic activity, he has received many awards, including the Bundesverdienstkreuz am Bande (German Cross of Merit) and the Bruno-Frey Prize from the State Academy, Ochsenhausen. Since 2002, Jürgen Budday is President of the Choir Advisory Committee at the German Music Council. Several concert recordings have been made under his artistic direction. They have often received international recognition and high praise from critics. These have included the Handel oratorios Samson, Judas Maccabaeus, Saul, Solomon and Belshazzar with Emma Kirkby, Michael Chance, Nancy Argenta and Stephen Varcoe.


Maulbronn Chamber Choir

Soprano ~ Stefanie Bucher, Katharina Eberhardt, Teresa Frick, Ute Gerteis,
Hannah Glocker, Dorothea Gölz-Most, Ines Grund, Elisabeth Hofmann-Ehret,
Ilka Hüftle, Jana Knobloch, Veronika Miehlich,
Anne Nonnenmann, Ulrike Rapp, Irene Vorreiter

Alto ~ Carmen Andruschkewitsch, Marianne Kodweiß, Helen Duhm, Beata Fechau,
Roswitha Fydrich- Steiner, Kathrin Gölz, Hella Pilz, Margret Sanwald, Renate Secker,
Angelika Stössel, Bettina van der Ham, Almut Wien, Evelyn Witte

Tenor ~ Johannes Budday, Sebastian Fuierer, Andreas Gerteis,
Hartmut Meier, Mathias Michel, Rolf Most, Jonathan Wahl

Bass ~ Ingo Andruschkewitsch, Karl Bihlmaier, Jo Dohse, Immanuel Finckh,
Hansjörg Lechler, Eberhard Maier, Peter Nagel, Conrad Schmitz,
Can Schnigula, Frieder Weckermann

Hanoverian Court Orchestra

Concert Master ~ Marlene Goede-Uter
Violins ~ Anne Röhrig, Christoph Heidemann, Susanne Busch, Birgit Fischer,
Stephanie Bücker, Susanne Dietz, Eva Politt, Paula Kibildis
Violas ~ Bettina Ihrig, Hella Hartmann, Klaus Bundies
Cellos ~ Dorothee Palm, Daniela Wartenberg
Bass viols ~ Cordula Cordes, Ulla Hoffmann
Fortepiano ~ Bernward Lohr
Flutes ~ Brian Berryman, Marion Moonen
Clarinets ~ Phillippe Castejon, Gili Rinot
Oboes ~ Kristin Linde, Annette Berryman
Bassoons~ Marita Schaar, Tobias Meier
Horns ~ Rafael Vosseler, Christiane Vosseler
Trumpets ~ Jarouslav Roucek, Christoph Draeger
Trombones ~ Sandor Sabo, Miha Suler, Wolf-Hagen Hoyer
Timpani ~ Friethjof Koch

Oratorios by G. F. Handel
in the Maulbronn Monastery CD-Edition
Concert recordings of historically informed performances in English
with the Maulbronn Chamber Choir, conducted by Jürgen Budday

George Frideric Handel · Jephtha
Soloists: Emma Kirkby, Melinda Paulsen, Charles Humphries,
Julian Podger, Stephen Varcoe & Monastery Baroque Orchestra

George Frideric Handel · Samson
Soloists: Sinéad Pratschke, Michael Chance, Marc LeBrocq,
Raimund Nolte, David Thomas & Monastery Baroque Orchestra

George Frideric Handel · Judas Maccabaeus
Soloists: Sinéad Pratschke, Catherine King, Charles Humphries,
Marc LeBrocq, Christopher Purves & Musica Florea Prag

George Frideric Handel · Saul
Soloists: Nancy Argenta, Laurie Reviol, Michael Chance, Marc LeBrocq,
Michael Berner, Stephen Varcoe, Steffen Balbach & Hanoverian Court Orchestra

George Frideric Handel · Solomon
Soloists: Nancy Argenta, Laurie Reviol, Michael Chance,
Julian Podger, Steffen Balbach & Hanoverian Court Orchestra

George Frideric Handel · Belshazzar
Soloists: Miriam Allan, Michael Chance, Patrick van Goethem,
Mark LeBrocq, André Morsch & Hanoverian Court Orchestra

George Frideric Handel · Messiah
Soloists: Miriam Allan, Michael Chance, Mark LeBrocq,
Christopher Purves & Hanoverian Court Orchestra

The Series

Publishing culture in its authentic form entails for us capturing and recording for posterity outstanding performances and concerts. The performers, audience, opus and room enter into an intimate dialogue that in its form and expression, its atmosphere, is unique and unrepeatable. It is our aim, the philosophy of our house, to enable the listener to acutely experience every facet of this symbiosis, the intensity of the performance. The results are unparalleled interpretations of musical and literary works, simply - audiophile snapshots of permanent value.

The concerts in Maulbronn monastery, which we document with this edition, supply, in many ways, the ideal conditions for our aspirations. It is, above all, the atmosphere of the romantic, candle-lit arches, the magic of the monastery in its unadulterated sublime presence and tranquillity that impresses itself upon the performers and audience of these concerts. Renowned soloists and ensembles from the international arena repeatedly welcome the opportunity to appear here - enjoying the unparalleled acoustic and architectural beauty of this World Heritage Site (monastery church, cloister gardens, lay refectory, etc.), providing exquisite performances of secular and sacred music.

Under the patronage of the Evangelical Seminar, the Maulbronn Monastery Cloister Concerts were instigated in 1968 with an abundance of musical enthusiasm and voluntary leadership. Within the hallowed walls of the classical grammar and boarding school, existent for more than 450 years, some of society's great thinkers, poets and humanists, such as Kepler, Hölderlin, Herwegh and Hesse received their first impressions. The youthful elan, the constructive participation of the pupils, continuing the tradition of their great predecessors, constructs an enlightened climate in which artistic ambitions can especially thrive. Twenty-five concerts take place between May and September. Their success can be largely attributed to the many voluntary helpers from near and far.

Flourishing culture in a living monument, created for the delight of the live audience and, last but not least, you the listener, are the ideals we document with this series - directly in digital stereo.

Andreas Otto Grimminger & Josef-Stefan Kindler


Erster Teil

1. Overtura

2. Accompagnato
Tröstet, tröstet Zion, spricht eu’r Gott. Geht, ihr Friedensboten, nach Jerusalem und prediget ihr, dass ihre Ritterschaft ein Ende hat; dass ihre Missetat vergeben ist. Vernehmt die Stimme des Predigers in der Wüste: bereitet dem Herrn den Weg und bahnet die Pfade der Wüsten unserm Gott.

3. Arie
Alle Tale macht hoch und erhaben und senkt die Berge und Hügel vor ihm, macht eb’ne Bahn, und was rauh ist, macht gleich.

4. Chor
Denn die Herrlichkeit Gottes des Herrn wird offenbaret. Alle Völker werden es sehen, denn es ist Gott, der es verheissen hat.

5. Accompagnato
So spricht der Herr Gott Zebaoth, noch eine kleine Zeit und ich bewege den Himmel und die Erde, das Meer und das Trock’ne, und ich bewege, alle Völker beweg ich, spricht Gott; wenn nun der Trost aller Heiden erscheint. Der Herr, den ihr suchet, kommt plötzlich zu seinem Tempel, und der Engel des Bundes, des ihr begehret, sieh er kommt, spricht Gott der Herr.

6. Arie
Doch wer mag ertragen den Tag seiner Ankunft und wer besteh’n, wenn er sich zeiget? Denn er ist gleich des Goldschmieds Feuer. Wer mag besteh‘n, wenn er sich zeiget?

7. Chor
mit Solisten
Und er wird reinigen die Kinder Levi, damit sie bringen, Herrlicher Dir, ein Opfer
der Gerechtigkeit.

Denn sieh! Eine Jungfrau wird schwanger, gebiert einen Sohn und nennet ihn Immanuel; Gott mit uns!

8. Arie mit Chor
O du, die Wonne verkündet in Zion, steig empor zu der Höhe der Berge. O du, die Wonne verkündet in Jerusalem, heb’ auf die Stimme mit Macht; Dein Gesang schalle getrost, verkünde den Städten Juda: er kommt, eu’r Gott. O du, die Wonne verkündet in Zion, mach dich auf, strahle freudig einher, mach dich auf, denn dein Licht kommt, und die Herrlichkeit des Herrn geht auf über dir.

9. Accompagnato
Blick auf! Nacht bedecket das Erdreich, dunkle Nacht die Völker; doch über dir gehet auf der Herr, und seine Herrlichkeit erscheinet über dir. Und die Heiden wandeln in deinem Licht, und die Könige im Glanze deines Aufgangs.

10. Arie
Das Volk, das im Dunkeln wandelt, es sieht ein grosses Licht. Und die da wohnen im Schatten des Todes, es scheinet helle über sie.

11. Chor
mit Solisten
Uns ist zum Heil ein Kind geboren, uns zum Heil ein Sohn gegeben, dessen Herrschaft ist auf seiner Schulter. Und sein Nam’ wird genennet: Wunderbar, Herrlichkeit, und Rat und Kraft, und ewig, ewig Vater und Friedefürst.

12. Pifa

Es waren Hirten beisammen auf dem Felde, die hüteten ihre Herde des Nachts.

13. Accompagnato
Und sieh’, der Engel des Herrn trat zu ihnen, und die Klarheit des Herrn umleuchtete sie, und sie erschraken sehr.

Und der Engel sprach zu ihnen: fürchtet euch nicht. Ich bring’ euch grosse Freude, Wonn’ und Heil für alle Völker. Denn euch ist heut’ in Davids Stadt der Heiland geboren, der Heiland, der Gesalbte, der Herr.

14. Accompagnato
Und alsobald waren bei dem Engel die Menge der himmlischen Heere, die lobten Gott und sprachen:

15. Chor
Ehre sein Gott in der Höhe! Und Fried’ auf Erden, und allen Menschen Heil.

16. Arie
Erwach, erwach zu Liedern der Wonne. Frohlocke du Tochter Zion, und jauchze du Tochter Jerusalem. Blick auf, dein König kommt zu dir. Er ist ein Gerechter und ein Helfer und bringet Heil allen Völkern.

Dann tut das Auge des Blinden sich auf, und das Ohr des Tauben wird hören, dann hüpfet der Lahme wie ein Hirsch, und die Zunge der Stummen singt Lob.

17. Arie
Er weidet seine Herde, ein guter guter Hirt, und sammelt seine Lämmer in seinen Arm. Er nimmt sie mit Erbarmen in seinen Schoss und leitet sanft, die gebären soll. Kommt her zu ihm, die ihr mühselig seid, kommt her zu ihm, mit Traurigkeit beladene, und er verleiht euch Ruh’! Nehmt sein Joch auf euch und lernet von ihm, denn er ist sanft und demutsvoll. Dann findet ihr Ruh’ für euer Herz.

18. Chor
mit Solisten
Sein Joch ist sanft, leicht seine Last. Sein Joch ist sanft und seine Last ist leicht.

Zweiter Teil

19. Chor
Kommt her und seht das Lamm, es trägt die tötende Last, die Sünde der Welt.

20. Arie
Er ward verschmähet und verachtet. Von Menschen verschmäht, ein Mann der Schmerzen und umgeben mit Qual. Er ward verschmähet, verachtet. Er gab den Schlägen seinen Rücken und seine Wange der bittr’en Feinde Wut, verbarg nicht die Stirn vor Schmach und Speichel.

21. Chor
Wahrlich, er litt unsre Qual und trug unsre Schmerzen. Ward verwundet für unsere Sünde, ward zerschlagen für unsere Missetat, damit wir Friede hätten.

22. Chor
Durch seine Wunden sind wir geheilet.

23. Chor
Wie Schafe gehn, flohn wir zerstreut, denn wir wallten jeder seinen eig’nen Weg.
Und der Herr hat nur auf ihn unsre Schulden hingewälzt.

19. Accompagnato



1. Accompagnato
Und alle, die ihn seh’n, verspotten ihn, sie sperren auf die Lippen und schütteln das Haupt, sagend:

2. Chor
Er trauete Gott, dass der ihn befreite. Lasst Gott befreien ihn, wenn er ihm wohlgefällt.

3. Accompagnato
Die Schmach bricht ihm sein Herz; er ist voll von Traurigkeit. Er sah umher, ob’s jemand jammerte, aber da war keiner, keiner, der da Trost dem Dulder gab.

4. Arioso
Schau hin und sieh! Wer kennet solche Qualen, schwer wie seine Qualen?

5. Accompagnato
Er ist dahin aus dem Lande der Lebenden, und um die Sünden seines Volkes ward er geplaget.

6. Arie
Doch du liessest ihn im Grabe nicht. Du liessest nicht zu, dass dein Heiliger Verwesung sah.

7. Chor
Machet das Tor weit dem Herrn und machet vor ihm die ew’gen Pforten hoch, denn der König der Ehren ziehet ein! Wer ist der König der Ehren? Der Herr stark und mächtig, stark und mächtig im Streite. Wer ist der König der Ehren? Gott Zebaoth! Er ist der König der Ehren.

8. Rezitativ
Zu welchen von den Engeln hat er je gesagt: du bist mein Sohn, von Ewigkeit her bist du es.

9. Chor
Der Herr gab das Wort: Gross war die Menge der Boten Gottes.

10. Arie
Wie lieblich ist der Boten Schritt, sie kündigen Frieden uns an. Sie bringen freudige Botschaft vom Heil, das ewig ist.

11. Chor
Ihr Schall ging aus in jedes Land und ihr Wort bis an das Ende der Welt.

12. Arie
Warum entbrennen die Heiden und toben im Zorne, und warum halten die Völker stolzen Rat? Die Hölle steht auf zur Empörung wider den Herrn und wider seinen Gesalbten.

13. Chor
Brecht entzwei die Ketten alle und schüttelt ab dies Joch von euch!

14. Rezitativ
Der da wohnet im Himmel, er lachet ihrer Wut, der Herr, er spottet ihrer!

15. Arie
Du zerschlägst sie mit dem Eisenszepter und du schlägst sie zu Scherben gleich des Töpfers Gefässen.

16. Chor
Hallelujah! Denn Gott der Herr regieret allmächtig. Der Herr wird König sein! Das Reich der Welt ist nun des Herrn und seines Christus. Und er regiert von nun an und ewig. Herr der Herrn, der Götter Gott! Hallelujah!

Dritter Teil

17. Arie
Ich weiss, dass mein Erlöser lebet, und dass er mich einst erweckt am letzten Tag. Wenn Verwesung mir gleich drohet, wird dies mein Auge Gott doch seh’n. Es wird Gott seh’n! Denn Christ ist erstanden von dem Tod! Ein Erstling derer, die schlafen.

18. Chor
Wie durch Einen der Tod, so kam durch Einen die Auferstehung von dem Tod. Denn wie durch Adam alle sterben, also wird, wer starb, durch Christum auferweckt.

19. Accompagnato
Merkt auf, ich künd’ ein Geheimnis an: wir sterben nicht alle, doch werden wir alle verwandelt, und das plötzlich, wenn die letzte Posaune vom Thron erschallt.

20. Arie
Sie schallt, die Posaun’, und die Toten ersteh’n unverweslich. Dann wandelt uns Gott.

Dann wird erfüllt das Wort des Allmächtigen: der Tod ist in den Sieg verschlungen.

21. Duett
Alt - Tenor
O Tod, wo ist dein Pfeil? O Grab, wo ist dein stolzer Sieg? Der Pfeil des Tod’s ist Sünde und die Kraft der Sünd’ ist das Gesetz.

22. Chor
Doch Dank dir, Dank sei Dir Gott; denn du gabst uns erhab’nen Sieg durch unsern Herrn Jesu Christ.

23. Accompagnato
Wenn Gott ist für uns, wer kann wider uns sein? Und wer klagt Jenen an, den Gott selbst, den Gott hat erwählt? Es ist Gott, der uns gerecht macht, wer ist’s, der uns verdamme? Christus ist’s, der starb, ja vielmehr, der wieder erstand, der sitzet zur Rechten Gottes, und der ist ein Mittler für uns.

24. Chor
Würdig ist das Lamm, das da starb und hat versöhnet uns mit Gott durch sein Blut, zu nehmen Stärke und Reichtum und Hoheit und Macht und Ehre und Weisheit und Segen. Alle Gewalt und Preis und Ruhm und Lob sei ihm, der auf dem Stuhle thronet und dem Lamme, von nun an und ewig. Ehre, Stärke, Hoheit und alle Gewalt sei ihm, von nun an und ewig.

25. Chor