Calvary Presents…

Number Your Days: Meditations on the Passion of Jesus

Music for Good Friday Concert Series

A Benefit Performance for the Shalom Scholarship Fund

Calvary Baptist Church 755 8th Street NW

Washington, DC 20001 www.calvarydc.org

March 29, 2013 7:30 p.m.

Program

The First Meditation: Beginning

Canonic Sonata No. 1 in G Major, TWV 40:118 Music: George Philipp Telemann (1681-1767)

Molly Hollingsworth, Violin David Lonkevich, Flute

The Second Meditation: Fear of Death

Deine Toten werden leben. Kantate nr. 28, aus Der Harmonischer Gottes-Dienst , TWV 1:546 in three movements Music: George Philipp Telemann (1681-1767) Text: Matthäus Arnold Wilkens (1691-1745)

Natalie Barrens, Soprano David Lonkevich, Flute

Igor Zubkovsky, Cello Cheryl Branham, Harpsichord

The Third Meditation: Preparation for Death

Weiche, Lust und Fröhlichkeit (Passionskantate) TWV 1:1536 in five movements Music: George Philipp Telemann (1681-1767) Additional orchestration: Johann Balthasar (1691-1758) Text: Attributed to Telemann

Dwayne Pinkney, Tenor Jeff Kahan, Oboe

Molly Hollingsworth, Violin 1 Alexa Cantalupo, Violin 2

Karl Mitze, Viola Igor Zubkovsky, Cello

Cheryl Branham, Harpsichord

Pause

The Fourth Meditation: Contemplation

Canonic Sonata No. 6 in A Minor, TWV 40:123 Music: George Philipp Telemann (1681-1767)

Jeff Kahan, Oboe

Alexa Cantalupo, Violin

The Fifth Meditation: The Dying Jesus

Jesus liegt in letzten Zügen (Der Sterbende Jesus) TWV 1:983 in five movements Music: George Philipp Telemann (1681-1767) Additional orchestration: Johann Balthasar (1691-1758) Text: Attributed to Telemann

Susan Sevier, Mezzo-contralto Jeff Kahan, Oboe

David Lonkevich, Flute Molly Hollingsworth, Violin 1

Alexa Cantalupo, Violin 2 Karl Mitze, Viola

Igor Zubkovsky, Cello Cheryl Branham, Harpsichord

The Sixth Meditation: The Cross

Ich will den Kreuzweg gerne gehen, TWV 1:884 Music: George Philipp Telemann (1681-1767) Text: Erdmann Neumeister (1671-1756)

Rameen Chaharbaghi, Baritone Molly Hollingsworth, Violin

Igor Zubkovsky, Cello Cheryl Branham, Harpsichord

The Singers: Natalie Barrens (Soprano); Susan Sevier (Mezzo-contralto); Dwayne Pinkney (Tenor),

Rameen Chaharbaghi (Baritone)

The Instrumentalists: David Lonkevich (Flute), Jeff Kahan (Oboe), Molly Hollingsworth (Violin 1), Alexa Cantalupo

(Violin 2), Karl Mitze (Viola), Igor Zubkovsky (Cello), Cheryl Branham (Harpsichord)

Conductor and Music Director:

Cheryl Branham

Join us in Woodward Hall, to the left as you exit the sanctuary, for a reception if you wish to express your appreciation to the performers. Donations for the Shalom Scholarship fund will be collected as you leave the Sanctuary and in Woodward Hall. Program duration: approximately 1 hour, 15 minutes.

Biographies

Natalie Barrens, soprano, a native of Albuquerque, New Mexico, is a performing member of The Friday Morning Music Club and a former member of The 7 Sopranos. Recently, she was featured in the DC Reads production of Reading Lolita in Tehran, a new opera by composer Elizabeth Mehl Greene. In her performance of American art songs, The Washington Post described her voice as a ‘graceful soprano’. Among her many operatic roles, Ms. Barrens has performed the role of Tituba in Robert Ward’s The Crucible where she worked with Mr. Ward, the Second Lady (Die Zauberflöte), as well as the part of the Second Prisoner in the North American premiere of Bruno Rigacci’s Ecuba. She

also performed the roles of Oberto (Alcina) and Illia (Idomeneo) in the California Music Festival. Ms. Barrens' varying range of roles includes Sally Brown in You're A Good Man Charlie Brown to Lakmé and Fiordiligi. She was featured as a soloist with the Montgomery County College Choir and Orchestra and the soprano soloist in Brahms’ German Requiem in Silver Spring, Maryland. Ms. Barrens is a graduate of Southern Methodist University's Meadows School of the Arts and the City University of New York's Brooklyn College Conservatory of Music. In addition to numerous appearances in the Washington, DC metro area, Northern California, New York, Western Massachusetts and Philadelphia areas, Ms. Barrens has given recitals in her native Albuquerque (www.nataliebarrens.com).

Susan Sevier, mezzo-contralto, equally at home in oratorio, opera, and theatrical musicals, with repertoire from Handel to Wagner to Sondheim, receives general acclaim for her sacred music performances: for her recent performance of Haydn’s rarely performed Stabat Mater, the Concertnet.com critic said: “Contralto Susan Sevier is always a joy to hear. A ‘true’ contralto of enormous depth and range, she conveyed a great sense of pathos and sorrow in her singing”, and, for her performances in the Opera Bel Canto production of Rossini’s Petite Messe Solennelle , the Washington Post critic called her performance of the “Agnus Dei” as

“eloquent”. Recent opera performances include Wagner’s Das Rheingold Erda with the Washington National Wagner Society and the West End Opera in NY, and as Rossweisse in Act III of Die Walküre, featuring James Morris as Wotan and Christine Brewer as Brunhilde at Baltimore’s Meyerhoff Symphony Hall; as “The Witch” in Humperdinck’s Hansel & Gretel , and as Acuzena in Verdi’s Il Trovatore with the Maryland Opera Society; as Marcellina, in Mozart's Le Nozze di Figaro at the Tuscia Opera Festival (Italy); and as Verdi’s Amneris in Aida, Acuzena in Il Trovatore, and as Mozart’s Dritte Dame with the Bourgas Philharmonic and Opera Society (Bulgaria). Her musical theatre credits include appearances as the Duchess of Plaza Toro in the Mt. Vernon Players production of Gilbert & Sullivan’s Gondoliers; Bloody Mary in South Pacific at the Ashlawn Summer Festival; and Frau Peachum in the Brecht/Weill Three Penny Opera at the Theatre Project in Baltimore, for which Baltimore’s City Paper review cited her “excellent performance”. Ms. Sevier appears courtesy of Serate Musicali, Ltd. (www.seratemusicali.org).

Dwayne Pinkney, tenor, is a native of Washington, D.C. From a young age he was interested in singing and ultimately attended the Duke Ellington School for the Arts in Washington, D.C. Upon graduation, Mr. Pinkney decided to attend Morgan State University in Baltimore, Maryland. During his time at Morgan, he performed with the nationally acclaimed Morgan State University Choir, the Opera Workshop and various other organizations on campus. Mr. Pinkney has served as President, Vice President and Secretary of the Pi Eta Chapter of Phi Mu Alpha Sinfonia Fraternity of America Inc. and was also given the honor of

being Mr. Senior for the 2009-2010 school year. In May of 2010, Mr. Pinkney received his Bachelors of Arts in Music from Morgan State University. Dwayne has studied with Samuel Bonds, Lorriana Markovic and James Bailey. Outside of school, Mr. Pinkney has had the opportunity to work with Opera Vivente and the Handel Choir of Baltimore. Mr. Pinkney serves as the tenor section leader at Calvary Baptist Church in Washington, DC, sings with Thomas Circle Singers, a professional chorus in Washington, DC , is a graduate student in education at Trinity College and serves as a classroom teacher in the DC Public School system.

Rameen Chaharbaghi, baritone, excels in a multitude of genres, including chamber music, art song, oratorio, and musical theater. He has sung numerous operatic roles, including Dr. Falke (Die Fledermaus) with Victorian Lyric Opera Company, Papageno (Die Zauberflöte) with Bel Cantanti Opera Summer Festival, and Belcore (L’elisir d’amore) with Repertory Opera Theater of Washington. Chamber works he has performed include Samuel Barber’s Dover Beach (with string quartet) and the bass solos of several Bach Cantatas at the University of Maryland (with chamber orchestra). A lover of art song, Rameen has sung several recitals

in the greater D.C. metropolitan area which included music by Schubert, Mozart, Liszt, Fauré, Ravel, Vaughan Williams, and de Falla. Equally at home on the theater stage, Rameen has performed the title role in Steve Martin’s Picasso at the Lapin Agile and will appear this summer in the Victorian Lyric Opera Company's production of Our Boys as part of the Capital Fringe Festival. Rameen received his Bachelor’s degree in Music Education from the University of Maryland. In his studies to become a teacher, he discovered that his true passions were performance and composition, and he premiered several of his own compositions, including the song cycles Strange Boy and Ahanghaye Rudaki, set to classic Farsi poetry. He also performed with Maryland’s renowned choirs, including the Chamber Singers and University Chorale, under the baton of Ed Maclary. Rameen is a recent alumnus of the OperaWorks Advanced Artist Program in Los Angeles and the CoOPERAtive Fellowship Program in New Jersey. Rameen will begin pursuing his Master's degree in Vocal Performance at the University of Houston beginning this fall. He currently lives in Silver Spring, Maryland.

Cheryl Branham, conductor and harpsichordist. As Director of Music at historic Calvary Baptist Church in downtown Washington DC, Dr. Branham conducts the Calvary Chamber Singers, Sanctuary Choir, Festival Choir, Handbell Choir, and Children’s Choir programs. She was instrumental in planning Calvary’s 150th Anniversary Season of Celebration for 2011-12, conducting four concert events as part of that series. A former assistant conductor of The Washington Chorus, working alongside Robert Shafer, Cheryl’s principal conducting teachers include John Farrer, Daniel Lewis, and

Donald Thulean at California Conducting Institute; Ann Howard Jones and David Hoose at Boston University; Bingham Vick Jr. and Thomas Joiner at Furman University. In demand as a collaborative pianist throughout the DC area, she also teaches piano in the Arts Adjunct program of the Holton-Arms School in Bethesda.

About Tonight’s Program

The great Spanish mystic, St. John of the Cross, once wrote: “It is not the act of a good disciple to flee from the Cross in order to enjoy the sweetness of easy piety.” Tonight, we do not flee.

We’ve called our program Number Your Days after the words of the Psalmist: “So teach us to count our days that we may gain a wise heart (90:12).” For those of the Christian faith, Good Friday is a yearly reminder of the hour of our own death, and the possibilities of the days we have before us and our responsibility to use them well. As Christians, we gather with Jesus in that hour of his physical death, when he as the God-Made-Flesh completes His human journey. We weep for his humanity and for our own, as we wonder what is next. But even in our sorrow and our fear, we know that there is a promise in His suffering, a promise of hope and light for us. And if we are not practicing Christians, we gather simply because we are human ourselves and experience in that humanness the same trials and challenges that are part of Jesus’ story on this day.

Tonight we perform music by George Philipp Telemann (1681-1767), one of the lesser-understood giants of the German Baroque and early Classical periods, because the music he created fits our contemplative theme. Telemann composed works that were highly personal and meditative. For example, his series Der Harmonischer Gottes-Dienst, containing 72 cantatas written as meditations on texts from Paul’s Epistles, was created specifically for performance in the home as private devotional music.

We offer tonight a series of works, each meant as a personal expression of the meaning of life and death, our own mortality, and the possibility of Resurrection.

Music of the German Reformation and the German Baroque

Martin Luther, the guiding hand of the German Reformation, believed in the power of music and said it most simply: “I would certainly like to praise music with all my heart as the excellent gift of God which it is and to commend it to everyone…the gift of language combined with the gift of song was only given to man to let him know that he should praise God with both word and music (Preface to Rhau’s Symphoniae, 1538).” Is it any wonder that this faith context

created a wellspring of sacred music, such as the music of J.S. Bach (who wrote over 400 church cantatas), and the music of C. H. Graun (whose Passion setting we performed on this series last year), and the over 1000 church cantatas written by the composer of tonight’s program, George Philipp Telemann.

German Baroque music was all about the message. If you have ever attended a Lenten or Good Friday service and sung the great hymn “O Sacred Head Now Wounded,” you have participated in the theology of the German Baroque hymn writer and poet, Paul Gerhardt (1607-1676). If you have ever sung the great reformation hymn, “A Mighty Fortress Is Our God,” you have stood in Martin Luther’s own musical theology. The text and music choices of each of these composers give us a clue to their own theology or at the very least the theological context in which their works were commissioned.

In our present day, cantatas such as those we hear tonight rarely appear in a liturgical setting. Even if the performance we attend is set in a church, as it is tonight, we generally will experience this music in a concert setting. But in the composer’s day, each cantata was written for a specific liturgical purpose: some to follow specific readings, some to preface the sermon, some to follow it as a repetition of the theme (worship services lasted several hours, even on an average non-festival Sunday). A cantata in the 18th century usually had several movements, like an instrumental sonata, and included both arias and “recited” text, or recitative. The voice was accompanied by a solo instrument and keyboard, or by a group of instruments. Larger cantatas might include several singers, even a chorus or participation by the congregation. During the season of Lent, instrumental music was banned from service, so Good Friday and the performance of one of the great Passion settings would be the first time in weeks that anything other than unaccompanied singing had been heard in service.

One other thing you might notice about the music of the German Baroque: as you listen to the music tonight and read the translations, you might say to yourself, “Wait, that music sounds a bit cheery for all this talk of dying.” Tonight’s music shows the theological influence of the early Pietist movement, a particular theology that grew in the shadow of German Lutheranism. Pietism emphasized the personal relationship with God, through prayer and faith practice. For many Pietist writers, prayer and the act of singing were tools used to enter into that God-relationship, a relationship that was, in their terms, an all-encompassing embrace. Pietism speaks of a faith that is spiritual, individual, and includes all the senses. And that union between Man and God that is fundamental to the Pietist view was a beautiful, joyful thing to be sought after and desired, even when uniting in the moment of death. The sweet music of Telemann and other Baroque composers is an expression of that particular understanding of faith.

The Composer, George Philipp Telemann (1681-1767)

Today, we hardly think of Telemann as a composer of vocal music. By the 19th century, his work was considered insubstantial and at its worst, derivative; he was discounted because he wrote “too many” works (we know of around 3000). A major composer of the German Baroque and early Classical periods, he was a friend of George Friedrich Handel, and a colleague of both the younger C. H. Graun and Johann Adolphe Hasse, and a contemporary of both Johann Sebastian Bach and his son, C. P. E. Bach. Telemann was apparently a self-taught

composer, and disappointed his family when he abandoned the study of law for music making. He composed for the great churches in the greatest German cities of the time: Eisenach, Leipzig, Magdeburg, Frankfurt and Hamburg, with much of his vocal material created for Frankfurt and Hamburg. After 1715, he took an unusual step in his day and began to publish his own compositions. While living and working in Hamburg, his contract required the delivery of two new cantatas for each Sunday service and a new Passion setting for Lent, as well as compositions for the secular celebrations of the city. He was responsible for the musical life in all five major churches. At the same time, he was required to deliver a new cantata cycle for the churches of Frankfurt.

Telemann was a great lover (and writer) of poetry; two of our works tonight set texts by famous theologian/poets of his day, Matthaus Arnold Wilckens (1704-1759) and Erdmann Neumeister (1671-1756); the other two texts believed to be Telemann’s own creation.

In his lifetime, his music was known throughout Europe. His music was performed regular until the early 19th century, when it all but disappeared. Telemann’s vocal music is only now beginning to see resurgence as scholars and performers work to create performable editions of the many works that remain. In particular, the work of Frankfurter Telemann-Gesellschaft has been invaluable in the recovery of much work and in the continued revival of Telemann’s music.

On a Personal Note: Seven Years Ago…

Seven years ago, before I was a member of this community, when hardly anyone knew anything about me, the wonderful, loving and faith-filled members of this church welcomed my proposal for the first Music for Good Friday concert. That night, we performed music by Pergolesi and Donizetti, and we remembered: we remembered the events of Good Friday, and the man who brought music into my life again, my first teacher, Michael Patterson.

Seven years later, we are here again, singing, playing and remembering, remembering the ever-present sacrifice of this day, remembering the years of worship and faith that have lived for so many years on this corner in Washington, DC. This community of saints has, over and over again, taken a chance on my crazy ideas – they have nurtured me and hoped for me and laughed with me. These seven years with this community have opened my eyes so that I might see and my ears that I might hear, as the favorite old hymn says.

I am most grateful for the chance to make wonderful, meaningful music here, with all that has meant to my own life and my own spiritual journey. The fact that this program exists is a testament to the amazing openness and faith of this congregation and the spirit and guidance of its inspiring pastor, the Rev. Dr. Amy Butler, and to the dedication of its staff, its lay leadership. The hard work of our Mission Board, our music staff and our guest performers, and most especially, our talented and energetic music director, Dr. Cheryl Branham, make events such as these possible.

For me personally, tonight is a little death of its own, because after seven amazing years of Good Friday concerts, this will be my last. The formation of my own faith that has been guided by this community is leading me in directions I would have never imagined, something that is both exciting and frightening all at once. Sometimes, to make space for something new,

we must release something we cherish, and that is where I find myself on this Good Friday. I had no idea, seven years ago, where I would stand on this night. Next spring I will be busy working towards the completion of my degree at the Virginia Theological Seminary, but rest assured that I will take every possible moment to raise money to support tonight’s cause, the Shalom Scholarship Fund, a mission I believe in with all my heart.

As performers, we feel blessed by the opportunity to speak through music, especially the opportunity to speak for those whose voices are muted and ignored. We hope that if some part of this evening’s music moves or inspires you, you will consider helping these students who thirst for education, who thirst to honor the sacrifice about which we sing tonight. Susan Sevier

Kantate No. 28: Deine Toten werden leben

Music: George Phillip Telemann (1681-1767) Text: Matthaus Arnold Wilckens (1704-59)

1. Aria 1. Aria

Deine Toten werden leben, Und mit Freud and Licht umgeben, Herr, zu deiner Rechten stehn. Uns das Sterben sanft zu machen, Zwang dein Arm des Todes Rachen. O, wie stirbt sichs itzt so schön! Süßigkeit muß von dem Starken. Speise von dem Fresser gehen.

Your dead shall live, And with joy and light encircled, Lord, stand at thy right hand. To make death gentle for us, Thy arm forced upon the jaws of Death. Oh, how good death is now! Sweetness must come from the strong, And food from the eater.

2. Recitativo 2. Recitative

So scheut das sterben weiter nicht, Das nur der Seele Schalen bricht; Des Todes Abendstunde Trägt, wie der Morgen, Gold im Munde. Beglückte Zahl der abgeschiednen Frommen! Da euren Seelen sich bei ihrer Himmelfahrt Die größte Wollust offenbart, So ruht der Leib indeß in seiner stillen Kammer Von allem Schmerz, von allem Jammer, Bix zu der Zeiten Schluß, Der finstre Raum der Totenhöhlen Die Leiber ihren Seelen Aufs neue wiedergeben muß. Denn dieses Tages Schein Wird wie der Tag der ersten Schöpfung sein, An welchem wir aus Staube, Ton und Erden Von neuen wie geschaffen werden; Doch stellet er, was sonst verweslich war, Hinfüro unverweslich dar. So seid den ferner stark und fest Und nehmet mehr und meh rim Werke Gottes zu, Da Gott euch solche Ruh’ Nach eurer Arbeit hoffen läßt. Nur der darf vor dem Tod und jenem Tag erstaunen, Der hier an lauter Sünden klebt Und außer Gottes Gnade lebt; Doch wer sich dieser trösten kann, Dem kündiget der Schall der weckenden Posaunen Wie dorten Israel, des Halljarhrs Anfang an.

So, fear dying no more, Which breaks only the soul’s husk; The evening hour of death Is, like the morning, transformed into gold. Blessed number of the departed saints! As your souls see on their journey to heaven The greatest pleasure revealed, So the body rests awhile in its quiet chamber From all pain, from all grief, Till at the end of time, The gloomy place in which the dead are laid Must return the bodies To their souls. For the light of this day Will be like the day of the first creation, On which we shall be as new created From dust , clay and earth; But he makes what was otherwise corruptible Henceforth forever incorruptible. So continue strong and firm And abound more and more in God’s work, When God lets you hope for such rest After your work you can hope. Only he is allowed before Death And every day to be astonished, Who holds fast to all his sins here And lives outside God’s grace, But whoever can rest assured of this Will be summoned by the wakening trumpets As Israel was to the beginning of the year of jubilee.

3. Aria 3. Aria

Ihr Sterblichen! Was scheut ihr Tod und Erde? Daß beides euch nicht schrecklich werde, So laßt die eitle Lust vorher zu Grabe gehn. Macht, daß in euch ein leben kraft gewinne, Vor dem diFurcht der Ewigkeit zerrinne, Ja, laßt in dieser Zeit schon durch Verneurung eurer Sinne Der künftgen Verwandlung Vorbild sehn.

Ye mortals! What fear ye death and earth? That neither may hold terrors for you, Let vain desire go first to its grave. See that in you a life gains strength Before which the fear of eternity disperses, Yea, renew your senses at this time, To see the pattern of your future transformation.

Weiche, Lust und Fröhlichkeit (Passionskantate) TWV 1:1536

Music: George Philipp Telemann (1681-1767) Additional instrumentation: Johann Balthasar (1691-1758)

Text: Attributed to Telemann

1. Aria 1. Aria

Weiche, lust und Fröhlichkeit, bei der stillen Fastenzeit! Ach! daß doch in allen Herzen unsers Heilands Not und Schmerzen wirkten wahres Sündenleid!

Desist, pleasure and merriment, during the quiet Lenten season! Ah! may the pain and suffering of our Savior bring about true remorse in every heart!

2. Recitativo 2. Recitative

Bedenk, a Mensch! den Greuel deiner Sünden, daß sonst kein Mittel war zu finden, dieselben abzutun, als daß des graßen Gottes sohn den Himmelsthron verlassen und auf Erden gehöhnt, gemartert und gekreuzigt mußte werden

Consider, Man, the horror of your sins; that no other means were found to discard them but that the Son of almighty God had to leave his heavenly throne and be mocked, martyred, and crucified on earth.

3. Aria 3. Aria

Um uns Verfluchte zu erlösen, wird der Erlöser selbst ein Fluch. Stirbt doch kein Freund für seinen Freund, er aber stirbt für seinen Feind. Wir neigen immer nach dem Bösen, er teilt uns mit den Segensspruch.

To redeem us accursed mortals, the Redeemer himself becomes a curse. Yet, no friend dies for his friend, but he dies for his enemy. We always lean toward evil; he shares with us the benediction.

4. Recitativo 4. Recitative

Bedenk hiernächst sein treues Lieben, das ihn getrieben, dergleichen Jammer auszustehn; er konnt 'unmöglich sehn, daß du in Satans Netzen hingest

Consider next the true love that drove him to endure such sorrows; he could not watch you dangle in Satan's snares

und ewiglich verloren gingest. Zuletzt ergreif den festen Glauben, dass dies Verdienst dich aus der Höllen Nacht zum Licht der Herrlichkeit gebracht und daß du trotz des Abgrunds Schnauben den Himmel sollst und musst ererben. Ach ja! ich will in solcher Zuversicht auf Jesum leben und auch sterben..

and become lost for all eternity. Seize at last the firm belief that his deed has saved you from the dark night for the light of majesty, and that despite the yawning of the abyss you shall and must inherit Paradise. Ah! I shall live and die with such trust in Jesus.

5. Aria 5. Aria

Herz und seele sind erfreut bei der frohen Fastenzeit. Tod, du kannst mich nicht verderben, denn durch meines Jesu Sterben leb ich in der Ewigkeit.

My heart and soul are overjoyed at the joyous Lenten season. Death, you cannot destroy me, for through my Jesus's dying I shall live in Eternity.

Jesus liegt in letzten Zügen (Die Sterbende Jesus) TWV 1:983 Music: George Phillip Telemann (1681-1767)

Text: Attributed to Telemann

1. Aria 1. Aria

Jesus liegt in letzten Zugen; ach, er schlieBt die Augen schon. Warum bricht der bittre Schmerz doch nicht auch mein mattes Herz? Da ich Gottes eignen Sohn seh' erblasset vor mir liegen.

Jesus lies breathing his last; ah, he is closing his eyes. Why does bitter pain not also break my weary heart - since I see God's only Son lying pale and weak before me?

2. Recitativo 2. Recitative

Erbarmenswürdiger Blick! Die Unschuld wird erwürget von den Sündern. Der Schönste von den Menschenkindern ist ganz verstellt und ungestalt. Die unumschränkete Gewalt, für welcher auch die Himmel zittern müssen, liegt kraftlos da zu meinen Füßen. Der aller Welt das Leben gab, sinkt selbst ins Grab und lässet mich betrübnisvoll zurück. Erbarmenswürdiger Blick!

Pitiable glance! Innocence is strangled by sinners. The most beautiful of the sons of men is entirely changed and distorted. Boundless might, before which The heavens too must tremble, lies powerless at my feet.

He who gave his life for all the world sinks down into the grave and leaves me behind, full of sorrow. Pitiable glance!

3. Aria 3. Aria

Mein liebster Heiland, könnt ich doch mit dir erblassen. Mit was für sehnlicher Begier legt ich mich heute noch zu dir und möchte dich ganz inniglich umfassen.

My dearest Savior, might I but pale with you. With what desire and longing would I even today lie down by you and embrace you so very tenderly.

4. Recitativo 4. Recitative

Jedoch, da dirs gefällt, daß ich noch auf der Welt den Kreuzkelch trinken muß, so sei dein Wollen auch mein Schluß. Indessen glaub ich, daß dein Tod dereinst in meiner Sterbensnot mir wird zum Trost erscheinen, da du, mein Lebensfürst, mich zu den Deinen ins ew'ge Leben fuhren wirst

Since it pleases you, however, that I yet must drink the cup of the cross in the world, then let your will be my end. I nevertheless do believe that your death someday will bring me consolation at my death's hour of distress, since you, my Prince of Life, must lead me to your people and into eternal life.

5. Aria 5. Aria

Darauf freuet sich mein Geist, daß er dich einmal dort oben wird mir frohem Jauchzen loben, wo man dich ohn Ende preist..

My spirit rejoices that it someday there above will praise you with happy jubilation – there where you are praised without end.

Ich will den Kreuzweg gerne gehen TWV 1:884

Music: George Philipp Telemann (1681-1767) Text: Erdmann Neumeister (1671-1756)

1. Aria 1. Aria

Ich will den Kreuzweg gerne gehen. Ich weiss, da führt mich Gottes Hand. Je näher wir dem Kreuze stehen, je näher sind wir Gatt verwandt. Wen er zur Kindschaft auserwählet, dem ist das Kreuz schon zugezählet. Doch wer sich will davon entreißen, muß ein verworfner Bastard heißen.

I will gladly go the way of the cross. I know that God's hand guides me. The closer we stand to the cross, the closer we are related to God. He whom he chooses as his child inherits the cross with such sonship. But he who wouId elude it must be called a cursed bastard.

2. Recitativo 2. Recitative

Ach, wer die Frucht des Kreuzes nur bedächte, Der nähm' es lachend an, wenn Gott dasselbe brächte. Was Gott tut, das ist wohl getan. Drum kann das Kreuz nichts Böses sein, sonst ließ es Gott den Frommen nicht kommen. Er selber schenkt den bittern Becher ein, der dennoch süße schmeckt. Da wird das Herz erweckt, begieriger nach Gott zu fragen, an den man sonst bei guten Tagen gar wenig denken würde. O angenehme Bürde, die Christus selbst getragen!

Ah, those who contemplate the fruit of the Cross Receive it with joy, As God has delivered it. What God does is well done. Therefore the cross can be nothing evil; Otherwise God would not let it come to the pious. He himself pours out the bitter cup that nevertheless tastes sweet. Since the heart is awakened Eager to ask about God About who man thinks little In the good days. pleasant burden born by Christ himself!

Ich schreibe mich dadurch ins Buch der Ehren ein, ihm in dem Stücke gleich zu sein. Kein Christe, wo kein Kreuz, auch Christus wird da nicht gefunden. Denn diese Drei sind allerseits mit Seilen der Liebe verbunden.

I write in the book myself, to be like him on suffering's path. No Christ where there is no Cross, But Christ is not found there. We, the Cross and Christ, All bound with ropes of love.

3. Aria 3. Aria

Ich küsse die Rute mit freudigem Mute, die lauter Liebesschlage gibt. Die Myrrhen der Schmerzen Sind Zucker dem Herzen. Denn ob Gott äußerlich betrübt; Muß dennoch von innen die Seele des süßeste Labsal gewinnen.

With happy heart I kiss the rod that gives me pure blows of love. The myrrhs of the pains are sugar to the heart. Though God may bring outward sorrow, Must still inside the Soul The sweetest solace win.

4. Recitativo 4. Recitative

Und zwar, was sag ich weiter? Das Kreuz ist meine Himmelsleiter, darauf steig ich zu Gott hinauf. Sobald ich den erblicke, staß ich sie hinter mich zurücke. Das Kreuz bleibt auf der Erden. Im Himmel darf davon nichts mehr gehöret werden .

And what else should I say? The cross is my ladder to heaven; on it I climb up to God. As soon as I see him, I kick it down behind me. The cross remains on earth. In heaven nothing more of it may be heard.

5. Aria 5. Aria

Ach, mein Heiland, würd ich doch morgen oder heute noch in den Himmel aufgenommen! Hole mich doch immer' nauf, denn mein Sehnen hört nicht auf, bis ich bin zu dir gekommen. Ist mein Aufbruch nicht bald da: Gib mir doch, zur Antwort: Ja!

Ah, my Savior, might I tomorrow or yet today be received in heaven! Always lend me your support, for my desiring will never end until I have come to you. If the hour of my departure is nat yet near, then give me but the answer: Yes!

The Shalom Scholarship Fund

In 1998, Laura Beth Blythe-Goodman initiated the Shalom Scholarship Fund as an outgrowth of her Girl Scout Silver Award project, along with the help of Calvary’s Latino Fellowship, Women’s Missionary Society, and the rest of the Calvary community. Known in the Mayan language as Colmecac, a Mayan word for school, the Shalom Scholarship Fund now is co-sponsored by Calvary’s Mission Board. Calvary hosts several events throughout the year in support of the Shalom Scholarship Fund.

The fund supports students from two Baptist churches in El Salvador with scholarship assistance. Currently, we support 11 students from the Shalom Baptist Church in San Salvador and the Church of Light & Peace in San Juan Nonuelco (a small village a couple of hours south of San Salvador). In 2013, we are working to raise $10,000 to ensure that all can attend University.

Motivated to complete their education, many of these students also work to support their families. One young woman rises each morning at 4:00 am to sell bread before she goes to class. This is just one example of the dedication these students demonstrate while pursing their education.

The cost of a university education is around $1500 a year in El Salvador. But even this minimal cost is a challenge to the students in our sister churches, as their families have very limited resources.

Because our own Pastor Edgar's daughter, Xochitl, lives in San Salvador and manages the scholarship for us on that end, we have no administrative costs. Every dollar you give goes directly to helping the students.

During a recent visit to El Salvador, members of our congregation had an opportunity to meet with many of the students, and with Pastor Fito, their mentor. Pastor Fito thanked us and thanked God for this scholarship assistance. He explained that the support we give to these students means they can then help their communities and their country which still struggles with the devastation from the civil war of the 1980's.

Tonight, you too can contribute to the education of a student who wants to help make their world, and ours, a better place. Please, give whatever you can to help a young person’s dreams become reality. As you exit the Sanctuary, there will be volunteers standing by to collect your donation. Thank you for your generous gifts tonight.

Calvary Baptist Church

755 Eighth Street NW

Washington DC 20001

202.347.8355

fax 202.347.6360 www.calvarydc.org