2016 Gala Wrap Up

Bach Choir favorite, Dashon Burton (third from the right), receives applause for his Bach aria.  The prodigiously gifted composer, singer, and instrumentalist, Caroline Shaw, is holding her viola.

Bach Choir favorite, Dashon Burton (third from the right), receives applause for his Bach aria. The prodigiously gifted composer, singer, and instrumentalist, Caroline Shaw, is holding her viola.

Imagine if the most quotidian sounds in your day, say, a sigh, were suddenly to morph into the most amazing, angelic music. A breath becomes the seed for intense counterpoint.  Further, imagine the alchemy present that a proper, well-voiced major chord, sung with an integrity of vowel color that would be the envy of any British choir, were to suddenly mutate into the kind of belting you’d more likely hear in the hills of Appalachia.  Chords fragment, fractalize, really, breaking into constituent parts only to transform into a kind of diaphanous harmonic neverland, when, suddenly from the gauze, they reconstitute, ever-evolving, with a kaleidoscopic sense of textural and chameleonic invention.  Imagine, too, that this challenging and sophisticated music-making was offered with incandescent energy, a refreshing lack of self-seriousness, and enormous charm.  Imagine an audience experiencing this style of music, quite likely for the first time, and generous ovations of hearty applause, and more than a few hoots and hollers, and you’ll have some sense of what it was like to experience A Roomful of Teeth at the 2016 Gala Concert.

Their performance began with two arias offered by the group as a kind of bridge to their usual repertoire.  Estelí Gomez sang a lovely version of the first movement of Bach’s Cantata No. 51, and Dashon Burton sang the powerful arioso from the St. John Passion that he offered to great effect last March in our Spring Concert.  He was accompanied by Caroline Shaw on viola, with his colleagues singing the chorale obligato devoutly in the background.  Two eloquent and elegant performances, very much in our comfort zone.  So far, so familiar.

Then Caroline spoke about her Partita for 8 Voices, the one that was awarded a Pulitzer for composition, and the group’s recording of the same earned a Grammy.  She spoke of the inspiration of Baroque dance forms, but also warned that those were points of departure for the Partita, which is written in a style that is very much of the moment, and let it be said, the moment very much seems to be her moment.   The ensemble then blew the roof off of the place, in a bravura performance, full of passion, demonstrating the outer limits of vocal production and expression.  I was curious to see how the audience would react to music that inhabits a sound world to which I suspect most of us were unaccustomed.  Baffled wonderment might be one description.  The ovation that followed was beyond appreciative, perhaps approaching awestruck.  At intermission, I had the opportunity to speak with audience members from several generations and levels of exposure, and everyone was just rapt with excitement and appreciation.

The second half continued with compositions that further demonstrated the range and depth of vocal colors achievable by the group, which included elements of (brace yourself): Tuvan throat singing, belting, yodeling, Inuit throat singing, Korean, Georgian, and Sardinian singing, Hindustani, Persian classical singing, death metal, and screamo, all of which the members of the group have studied with exemplars of each style.  Eric Dudley and the group’s founder and artistic director, Brad Wells, were both represented in the repertoire on the second half.  Their works were deeply compelling, expertly crafted, and showcased the exceptionally diverse skills of each of the singers, as well as the dexterity with which they shift in styles and colors, from moment to moment, and second to second.  It was an amazing afternoon of music.

I don’t have audience statistics or figures from the dinner and auctions that followed, but there seemed to be an excellent turnout, and the dinner was a great deal of fun.  All of this benefits our award-winning educational outreach programs, a most worthy cause.  Much respect to the members of A Roomful of Teeth for a captivating musical experience that none of us will soon forget!

Members of the group, L-R: Estelí Gomez and Martha Cluver, Sopranos; Caroline Shaw and Elisa Sutherland, Altos; Eric Dudley, Tenor; Thann Scroggin, Baritone; Dashon Burton, Bass-Baritone; Cameron Beauchamp, Bass; Brad Wells, Founder and Artistic Director

Members of the group, L-R: Estelí Gomez and Martha Cluver, Sopranos; Caroline Shaw and Elisa Sutherland, Altos; Eric Dudley, Tenor; Thann Scroggin, Baritone; Dashon Burton, Bass-Baritone; Cameron Beauchamp, Bass; Brad Wells, Founder and Artistic Director


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Thankfulness: Bach at Noon, November 8th


Bach’s epic setting of the tune, “Nun dankett alle Gott,” BWV 192, headlines our program for tomorrow’s Bach at Noon, and it is a barn-burner.  The liturgical occasion for which it was written (in 1730) is lost to us, as was the tenor part, which, according to the late, great Craig Smith of Emmanuel Music, was reconstructed by the Bach scholar, Gunther Raphael. But, the theme of thankfulness and doxology seem appropriate to the month of November (and, hopefully, Election Day).  The last Sundays after the Feast of the Holy Trinity, in Bach’s time (and among those who follow the lectionary, our time) tend to have a cosmic orientation, a kind of glance at the Alpha and Omega, foreshadowed in the doxology (“as it was in the beginning, is now, and will be forever). So, the themes of the three movements of this brief cantata are of thankfulness, an acknowledgement of God’s grace, and eternal praise.

Though short in length, the work is full of some of Bach’s most fierce choral writing (much rehearsal was required and copious polish was applied as we prepared to sing it)!  The first movement is a choral fantasia – a lengthy extrapolation on the themes of the melody, which is sung as a cantus firmus (the soprano part singing the tune in rhythmic augmentation, that is very slowly) over the complex writing for the lower three voices.  The instruments don’t really get a break either, with lengthy ritornellos or introductions and interludes – there are fleet dialogues between the wind instruments and there is also lots of speedy writing for the strings.  The singers’ parts begin with  stepwise ascensions in the lower three voices that seem to suggest the rising of praise and thanksgiving from the believers.  It’s very arresting, and, when the sopranos join in to crown the the proceedings with the hymn tune “Now Thank We All Our God,” there is a sense of great nobility and beauty.  A gracious duet for soprano and bass follows, which explores the grace through which we are sustained by God.  It’s an excellent pause from the bravura moments of the preceding and following movements.  After the duet, a jig (or choral gigue) to send you out, with toes tapping, on the text of the doxology.

The program will begin with Robert Schumann’s Drei Fantasiestücke, or Fantasy Pieces, I believe for piano and ‘cello, Op. 73.  Schubert and Brahms are worthy competitors, but Schumann is probably our most autumnal composer, and these lovely pieces are full of full of color and a variety of textures.  I think one could easily imagine this as the soundtrack to a walk in the woods (though Schumann had originally intended to call them “Night Pieces”), among resplendent leaves and a pleasing chill in the air.

As some of our marketing for the event suggests, if you’re feeling anxious about tomorrow, this will be an excellent hour of escapism and beauty to sustain you through what’s sure to be a long day (and night). We’re eager to share this beautiful music with you!



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Bach at Noon, October 11th: Well Done


The Choir will reprise our performance from the Bach Festival this past May of Bach’s charming Cantata BWV 100, Was Gott tut, das ist Wholgetan (“What God does, that is done well”) at this month’s Bach at Noon.  It was quite a hoot to sing last spring – the opening chorus is a chorale fantasia on a well-loved chorale tune from Bach’s lifetime, with particularly festive parts for the French horns.  We were told that our friend Dan Braden, our usual excellent second French horn, is unable to play, so Tony Cecere, our redoubtable first chair player, will be joined by RJ Kelly, one of the great horn experts of our time.  They definitely have their work cut out for them – Bach is merciless in his writing for the instruments, placing them high in their range, and giving them scant breaks.  Dan and Tony sounded fantastic at Festival, and I’ve no doubt that Tony and RJ will sound excellent together.

BWV 100 was composed either for the 15th or 21st Sunday after Trinity, so, following this year’s lectionary, we’re only off by a week in hearing it on this coming Tuesday (this Sunday is the 21st Sunday after Pentecost in the Revised Common Lectionary, so it’s technically the 20th Sunday after Trinity (Trinity Sunday is the Sunday after Pentecost)).  Ed. Note:  I realize this is very arcane church trivia. In any case, the burnished timbres of the horns have a built-in autumnal quality, and the melody of the cantata is very catchy – I suspect members of the audience will leave with a spring in their step.

The concert will also feature a performance of Nicolas Chedeville’s Sonata in A for Violin, a work previously attributed to Antonio Vivaldi.  There’s a bit of intrigue in the attribution, as Chedeville was actually impersonating (compositionally speaking) the earlier master and sold his own music as having been composed by Vivaldi.  I’m hoping our resident Vivaldi expert, our concertmaster, Liz Field, will shed some light on the duplicity.  Apparently, Chedeville was trying to drum up some interest in his chosen instrument, the musette, which belongs to the bagpipe family (he also made an arrangement of Vivaldi’s Four Seasons for the musette or hurdy-gurdy, violin, and flute or recorder).  Quite a character!

October’s Bach at Noon follows on the heels of a very successful performance in September.  We heard Bach’s invigorating double violin concerto, with Liz Field and Claire Bright fiddling away on the solo parts brilliantly.  We also sang Bach’s Cantata BWV 191, Gloria in excelcis Deo, which was quite the vocal workout (it’s also a bit of a brain teaser for singers, since it’s almost, but not quite, like the music for the Gloria from the B-Minor Mass).  It was a glorious early afternoon!

Plan to arrive early on the 11th, the doors open at 11:30 am.

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Bach at Noon, September 13th: Late-Summer Homecoming

Central Moravian

We can’t promise you autumnal colors quite yet, but members of the Choir and the Bach Festival Orchestra will be making a wonderful homecoming to Central Moravian, this coming Tuesday, September 13th, for an exciting performance of two pieces very near and dear to the hearts of all of us!  During the summer, we decamp to the lovely neo-gothic edifice of St. John’s Lutheran Church, in Allentown, to offer three Bach at Noon performances, and members of the choir also trekked up to the Finger Lakes in Central NY, to offer a repeat of one of our St. John’s/Bach at Noon programs:  Warren Martin’s delightful romp, “The True Story of Cinderella.”  I’ll be writing a post about that next week, but our Bethlehem fans who heard some of the buzz about Cinderella will be delighted to know that we’re going to repeat the work at the February Bach at Noon, in a special concert for St. Valentine’s day.  I will also be writing a preview of the upcoming season, which will be a rousing exploration and celebration of the human voice.  There’s much to share!

In the meantime, however, there’s this Tuesday’s program to preview.  We’ll begin with Elizabeth Field, our concertmaster, and Claire Bright, our principal second violin, sharing the stage in Bach’s zesty and riveting Concerto for Two Violins in D-Minor, BWV 1043.   Scholars believe it was composed while Bach was the Kapellmeister at the court of Anhalt-Köthen, between 1717-1723.   The work is heard in Bethlehem somewhat frequently – I believe our friends in the Pennsylvania Sinfonia performed it last summer.  Liz and Claire are wonderful proponents of the work’s fire and zest, evidenced in the first and last movement.  The middle movement is a largo of almost indescribable beauty and lyricism.  When I want to demonstrate the power and emotion of my hi-fi set-up, I often play the last movement (in an excellent performance by the Freiburger Barockorchester), which is full of nuance and power.  No matter the quality or sonics of that performance, the opportunity to hear this music live, in the favorable acoustics of Central Moravian is a treat not to be missed!   Of note to Bach at Noon audiences is that, a few years ago, Greg and Tom performed a version of the work that Bach later arranged for two harpsichords, in 1739, at a B@N, a few years ago.  Talk about white knuckles!

The program will conclude with Bach’s Cantata 191, which is Bach’s only cantata written in Latin.  The work is a slight re-arrangement of the Gloria from the Missa of 1733, which later became the Gloria of the B-Minor Mass.  We recorded it, along with Bach’s magisterial and devout setting of the Magnificat, as well as Vivaldi’s Gloria in the spring of 2009, and it was released the following fall by our record label, Analekta.  Members of our audience are surely familiar with the opening movement’s volleys of “Glory to God in the highest,” the subsequent application of the brakes for the second movement’s rhapsodic evocation of “peace on earth.”  Then follows a love duet with the text of the Gloria Patri, which will be sung by Leslie Johnson and Stephen Ng, longtime audience favorites and dear friends of the Choir.  Then, we’ll all launch into the Sicut erat in principowhich features Bach’s masterful reworking of the Cum Sancto Spiritu from the earlier Missa, and the later Mass in B-Minor.  If the chronology (or my recounting) of the piece has your head spinning, it’s often because Bach was such a creative re-worker and perfecter of his own works, forever tinkering, adding polish and refinement to his own music – even on his own deathbed.  Here, the switched text, and some added measures of zippy fluting (played on Tuesday by Robin Kani and Linda Ganus) are the mostly minor changes.  The movement is one of Bach’s most exciting fugues – it usually leaves the singers literally breathless, and hopefully is similarly exciting for the audience.  The music for this cantata (albeit as part of the later Mass in B-Minor) was first heard in Bethlehem, and, indeed, all of America, at Central Moravian Church in 1900.  One hundred and sixteen years later, we’ll be kicking off our season with this wonderful music, in a most wonderful, historic space.  The doors open at 11:30, plan to arrive early to secure a good seat!

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109th Bethlehem Bach Festival Wrap-Up

Agnes Zigovics and Daniel Taylor

Agnes Zigovics and Daniel Taylor

A couple hours ago, the last event of 109 concluded in Peter Hall on Moravian College’s lovely Priscilla Payne Hurd Campus, with the awarding of the prizes in the Ninth Biennial Bach Vocal Competition for Young American Singers.  I attended everything on offer at this year’s festival, except Zimmerman’s Coffee House, the dinner and informal talk by Dr. Larry Lipkis, and the Chamber Music in the Saal (all of which created considerable appreciative buzz), and am delighted to share my impressions below.  What an amazing two weekends of brilliant festivities!

Distinguished Scholar Lecture, Christoph Wolff

We were delighted to welcome Professor Wolff back for a lecture entitled, “Never-Ending News about Bach’s Life and Works.”  Dr. Wolff is probably the apotheosis of the word “distinguished,” and he was a charming and beyond-brilliant guide to some exciting news from the world of Bach scholarship.  As Director of the Bach-Archiv, Leipzig, he set the course for a project that became known, internally at the Archiv, as the Bach Expedition, which involved a wide-scale cataloging of primary sources throughout the region around Leipzig, many of which were hiding in church archives and all kinds of unideal conditions.  In his presentation, we saw slides of organ tablature in Bach’s hand of one of Buxtehude’s most difficult organ chorales, authenticated to when Bach was 13 years old!  Dr. Wolff also shared the story of the discovery of a Bach work no one in recent times had known about, the aria Alles mit Gott, which was discovered in Weimar in 2005.  There was much historical intrigue, lots of examples in images of historic editions and recordings, all presented with Dr. Wolff’s signature enthusiasm and erudition.  This excellent time with so bright a light in the area of musical scholarship set a marvelous tone for what was to follow.  As a Bach enthusiast and trained musician, I was rapt the entire time.  My companion for the afternoon, my dear mother, also commented on the accessibility of Dr. Wolff’s lecture – she had a fantastic time, as well!  Danke, Professor Wolff!

Bach at 4

We made the easy walk (with the option of a shuttle bus – our dedicated staff has made accessibility for all of our audience a very-important priority, and it shows) to the Incarnation of Our Lord Church, for an intimate and infectiously cheerful concert.  A word about the venue, pictured above.  If you’ve not been in the veritable world showcase of churches on Bethlehem’s South Side, you owe to yourself to have a look around.  Many are just stunningly beautiful.  Among the fairest is Incarnation Church, which is a wonder of stained glass, marble, and plaster.  It’s perhaps a third the size of Packer Memorial Church, but with achingly good acoustics, vivid statuary, and beautiful stained glass.  We began our time together in this hallowed and inspirational space with a chorale sing.  Greg Funfgeld gave his typically winsome introductions to the chorales, complete with historical details and much cheerful encouragement, and we responded with vigorous singing of the chorales.  The instrumentalists began the concert proper with the Entrance of the Queen of Sheba from the oratorio, Solomon, one on a part, with Greg leading from the harpsichord.  It was the perfect overture as it set the tone for a series of arias and duets from Händel’s considerable cache of vocal music.  This will be a long post if I detail all of the excellence we experienced, but each of our soloists, Agnes Zigovics, Daniel Taylor, and Ben Butterfield, were just utterly captivating, with splendid contributions by the accompanying instrumentalists.  The concert continued with Loretta O’Sullivan, ‘cellist extraordinaire, who offered a brilliant Vivaldi sonata, with Greg, again, on the harpsichord.  Her playing was, as always, lyrical, and full of panache.  Her colleague instrumentalists returned for Bach’s radiant Cantata 96, which also featured Tricia Van Oers on sopranino and tenor recorders.  I offer a wistful sigh to think of all of this – the program was a perfect union of space, repertoire, and performers.  A small group of singers from the Choir sang the opening chorus with vocal dexterity and an ideally lean sound.  Dan Lichti joined the performance near the end, and sang a lovely and evocative aria, complete with vivd text-painting from the orchestra.  We concluded the afternoon by singing the closing chorale together (having had a go at it already in the chorale sing).  A bonus in the program were the opportunities to hear Daniel and Benjamin speak about the music, with signature wit and much humor.  What an excellent program!

Friday Evening

I wrote about Friday evening last week, but this week’s performance of the same repertoire was equally affecting.  Cantata 100 went very well, with a serious tip of the hat to our horn players, Tony Cecere and Dan Braden, for their yeoman’s work in navigating the fiercely difficult obbligatos.  The arias were brilliantly rendered, and the choruses seemed to go well.  Terry Everson’s playing on the Second Brandenburg Concerto was just magnificent, as was his sensitivity to the rest of the instrumental group – #2 is a concerto grosso for flute, violin, oboe, and trumpet, with support from the strings.  Everyone played marvelously  – I especially enjoyed hearing the soloists trading off a turn-filled figure in the first movement.  I also enjoyed the fleet and deft contributions by our continuo players.  We were thrilled to have the brilliant Debbie Davis join Loretta O’Sullivan on cello – she returns to us by way of Chapel Hill, NC, where she relocated to last summer.  Likewise, Steve Groat and Dan McDougall offer a firm foundation from behind their double basses.  To my ear, one of the first signs of mediocrity in baroque orchestras is clumsy bass playing.  Not so with our two bassists, who play with sensitivity, clarity, and amazing dexterity.  A tip of the hat to Debbie, Loretta, Steve, and Dan!  The Easter Oratorio went very well, too – with powerhouse contributions by trumpets and timpani, and Mary Watt’s no-superlative-is-too-strong rendering of the gorgeous oboe obbligato in the second movement.  Likewise, Nobuo Kitagawa joined Daniel Taylor for a beautiful aria, with stellar playing and singing from both gentlemen.  So many magical moments!

Saturday Morning:  Taylor 2 and the Bach Festival Orchestra

I’ve thus far wanted to describe all of these performances as tremendously life-affirming (perhaps that applies to the Festival, as a whole), but I’ve saved it for the program of dance and exceptionally beautiful orchestral music offered by the BFO and Taylor 2.  By turns lyrical, humorous, jaw-droppingly athletic, pyrotechnic, and always archly-elegant, having Paul Taylor’s iconic choreography combined with some really stunning orchestral playing made one ecstatic to be alive and in the presence of such greatness.  The program explored a panoply of moods and emotions, and built to an effervescent climax in Taylor’s signature Bach work, Esplanade, which evoked gasps of wonder and delight from the audience during the performance, followed by a roaring ovation at its completion.  More tips of the hat to our instrumental soloists, particularly Liz Field and Claire Bright for expert contributions from the violin, and to Charlotte Mattax Moersch, who played, rapid-fire, six movements from Bach’s harpsichord concert, and made it look terribly easy.

Saturday Afternoon:  The Mass in B-Minor

We returned to hallowed ground, again, with what felt like an exceptional performance of the Mass.  As I mentioned in my preview, the Mass got a little extra love in rehearsal, this year, and I think that time paid dividends.  Each performance is necessarily different, and Greg’s interpretation seems to continue to evolve and deepen.  From where I stood, halfway up the choral risers, and to the far right, the hushed sound he achieved at the end of the Crucifixus was especially powerful, as was the ecstatic joy of the Resurrexit. For several retiring singers, this was their last performance, and emotions were running high – one of the things we treasure as musicians and members of this august organization is the legacy shared from one generation to the next.  Our esteem for our retiring colleagues is endless, and our gratitude for their contributions is inexhaustible.  Another tip of the hat to them!

Sunday Afternoon:  The Ninth Biennial Bach Vocal Competition for Young American Singers

After a long morning at church, today, I quickly headed over to Peter Hall for the competition.  I have to admit, my heart sank a little when I saw that there were nine finalists, each of whom sang two arias.  Sunday afternoon is usually prime nap time for church musicians, and I wondered if I could stay alert for such a long program.  A few moments into the stunning displays of talent, and I had my answer – this was a riveting afternoon of music-making!  Two of our exceptional soloists, Rosa Lamoreaux and William Sharp, narrowed the large pool of entrants down to the nine who sang today, and were joined by Ben Butterfield, Greg Funfgeld, and Stephen Crist (President of the American Bach Society, who co-sponsors the competition), as judges.  Each singer was prodigiously talented, and I suspect that we’ll recognize many of their names in programs and on marquees in the future.  That said, I see futures for some of them elsewhere than the baroque oratorio and opera stage – some of the singers seemed better suited to roles requiring larger voices, but each made a persuasive argument for Bach with their own interpretative excellence and accomplished performances.  The winners included Brian Giebler, from Long Island City, NY, a resonant and sensitive tenor, who received an honorable mention.  Sharing first place honors were Christopher Edwards, from College Park, MD, a baritone with exceptional color and finesse, and soprano Nola Richardson, who is working on a DMA at Yale (singers from Yale always seem to do well in this competition: past winners include Joshua Copeland, Laura Atkinson, and Dashon Burton, all alumni from that excellent institution).  Nola received an honorable mention in 2014, has a lovely and radiant voice, and is clearly ascendant.  A hearty bravo(a) to all of the competitors – the afternoon flew by on a wave a youthful energy and stunning talent.  I should also mention that our Assistant Conductor, Organist, and Accompanist, Tom Goeman, accompanied all eighteen arias with unflappable precision, and, frankly, ridiculous musicality (after playing continuo in nearly all of the concerts of the Festival).  How Tom can render every note he plays with contrasting dynamism and color remains a perplexing mystery to me – his musical support for the competitors was a complete wonder to behold.

Final Thoughts

When we set out to re-imagine the Bethlehem Bach Festival, we sought to maintain and preserve our treasured traditions, spruce up our audience services, and introduce a wider range of experiences, using what we’ve learned in offering Bach at Noon and in our ever-evolving and widening educational outreach efforts, and with an ear to rail for what’s working for other organizations of our size and scope.  The 109th Bethlehem Bach Festival represents our second effort at this, and I’m very proud of what we offered to audiences from the region and beyond.  Kudos to our Festival Hospitality Committee, to Greg Funfgeld for conceiving, rehearsing, and leading such an immense array of concerts, and to our peerless administrative staff, in particular our Executive Director, Bridget George, our Deputy Executive Director, Karen Glose, and our wunderkind (relatively speaking) Administrative Assistant and Special Events Coordinator, Andrea Fritchey, for a job marvelously done.  My final tip of the hat goes to those of you who joined us as audience for all the concerts and events of 109.  We are flattered and humbled by your presence and support, and we are beyond delighted to share our musical offerings with you as members of our beloved Bach Choir Family!

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Festival Weekend I Wrap-Up


Photo Credit: Joe Fink

The first weekend of the 109th Bethlehem Bach Festival is a wrap, and I’ve had a couple days to ponder the joy and significance of our offerings.  A very hectic schedule had me sticking only to the two concerts I sang in, with plans to attend many more, this weekend.  Word from the lectures was that both Dr. Christoph Wolff and Dr. Larry Lipkis did excellent jobs, peppering their talks with good cheer and erudition.  I also heard that Bach at 4 was incredible, with the favorable acoustics of The Incarnation of Our Lord Church, and fabulous performing forces combining for a very special afternoon.  Greg was pleased to give Daniel Taylor an opportunity to speak about some of the music he was to sing, and many in our audience, accustomed to hearing his gorgeous countertenor voice (pitched in the alto range), were delighted to hear his sonorous baritone speaking voice (and his always-illuminating thoughts about the music).  I’m very much looking forward to hearing my colleagues in a small group of singers from the Choir offer Cantata No. 96, and our merry band of soloists and instrumentalists delight us with their playing and singing.  I know from experience that hearing Daniel sing Where’er you walk from Handel’s Semele, alone, is worth the price of admission, and so much more was on offer!

I was at the Friday night concert with the full Choir, and that performance was a lot of fun! Kudos to our horn players, Tony Cecere and Dan Braden, for their yeoman’s work on the fiercely difficult obbligatos of Cantata No. 100.  The Choir has it fairly easy in that selection, and it was very rewarding to hear the textural  contrasts in the opening chorus, from festive tuttis (with the whole ensemble) to a de facto trio sonata for flute, oboe, and continuo. Excellent work from all the instrumentalists.  Speaking of one aria being worth the cost of admission, Robin Kani, our principal flute, and Rosa Lamoreaux, soprano soloist, offered what I thought was the most beguiling aria of the evening on the enchanting Er wird mich wohl bedenken.  Robin’s sinuous flute combined with Rosa’s gorgeous color to create several moments of transfixing beauty.  Next up, the singers got a rest, and our colleagues in the orchestra were joined by trumpet soloist Terry Everson for an electric and elegant performance of Bach’s Second Brandenburg Concerto.  The bar was high:  we heard Guy Ferber perform the work earlier in the season, on a period trumpet, which, at the time, I called “the most egalitarian performance of the work I’ve ever heard.”  Well, Guy has some fierce (and cheerful) competition from Terry.  He worked mightily to foster a sense of ensemble, and there were absolutely no leaps in volume when the baton was passed to him.  Instead, we marveled at the differing colors of the solo instruments: oboe, flute, violin, and trumpet.  Additionally, Terry’s playing in the stratosphere of his instrument’s range was uniformly thrilling, his colleagues in the concerto grosso, Robin Kani, Mary Watt, and Liz Field, also acquitted themselves with great distinction.   The program ended with Bach’s rousing Easter Oratorio, which was also a treat.  Among my many favorite moments, surely Dan Lichti and Ben Butterfield singing the melismas of the B-section of the opening chorus with skill and ruddy enthusiasm stands tall.  Kudos, also, to our own trumpeters for their excellent work on fanfare after fanfare of ecstatic praise.  It had been a while since I listened to the EO, and I had forgotten about the fascinating multi-part recitatives, a compositional technique Bach saves for really special occasions.  The aria singing was, again, impeccable, and we all brought the festivities to a close with the rousing closing chorus, complete with tenors and sopranos at the tops of their range, offering choral fanfares to match the energy and excitement of the orchestra.

Taylor 2’s performance with the Bach Festival Orchestra on Saturday morning generated much excitement.  The program is a combination of some new (to Bethlehem) works, and a few audience favorites from previous visits.  In addition to the captivating dance, Greg was full of praise for our instrumental soloists, including Charlotte Mattax Moersch, who had to play movement after movement from Bach’s many harpsichord concerti.  I’m very much looking forward to seeing the repeat, this Saturday.

The Mass seemed to go very well.  One of the things I love most about performing the work every year is the sense that it becomes a moment of reflection on the year that has passed.  Individuals returning to the work might have joys to celebrate, or losses to mourn, or might just be wrapped in the ever-present sense of change and evolution that seems to enfold all of us.  I always think of the Mass as a kind of therapeutic tune-up.   One of my colleagues in the Choir, who retires at the end of this season, wrote about what her time in the Choir has meant to her, and kindly gave me permission to share it.  Karen Votta shared the following picture from the Ifor Jones era of the Festival, and writes:


1961. Ifor Jones. 190 singers. My mother was a Soprano I and my uncle was a Bass. Both pictured in this photo on the Choir I side. My grandmother and I had perfect attendance out on the lawn every year. Sometimes an usher would come along with a ticket for me, the little girl who loved Bach, and I would enter this Holy space and be immersed in the great sounds of the Mass, which to me was Praise and Thanksgiving in the highest form possible. I fell in love with Bach at a very young age. I have immense gratitude for the family legacy I have been given.

Zimmerman’s Coffee House was apparently a spirited good time.  I saw a video clip of one of our Choral Scholars singing some Rameau, and she sounded fantastic.  I know the families of several of the performers, and they’re all ecstatic that they’re given this opportunity to join the performing legacy of the Bach Choir.  All of this (including the Chamber Music in the Saal concert) is on offer again this weekend.  If you were here last weekend, come back, and see something again.  If you’re coming, you’re in for a huge treat!  If you’re on the fence, buy some tickets and treat yourself to the latest, freshest iteration of a a performing tradition well over a century old!


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Guest Post: Creating a (Fictional) Cantata By Johann Sebastian Bach

Ed. Note:  For a very special post, I’m delighted to turn over the reins to New York Times Bestselling Author, Lauren Belfer, who shares the story of her new novel, And After the Fire, written with musicological assistance from her husband, longtime friend of the Choir, Michael Marissen.  This exciting new work should be of particular interest to the Bach Choir family, of which Michael and Lauren are most esteemed members!

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By Lauren Belfer

Many of my fondest Bach-related memories concern traveling to Bethlehem with my husband, Michael Marissen, long-time Festival lecturer, for his Friday afternoon presentations. Not only were his lectures fascinating and fun (I’m a person renowned for my objectivity), but of course we stayed the weekend, attending Festival luncheons and dinners, concerts, and intimate chamber recitals amid the evocative and historic Moravian architecture of Bethlehem. We basked in the wondrous atmosphere created by passionate lovers of the music of Johann Sebastian Bach gathered en masse, complete with ardent discussions of Bach’s music into the wee hours of the morning. Or until at least 10pm.

I tried to bring the passion for Bach that I discovered in Bethlehem into my new novel, And After the Fire (HarperCollins, May 2016).

Lauren Belfer

The novel opens when an American soldier finds a mysterious music manuscript in the ruins of Germany at the end of World War II. Then the story shifts to present-day America, where he bequeaths the manuscript and its mysteries to his niece, Susanna Kessler.

Susanna’s investigations into the manuscript’s history led me back in time to a remarkable real-life woman who became a character in the novel: Sara Itzig Levy, of Berlin. She was born in 1761 and lived for ninety-three years, until 1854. Sara and her family members collected Bach manuscripts. Festival friend Professor Christoph Wolff has reported on a veritable Bach “cult” existing in the Itzig family. Sara was a brilliant harpsichordist and the only Berlin student of J.S. Bach’s eldest son, Wilhelm Friedemann Bach. She organized a musical salon that brought together the cultural leaders of her day. Sara was also the great-aunt of the composers Felix Mendelssohn and Fanny Mendelssohn Hensel, both of whom became central figures in my novel.

During the course of And After the Fire, the manuscript is proven to be an authentic, unknown cantata by J.S. Bach, and its libretto turns out to be ethically problematic. Susanna Kessler must decide what to do with this authentic Bach autograph, whether to make it public, conceal it, or even destroy it. In writing the novel, I wanted to explore how a great work of art can be exalting and horrifying all at once.

And After the Fire was inspired by Michael’s scholarly work, and the novel is dedicated to him. He and I worked together closely to create the fictional masterpiece at the center of the novel, making certain, step by step, that it was plausible in every detail. My fictional cantata may not be real, but I wouldn’t be entirely surprised if a scholar some day unearthed a lost choral masterpiece that was quite similar – that’s how close to reality my fictional choral work is, thanks to Michael.

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I’m not a musicologist, however, and to begin, Michael did the tough job of writing the fictional cantata’s libretto, recreating the 18th-century rhyming German of Bach’s works. Regarding the libretto’s meaning, and its Biblical allusions, Michael’s efforts were abetted by Cantatas 18, 42, 44, and 126. Then, he visualized (or the aural equivalent thereof) the cantata’s music. For the fictional scholars involved in examining the manuscript in the novel, the music itself is a crucial element in proving its authenticity. Michael provided the description of the first episode of the piece as “an extended augmentation canon in contrary motion, set in the dense, chromatic, baroque harmonic language of … Johann Sebastian Bach.”

I was able to be more involved with imagining the physical characteristics of the manuscript. Through Michael’s connections, we spent an afternoon studying an actual original composing score of Bach’s. This was an extraordinary and deeply moving experience: to touch the very paper that Bach had touched; to see the corrections he made to his work, the cross-outs, the ink blots and smudges, the small musical sketches Bach made at the bottom of pages to remind him of what he wanted to write at the top of the turned side of the page after the ink on the front had dried, and the Tintenfrass – the bleeding through of the iron gall ink over time, creating mirror images on the opposite side of the paper. I tried to give my own sense of awe to my character Susanna Kessler, as she examined the realistic, albeit fictional, manuscript her uncle bequeathed to her. Finally, Michael and I chose a watermark for our fictional manuscript, one that linked the autograph to a specific moment in Bach’s composing life.

As I completed And After the Fire, Michael was finishing his new book, Bach & God (Oxford University Press, published in May 2016), a collection of essays on the role of religion in Bach’s music. Several of the chapters jump off from lectures that Michael gave for the Bethlehem Bach Festival. As we read multiple drafts of each other’s work, suggesting revisions along the way, we saw that the themes of the two books overlap in surprising ways – as we hope you’ll discover when you read them!

Michael and I are grateful for the opportunity to share our new books with the dedicated audience of the Bethlehem Bach Festival. I’m especially happy to see that the Festival’s Friday evening concert includes one of my favorite cantatas, which is also pivotal in the novel: Cantata 100, Was Gott tut, daß ist wohlgetan.


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