110.1 Wrap-Up

Rosa Lamoreaux, Greg Funfgeld, and Bill Sharp receive a hearty ovation for their efforts on BWV 49

Time flies when you’re having fun!  The first weekend of the 110th Bethlehem Bach Festival is in the can, and it’s hard to believe how swiftly the two-day total immersion in Bach passed.  Here are some highlights from both sides of the stage.

Distinguished Scholar Lecture with Dr. George Stauffer

I have a few of Dr. Stauffer’s books in my library, and it was a delight to put a face and a voice with his erudition.  His lecture was, by turns, scholarly, funny, insightful, and just a tiny bit spicy.  If you missed it and are around and available on Friday, May 19th, you really must attend.  He weaves several strands of Bach’s genius to make a very compelling case for the Kapellmeister’s continued prominent place in our culture.  I’ll share his trenchant and hilarious observation about Bach biographers next week – I don’t want to ruin the fun for those attending this coming weekend!

Bach @ 4

I enjoyed this concert from the audience and was delighted by all of the fascinating music on offer.  In a stunning aria, Rosa Lamoreaux, one of our fantastic soprano soloists sings of the union of the soul to Christ, the bridegroom, “I am resplendent.”  This was not a stretch – Rosa sounded beautiful (and forgive me for saying so – looked very much the part in a resplendent blue gown of her own making – in addition to her musical talents, Rosa is a brilliant seamstress!).  Her duets with Bill Sharp were fantastic, and Greg Funfgeld offered a real hoot of an organ sinfonia from our continuo instrument, accompanied by zesty orchestral accompaniment.  One of our cellists, Debbie Davis, was then joined by Steve Groat, one of our bassists, to play a canonical sonata for cello and bass by Telemann.  It is the 250th anniversary of his death, which we are observing with a few instrumental selections peppered throughout the Festival program.  Debbie and Steve sounded fabulous, and Debbie offered excellent commentary before the piece began.  The program concluded with Cantata BWV 103, which featured members of The Choir, along with our orchestral colleagues, and the Festival Artist-in Residence, Tricia van Oers, burning things up on the recorder. Daniel Taylor, countertenor, and Stephen Ng, tenor, both made wonderful contributions in their respective arias, and my colleagues in The Choir navigated the challenging chromatic counterpoint of the opening chorus with much aplomb.  I’ll be off to the Saal for next week’s 4 pm concert – I can highly recommend Bach at 4 for a wonderful afternoon of music.  Be sure to arrive early for the chorale sing!

Bach @ 8

This program features full choir and orchestra and was a lot of fun to sing.  I have to confess, my favorite moment was unexpected (Cantata BWV 110’s exultant and exuberant opening chorus was my prediction going in).  I have notes in my score about performing Cantata BWV 97, which opened the program, but I hadn’t really remembered much about it, beyond some vague recollection of practicing the difficult text underlay in my office some years ago (I consulted the handy list of repertoire and corresponding dates, and it’s been since 2008, when we sang it at a Bach at Noon).  I didn’t recall the rhapsodic tenor aria with violin obbligato that happens halfway through the work, and I’m at a loss as to why!  Elizabeth Field, our concertmaster, began the challenging violin line with such elegance and lyricism.  There are all kinds of double-stopping (playing two notes at once) and contrapuntal invention, in the solo violin line, which dialogue with the tenor’s melody.  Benjamin Butterfield, our tenor soloist, and Liz seemed to impel one another to greater heights of beauty and grace.  Wow.  Wow, also to Mollie Glazer and Tricia van Oers in their vigorous and elegant Telemann concerto (wow, also, to Charlotte Mattax Moersh, who paused to tune an errant F on the harpsichord between movements).  Cantata BWV 110 completed the program with some fierce trumpeting, much melismatic laughter in the opening chorus, and another favorite moment, which lasted slightly over a second.  Someone in the Times said of Dashon Burton, our bass soloists, that “he has a voice that could wake the dead.”  In the opening chorus, Bach gives us a rare indication of the makeup of the singers in his choirs and is unusually particular about assigning a soloist to a bass part towards the end of the chorus.  It’s particularly fiery passage, and takes the soloist up to a high E.  Everytime we rehearsed it this week, Dashon would shake the rafters with a moment of pure vocal power, and in the concert, he was even more resonant.  We are accustomed to the finesse and lyricism of his singing, but, as we learned in his revelatory performance of Mendelssohn’s Elijah a few years ago, when Dashon wants to roar, it is hair-raisingly thrilling.  Likewise, in a later aria, accompanied by Larry Wright’s fearless trumpeting, Dashon sang multiple repetitions of the phrase “Wacht auf” (literally, “wake up!”), testing the Times critic’s observation.  Excellent stuff.  In addition to Dashon’s excellent work, we also heard some fantastic aria singing by Agnes Zigovics, Daniel Taylor, and Ben Butterfield, with exemplary fluting by Robin Kani and Linda Ganus, and Mary Watt’s always-lyrical oboeing (lungs of steel, I tell you!).

The Nightingale 

After a complete run-through and a performance for the Family Concert, and another complete run-through and another performance on Saturday morning, I was curious how our infectiously cheerful collaboration with the Mock Turtle Marionette Theatre would hold up. It remains a delight, and I’m looking forward to another run on next Saturday.  A tip of the hat to Tricia, who gives voice to the Nightingale, to the actors and director from Mock Turtle, and to Doug Roysden, Mock Turtle’s leader, and Bridget George, our executive director, for bringing this all to life.  I promised it would be a treat for children of all ages, and I heard laughter from across the age spectrum at the antics of a very colorful cast of characters.  Pure joy.  Prior to the Nightingale, we were treated to a brief recital by the Bel Canto Children’s Chorus of the Bach Choir of Bethlehem.  They sang beautifully, with splendid intonation and rhythmic spirit, but also with an enviable tone quality that reflects impressively on the talents of the singers, and the careful cultivation of the same by their director, Dr. Joy Hirokawa.  They were also extremely flexible – Dr. Hirokawa was obligated to be at Moravian College’s commencement, so she handed the reins over to her capable colleague, Greg Funfgeld, who knows his way around directing a choir.  The children responded beautifully to his leadership – testimony to a well-prepared choir!

The Mass

I don’t know if they named the Nor’Easter that blew through on Saturday, but I think it should’ve been called Johann Adolph, after Bach’s critical nemesis, Scheibe, because it poured all morning and most of the afternoon.  We moved the chorale sing and the Festival Brass Choir indoors, as a result, and the hearty singing of chorales set a ruddy and defiant tone (to the rain’s attempt to dampen the festivities) for the Mass that followed.  I lost count around 30 of my personal performances of the Mass, but each one takes on a character of its own.  Variables include the weather (sometimes it’s a bit of a swelter, as forecast for this coming weekend – dress accordingly!), illness to overcome (enough years have passed to mention that Greg once heroically led a Mass despite having a serious stomach bug – I honestly don’t know how he does it!), the particular energy of the audience, the cast of soloists, etc.  The stars really seemed to align for Saturday’s performance, which had an extremely grounded feel to it from the choral risers.  The audience seemed eager, the orchestra was at the top of their game, the soloists were connected and full of artistry, and Greg seemed especially determined.  I hope it was as rewarding to hear as it was to perform.

We’ll be attending Zimmerman’s Coffe House next week, and are very much looking forward to hearing the next generation of Bach talent in a fun atmosphere.


If you have tickets for next week’s festivities, congratulations!  You’re in for a wonderful time.  If you attended this past weekend, it was such a privilege to perform for you and a delight to welcome you.  I have a cheeky suggestion if you attended and are from the area:  Come back – tickets are available for most, if not all, of the performances, and you will marvel at the permutations and subtle changes that take place.  Greg’s tempo for the Cum Sancto Spiritu was on the more conservative side this week.  Will the spirit (and the heat),  cause a downshift and a woosh through the movement?  How about a nice picnic on what we hope will be a dry lawn?  Do you have children, grandchildren, neighbors with children who haven’t yet seen The Nightingale?  We are throwing a splendid party for anyone who could stand to be moved by tremendous beauty, and we’d love to have an overflowing guest list.  Also, is there such a thing as too much Bach (I’m biased, I will admit)?

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110: First Weekend Preview

*Artist’s Rendering of Forecast Weather

One of my friends on social media asked, this morning, “Are we in for a Nor’easter this weekend?”  At first I thought it was a bit of colorful hyperbole, but, alas, it looks as though we may have a bit of a tempest!  I shall hasten to add, I became hooked on the Bethlehem Bach Festival in 1989 as a 9th grader, during some particularly treacherous weather, so I don’t think that should be at all an impediment to one’s attendance.  Bring an umbrella, wear some galoshes, and brace yourself for an immersion, in addition to the forecast rain, into the beautiful music of Bach!

You’ve surely been to the website to order your tickets, you’ve pondered all of the fantastic offerings, you may have read my Festival preview in the Bach Choir News and you’ve received our e-mails about backup plans for bad weather (the Festival Brass and Saturday Chorale Sing may be indoors in Packer Memorial Church), and now you’re excited for the feast of excellent music, happy homecomings, and other Festival happenings.  I have a few additional thoughts and pro tips to offer:

1. Get thee to one (or more) of the lectures!

George Stauffer, the Dean of the Mason Gross School of the Arts at Rutgers University, is one of the great Bach scholars of our time (most of whom regularly decamp in Bethlehem to offer these lectures).  The intriguing title of this year’s offering is “Why Bach Matters.”  Most of us could gush on for hours, and it will be most rewarding to hear how one of our finest thinkers about Bach will distill the sum of his wisdom and knowledge into a single lecture.   Likewise, Larry Lipkis, the highly credentialed luminary from Moravian College, will offer an informal talk during dinner on Friday night.  His erudition is only equalled by his good humor.  You will laugh and learn.   Visit the website for more information and tickets.

2.  Both Friday Afternoon Programs will be fantastic.

I was unable to choose, so I’m going to both (Bach @ 4 this week, the concert in the Saal, next).  The Saal usually sells out, but it’s worth calling the office to see if any tickets remain.  How often can you hear chamber music in an actual chamber?  Plus, the soprano aria from Cantata 36 is on offer, and I’d travel further than across the river to hear Agnes Zigovics sing it.  I’m sure there are a few available to Bach @ 4, which also features a chorale sing (you can sing with the Bach Choir!) as a prelude to the performance.  The acoustics and the visual environment at Incarnation of Our Lord Church are spectacular.  So is the program it’s worth taking an afternoon off to attend.

3. In addition to galoshes and an umbrella, pack your allergy medicine.

I offer this bit of wisdom every year, but Lehigh University is in full bloom, and though one side-effect of the rain may be to tamp down some of the pollen, the Lehigh Valley, in general, is an allergist’s dream.  Your lungs, ears, and eyes will thank you.

4.  Come to The Nightingale.

Last year for the Saturday morning performances, we had Taylor II Dance to thrill us.  This year, we’re reprising our collaboration with Bethlehem’s excellent Mock Turtle Marionette Theatre, which received great acclaim at our Family Concert this year.  The marionettes, themselves, are fascinating works of art, and in the hands of our extremely talented marionettists, they come to life in ways that are whimsical, deeply entertaining, and touching.  The music will range from Couperin to Bolcolm, by way of Bach, Mozart, and others.  If you don’t leave with a grin on your face and a spring in your (galoshed) step, come find me and we’ll chat.

5.  Prepare to be rocked by the recorder.

I always grimace when I see a certain kind of social media post.  It usually has a picture of a recorder, and the wiseacre who posts it says, if you want to punish your enemies, give their children a recorder.  As the husband of an elementary school music teacher, and a musical connoisseur, I usually end up commenting with a link to a performance of one of Vivaldi’s concerti, and drop the mic at that.  Tricia van Oers, this year’s Festival Artist-in-Residence, is a virtuoso, and both the lyrical and pyrotechnic potential of the instrument will be much on display.  We’ll be hearing her in Bach, Telemann, and a number of other composers, and you’ll be both thrilled and moved by her artistry.

6.  Allow the Mass to work its magic.

The American composer Michael Torke once said, “Who needs a therapist when we have Bach’s B-Minor Mass.”  I’m not sure Bach is a reliable replacement for time, if necessary, on the couch, but I will attest to the flip side of his deeply spiritual music, it is logic-made-sound.  In the chaos of our current historical moment, sometimes it is soothing and healing to experience extraordinary beauty in the form of exquisitely composed music.  Bach was an unsurpassed master of counterpoint, and hearing his genius solutions to the challenges of composing in a contrapuntal style brings order to our minds and souls, and the experience of the Mass will echo in your psyche for some time.

7.  After the spiritual rhapsody of the Mass, let your hair down at Zimmerman’s Coffee House.

For years I bemoaned the lack of a sort of after-party for the Festival.  It always felt a little anti-climactic to share in the power and majesty of the Mass, and then all go our separate ways.  Now we have another option.  You can enjoy German food and drink, and hear the next generation of Bach performers (auditioned high school and college students) pick up the torch for this incredible music.  There are usually some surprise guests, and you’ll surely appreciate the opportunity to share in the Bach fellowship a little longer.

8.  Bring a friend.

We’ve been at this for a while (this is the organization’s 110th Festival), and we’re confident of the music’s power to create an atmosphere of cheerful fellowship, spiritual nourishment, intellectual simulation, and aesthetic pleasure.  We love it when someone new joins us – while the Festival’s grand traditions are inestimably valuable, we’re so very, very delighted to welcome first-timers to the family.  Shared experiences form some of the most powerful memories – bring your child or grandchild, your neighbor or friend, and welcome them, with us, to a weekend brimming over with the very stuff of life.

I’m going to many of the programs (in addition to singing in a few), so I’ll have a wrap-up of the first weekend up on the blog at the end of the weekend.  Check back – I might have a few more tips if you’re coming on Weekend II!




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Bach at Noon, April 11th: Spiritual Revival

I really wish I could sing at Tuesday’s Bach at Noon, but I’ll be too deep in the Holy Week Machine of bulletin editing and practicing to take the morning off from the day job.  Alas, it sounds like it’s going to be quite the affair!  It will be the last Bach at Noon in Bethlehem until September, we’re recognizing 275 years of the Moravian Church in Bethlehem (with remarks by the incredibly eloquent Pastor of Central Moravian Church, The Rev. Hopeton Clennon), our friends from WLVT PBS 39 will be on hand to film the performance, and, there’s also the matter of the music!

We’ll begin by putting trumpeters Larry Wright and Bryan Kuszyk through their paces in a fiercely elegant Double Concerto in C-Major, RV 537, by Antonio Vivaldi.  They’ll join the strings of the Bach Festival Orchestra in this delightful romp, full of Vivaldi’s trademark zest, and a particularly Italiante collection of fanfares and stratospheric dialogues.  Larry and Brian are both serious virtuosos, and I’m sure it will be a thrill to hear them crown the orchestra in this charming piece.

Also on tap, a trio by the Moravian composer, John Antes (1740-1811) featuring Liz Field, Linda Kistler, and Loretta O’Sullivan.  I am unfamiliar with his work, but his biography is very interesting, and I’m sure the three Ls will bring his music vividly to life, and everyone will enjoy his deep connection to our fair little town!

If that weren’t enough, then there’s the matter of the cantata on offer, Bach’s delightful Easter work, BWV 66, Erfreut euch, ihr Herzen.  This is the second Easter cantata I heard by The Choir as a rapt teenager at Festival (the first being Cantata No. 4, Christ lag in Todesbanden). Such was the depth of my musical insight that my favorite part of that first performance was how Bach’s librettist rhymed “Herzen,” with “Schmerzen.”   I’m please to report that my connoisseurship of the cantatas has given me at least a little more depth in my perception of the musical features of this remarkable work.

The opening instrumental ritornello is extremely fleet and in three:  the strings soon offer a figure that whips through most of their range, all while winds and trumpets offer zesty punctuation.  The singers enter the festivities with solo statements of the first line of text, with response by the rest of the choir making those -zen rhymes.  The libretto promises believers that Christ’s resurrection “revives his spiritual kingdom.”  In the B-section of the opening chorus, we hear from alto and bass about the mourning, fear, and anxious despair that the Savior drives away, with much chromaticism in the melodies, which are nonetheless decorated with some of the wind figurations from the opening ritornello.  One gets the sense that Bach was very conversant, in both psychological and spiritual realms, of exactly what victory over the grave procured for believers, as well as what it cost.  This duality animates much of his Easter music, perhaps no more than in Cantata No. 4, but certainly in this work, as well.  There is the rhapsody of resurrection and eternal life, and a sense of awe over the incarnation and crucifixion.

After a brief recit, we’ll hear a dance-y aria for bass, in our case, the redoubtable David Newman, who will bring his uncompromising artistry and ebullient spirit to the task.  We’ll also hear a beautiful arioso with longtime Bethlehem favorite, Stephen Ng, and a Bethlehem newcomer, the mezzo soprano, Janna Critz (whose bio is impressive, including participation with our friends at the Carmel Bach Festival in their Virginia Best Adams masterclass).  Then follows a duet with the alto and tenor, with a lovely violin obbligato, followed by three emphatic Easter allelluias in the concluding chorale.

The cantata comes perhaps a week early in liturgical real time, but I don’t think anyone could be faulted for leaving Central Moravian with a sense of Easterly revival (particularly since the flowering trees are in bloom all around town).  An august occasion, a cheerful and remarkable group of performers, and infectiously joyful music should make for quite an afternoon.  Plan to arrive by 11:30 am, when the doors open, to secure a good seat!

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Spring Concert Wrap-Up

I needed a day to think about yesterday afternoon’s concert before writing a wrap-up.  There was so much to ponder, and I also wanted some audience statistics, which were tabulated and arrived this afternoon.   The concert was a grand success by every measure:  it was profoundly rewarding to offer this challenging program, and the five-minute ovation that followed from the near-capacity crowd was deeply humbling.  I think the concert also exhibited several enviable synergies throughout our organization, and pulled together several facets of our mission in a new and compelling way.

For one, it was a treat to be joined by the Bel Canto Children’s Chorus of the Bach Choir of Bethlehem, with whom were are sharing in joint due-dilligance for the possibility of a merger.  The kids were fantastic – it was lovely to have them join us for Bach’s epic motet, Jesu, meine Freude, BWV 227.  They brought lovely color and tone to the chorale movements of the motet, and we greatly appreciated their energy.  Likewise, it’s hard to imagine MASS without their youthful exuberance, particularly in the Simple Song and the Sanctus.  Diane DiLabio, a member of the Chorus had an extended duet with Isaiah Bell at the end of the work, and her singing was breathtakingly beautiful and remarkably poised.

Our timpanist, Dr. Christopher Hanning, brought four of his students from West Chester University to help him with the extensive and challenging percussion parts in the Bernstein.  As someone who enjoyed playing percussion in high school, watching them devour the challenges of the score and play with such finesse and bravery was such a thrill.   In particular, Jennifer Cho’s commanding presence at the timpani during the Gloria was absolutely enthralling (I had to labor not to watch, as the choral part of that movement was daunting enough).

It was strange to see the orchestra personnel listed in the program, and see parts for electric guitar and electric bass.  Particular kudos to bassist Mark Wade, who brought our continuo group into the 21st century.  It was also a treat to have Lehigh University’s orchestral conductor Eugene Albulescu at the piano- like the percussionists, Eugene knows how to count, and he got a demanding workout.  He also brought out many colors and textures in the piano part.  Eugene has been a stalwart supporter of The Choir – in fact, our Spring Concert of 2015 was an exhilarating collaboration with the LU Philharmonic, principal players from the Bach Festival Orchestra, and some talented choirs in the community.  What a pleasure to have our accomplished friend in our orchestra.

Speaking of the orchestra, it was such a delight to hear our fine assembly of baroque experts demonstrate another facet of their artistry in the kaleidoscopic music of Lenny.  There are moments of such solemnity, then moments that evoke his other works, including West Side Story, the  Chichester Psalms, and even Candide.  They were spectacular instrumental shape-shifters, always exuberant, tremendously flexible, and full of sensitivity to one another and the singers.  Tom Goeman’s continuo playing (on the piano for the Bach, no less) and the organ for the Bernstein, was suave and sensitive, as well.  Hearing him enter the texture in Simple Song, added a timeless quality to music, deeply enriching the colorful sonorities.

We were delighted to welcome the fearless coloratura soprano, Barbara Kilduff, to ascend into the stratosphere in Bernstein’s punishing and aleatoric Kyrie. It’s a page of her singing alone at the top of her range (with just a tiny bit of color from percussion), and then the choir’s sopranos join, in another key, and begin some challenging Bernsteinian ululations in Greek.  Barbara was commanding, unflappable, and tremendously compelling as she deftly managed the challenges of her part.

One of The Choir’s tenors, Lane McCord, joined Isaiah in a similarly difficult moment at the end of the sing, I don’t know.  Last heard as Prince Charming in Warren Martin’s The True Story of Cinderella, Lane acquitted himself, again, marvelously.  I was also so proud of my colleagues in The Choir, who dove into this challenging music with great purpose and courage (it’s maybe a little out of our collective wheelhouse, after all…).

Even with such a long list of acknowledgments, there remain two individuals who took this performance to rarified heights.  The first, the exceptional tenor, Isaiah Bell.  Last year, we all marveled at his singing of the Erwäge from the St. John Passion.  I had a really hard time imagining it sung better, and have combed my extensive recordings of the work to verify.  I knew that he’d do the Bernstein very well, but also knew that the tenor solos in the work usually go to someone a little more disposed towards the musical theatre side of the vocal spectrum.  Would someone with Isaiah’s polish and refinement sound at home in that neighborhood? The answer is another question:  will anyone else ever sing it as well as he did?  Seriously.  He was completely uncompromising, and every facet of his artistry was put to use for the purpose of communicating Bernstein’s conflict between faith and doubt.  If the libretto can feel a little clunky and dated, it was also completely redeemed by Isaiah’s fearless performance.  As a church musician, I can be pretty snobby about this terrain, and when Isaiah navigated the trope in the Credo, ascending higher and higher in his range, with the full orchestra swinging beneath him, fairly taunting the Almighty like a latter-day psalmist,  it was one of the most powerful musical moments of my year, full stop.  Please mark my words: Isaiah is already well on his way to being one of the great tenors of our time.

As a preface to my last plaudit, I recall the time one of my college professors remarked that putting on a fully-staged performance of MASS at his church in Los Angeles, “damn near killed me,” and that the event closed that chapter of his career.  At the time, I thought it was a slightly strange hill do die on, but now I think I understand.  MASS is a powerful reflection of Bernstein’s musical and spiritual psyche, and to harness its energy is to come to grips with all of the various facets of the man, himself.  We sometimes forget that Bernstein the composer was only equalled in talent, genius, and stature by Bernstein the pedagogue, and Bernstein the interpreter, and Bernstein, the exhilarating and (at times) maddening human being.  The inner-strife and conflict can be seen on a continuum with those of his own idols, Mahler and Beethoven.  In a sense, MASS can very much feel a product of its time, but, on Sunday afternoon, it felt both timeless and timely.  For that, we have Greg Funfgeld to thank – his vision in taking this on, in challenging himself to master all of the rhythmic permutations and complexity of the score, in connecting with the composer with his trademark depth and insight, and in shepherding a group of musicians who don’t often perform this kind of music, reaped extraordinary dividends.  I hope he found that the lengthy ovation at the work’s conclusion conveyed some sense of our collective gratitude for his leadership on this remarkable musical and spiritual journey.

Steve Siegel covered this concert extensively in the Morning Call, with a preview, a local color piece, and, finally, a glowing review.  We are most grateful for his enthusiastic previews and his insightful and fair reviews. Arts coverage in markets the size of the Lehigh Valley are often a luxury, and we’re so lucky to have Steve cover us.


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Bach at Noon, February 14th: The True Story of Cinderella


One of the great pleasures of this past summer was the opportunity to sing Warren Martin’s The True Story of Cinderella, at both our July Bach at Noon, and at the Hermann Wiemer Vineyards, in the Finger Lakes region of Upstate NY, in early August (the cast is pictured above among Wiemer’s riesling vines).  We’re going to be repeating the work in a special Valentine’s Day performance, this coming Tuesday, February 14th, at the Central Moravian Church in Bethlehem.  Please plan to arrive around 11:30 – seats will go fast!

Warren Martin thought of himself as a jack of all musical trades, and spent most of his professional life at Westminster Choir College, in Princeton, NJ, an institution he entered as an undergraduate at the age of 15.  He served several roles, there, including the head of the Graduate School, conductor, composer, singer, coach, and master pedagogue.  One year, for the College’s May Day celebration, he presented his comic oratorio, The True Story of Cinderella, to a somewhat astonished campus community.  His prodigious skills were well-known, however, there sheer pleasure and fun of Cinderella were unexpected from one of Westminster’s most frighteningly-talented musical savants.  With music in a broad range of operatic and musical theater styles, and a pun-y, delightful text that he wrote himself, performances of Cinderella are a time-honored tradition on the Westminster  campus, and alumni of the school have spread the gospel of this work throughout the country.  Our conductor, Greg Funfgeld, studied with Professor Martin, and is an eloquent advocate for this music (he will also serve as narrator for the performance).

Martin’s range of influences for the piece seems to extend from Baroque contrapuntalists (counterpoint is utilized in a trio during which Cinderella’s wicked step-siblings and step mother are preparing themselves for a ball) to Puccini, from early Disney composers to an uncanny prediction of some of Andrew Lloyd Webbers best melodies (the central love aria of the work sounds eerily like “The Music of the Night,” from Phantom – Warren was there first, though, this work dates from 1955).  The text is full of whimsy, puns, and much wordplay, and the vocal demands on the singers are quite formidable (except for the part I will be singing as the Royal Herald, a recurring joke peppered throughout the composition).  Perhaps the most challenging part of the whole enterprise, though, is the piano part, which requires a virtuoso player.  I have to say, over the years, I’ve seen many a pianist bang his or her way through, with varying degrees of success.  In our case, Tom Goeman has learned every note, extremely carefully, and meets all of the work’s considerable demands with panache and elegance, and just the right amount of wit.  One of the chief delights of these performances has been hearing my colleagues in the choir step out as soloists in genres far away from our usual baroque choral discipline.  You will hear heroic tenoring, beautiful bel canto, bossa nova, some rootin’, tootin’ duetting, and more.  We had such a hoot putting it together in some rollicking evening sessions at the Bachhaus over the summer, and are delighted to be bringing it back to life one more time!

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What’s the Deal with These Moments of Ahhhh?


A couple  years ago, in the lead up to Christmas, it seemed almost every day that I would see a posts on Facebook, shared by many friends, that would begin something like this:

Five bearded men with varying levels of hair product (and a stetson!) begin singing in the special acoustics of an empty church, and what follows will blow your mind/bring you to tears/change your life forever!

The churl in me always wanted to comment, “They’re lip-synching (not well), it was clearly recorded in a studio. Also, there is more repertoire out there than Mary, Did you know, and Leonard Cohen’s masterwork, Hallelujah,” but such protestations were likely only to secure further social isolation.

When our fabulous new Marketing Director, the brilliant Renée James, and I met this summer to brainstorm some new initiatives, she suggested the possibility of offering something lovely on a weekly basis, without any purpose besides perhaps galvanizing community among our Facebook followers, something that would be a nice release, a kind of, as she put it, “Moment of Ahhhh.”  I’m all for this – I will often share such videos on my own Facebook page (they garner significantly fewer likes than the bearded and stetsoned gentlemen singing Mary, did you know…), and I thought that maybe the Bach audience might be more receptive to such sharing (and you have – I don’t have the stats on this week’s share, Schütz’s stunning Selig sind die Toten, a precursor to the Brahms Requiem, only a few centuries earlier, but previous weeks have had close to 200 link clicks).

Renée’s idea also resonated on a deeper level for me, for I worry that our media-saturated overstimulation has come at something of a cost to our listening skills.  The idea of pausing for a kind of mindful listening is a very attractive one, and we might get to experience an artist, a composer, or a work of which we were previously unaware.  Additionally, choral and early music groups gather daily in empty (and full) churches (and concert halls) across the world to make stunning, life-changing, mind-blowing music, and it’s entirely possible to be as thrilled by, say, Vox Luminis, as you are by Pentatonix. Ideally, both!  At least, we hope so.

I responded to Renée’s original suggestion with a different Moment of Ahhh for each week this fall, and put together another set for this winter and spring.  Many feature other groups, from other genres, some feature us, especially in the lead-up to our concerts.  My criterion for each of them is this:  is this work worth dropping whatever you’re doing for a few moments of aural beauty? Some of our followers have suggested their own Moments of Ahhh, which is a great idea (my choices will take us through May – I’m keeping a list of other suggestions to share over the summer).  You can also feel free to comment here or on the Facebook page with your own suggestions.  We live in trying times, I contend that it’s most important to take care of our own souls with a daily infusion of beauty – it can be art, poetry, literature, and, of course, music.  We’re happy to chip in, once a week, with our Moments of Ahhhh.  Do let us know if they help!

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Bach at Noon Wrap-Up

Members of The Choir warm up on Central Moravian Church's Kleiner Saal

Members of The Choir warm up in Central Moravian Church’s Kleiner Saal

In my preview of this afternoon’s Bach at Noon, I mentioned being glad that we could experience some Christmas music that is short on the bombast that can sometimes overwhelm the season’s offerings (don’t get me wrong, I love it when there’s the opportunity to sing lustily).  Just as there are many textures and emotions in the Christmas narrative, our music should reflect that panoply of affects, and one of them, intimate joy, is one of my favorites.  I’m gratified that it seemed we delivered much of that, this afternoon.

The program began with Max Drischner’s Partita on Es ist ein Ros entsprungen, which Greg played in alternation with The Choir’s performance of three verses of Hugo Distler’s melancholic but ravishingly beautiful arrangement of the same tune.  In design, we seemed to morph from devout whimsy to something even deeper.  Distler’s harmonies and decorative part-writing seem to harken back to earlier music, and offer a portrait of multiple complexities, from the evanescent beauty of a birth that would ultimately result in the cross, to Distler’s own ambivalence about reconciling his faith with the increasingly hostile atmosphere of wartime Germany.  If this all sounds like a prescription for a downer, I can assure you, it was not.  These complexities contribute to the work’s ultimate humanity, and something as simple as a chorale arrangement can be a window to a wealth of emotions.  Also, Greg’s playing (offered on our Brunzema continuo instrument) was quite lovely.  Next, we offered Johann Walter’s Joseph, lieber Joseph, mein, without a pause between pieces, a work that bridged into a later work on the program, Brahms’ Sacred Lullaby.  Before that, however, Greg, Loretta O’Sullivan, our cellist, and Tricia van Oers, our recorder virtuoso extraordinare, offered a charming Pastorale from Nicholas Chédeville (who had tried to sell has own music as Antonio Vivaldi’s).  It’s a pity there’s all the intrigue – Chédeville’s music stands strongly on its own!  In any case, the Pastorale took us from  early 17th century Germany to a Frenchman’s notion of Italy (after hearing two 20th century German arrangements of a 16th century German chorale), to the Late Romantic Era Germany. Brahms’ Geistliches Wiegenlied (Sacred Lullaby) begins with the melody of Joseph, lieber, in the cello  and then expands on its themes in a lullaby intended as a wedding gift to expectant parents and friends.  Barbara Hollinshead, Loretta, and Greg (now at the piano) offered this achingly beautiful selection, another piece rife with emotional and theological complexity.  We don’t often hear this kind of music in the Valley, and I’m so glad we could share it with our Bach at Noon audience.

Then followed Bach’s shimmering Cantata No. 96, with Tricia dancing merrily away on the recorder part.  There were wonderful contributions from Christòpheren Nomura (whom we were delighted to welcome back to Bethlehem after a long absence), Charles Blandy, Barbara, and Katherine Kaiser, a member of the choir (with a PhD in musicology), who sounded fabulous.  Though it was cold and somewhat dreary outside, there was plenty of warmth (musical and otherwise) inside, and it was a distinct pleasure to perform this music for a near-capacity audience!

Greg also mentioned that it was our 85th Bach at Noon, a milestone for which we are simultaneously grateful and proud. Next month, something vastly different and full of much musical intrigue and hilarity, Warren Martin’s The True Story of Cinderella, a work that had them in stitches at one of our Allentown Bach at Noon performances from this past summer.  We also sang it at the Hermann Wiemer Vineyards in the Finger Lakes region, though I suspect that the copious sampling of Wiemer’s fine wines on the part of the audience may have contributed to their delight in the piece.  In any case, it promises to be a lot of fun, and a perfect selection for the day upon which it serendipitously falls, St. Valentine’s Day!

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