Since taking over the Bach Vespers series in 2015, we have kept in close contact with Peter Lea-Cox, who started the series in 1982. We’re pleased to read that Peter can’t help himself but to continue the tradition down in Dorset, where he has organised local musicians and friends to present Bach cantatas and other pertinent music into a Vespers format at a church near Charmouth. We wish them all the best for their first of this season on 2 February.
Happy New Year! We’re already planning cantatas for 2019. The first two Bach Vespers with St. Anne’s Lutheran Church will be on 27 January and 24 February. At the end of this month we will perform BWV 111, Was mein Gott will, das g’scheh allzeit and then in February we’re going to do BWV 181, Leichtgesinnte Flattergeister.
We hope that you can join us for these events which are held on the final Sunday of the month at 6.30pm – and, as ever, they are free to attend.
With last night’s performance of J. S. Bach cantata BWV 116, Du Friedefürst, Herr Jesu Christ, we sign off Bach Vespers with St. Anne’s Lutheran Church for 2018. It’s been a rich year of discovering lesser known sacred cantatas, a journey that we have shared with healthy congregational audiences of up to 100 people at a time throughout the year. We’re already looking forward to returning in 2019, including two very special services just after Easter. Our thanks to Music-at-Hill concert society, and particularly that of the Lutheran Church in Hannover & Gibson Dunn LLP for their generous support of the series. For more information about these and other City Bach Collective activities then do sign up to our newsletter via the simple form below. Until the next time, Happy Christmas!
The final St. Anne’s Lutheran Church Bach Vespers of 2018 will be on Sunday 25 November 2019. We will perform J. S. Bach cantata BWV 116, Du Friedefürst, Herr Jesu Christ, a piece which concerns the idea of Tribulation, when the people are beset by siege or war.
This is a serendipitous work to be performing a fortnight after the 100th anniversary of the Armistice, the centenary of the conclusion of the first World War.
In addition, we will also perform other pieces by Bach as well as music by Johann Schein and Matthias Weckmann.
‘Out of Conflict…the Peace’ is the broad title of this year’s annual Bachfest devised and presented by the London Bach Society. For all that this festival marks the anniversaries of both the Thirty Years War and the Armistice – and, perhaps, looks wryly at our current political relationship with Europe – this final concert was one of celebration. It is fifty years* since Paul Steinitz founded the London Bach Society [*thanks Margaret for a correction – actually 72 years, the LBS founded on 7 Nov 1946] and the concert celebrates the 50th anniversary of the ensemble that bears his name, the Steinitz Bach Players. Much of the credit for the longevity of the Society and its work may be taken by Margaret, Paul Steinitz’s widow, who has done so much to carry the Society’s torch and who welcomed us all at the interval.
Johann Sebastian’s Bach’s music is not simply indestructible, but alive. Like all great music it requires good, imaginative and invested performances to make it speak afresh. Tonight’s ensemble, directed by Rodolfo Richter, made a conspicuous commitment to find interest and argument in sound, phrasing and ensemble. The double concerto BWV 1043, in which Richter was partnered as soloist with Jane Gordon, was perhaps the sharpest case-in-point, with the marginally distinct tone colours of the two violinists making their dialogue all the more rhetorical, and the tutti rubato stretching and breathing like one. The subsequent Brandenburg concerto no. 1 BWV 1046 was presented as a tableaux painted in glorious, vivid colours, especially in the horns and Anthony Robson’s charismatic oboe.
The concert was bookended with a pair of sacred cantatas. BWVs 60 & 151 broadly move from Lutheran rumination (BWV 60 ends with the almost psychedelic funeral chorale Es ist genug) to celebration in the midst of Christmas. Again, the singers teased plenty of character from the music and text of their parts, and the whole was gilded with Rachel Beckett’s memorable obbligato flute in the opening aria of the second cantata.
On leaving the concert I walked past a London Bach Society banner, which bears the slogan ‘Onwards and Outwards’. The direct appeal of this music in a performance such as tonight’s puts purpose behind words such as these. We congratulate the Society on fifty years of performing J. S. Bach’s music and look forward to many more.