Perhaps no other work in the history of music finds the core of the Good Friday message better than Bach’s St. Matthew Passion (BWV 244). Composed in Leipzig for Easter Week 1727—during the peak of Bach’s creative years in which he composed cycle upon cycle of original church cantatas—the St. Matthew Passion utilizes the complex perspectives afforded by the interactions of two choirs, two orchestras, solo voices, obbligato instruments, a narrator (the evangelist Matthew), as well as portrayals of Jesus, Peter, and Pontius Pilate. Through kaleidoscopic shifts in viewpoint, Bach conveys a single storyline of Jesus’ betrayal, trial, and crucifixion. Like a master movie director, Bach cuts between scenes of action and those of both intimate and large-scale reflection. Each segment is sustained just long enough to allow the narrative to roll forward to its inexorable conclusion. Always, resting beneath the turbulent surface of the action is the all-important central idea: that unconditional love, freely given, can entail ultimate sacrifice. Very near the work’s end, after Jesus’ death on the cross, the unforgettable bass aria Mache dich, mein Herze rein (My heart, make yourself true), tenderly, sweetly, and with seemingly ceaseless curling motions, implores the soul to absorb the meaning of the Passion story.

Please join us on March 22 & 23 in the acoustically magnificent Hamel Center, with its wonderful sightlines to the stage, for performances of one of Bach’s most enduring masterworks. What a debt we owe to the twenty-year-old Felix Mendelssohn whose instincts were spot-on when, in 1829—in an era that knew almost nothing of Bach’s music—he went all in with a performance of St. Matthew in Berlin. As Mendelssohn must have known, audiences were indeed starving for the kind of spiritual succor the St. Matthew provided. Now, onward we go, exploring a work that magically reveals new mysteries and beauties each time we approach.

Perhaps no other work in the history of music finds the core of the Good Friday message better than Bach’s St. Matthew Passion (BWV 244). Composed in Leipzig for Easter Week 1727—during the peak of Bach’s creative years in which he composed cycle upon cycle of original church cantatas—the St. Matthew Passion utilizes the complex perspectives afforded by the interactions of two choirs, two orchestras, solo voices, obbligato instruments, a narrator (the evangelist Matthew), as well as portrayals of Jesus, Peter, and Pontius Pilate. Through kaleidoscopic shifts in viewpoint, Bach conveys a single storyline of Jesus’ betrayal, trial, and crucifixion. Like a master movie director, Bach cuts between scenes of action and those of both intimate and large-scale reflection. Each segment is sustained just long enough to allow the narrative to roll forward to its inexorable conclusion. Always, resting beneath the turbulent surface of the action is the all-important central idea: that unconditional love, freely given, can entail ultimate sacrifice. Very near the work’s end, after Jesus’ death on the cross, the unforgettable bass aria Mache dich, mein Herze rein (My heart, make yourself true), tenderly, sweetly, and with seemingly ceaseless curling motions, implores the soul to absorb the meaning of the Passion story.

Please join us on March 22 & 23 in the acoustically magnificent Hamel Center, with its wonderful sightlines to the stage, for performances of one of Bach’s most enduring masterworks. What a debt we owe to the twenty-year-old Felix Mendelssohn whose instincts were spot-on when, in 1829—in an era that knew almost nothing of Bach’s music—he went all in with a performance of St. Matthew in Berlin. As Mendelssohn must have known, audiences were indeed starving for the kind of spiritual succor the St. Matthew provided. Now, onward we go, exploring a work that magically reveals new mysteries and beauties each time we approach.

Symphony No. 5 in E Minor
Romeo and Juliet
Mark Dupere, conductor

Philharmonie Austin is a period instrument orchestra that has been bringing exciting performances to Austin for over ten years, previously under the name Musica Redemptor. Under the direction of conductor Mark Dupere, the group explores repertoire ranging from early Baroque to late Romantic music and is comprised of many of the country's finest players of old instruments. Philharmonie Austin is privileged to come under the umbrella of Arts on Alexander and to enjoy its long and happy collaboration with the Redeemer Choir. Notable performances have included Bach's Christmas Oratorio, Handel's Messiah and Mendelssohn's Elijah. The orchestra has explored a vast range of instrumental works, including the complete Orchestral Suites and Brandenburg Concertos of Bach, Rameau's Dardanus Suite, Handel's Water Music, Mendelssohn String Symphonies, and Beethoven's Fifth Symphony and Fourth Piano Concerto. Drawing on the wealth of research and knowledge into performance practice of each period, the group seeks to bring its audience performances that enliven the soul as it strives to get to the heart of the composer's intentions and communicate this to a new generation.

Symphony No. 5 in E Minor
Romeo and Juliet
Mark Dupere, conductor

Philharmonie Austin is a period instrument orchestra that has been bringing exciting performances to Austin for over ten years, previously under the name Musica Redemptor. Under the direction of conductor Mark Dupere, the group explores repertoire ranging from early Baroque to late Romantic music and is comprised of many of the country's finest players of old instruments. Philharmonie Austin is privileged to come under the umbrella of Arts on Alexander and to enjoy its long and happy collaboration with the Redeemer Choir. Notable performances have included Bach's Christmas Oratorio, Handel's Messiah and Mendelssohn's Elijah. The orchestra has explored a vast range of instrumental works, including the complete Orchestral Suites and Brandenburg Concertos of Bach, Rameau's Dardanus Suite, Handel's Water Music, Mendelssohn String Symphonies, and Beethoven's Fifth Symphony and Fourth Piano Concerto. Drawing on the wealth of research and knowledge into performance practice of each period, the group seeks to bring its audience performances that enliven the soul as it strives to get to the heart of the composer's intentions and communicate this to a new generation.

Renowned French conductor Marc Minkowski makes his Music of the Baroque debut with music by three orchestral gods—Handel, Rameau, and Mozart. Handel’s concerto grosso was originally the overture to a lost “magic opera.” The Greek god Apollo saves the day in Rameau’s Suite from Les Boréades. And the sheer power of Mozart’s Symphony No. 41—his final orchestral work—prompted the connection to Jupiter, the Roman god of the sky.

Renowned French conductor Marc Minkowski makes his Music of the Baroque debut with music by three orchestral gods—Handel, Rameau, and Mozart. Handel’s concerto grosso was originally the overture to a lost “magic opera.” The Greek god Apollo saves the day in Rameau’s Suite from Les Boréades. And the sheer power of Mozart’s Symphony No. 41—his final orchestral work—prompted the connection to Jupiter, the Roman god of the sky.

BYRD IS THE WYRD

Works by William Byrd.

Bella Voce Camerata + viol consort, conducted by Andrew Lewis

Rediscover the contributions of the influential late Renaissance master, William Byrd. 400 years since Byrd made his mark on the English choral tradition, the Bella Voce Camerata and viol consort present Byrd is the Wyrd. Experience Byrd’s impressive legacy and impact in a presentation of the masterful compositions that gave rise to the longstanding tradition of English choral music.

BYRD IS THE WYRD

Works by William Byrd.

Bella Voce Camerata + viol consort, conducted by Andrew Lewis

Rediscover the contributions of the influential late Renaissance master, William Byrd. 400 years since Byrd made his mark on the English choral tradition, the Bella Voce Camerata and viol consort present Byrd is the Wyrd. Experience Byrd’s impressive legacy and impact in a presentation of the masterful compositions that gave rise to the longstanding tradition of English choral music.

Haymarket champions Francesca Caccini’s only surviving opera, La liberazione di Ruggiero dall’isola d’Alcina

Music of the Baroque
Dame Jane Glover, conductor
James Ehnes, violin

Program

George Frideric Handel: Water Music Suite No. 2Wolfgang Amadeus Mozart: Violin Concerto No. 3–Intermission–Johann Sebastian Bach: Brandenburg Concerto No. 1Joseph Haydn: Symphony No. 102

Tabea Debus, recorder
with Anna Steinhoff, viola da gamba and Paul Morton, theorbo and lute

Ohrwurm

Recorder virtuoso Tabea Debus is “one of the most exciting young musicians in the early music world” (Classic FM). In this program, Debus and her colleagues explore the longstanding phenomenon of earworms and how tunes and dances wormed their way into many aspects of music-making in 17th and 18th century Europe.

Our holiday concert returns. This year with no admission fee. Our strings, organ, and theorbo will be joined by four singers, presenting ancient carols, and luscious instrumental pieces to fill you with holiday spirit.

https://www.apollochorus.org/event/handels-messiah/

https://www.apollochorus.org/event/handels-messiah/

Our popular presentation of Handel’s Messiah returns this season, featuring our own period instrument orchestra, Bella Voce Sinfonia. We present one of Chicago’s few productions of Messiah using period instruments, and our intimate, 21-voice presentation brings out the nuances of this masterpiece with historically informed performances by both vocalists and instrumentalists expert in early music. Rediscover the color and vitality of this work with a rare chance to hear the beloved Baroque oratorio in its unabridged form.

Our popular presentation of Handel’s Messiah returns this season, featuring our own period instrument orchestra, Bella Voce Sinfonia. We present one of Chicago’s few productions of Messiah using period instruments, and our intimate, 21-voice presentation brings out the nuances of this masterpiece with historically informed performances by both vocalists and instrumentalists expert in early music. Rediscover the color and vitality of this work with a rare chance to hear the beloved Baroque oratorio in its unabridged form.

Join members of Third Coast Baroque for this intimate program of sacred poetry from Song of Songs.

Often called Song of Solomon, these lyrical and tender Old Testament words — a tribute from beloved to another — were well-loved in 17th century Italy. Composer Claudio Monteverdi (1567-1643) and his contemporaries took pleasure in depicting passionate love through luscious and delicate melodies.

Experience rarely heard compositions by Monteverdi, Sances, Cima, Bernardi, Frescobaldi and others.

Join members of Third Coast Baroque for this intimate program of sacred poetry from Song of Songs.

Often called Song of Solomon, these lyrical and tender Old Testament words — a tribute from beloved to another — were well-loved in 17th century Italy. Composer Claudio Monteverdi (1567-1643) and his contemporaries took pleasure in depicting passionate love through luscious and delicate melodies.

Experience rarely heard compositions by Monteverdi, Sances, Cima, Bernardi, Frescobaldi and others.

Lift Thy Brow

lyrical music for string orchestra

Indianapolis Baroque Orchestra is thrilled to welcome Jeremy Rhizor as Curator and Guest Concertmaster for Lift The Brow: Lyrical Music for String Orchestra. Experience the concerto gorsso repertoire of the turn of the eighteenth century through the works of the English composer Charles Avison and his prominent Italian counterparts: Arcangelo Corelli, Francesco Durante, and Francesco Geminiani. This program for strings is anchored by orchestral arrangements of music by Domenico Scarlatti and Corelli and features
principal players of the orchestra.

https://www.indybaroque.org/ibo-lift-thy-brow

Lift Thy Brow

lyrical music for string orchestra

Indianapolis Baroque Orchestra is thrilled to welcome Jeremy Rhizor as Curator and Guest Concertmaster for Lift The Brow: Lyrical Music for String Orchestra. Experience the concerto gorsso repertoire of the turn of the eighteenth century through the works of the English composer Charles Avison and his prominent Italian counterparts: Arcangelo Corelli, Francesco Durante, and Francesco Geminiani. This program for strings is anchored by orchestral arrangements of music by Domenico Scarlatti and Corelli and features
principal players of the orchestra.

https://www.indybaroque.org/ibo-lift-thy-brow

Ticket for the opening night performance on Sunday, Aug. 1st at 7:30 p.m. at First Plymouth Congregational church (2000 “D” Street, Lincoln, NE). The performance is entitled “The Harpweaver” and features Celtic Harpist Maeve Gilchrist, violinists Aisslinn Nosky and Olga Smola, violist Sarah Darling, cellist Anna Steinhoff, bassist Erik Higgins and a special outdoors intermission set by the Lincoln band “High Street Irish”.

Premiere:

Sunday, November 22, 2020
2:00 PM CDT

On-Demand:

Monday, November 23, 2020 - Friday, December 4, 2020

TCB presents virtuosic arias from Vivaldi’s opera Orlando furioso, featuring mezzo-soprano Angela Young Smucker, plus evocative works for strings led by TCB concertmaster Martin Davids.

For nearly 20 years, Justin Roberts has been creating the soundtrack to families’ lives, helping kids navigate the joys and sorrows of growing up while allowing parents to remember their own childhoods. Along with his band, The Not Ready for Naptime Players, Justin has travelled the globe from Hong Kong to New York, and Miami to Seattle, performing at venues and festivals such as LEGO land, Ravinia, Lollapolooza and Austin City Limits festival. Justin has performed in front of millions of people on The Today Show, he’s been featured on Nick Jr. TV, and has received three GRAMMY nominations for his work.

On the other end of the musical spectrum, Anna Steinhoff specializes in baroque cello and viola da gamba, in addition to the modern cello. She is principal cellist of the Indianapolis Baroque Orchestra, and is a member of the Haymarket Opera Company, Third Coast Baroque, Wayward Sisters and Second City Musick.

Justin’s latest album, Wild Life, is his 14th album for families and his most personal project yet. Inspired by the birth of their first child, Justin wrote cello parts for Anna into almost every track. They were joined by an eclectic group of instrumentalists including pianist Lisa Kaplan (Eighth Blackbird), percussionist Gerald Dowd (Robbie Fulks), and vocalist Nora O’Connor (Flat Five, the Decemberists). Wild Life includes songs about anticipation, uncertainty, unconditional love and advice for a life well-lived, and aims to evoke the wonder of what poet Mary Oliver called this “one wild and precious life.”

Written in Mühlhausen when Bach was only 22 years old, Gottes Zeit ist die allerbeste Zeit is one of his greatest masterpieces. Also known as Actus tragicus, the cantata was composed for a funeral service, likely the funeral of a mayor of Mühlhausen in September 1708. It will be performed one voice per part, accompanied by an orchestra made up of Baroque instruments. There is perhaps no better cantata to mark All Saints Day on November 1. 

3:00 p.m. Cantata Preview Lecture 
Mark P. Bangert, Lutheran School of Theology at  Chicago

3:45 p.m. Bach Cantata Vespers 
Live streamed on the Bach Cantata Vespers YouTube page: https://youtu.be/1f1gbgv64eU

Prelude: 
Timothy Spelbring, organ
J. S. Bach: Prelude and Fugue in G Major, BWV 550
and
Craig Trompeter and Anna Steinhoff, Violas da gamba
Michael D. Costello, harpsichord
Marin Marais: Prelude and Chaconne from Suite in G Major (from Pieces de violes, Book 1)

L. George Detweiler, Norristown, Pennsylvania,  homilist 

Kirsten Hedegaard, soprano 
Amy Anderson de Jong, mezzo soprano 
Ryan Townsend Strand, tenor 
Douglas Anderson, baritone
Bach Cantata Vespers Orchestra 
Grace Cantor Michael D. Costello, conducting