Bach Vespers at Holy Trinity Announces 2014-15 Season
The board of Bach Vespers at Holy Trinity is pleased to announce the inaugural season of its new artistic director Donald Meineke. Only the fourth director in Bach Vesper's 47-year history, Meineke has planned the largest and most ambitious season to date, placing newly discovered works and North American premiers alongside longstanding favorites. Repertoire for the season has been meticulously chosen to showcase the tremendous talent of the Bach Choir and Players and follows a theme of lineage and new beginnings. Already a standout in New York City's thriving early music scene, this new leadership and exciting season promises to take the Bach Choir and Players of Bach Vespers at Holy Trinity to new heights.
Bach Vespers at Holy Trinity was the first organization in the Western Hemisphere to present the cantatas and other works of Johann Sebastian Bach and his contemporaries within their intended sacred context. Bach Vespers offers performances open to all through a free-will offering every Sunday evening at 5:00 PM from October to May and features the renown Bach Choir and Players on period instruments within the most authentic setting to hear the music of Bach outside of Leipzig, Germany.
Some program highlights include:
The season officially opens on Sunday, October 19th at 5:00 PM when Maestro Meineke takes to the podium for the first time in a performance of two of Johann Sebastian Bach's double choir motets: Singet dem Herrn BWV 225 and Jauchzet dem Herrn BWV 160. The performance will also feature a new collection of Preces and Responses written for the occasion by Maestro Meineke. In this final number, the combined choirs of Holy Trinity Lutheran Church will join the Bach Choir and players in this festive opening night performance.
In celebration of All Saints Sunday, the Bach Choir and Players will present Heinrich Schütz's Musikalische Exequien SWV 279-281 on Sunday, November 2nd at 5:00 PM. In recent years, the music of Heinrich Schütz has enjoyed renewed interest and enthusiasm from audiences worldwide. Though 100 years his senior, the music of this North German master exerted considerable influence on Bach's compositional style. Composed in 1636 for the funeral of Heinrich Posthumus Reuss, Musikalische Exequien is the musical embodiment of Reuss' elaborate engraved copper coffin. Life and death, dying and rising, mourning and comfort are given powerful expression both musically and theologically in this work as those who have died in the preceding year are commemorated, all saints known and unknown.