CD Review: Hideki Yamaya, 'The Mandolino in 18th- Century Italy'

Portland-based plucked strings expert Hideki Yamaya recently released a CD entitled The Mandolino in 18th-Century Italy, performing with lutenist John Schneiderman. The recording is of the Dalla Casa Manuscript, a mid-18th century compilation of mandolino music by amateur musician Filippo Dalla Casa.

The mandolino in this recording is very different from the modern mandolin; it is small and downright dainty, strung with nylon strings and plucked with fingers instead of a plectrum. The instrument has a delicate tone--the upper registers can be tinny and affect the pitch, which is off-putting at first but actually grows endearing as the music plays on, and the unique timbre becomes a joy to hear.

A peppery, virtuosic little sonata by Antonio Tinazzoli (1650-1730) opens the CD, barrelling forward in one whirlwind movement, showcasing the range of the instrument. The rest of the CD is very much in the galante style, with sonatas/concertos by Giuseppe Vaccari and Ludovico Fontanelli (1682-1748). Yamaya’s accurate and judicious ornamentation can’t be easy to effect on this feathery instrument. The compositions themselves are delightful, warm and fetching; Yamaya’s enthusiasm for playing these gems is obvious and infectious. His own variations on the menuet themes by an anonymous composer are virtuosic, and in one of these variations the mandolin switches to accompaniment and the lute takes the solo; other than that the lute is continuo throughout. The final Giga of the closing Vaccari concerto is particularly enjoyable, featuring surprising, modern-feeling syncopations.

This release is authentic and satisfying; samples of the work can be found here.

CD Review: 'L'Infidele' by Jon Mendle

Archguitarist Jon Mendle recently released his first CD, entitled L'Infidele after a lute sonata of the same name by the master baroque lutenist Sylvius Leopold Weiss (1687-1750). This release, from Brooklyn's In A Circle Records and produced by the great Sergio Assad, showcases Mendle's incredible artistry and deep musicianship through the interesting dichotomy of playing ancient music on an instrument invented only in 1980, by guitarist/lutenist Peter Blanchette.

The archguitar is an eleven-stringed instrument that looks rather like a mutant classical guitar. According to Mendle's website, "the Archguitar is a hybrid of the Renaissance and Baroque lutes, 19th century guitar, and modern guitar, making it ideal for a large cross section of early music, as well as certain modern and impressionist works."

On to the CD however; it contains Mendle's own transcriptions of the Weiss lute sonata as well as one by Adam Falckenhagen (1697-1761) and CPE Bach's Prussian Sonata V which was originally written for clavier.

The CD opens with the deep and weighty Largo at the head of the Falckenhagen sonata. In the subsequent Allegro un Poco Mendle's technique is revealed in the fantastic roulades and turns that he throws out in a manner sounding seamless and almost effortless, which is as it should be, the ornamentation feeling like a perfectly natural and unobtrusive outgrowth of the musical stuff from whence it came. The finale contains a mischievous recurring staccato theme that Mendle draws out insightfully and plays with obvious delight.

The CPE Bach is redolent with nascent classicism, and Mendle's playing makes the distinction between this style and the High Baroque of Weiss and Falckenhagen very clear. Again the fantastically difficult ornaments, this time in the middle Andante, are all realized smoothly and yet not monochromatically, alternately bold and delicate as called for. Throughout this CD the spectacular ornamentation is one commonality linking all of the compositions together; Mendle has a natural feel for it and isn't afraid to express himself through everything from filigreed and almost non-existent mordants to lengthy and substantive turns and doppelt-cadences. The Allegro Assai of this piece features voice-leadings taking off on various flights of fancy all their own.

The L'Infidele sonata, really a baroque dance suite, finishes out the CD. The Entree was exquisite, the Courante danceable and pulsing, and the Menuet featured terraced dynamics that yielded a fetching echo effect. Mendle explores a wide variety of tone colors in this suite; saucy mezzo-staccato phrases give way to sere, almost harsh plucking and muted, other-worldly legatos. The grumbling drone strings in the Musette present yet another delight to be savored.

If there were any flaw with this CD, it would only be that I wanted more after listening to it, and I immediately played it over from the beginning. Look for more great things to come from this brilliant young artist, who has already played with the likes of Yo Yo Ma and his teacher Sergio Assad.

Interview with Mattie Kaiser up at Oregon Music News

Bachxing Day returns! This year marks the fourth anniversary of Classical Revolution PDX's winter tradition of Bachxing Day, a musical celebration of the man and his music (on December 26th, Boxing Day.) No, there's no literal connection, but if you want to find out more about it, read our conversation here at OMN.

As a sidenote, I will be playing at Bachxing Day this year; on the mandolin a bouree from one of the cello suites and the top voice of one of the two-part inventions (however I will try to get someone else to play the other voice on another instrument) along with a prelude from another one of the cello suites but on the piano...yep, Bachxing Day is that kind of show.

Portland Viol Consort to present concert at Pacific University.

In conjunction with the Viola da Gamba Society of America's annual conclave, which is being held this year at Pacific University in Forest Grove, a free concert will take place tonight, July 29th, at the Taylor Meade Performance Arts Center in McCready Hall at 730 pm. In addition to the Portland Viol Consort, performing a set entitled "The Humors of Mr. Dowland" (featuring his Lachrimaes), Parthenia and Friends and Hallifax and Jeffery will also perform.

Information, including maps and driving directions, can be found at the VdGSA's website here.

CD Review: Silvius Weiss Lute Music II

BIS Records recently released a CD by Swedish lutenist Jakob Lindberg playing music of the German composer Silvius Weiss. Weiss was an almost exact contemporary of J.S. Bach, whom he met and challenged to a counterpoint competition--Bach on the harpsichord, Weiss on the lute. That says quite a lot about Weiss' abilities on the lute, and Lindberg's rendering of this difficult music leaves nothing to be desired by way of technique or interpretation. The odd title of the release is in reference to that fact that this could be considered a companion CD to an earlier release by Lindberg of Weiss' lute music.

The Ouverture to the first work, Sonata No. 39 in C Major, gallops forward in a bold, declamatory style, briskly paced and featuring a succinct realization of the contrapuntal outworkings that is delightful to hear. Lindberg's ability to so cleanly voice the numerous entwined melodies is stunning, and gives one great appreciation for Weiss' virtuosity on the lute (and an understanding of why he may have had the cheek to challenge Bach.) The Sarabande is truly delectable, full of an unrequited longing that Lindberg savors, note by note.

The Tombeau sur la Morte de M. Comte de Logy takes the form of a peripatetic allemande that is all grief, a slow, singing journey through the sadness that Weiss felt at the death of this great lutenist. Lindberg reveals a keen understanding of the subtle colorations required to prevent this somber dirge from becoming agonizingly dull, which can happen to pieces of this kind in lesser hands. Instead he yields a work that is engaging and full of the sincere, grave pathos that came to flower in the high Baroque.

The entire disc is fantastic, a true revelation of Weiss' genius as a composer and Lindberg's singular skill as a lutenist. It is an absolute delight, a treat for the ear as well as the soul.

Crossposted at NW Reverb

CRPDX to present 3rd annual Bachxing Day on Dec. 26th.

Following is a press release from Classical Revolution Portland:

Classical Revolution Presents The Third Annual:
Bachxing Day!! December 26th at The Someday Lounge
WHAT: Bachxing Day
WHO: Classical Revolution PDX
WHEN: December 26th, 2009. 9 PM
WHERE: The Someday Lounge – 125 NW 5th Ave, Portland OR 97209
COST: $5

Bachxing Day has become staple Portland celebration as members of Classical Revolution PDX perform their own interpretations of Bach sonatas, cello suites, cantatas and a special performance of the Third Brandenburg Concerto in honor of their third year at the Someday Lounge.

“Bachxing Day is always one of my favorite Classical Revolution events,” says CRPDX founder Mattie Kaiser, “the evening is all about how we personally express the music of one of the greatest composers of all time. At the Someday Lounge every interpretation is valid - whether it’s Bach on baritone, bassoon or banjo!”

All are encouraged to bring their instruments and show Classical Revolution how they play Bach. Audience members can also join in on the fun by creating ridiculous Bach names, puns and haikus to win prizes.

Happy Bachxing Day!

For more information please visit
www.classicalrevolutionpdx.org
www.somedaylounge.com


As a sidenote, I'd like to add that this event is really a blast and there's no better way to shake off thos post-Xmas blues. I'll probably even be playing a little something at this one...

LW

Glowing Reviews: A good week for music

Last week I unfortunately missed Grey Anne's CD release party despite my best efforts to find it, so I've been anxiously waiting for her debut cd facts n figurines. It came in the mail today and I listened to it all the way through a couple of times. It was f*$#ing great, like I was sure it would be; I reviewed it at Suite101. Between that and my last week of music, which consisted of Fidelio last Thursday, PSU Symphony last Friday, La Stella on Sunday, and the PBO last night, I feel sated and happy, music whore that I am.

PBO Assembles World Class Talent for 'Pergolesi, Naples and Julius Caesar'

I went to a fantastic display of baroque muscianship last night at the Portland Baroque Orchestra concert. Nicholas McGegan, Yulia Van Doren, and Matthew White are amazing musicians, and if you love early music, beg borrow or steal the money to go to one of the two remaining performances this weekend. I got Nick McGegan's autograph on one of his CDs, adding to my collection of autgraphed CDs by other renowned directors such as Monica Huggett, Richard Egarr, and Rinaldo Alessandrini. Bring on Chris Hogwood! I know, you can say it...I'm a total nerd. What fun it is...

A Quick Note on La Stella

Sunday at 3 pm at the First Presbyterian Church in Portland, the La Stella early music ensemble gave their first of hopefully many performances to come. I did not take notes at the concert, so this is just a quick heads-up about a promising new group.

La Stella consists of five performers:

Mary Rowell--violin
Zoe Tokar, alto recorder and voice flute
Owen Daly, harpsichord (playing an instrument of his own crafting)
Hideki Yamaya, theorbo and baroque guitar
Max Fuller, viola da gamba and baroque cello

They are all experienced Baroque musicians, and the depth of their expertise showed. The program consisted of very difficult works that required sincere scholasticism and excellent technique. While not quite flawless, as a serious early music fan this concert was one of the most satisfying meals I have had in some time.

In addition to trio sonatas for various combinations by Bach and Telemann, they delved into the early and middle Baroque repertoire for works by composers who are not heard as often, such as Giovanni Pandolfi (1620-1669) and Carlo Farina (1600-1640). Fuller played Marin Marais' langorous homage to his mysterious master, the famous Tombeau pour M'sieur de Sainte-Colombe for viola da gamba, . Yamaya presented two toccatas and a corrente for solo chitarrone (theorbo) by Alessandro Piccinini (1566-1638), and in the final 'Paris Quartet' by Telemann all five musicians played, with Yamaya joining the continuo on baroque guitar.

I'm not sure that there are any other small chamber ensembles in Portland who regularly play this type of music at this level, so I strongly hope that La Stella continues in this vein and receives the support that musicians like this so richly deserve from the PDX early music community. They do not have a website yet, but La Stella does have a Facebook page for those interested in learning more about the group or the performers.

NOTE: This is cross-posted ad Northwest Reverb.

Bach Fans, learn about the Rough and Rowdy side of the Maestro

I just published an article here at Suite 101 about some of the less-often discussed aspects of Bach's life, such as his swordfights, jail-time and confrontations with fellow musicians. Did you know the first draft of the Well-Tempered Clavier was sketched while Bach was imprisoned? Find out more...

Press Release: BCC Concert on October 26th

Cantata Choir to present free concert
Sunday October 26 at 2 pm, featuring Cantatas 106 and 140,
Plus Heinrich Schuetz: Psalm 128
Silent Auction Follows the Concert


The Bach Cantata Choir of Portland will present a free concert on Sunday, October 26th at 2pm at Rose City Park Presbyterian Church, 1907 NE 45th Ave in Portland, Oregon. The concert, under the direction of conductor Ralph Nelson, will feature a performance of Bach’s Cantata #106 “Gottes Zeit ist die allerbeste Zeit”, Cantata #140 “Wachet auf” and Heinrich Schuetz’s 8-part setting of Psalm 128. The concert is free and open to the public. A free-will offering will be taken. Doors open at 1:30pm. A silent auction to benefit the operations of the choir will occur directly following the concert in the parlor adjacent to the sanctuary.

Featured in the concert will be sopranos Nan Haemer and Solveig Nyberg-Akert, alto Irene Weldon, tenor Byron Wright and baritone Jacob Herbert. The works will be accompanied by a small chamber orchestra. John Vergin will provide the organ continuo. This concert features the Bach Cantata Choir – a choir of 50 professional or semi-professional voices, drawn from many of Portland’s finest choirs.

Bach’s sacred cantatas were written to be performed as part of the Lutheran Church liturgy. Cantata #106 “Gottes Zeit ist die allerbeste Zeit” (“God’s Time is the Best of Times”) is one of the earliest cantatas of Johann Sebastian Bach – written in 1707 when the composer was 21 and working as organist in the small German town of Mühlhausen. Bach subtitled the work, “Actus Tragicus”, and the cantata is a fascinating and extremely moving work – written to be used at funeral services. It is quite unique in that it is scored is for 2 recorders, 2 viola da gamba, continuo, soloists and chorus.

BCC AD Ralph Nelson Shares his story

Heckuva lot of initials, eh? That's our Artistic Director of the Bach Cantata Choir Ralph Nelson, who this summer took master classes with maestro Helmuth Rilling, world-renowned director of the Oregon Bach Festival. Ralph gave some details of his experience, which I published in BachBeat, the BCC's newsletter, but I also posted them at NW Reverb if you're interested in taking a look.

Baroque Bash! Opulent madness strikes the Holocene

Members of PBO perform at the Baroque Bash


Last Wednesday night, members of Classical Revolution Portland, the Portland Baroque Orchestra, and opera-rockers Sophe Lux threw a crazy party at the Holocene in SE Portland. I had the opportunity to open the show on solo harpsichord, floating the somber strains of a Purcell Almand into a still-murmuring crowd unannounced. I made some brief announcements followed by a Haydn sonata, and it took off from there.

It was a miniature who's who of some notables in P-town's classical music scene: Andrea Murray and Edmund Stone from KBPS All Classical were there; Mark Powell, Marketing Director and gracious host for the PBO was present. JustOut columnist and local music blogger Stephen Marc Beaudoin, (a fabulous tenor) performed what was without a doubt the most unique rendition of any Handelian opera aria that I've ever heard. Cellist/watercolorist extraordinaire Lori Presthus, as well as magnificent violinists Adam LaMotte and Greg Ewer, all of the PBO, wowed the crowd with the sterling level of musicianship that we've all come to know and love from that organization. Ralph Nelson, Artistic Director of the Bach Cantata Choir (and owner of the beautiful harpsichord we used for the event) also showed up. Of course, CRPDX founder Mattie Kaiser (aka Foxy Lux) and a regular crew of CRPDXers were there, in addition to Gwynneth Haynes and Sophe Lux, who played after the baroque performances were over. (If I've missed or didn't recognize anyone please forgive.)

A complete set list is available here at the CRPDX blog, and as I mentioned, the show opened with little ol' me. Although I didn't play nearly as well as I'd hoped (nor nearly as poorly as I'd feared) I really had a blast, and I got the very strong impression that all of the other performers and the audience did as well. It was a little unnerving for me playing on the same bill as members of the PBO, the cream of Portland's burgeoning Baroque scene, but I'm proud of my musicianship all the same and was grateful to have the chance to share the stage with such good musicians. Watching Mattie, Erin Winemiller and two CRPDX violinists whose names I don't know play a couple movements of a Haydn string quartet, I felt a certain warmth--I'd performed, gotten bloodied so to speak, and so felt a cameraderie that lent the rest of the evening a pleasant glow.

The finalists gather...

The scene shifted to another room where two cellists whose names I don't know (please feel free to shout out in the comments section) played the concertina from a Vivaldi double cello concerto with funky backbeats and psychedelic lighting. When Stephen Marc Beaudoin took the spotlight to sing two numbers from Handel's Rodelinda (heard in P-town last year thanks to the Portland Opera), it was a study in contrasts, to say the least. The first aria was tender, heart-rending, very introspective and honest. The second ended with Beaudoin hurling various articles of clothing into the audience, standing only in boxers and a t-shirt by the end of this baroque burlesque...honesty of a different sort?

Jan Groh of the Nachtigal Duo and Simon Bielman played a tricky Telemann recorder sonata quite well. They had been practicing in my living room earlier in the week, so it was fun to hear how much this piece had evolved in such a short time. Lori Presthus played a glorious Courante from Bach's 1st Cello Suite, and I was thrilled to hear this since I own her CD of the first 3 cello suites (going to get the second installment soon.) She also improvised, displaying her daring and virtuosity. Ewer and LaMotte showed their skills in a violin duet played at a positively blistering tempo, and the three PBO musicians closed out the Baroque part of the bash with Vivaldi's 'La Folia.'

Next came the costume competition. There were quite a number of lavish costumes...a neo-baroque hipster thing with a pink wig, Marie Antoinette-ish ensembles. Beaudoin led the festivities in a suitably boisterous manner, letting the audience applause judge the winners of various categories (including 'The Most Glam F*!#ing Glam' division). Despite the fact that there were many costumes that I felt left mine in the dust, somehow when it was all said and done I was the last man standing, and won two CDs and a hilarious 'Baroque Obama' t-shirt, courtesy of Classical Millenium. After receiving a stern, crowd-pleasing smack on the ass from the host (I'm sure we'd both had a few rounds by this point), it was intermission. PDX glam faves Sophe Lux took the stage afterwards, and I was glad to hear my favorite tune of theirs, the very apropos 'Marie Antoinette Robot.' I've written about their performances here before.

All in all, it was a ridiculous amount of fun. It had the interesting effect of taking some of the starch out of classical music while simultaneously celebrating that very aspect of it, and of bringing both the audience and performers together in a very unique way. Leave it to CRPDX come up with something like this...I sure hope they do it again.

And the winner is...

Press Release from CRPDX

CLASSICAL REVOLUTION PDX PRESS RELEASE

CONTACT: Mattie Kaiser ClassicalRevolutionPDX@gmail.com
Powder your wig and lace up your corset for…
The Baroque Bash - September 17th at Holocene
WHAT: Baroque Bash
WHO: Sophe Lux (myspace.com/sophelux); Classical Revolution PDX (classicalrevolutionpdx.org) and members of the Portland Baroque Orchestra (pbo.org)
WHEN: September 17th, 9 PM
WHERE: Holocene, 1001 SE Morrison, Portland
COST: $8 at the door; $6 for those in costume.

Baroque music meets baroque pop for a first-of-its-kind show at the Holocene nightclub on September 17th.
The “Baroque Bash” features performances by beloved chamber-rockers Sophe Lux, chamber music collaborative Classical Revolution PDX and special guests from Portland Baroque Orchestra, the Pacific Northwest’s premiere period instrument ensemble. CRPDX and the PBO Chamber Players will perform works by Bach, Haydn, Vivaldi and other 17th and early 18th Century composers. Sophe Lux, known as much for their lavish costumes and mini-operettas as for their musicianship, will play original songs hailed by the Portland Tribune as being “operatic, ambitious...sophisticated, theatrical pop.” The Philadelphia Weekly described them as “fancy-dressed, concept-loving, rock-opera terrorists... This Weimar-infused, accordion-loving experimental cabaret is led by the blond and beautiful Gwynneth Haynes, whose octave-jumping soprano could easily turn from indie rock to Brecht-Weill torch songs.”

Singer Gwynneth Haynes invites the audience to fully participate in the evening by taking on Baroque characteristics. Says Haynes “Don’t just be a spectator, be a part of the spectacle!” Audiences are invited to join in the evenings festivities by donning outfits and wigs for the evening’s costume contest.

Tom Cirillo, Executive Director of Portland Baroque Orchestra, jumped at the invitation from Classical Revolution PDX to bring live performance of 18th century music to a “downtown” club venue like Holocene. He says, “18th century music is all about flash, spectacle and live improvisation. A party-like setting with adult refreshments is certainly in the spirit of the music and I know our virtuoso violinists Greg Ewer and Adam LaMotte will thrive in the energy of this unique event at Holocene.”

Violist Mattie Kaiser, who performs with Classical Revolution PDX and Sophe Lux, says the Baroque Bash will demonstrate the commonality between Baroque music and the literate, musically complex pop songs produced by bands like Sophe Lux. She likens the best music of the Baroque, known for its emphasis on ornament and extravagance, to glam rock: “I really don’t think there’s that much of a difference between the baroque music pageantry that existed back in the day and glam - it’s all about being completely ridiculous with the utmost sincerity.”


Blogger's sidenote: I'd like to add that I think this sounds really fun and I will definitely be there. You might even have the great misfortune of hearing me play some Purcell on the harpsichord... I also thank Ralph Nelson, Artistic Director of the Bach Cantata Choir, for the use of his harpsichord for this event.

Review of William Byrd Festival at NW Reverb

I attended a spectacular display of keyboard brilliance at the opening of the William Byrd Festival last night, and wrote a review of it here at NW Reverb.

Review of Bach's B-minor Mass at NW Reverb

I had the great pleasure of attending a performance of Helmuth Rilling's Mass in B-minor at the Schnitz last week, and wrote a review of it here at Northwest Reverb.

Thoughts and Thank-Yous re: Cafe Bach

Last Sunday we in the Bach Cantata Choir presented our final event of the year, a fundraiser we called Cafe Bach. It was loads of fun, both for the choir and for the audience who really seemed to enjoy themselves. My colleague James Bash presented his review of the performance here at Northwest Reverb. Great thing about James; though we sing and work on writing projects together, he presents a balanced review: he calls it as he hears it, and I greatly appreciate that. Both from a performance and production standpoint, there were some things that could've gone better. There definitely were some ragged edges here and there, but given our rehearsal schedule (three, including dress, all of them within the last week) and the tight timeline we were presented with, and the myriad challenges in creating a singing cafe for the afternoon, I couldn't be more proud of the way our group came through.

I serve on the board of the BCC with a number of other hard-working folks whose tireless dedication to Bach's music serves as a shining example for me, one that I strive to follow. That coupled with serving on the Cafe Bach subcomittee (or the Koffee Kantata Kommittee as we have jokingly called it), preparing as a singer for the Carmina Burana production with the PSC and OSO, getting ready for re-auditions both with the BCC and the PSC, not to mention the work, family, and personal life that we all have, has really kept me hopping these past few months. Sometimes it can be easy to get mired in one's own work and overlook the incredible efforts of others, at least until the final result is played out right before one's very eyes.



Julie Adams, our leader of the Cafe Bach committee, is not even a member of the BCC and yet she put in countless hours working on everything from fine details such as picking out table cloths and creating a gorgeous menu, to making sure we had enough coffee and taking care of renting and returning carafes and pitchers. She deserves a big round of applause from all who enjoyed our presentation yesterday.

The staff at Rose City Park Presbyterian were extremely helpful and Woody Richen, a BCC board member and member of the church, served as our liaison along with our director Ralph Nelson, and it would not have been possible to do this without them.

Doro Gauer-Lail translated the entire text of two Telemann cantatas from German to English, as well as translated the recipes for the guglhupfs, obsttorte, and schokoladenkuchen (seen throughout this post in that order top to bottom) so that our talented bakers could provide authentic German pastries. In addition, Doro also baked obsttorte herself and coordinated our baking, all this despite having to travel to Malaysia on business in the midst of our preparations.



Grant Huter designed and created by hand and installed all of the decorations, from our gorgeously kitschy tomato-cage baroque chandelier to the glorious JS Bach crest and other adornments behind the stage, and many other things as well.

Sue Nelson coordinated all of the beautiful floral arrangements that adorned our tables, not to mention getting together costumes and baking as well as a myriad other tasks, some of which I'm sure I don't even know about.

Uwe Haefker left 'em rolling in the aisles as our beer-swilling, narcissistic Schoolmaster, and Nan Haemer and Jacob Herbert did no less as the quarrelling Father-Daughter duo in the Coffee Cantata. Thanks also to Byron Wright who brings his beautiful tenor to our BCC productions. Our BCC chamber orchestra performed professionally as always. Elise Groves stepped in at the last minute as our able accompanist, in addition to the many other ways she helped with this project.


Uwe Haefker


Byron Wright


Jacob Herbert and Nan Haemer

My girlfriend Kristin Sterling baked two delicious schokoladenkuchen, designed our mailer, helped set up, serve as an usher, and helped clean-up as well.



And virtually every chorister who sang also did double (or triple, quadruple, quintuple) duties as bakers, servers, cake-cutters, ushers, set-up crew, clean-up crew, etc. Even some choir members who weren't able to sing helped out in other ways or supported us as audience members. Friends and family members of the choir also baked and helped with the above-mentioned tasks. Board member Gail Durham, who wasn't able to attend due to being out of the country, helped us immeasurably with the early planning, and even baked 5 obsttorte before she left town.



And of course no one works harder than our indefatigable leader Ralph Nelson. He brings his many, many talents, in the form of artistic director, conductor, harpsichordist, president of the Board, organizer, coordinator and historian to bear on this immense task we have set ourselves, which is the performance of all of Bach's 250+ cantatas.

My heart was truly warmed watching the efforts of everyone mentioned above both by name or otherwise. This group is dedicated to performing the music of J.S. Bach, and not just to the actual singing: this extends to the very hard and thoughtful work of all the less-than-glorious tasks involved in running a performance ensemble. Everyone rolled up their sleeves yesterday. I'm constantly amazed by the diligence and resourcefulness of the members of this group.

A word needs to be said also for our audience, whose good taste and passion for Bach equal our own. We sold the house out and then some, and that couldn't happen if there weren't so many lovers of this fantastic music in our community. The BCC owes our audience a true debt of gratitude for the moral and financial support we receive.

I'm sure I've forgotten some important people and important tasks; please feel free to shout them out in the comments section after this posting. Once again, to everyone involved in any way, thank you.