6 November 2016 -
29 May 2017
Autumn and Spring
concerts 2016-17

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J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

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We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter servic

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with import

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Ma

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor Mass, is a compilation of favourite movements drawn from his cantatas, though its scoring with two flutes and strings gives it a charming, intimate character.  The Whitsun

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor Mass, is a compilation of favourite movements drawn from his cantatas, though its scoring with two flutes and strings gives it a charming, intimate character.  The Whitsun cantat

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor Mass, is a compilation of favourite movements drawn from his cantatas, though its scoring with two flutes and strings gives it a charming, intimate character.  The Whitsun cantata ‘O ewiges Feuer’ starts with one of Bach’s greatest chorus

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor Mass, is a compilation of favourite movements drawn from his cantatas, though its scoring with two flutes and strings gives it a charming, intimate character.  The Whitsun cantata ‘O ewiges Feuer’ starts with one of Bach’s greatest choruses, a dramatic portrayal of the tongues of fire and includes a beautiful lullaby aria,

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor Mass, is a compilation of favourite movements drawn from his cantatas, though its scoring with two flutes and strings gives it a charming, intimate character.  The Whitsun cantata ‘O ewiges Feuer’ starts with one of Bach’s greatest choruses, a dramatic portrayal of the tongues of fire and includes a beautiful lullaby aria, with flutes and muted strings.

Peter Holman’s vivid and authoritative performances of Baroque music have delighted audiences at SVF and further afield for many years.  In this concert he directs his regular team of period-instrument players and choral singers. Three of our distinguished regular soloists are joined by the exciting young mezzo soprano Helen Charlston.

‘Peter Holman, directing from the harpsichord,

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor Mass, is a compilation of favourite movements drawn from his cantatas, though its scoring with two flutes and strings gives it a charming, intimate character.  The Whitsun cantata ‘O ewiges Feuer’ starts with one of Bach’s greatest choruses, a dramatic portrayal of the tongues of fire and includes a beautiful lullaby aria, with flutes and muted strings.

Peter Holman’s vivid and authoritative performances of Baroque music have delighted audiences at SVF and further afield for many years.  In this concert he directs his regular team of period-instrument players and choral singers. Three of our distinguished regular soloists are joined by the exciting young mezzo soprano Helen Charlston.

‘Peter Holman, directing from the harpsichord, inspir

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor Mass, is a compilation of favourite movements drawn from his cantatas, though its scoring with two flutes and strings gives it a charming, intimate character.  The Whitsun cantata ‘O ewiges Feuer’ starts with one of Bach’s greatest choruses, a dramatic portrayal of the tongues of fire and includes a beautiful lullaby aria, with flutes and muted strings.

Peter Holman’s vivid and authoritative performances of Baroque music have delighted audiences at SVF and further afield for many years.  In this concert he directs his regular team of period-instrument players and choral singers. Three of our distinguished regular soloists are joined by the exciting young mezzo soprano Helen Charlston.

‘Peter Holman, directing from the harpsichord, inspired a lithe and enjoyable performance’ The Observer

Tickets £20 (reserved), £14 (unreserved), reserved seats for both Spring concerts £

&&&

J.S. Bach%%%Mass in A major (1738-9)!!!
%%%Cantata ‘O ewiges Feuer’ (1746)!!!
%%%Easter Oratorio (c. 1743)!!!

&&&

We continue our ‘Bach spring’ with a special concert of three mature sacred masterpieces. The Easter Oratorio, reflecting on the events in the tomb immediately after the Resurrection, was one of Bach’s favourite pieces, originally composed in 1725 and revived for Easter services in Leipzig at least three times.  We perform his last version, with important and intriguing changes to that normally heard.  The Mass in A major, like the B minor Mass, is a compilation of favourite movements drawn from his cantatas, though its scoring with two flutes and strings gives it a charming, intimate character.  The Whitsun cantata ‘O ewiges Feuer’ starts with one of Bach’s greatest choruses, a dramatic portrayal of the tongues of fire and includes a beautiful lullaby aria, with flutes and muted strings.

Peter Holman’s vivid and authoritative performances of Baroque music have delighted audiences at SVF and further afield for many years.  In this concert he directs his regular team of period-instrument players and choral singers. Three of our distinguished regular soloists are joined by the exciting young mezzo soprano Helen Charlston.

‘Peter Holman, directing from the harpsichord, inspired a lithe and enjoyable performance’ The Observer

Tickets £20 (reserved), £14 (unreserved), reserved seats for both Spring concerts £34

St Mary's Church, Boxford Sunday 6 November 2016
SEBASTIAN COMBERTI & KATHARINE DURRAN 6 pm
Sebastian Comberti violoncello, Katharine Durran Broadwood pianoforte  
The Quaker Meeting House, Sudbury Thursday 17 November 2016
ABEL: POLISH DISCOVERIES 7 pm
Mark Caudle viola da gamba, Teresa Kaminska violoncello  
St Mary's Church, Dedham Sunday 11 December 2016
CHARPENTIER: MIDNIGHT MASS 6 pm
Claire Coleman soprano, Psalmody, with a childrens' choir from local schools, The John Jenkins Consort, directed by Peter Holman
 
St Peter's, Sudbury Sunday 19 March 2017
TREVOR PINNOCK & JONATHAN MANSON 6 pm
Trevor Pinnock harpsichord, Jonathan Manson viola da gamba  
St Mary's Church, Hadleigh Monday 29 May 2017
JOHANN SEBASTIAN BACH 6 pm
Claire Coleman soprano, Helen Charlston alto, Daniel Auchincloss tenor, Giles Davies bass-baritone, Psalmody, Essex Baroque Orchestra, directed by Peter Holman
Ticket options