The towering figure of J S Bach has dominated the history of church music in Germany, but the roots of the Lutheran tradition on which he drew take us back to the sixteenth and seventeenth centuries. We follow this line of influence, through the music of Praetorius, Heinrich Schütz and Johann Christoph Bach, culminating in the greatest of J S Bach’s choral motets, Jesu Meine Freude.
Woven through the programme are solos by soprano Kate Semmens from Anna Magdalena Bach’s notebook, a collection of favourite pieces compiled by J S Bach’s second wife, including Stölzel’s much-loved Bist du bei Mir.
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