Organist Phebe Craig

SONOMA BACH'S WORLD IN SCHROEDER HALL CONCERT

Continuing the theme of “Bach’s World” and its very deep dive into the subject of how Bach came to be who he was, Sonoma Bach presented Nov. 19 a second concert of a variety of motets by the Leipzig Master, J. Christoph Bach, J. Michael Bach, old Johann Bach, and two of Sebastian’s Bach’s idols, Pachelbel and Buxtehude.

The works presented span the better part of a century of compositional development and provided insight into the musical journey the Bach family and their contemporaries made from the late Renaissance to and through the Baroque.

I was particularly moved by the texts of these selections, at once ancient and yet contemporary. They are religiously inspirational and philosophical, with familiar Bible extracts combined with standard liturgical texts. The great chorale melodies soar throughout, providing context and backbone from which the counterpoint blooms.

For this concert outstanding forces were assembled. Circa 1600 is a chamber ensemble of nineteen singers directed by Robert Worth and immersed in the study and performance of vocal music from the Renaissance and Baroque. They sing as one voice, with impeccable musicianship, blend and balance, and infectious energy. Several excellent uncredited solos decorated the proceedings as well.

Circa 1600 was joined by the illustrious continuo-organist Phebe Craig and two top-notch instrumental ensembles. The Whole Noyse is a preeminent Renaissance-Baroque instrumental ensemble based in the Bay Area. For this concert the audience was treated to performances on the sackbut (an early trombone), the cornetto (a woodwind with finger holes but a mouthpiece rather than a reed, so that it makes more of a trumpet or cornet-like sound), and the curtal (an early bassoon). Strings were provided by Barefoot All-Stars, a relatively new and wonderfully lively viol ensemble comprised of treble, alto, tenor and bass instruments, all held and played vertically.

The sound and the balance between instruments and voices was perfect in Schroeder Hall and the freedom and musical excitement that accompanies this level of performance was appreciated by loud applause from a nearly full house.