The Bach Choir of Bethlehem & Greg Funfgeld Handel Ode For St. Cecilia's Day

Although George Frideric Handel is thought of as the quintessential “English” composer, we should not forget that he was born in Halle, Germany and had a similar upbringing to such contemporaries as Georg Philipp Telemann and Johann Sebastian Bach, among others. His teacher from 1692 was Friedrich Wilhelm Zachau, organist at the Marktkirche, Halle. When Zachau died in 1712, Bach was approached to become his successor in Halle, a position he declined even though a contract had been drawn up and needed only his signature. At that time Handel was well traveled and far from Halle, having spent some years in Hamburg, where he was active in the opera, then more years based in Rome, and by 1712 had already been in London for two years. Thus Handel’s career, and the music he composed, was somewhat different from that of Bach and his contemporaries in Germany. But despite the differences, the roots were the same, and Handel maintained his contacts in Germany and was fully aware of the music being performed there.

The oldest Bach choir in the United States, The Bach Choir of Bethlehem celebrates its 120th birthday in 2018. Since its founding in 1898, the now famous choir has attracted thousands of visitors from across the United States and beyond to the annual Bethlehem Bach Festival in Pennsylvania. Cantata BWV 21, Ich hatte viel Bekümmernis, was composed for various occasions between 1713 and 1714; with nearly every performance it was expanded by additional movements. It should be noted that this recording frames the Bach cantata with two exquisite arias. With Daniel Taylor, Cassandra Lemoine, Rosa Lamoreaux, Benjamin Butterfield, William Sharp & The Bach Festival Orchestra, directed by Greg Funfgeld, this production is grandiose!

'L'Allegro il penseroso ed il moderato' brings together Sir David Willcocks, some fluent chamber players and the illustrious tenor Peter Pears - not the most orthodox of Handel interpreters in an era of so-called authentic performance, but here appropriately sonorous. The greater feast, however, is the 'Ode for St Cecelia', whose spiritual patronage of the sonic arts first really took off in the seventeenth century and has not looked back since. April Cantelo and Choir of King's College Cambridge offer an inspired and inspiring account of a rich, celebratory and gorgeously double-rhythmed delight.

For nearly 74 years from the death of J.S. Bach in 1750 to Mendelssohn’s fifteenth birthday in 1824 the Matthäus Passion had all but disappeared. Young Mendelssohn’s prized birthday gift - a bespoke a copy of the Passion - was to change music history when five years later he mounted its first performance in the nineteenth century in Berlin. Today it is inconceivable to imagine music without Bach, but in the 1820s his music had been relegated to no more than the exercise-book for students of counterpoint.

Brisk and bracing, the incisive performances of I Barocchisti are the main attraction of this hybrid SACD, which owes its success to this group's period instrumentation and historically informed methods, perhaps more than to any other aspect. Granted, Handel's jubilant Ode for St. Cecilia's Day, the Organ Concerto No. 13, and the coronation anthem Zadok the Priest already commend themselves, if not for being among his greatest masterpieces, then as essential secondary works. Furthermore, the idiomatic vocal performances by soprano Julia Gooding, tenor Jeremy Ovenden, and the Swiss Radio Choir are certainly attractive, though not out of the ordinary in this repertoire. But it's I Barocchisti's brilliant sonorities and crisp articulation on authentic instruments that give this album its zest, and the quality of the program would be seriously diminished if any of these wonderful sounds were lacking. Directed by Diego Fasolis, a master of early music techniques and styles, this Swiss orchestra is one of the leading ensembles in the field of Baroque music, with exceptional recordings of Bach, Monteverdi, and Vivaldi already to its credit, as well as Handel's Messiah; it has only increased its reputation with this terrific album.

(Blair Sanderson)

In 1739 William Boyce (1711-1779) composed his 'Ode for St. Cecelia's Day' to a text by his friend, the amateur poet, John Lockman. In writing this ode Boyce followed in the footsteps of his two chief teachers, Maurice Greene and Johann Pepusch who also wrote music in St. Cecelia's honor. However, his music is more reminiscent of Handel which is not surprising, since while the much younger Boyce was becoming prominent in London's lively music scene, Handel was the most celebrated composer of the time anywhere.