Reviewed by Georgia Cassimatis
Easter is a time full of vibrant, life-affirming music, social events, and holidays. So what a more joyous and reflective way to contemplate and celebrate than to be immersed in the brilliant genius of J. S Bach’s extraordinary music he composed especially for Easter, in 1724 during his appointment as Thomaskantor in Leipzig; a role where he produced some of the most outstanding music of all time.
What makes this event even more special is that it is the 300 year anniversary since J.S. Bach was appointed, and to celebrate, the Bach Akademie Australia, founded by Artistic Director and violin virtuoso Madeleine Easton, have created a concert series for 2023 called Music In The Castle of Heaven, the first series of which celebrates Bach at Easter.
As with many composers the duality of Easter with its celebration of light and dark, loss and renewal, was a source of inspiration and J.S. Bach encapsulated this superbly with his Easter Cantata BWV 66, a tender funeral Motet Komm, Jesu, Komm and the dramatic Miss Brevis in F.
Bringing this to light in Sydney at the stunningly acoustic church Our Lady of Dolours in Chatswood, we were captivated by a sea of beautiful sounds emanating from the period string instrument ensemble with its stunning choir, french horns, oboes, violins, tenors, altos, and sopranos.
Opening with the Cantata BWV 66 two characters named Hope and Fear (sung by Stephanie Dillon and Richard Butler), danced beautifully as they debated whether or not one celebrates or mourns. The sadness of the Fear (the alto) fused hauntingly yet hopefully with Hope (tenor), culminating in a solo violin performed masterfully by Madeleine Easton. Fun fact is that Madeleine plays a 1682 Giovanni Gancino violin.
A favourite was the Motet ‘Komm, Jesu, Komm’ where eight voices (Susannah Lawergren, Stephanie Dillon, Richard Butler, Andrew Fysh, Brianna Louwen, Hannah Fraser, Timothy Reynolds, Jack Stephens), sang acapella or ‘senza accompagnato’: the intimacy of which invited us to quietly compromise loss and the promise of an afterlife. The motet was a genre Bach liked: its archaic and unique form of music create a choral polyphony that captivates: perhaps a reason I found myself enthralled.
Miss Brevia in F concluded the Easter celebration, culminating in all aspects of Easter: joy, contemplation, sadness, grief and ultimately celebration. The virtuoso exuberance of the French horns, oboes and a full choir were stunning, which gave me an all new appreciation for the sound of the oboe as a solo instrument, especially when accompanying the heart wrenching Aria Qui Tollis sung by soprano Susannah Lawergren.
As Artistic Director Madeleine Easton says: ‘This year our inspiration derives from the heavens, and the universe of eternal wonderment contained in J.S. Bach’s music.’
I for one have discovered a new way to celebrate the Easter story and experience. Unforgettable and enlightening.
For more information for concerts in June, September and November this year contact: www.bachakademieaustralia.com.au