September 29, 2024
Lassiter Concert Hall
Marietta, Georgia – USA
Atlanta Baroque Orchestra, Julie Andrijeski, artistic director; Hanna DePriest, soprano; Jacob Perry, tenor; Michael Dauterman, baritone; Kathryn Montoya, oboe; Webb Wiggins, Baroque organ; Glenn Memorial UMC Chancel Choir.
Johann Sebastian BACH: Cantata No. 1, “Wie schön leuchtet der Morgenstern”
Johann Sebastian BACH: Cantata No. 202, “Weichet nur, betrübte Schatten” (Wedding Cantata)
Johann Sebastian BACH: Cantata No. 62, “Nun komm, der Heiden Heiland”
William | 1 OCT 2024
The Atlanta Baroque Orchestra (ABO), under the direction of Baroque violinist Julie Andrijeski, is celebrating its 26th year. Though selected to perform at the American Bach Society’s conference, their concert was canceled due to Hurricane Helene. Today’s performance, the last of three, took place at Lassiter High School Concert Hall, a colonial-style venue with seating for about 1,000. Despite the hall’s good acoustics, the audience was small, with only 100-200 attendees.
The program featured Bach cantatas suitable for both church and secular settings. A cantata is a vocal composition with instrumental accompaniment, often involving choir, soloists, and orchestra, structured in several movements. Bach wrote around 300 cantatas, of which about 200 survive. The ABO performs on historically informed instruments, many of which sound different from modern ones due to differences in pitch during Bach’s time. Baroque violins use gut strings, producing a softer sound compared to today’s metal-core strings. The Baroque oboe, made of wood with fewer keys and wider reeds, produces a reedier tone. The Baroque horn, with no keys, has a brassy, bright sound. These instruments can be difficult to tune, and the musicians spent several minutes tuning before each cantata. Melisma singing, where a singer sings multiple notes on a single syllable, is a common feature in cantatas.
The concert opened with “Wie schön leuchtet der Morgenstern,” a six-movement cantata, written in 1725 and based on a 1597 Lutheran hymn by Philipp Nicolai. The hymn’s “morning star” metaphor symbolizes Christ, representing hope and divine presence. The orchestration included two horns, three oboes, strings, and continuo, supporting both choral and solo movements. The chorus, made up of members from the Glenn Memorial UMC Chancel Choir, initially had balance issues with the orchestra but these were resolved as the piece progressed.
Next was Bach’s Cantata No. 202, “Weichet nur, betrübte Schatten,” a celebratory work reflecting on love, nature, and renewal. Written around 1717-1723, the cantata’s nine movements feature oboe, horn, violin, viola, and continuo. In the third aria, the violin solo, beautifully played by Ms. Andrijeski, stood out. However, the cello accompaniment in the soprano’s aria faced some intonation and tempo challenges.
The final piece was Cantata No. 62, “Nun komm, der Heiden Heiland,” composed in 1724. This profound work blends theological depth with musical brilliance, beginning with a grand chorus and progressing through reflective arias and recitatives. It explores the meaning of Christ’s incarnation, emphasizing His role as a victorious savior. The closing chorale encapsulated the hope and joy of the Advent season. The orchestration, particularly the oboes, added warmth, while the strings and continuo provided harmonic and rhythmic foundation throughout.
The vocal soloists—Hanna DePriest (soprano), Jacob Perry (tenor), and Michael Dauterman (baritone)—were excellent. Ms. DePriest’s clear, flexible voice handled melismatic singing well, with excellent articulation and projection. Mr. Perry’s rich tenor voice had great control and articulation, while Mr. Dauterman’s voice was powerful and warm. Oboe soloist Kathryn Montoya delivered a precise golden tone whenever she played. The Baroque organ provided the continuo and was played by Webb Wiggins.
Overall, this was an enjoyable 90-minute concert featuring some of Bach’s most beloved cantatas. The ABO, under Ms. Andrijeski’s direction, along with the chorus and soloists, performed cohesively, making the performance particularly enjoyable. ■
EXTERNAL LINKS:
- Atlanta Baroque Orchestra: atlantabaroque.org
Read more by William Ford.
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