Last night (6 January 2010) was the crowning concert of the first Arizona Bach Festival. On the program were four of six parts of Johann Sebastian Bach’s beloved Christmas Oratorio (S. 248) featuring the Grammy Award-winning Phoenix Chorale and a chamber festival orchestra. The venue was the recently-renovated Central United Methodist Church in Midtown Phoenix, whose acoustics quite possibly rival Trinity Cathedral’s in Downtown Phoenix. (Yes, I said it.)
A quick note about the Christmas Oratorio: Unlike other grand oratorios from the period, Bach’s work is comprised of six separate cantatas that are for Christmas Day through Epiphany (January 6). Bach’s original design was for the six separate cantatas to be performed separately. Modern concert performances perform all six. JS Bach’s cantatas combine grand choruses, settings of chorales, arias, and recitatives. Some feature small overtures/sinfonias at the beginning of each cantata.
There is a strong element of musical foreshadowing in the Christmas Oratorio. Bach employs the Passion chorale Befiehl du deine Wege (usually sung in English as O sacred head now wounded) throughout the work. Most notably, the chorale concludes Part VI as well as the complete Oratorio. In addition, an aria and chorale from Part V (Wo ist der neugeborne König der Juden?) are borrowed from his St John Passion (S. 245).
Joining the 27-voice Phoenix Chorale was a 19-member chamber orchestra as well as a continuo organist. It should be noted that a key element to Bach’s works (and most Baroque works in general) is a strong basso continuo. In the performance, cello and organ combined to play the continuo. Jan Simiz (cello) and Sue Westendorf (organ) were perfectly together in this respect.
For the most part, the Phoenix Chorale’s pronunciation of the German text was easily discernible. When the choir was singing the same words at the same time, even non-German speakers could transcribe the text. But like most of Bach’s work, unison writing is rare and often times the different vocal parts are singing different words. That, combined with the live nature of the space’s acoustics, muddied up the text. I was sitting about 30 feet from the choir so I cannot imagine what it was like for people sitting in the back of the house.
On his game at the concert was Erik Gustafson, a tenor in the Phoenix Chorale, who performed the role of evangelist. (In the Christmas Oratorio as well as the Passions, the Evangelist connects the different arias and chorales together with text from the Bible sung in recitative form.) He sung with a pure, refined sound that, in my mind, made for a perfect evangelist. Mr. Gustafson kept to the simplicity of the text and added vocal effects (e.g. vibrato) very sparingly that actually contributed to the success of that role.
It was good to see the Phoenix Chorale return to its roots (they were, until recently, called the Phoenix Bach Choir). The Chorale, along with the orchestra and conductor Scott Alan Youngs, performed this work brilliantly. Bach’s Christmas Oratorio is not a work that should be taken lightly. The combined ensemble presented the work in a manner that even those who do not appreciate JS Bach’s music would suddenly appreciate it; for those who admire the great composer’s music, their admiration would become even greater.
This concert was one part of the Arizona Bach Festival, and so far, each of the performance spaces have been packed houses. It truly is heartwarming that, even in times of economic peril and also in a state whose legislators do not recognize the value of arts in the community, people enjoy and support the arts. With a concert like last night’s, it can be truthfully said that there are artistic gems in this desert.
-Edward Jensen
(For pictures from last night’s concert as well as the previous concerts in the series, check the Festival’s Facebook page at facebook.com/arizonabachfestival.)