HANDEL Dixit Dominus

Sunday 1 July, 3.15 pm
St Michael at the North Gate, Oxford

Handel and Bach never met, though they both studied with the great Dietrich Buxtehude. Bach’s solo alto Cantata 54 is flanked by Buxtehude’s joyful Cantata Alles, was ihr tut, and Handel’s virtuosic Dixit Dominus.

My Heart Swims in Blood

Sunday 5 August, 3.15 pm
New College Chapel, Oxford

Bach’s vivacious and sparkling Concerto in A major in its original form for Oboe d’amore, with his graphic and alarmingly-titled solo soprano cantata Mein Herze schwimmt im Blut BWV 199.

The Last Hour

Sunday 9 September, 3.15 pm
New College Chapel, Oxford

Brandenburg Concerto No. 4 transcribed by the composer for Keyboard, with settings of the well-known ‘Passion Chorale’ by JS Bach and Pachelbel.

NEWS & FEATURES

Bach: The husband, the father, and the family man

Tomorrow is Father’s Day, so in this week’s newsletter we take a closer look at Bach the husband, the father, and the family man. Bach was prolific in all areas of his life – he wrote more than 215 cantatas, numerous preludes and fugues for the organ, and a good...

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Did Bach die of diabetes?

The manner of Bach’s illness in his late years and his subsequent death has been a subject on which many music historians and Bach scholars have fiercely debated. This week is Diabetes Awareness Week (11 – 17 June), offering us the perfect opportunity to ask; did Bach...

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Performer Focus: Tristan Fry

“I appeared on soundtracks for most of the James Bond films (since Goldfinger), Pink Panther, Alien, the Harry Potters, and Lord of the Rings...” o Tell us a bit about yourself, and your training and career to date? I joined the London Philharmonic Orchestra (LPO)...

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Bach Cantata: Gelobet sei der Herr, mein Gott (BWV 129)

The date of composition of this cantata is uncertain. It seems probable that Bach first performed it either during the 1726 Reformation Festival, which was always celebrated in Leipzig on 31st October, or on Trinity Sunday in the following year. Thereafter the piece took its place among the great chorale-based works of his 1724-25 cycle, where it replaced a non-chorale-based cantata, BWV 176.

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