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.

Bath Recitals: Grand Baroque

Saturday 25 August, 7.30 pm
St Michael’s, Broad Street, Bath

The opulence and grandeur of the Baroque is celebrated in this concert featuring Coronation Anthems Handel wrote for King George II and his magnificent Dettingen’ Te Deum.

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.

Wedding Music

Sunday 7 October, 3.15 pm
New College Chapel, Oxford

Bach at his most playful! Early wedding cantatas, “St. Anne” fugue, and the rude ‘Wedding Quodlibet’ BWV 524


Performer Focus: Sam Mitchell

“Widerstehe doch der Sünde warns and encourages the Christian to refrain from sin and strive to live a pure and godly life” It’s been about a year since we last caught up with you. Tell us what you’ve been up to? It’s been a wonderful year. I’ve had the privilege of...

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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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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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