Worthy is the Lamb

Sunday 3 June, 3.15 pm
New College Chapel, Oxford

Almost 30 years before Handel’s Messiah in 1741, “Worthy is the Lamb” was the inspiration behind the final movement of Bach’s Cantata 21 Ich hatte viel Bekümmernis.

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.

NEWS & FEATURES

Did Handel steal from Bach?

Transformative imitation or just plain theft? Bach’s Cantata 21 Ich hatte viel Bekümmernis (I had much grief) is described as “one of the most extraordinary and inspired of Bach's vocal works” (John Eliot Gardiner). With eleven movements lasting about 40 minutes, it...

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Choral Scholarships 2018-19

We are pleased to announce the launch of twelve Choral Scholarships for 2018-19 These new scholarships will provide an opportunity for young aspiring singers to develop their solo singing within the musical programme of the Oxford Bach Soloists. With the generous...

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Performer Focus: James Jenkins

“Since moving to Oxford I have spent my time pursing singing as a profession, studying languages, and perfecting Mary Berry’s Banana Bread recipe for my bake-off CV...” o Tell us a bit about yourself, and your training and career to date? I’m currently a Lay Clerk at...

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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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