Throughout the long summer and autumn Trinitarian period, the Lutheran lectionary’s emphasis on sin and sickness in mind and body reaches full tilt in expressions such as ‘The whole world is but a hospital’ in Cantata 25. But Bach’s music is the ‘balm of Gilead’ that heals all, above the ceaseless lament.

The cantatas Bach was writing at this time deal with the theme of Christians rejecting the material world and its temptations so as not to risk losing union with God. Cantata 162 relates to the parable of the royal wedding feast to which ‘many are called but few are chosen’.

A service of Lutheran Vespers featuring Bach’s Cantata 115 Mache dich, mein Geist, bereit. Performed by New College Choir, conducted by Robert Quinney, with the orchestra of the Oxford Bach Soloists. 

The Oxford Bach Soloists will be performing for the second year at the 'A Celebration of Christmas' concert as part of Macmillan Cancer Support's fund-raising activities. 

** SOLD OUT ** Please contact info@oxfordbachsoloists.com to be put on the waiting list.** Bach’s first Christmas in Leipzig comes with an explosion of festive music. After Advent’s ‘tempus clausum’ (closed period), Bach laid on nine major pieces for his singers and instrumentalists to master, including the Magnificat in E flat major, more commonly heard in its later D major version.

Hot off the heels of his first Christmas in Leipzig, Bach presents us with a vibrant set of Cantatas for the New Year and Epiphany. Cantata 190 is a paean heralding the New Year, and Cantata 153 takes the dramatic story of Herod and the Massacre of the Innocents as its inspiration. Epiphany is ushered in as a pair of horns brings the wise men with their gifts of gold, frankincense, and myrrh in Cantata 65.

Cantata 155 displays the 31-year-old Bach’s enchanting innovation in his younger days with one of the finest bassoon obbligati ever written. Cantatas 73 and 81 take as their starting point two of Christ’s miracles: the healing of the leper, and the calming of the storm. The joyful Cantata 83 is possibly Bach’s first Cantata for the feast of the Purification of Mary and the Presentation of Jesus at the Temple (Candlemas) in which Simeon sings his famous Nunc dimittis.

In the lead up to Lent, three cantatas based on parables: Cantata 144, based on the parable of the Workers in the Vineyard, reveals an alto aria with a sustained melody of great beauty; and Cantatas 181 and 18, both based on the Parable of the Sower, projecting dramatic scenes of spasmodic birds pecking at the scattered seed, and a furious litany in which Bach rains fire and brimstone on the ‘pantomime villains, the Turks and the Papists’.

Thank you to Paolo Troilo for our cover image for this concert - if you want to see more of his brilliant hyperrealistic fingerpainting check out his Instagram page. Watch now! https://www.youtube.com/watch?v=pUmxx_mNG1s&list=PLqtDJiSg2nrJ6N1iiTpiaGhCH37bUcLee St John Passion from Isolation We were truly devastated to have to cancel our Easter concerts, so we have been working really hard in collaboration with production company Positive Note to bring you a really special performance of Bach's St John Passion recorded by the Oxford Bach Soloists…

Oxford Lieder Festival: Bach and Britten with Ian Bostridge and Saskia Giorgini. This is the first event of four in a day that broadly explores the intersection of sacred and secular in song across the ages. Ian Bostridge’s residency at the Oxford Lieder Festival draws to a close with this wonderful programme, juxtaposing and joining Bach and Britten. Broadcast live from Merton College Chapel.

Celebrate the festive season with the Oxford Bach Soloists and a stellar cast of renowned musicians and A-list celebrities for a Carol Concert, re-imagined for 2020, which is being streamed online free to all and can be enjoyed from the comfort of your own home.