A stirring Sanctus in C major, and three cantatas with big statements: BWV 179 preaches against hypocrisy with marvelous directness; BWV 77 illustrates the second of Jesus’ two commandments recounted in the gospel narratives; and BWV 69a enjoins us to praise the Lord and ‘do not forget what good He has done for you!’

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’.

***POSTPONED DUE TO CORONAVIRUS Please click for more information*** The Oxford Bach Soloists debuts as honoured guests of the Tilford Bach Society. Presenting one of Bach’s most treasured masterpieces, the St John Passion BWV 245, they will perform as part of the Society’s programme of illustrious concerts in St Thomas on the Bourne, Farnham. Evangelist: Ben Johnson Christ: Humphrey Thompson.

***CANCELLED DUE TO CORONAVIRUS Please click for more information*** One of Bach’s best loved works, the St John Passion was first performed on Good Friday of 1724 in the St. Nicholas Church, Leipzig. ‘More daring, forceful and poetic’ than the St Matthew Passion, according to Schumann, this operatic work is presented by an ensemble of soloists, four-part choir, strings and basso continuo together with pairs of flauti traversi and oboes doubling on oboe da caccia. Bach also uses viola d’amore and viola da gamba to create special colours within the instrumental mix. The narrative is led by the Evangelist with an impressive line-up including Jesus, Pilate, Peter, a maid and a servant.

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. 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 and many guest…

***CANCELLED DUE TO CORONAVIRUS Please click for more information*** Two of Bach’s earliest cantatas for Easter Day, Christ lag in Todesbanden and Der Himmel lacht! Die Erde jubiliert are performed here in their revived Leipzig versions. The story takes us from darkness to blazing light, from grief to joy, echoed in the dramatic Easter Oratorio. Told by four characters Mary Magdalene, Mary Jacobe, Simon Peter, and John the Apostle, it canters to the end in triumphant victory.

***CANCELLED DUE TO CORONAVIRUS Please click for more information*** Abundant joy, rushing swirling scales, and fanfare-like arpeggios set the scene for the Resurrection in Bach’s Cantatas for Easter Monday, Easter Tuesday, and Quasimodogeniti (’Low’ Sunday). Join our Virtuosi soloists as they lead us through Bach’s panoply of pastoral colours, brilliant coloratura, and triumphant pageantry.

***CANCELLED DUE TO CORONAVIRUS Please click for more information*** Described as ‘one of the truly perfect cantatas, flawless in every detail’, Cantata 104 draws its inspiration from Psalm 23 ‘The Lord is my Shepherd’. Full of leisurely melodies and flourishes, it finds refreshment, green pastures and a foretaste of heaven. As we move towards Christ’s Ascension and departure from the earth, Cantata 166 is in a rather uncertain vein asking the question ‘Where are you going?’ yet Bach’s music is always full of hope. Clearing the skies to joy and laughter, this concert ends with Cantata 37 depicting the soul winging heavenward.

***CANCELLED DUE TO CORONAVIRUS Please click for more information*** Bach’s earliest works are often considered to be his most inventive, full of daring ideas. Cantata 12 is considered one of his most affecting compositions, the opening of which was to find its way into the B Minor Mass. Now one year in his post as Thomaskantor, he revived his Pentecost Cantatas 59 and 172 for the 2nd and 3rd time respectively. Dating from 1714 during his employment in service of the Dukes of Weimar, the effulgent cantata ‘Erschallet, ihr Lieder, erklinget, ihr Saiten!’ depicts the fiery arrival of the Holy Spirit.

***CANCELLED DUE TO CORONAVIRUS Please click for more information*** A service of Lutheran Vespers featuring Bach’s Cantata 86 Wahrlich, wahrlich, ich sage euch. Performed by New College Choir, conducted by Robert Quinney, with the orchestra of the Oxford Bach Soloists.