Tag Archives: Bach Festival

A Revelatory Brandenburg 3

Portland Bach Festival
Cathedral Church of St.. Luke
June 23, 2017
by Christopher Hyde

Now No. 3 has to be admitted to the pantheon. The performance of the third Brandenburg Concerto by the Bach Festival Orchestra Friday night at St. Luke’s Cathedral came like a revelation, or was it an epiphany?

Scholars have been debating for centuries about the absence of a slow movement in this work, but Arthur Haas at the harpsichord improvised a riff on Bach’s central cadence that showed what had been there all along, inspiring Beethoven to write equally short movements.

A form exists as a frame for the composer, not an edict from on high. A convenient convention.

A discussion over a late dinner at Bao Bao, around the corner from St. Luke’s, centered on what made the Portland Bach Festival, playing works that have been reiterated for 300 years, so fresh and, yes, joyful.

The consensus was that Lewis Kaplan and Emily Isaacson have assembled a critical mass of fine musicians, whose abilities play off one another to create a chain reaction of some kind. The Brandenburg No. 3 seemed almost like a jazz session (in heaven rather than Preservation Hall) with each string section responding and building upon the work of the preceding one.

That they had a work of supreme genius to recreate didn’t hurt either. What Bach does with strings and continuo alone is sui generis. The result had the capacity audience leaping to its feet.

He isn’t bad with solo instruments either, as shown by the opening Orchestral Suite No. 2 in B Minor, basically a flute concerto based on a succession of dances. I have only heard flautist Emi Ferguson in works by Bach, but if she is equally good in other classics and moderns, Rampal may have to move over. I want to hear her Debussy.

As she moved from one ballroom to the next, the only question was how she could possibly out-do what had gone before. The spectacular final Badinerie provided a definitive answer.

The Harpsichord Concerto in D Major, with Haas at the keyboard, was equally delightful but too intimate for a large hall, in spite of Rod Regier’s strong and handsome instrument. Except in the cadenzas, it was difficult to hear the delicate nuances of the keyboard part.

At the opposite end of the spectrum, the organ was a little too powerful in the Motet: “Jesu, Meine Freude.” But the Oratorio Chorale, under Emily Isaacson, gave an outstanding performance of one of Bach’s most inventive compositions for voice, blessedly without recitative. One could wish for more of the five soloists—Sherezade Panthaki, soprano, Jolle Greenleaf, soprano, Jay Carter, countertenor, Steven Caldicott Wilson, tenor,  and David McFerrin, baritone. Sherezade, in particular, has a phenomenal voice. But even at the PBF one can’t have everything.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

An Outstanding Brandenburg 2

Portland Bach Festival
Episcopal Church of St. Mary
June 18, 2017
by Christopher Hyde

Like Oscar Wilde, I have very simple tastes: I am always satisfied with the best. Such as the Portland Bach Festival’s performance of the Bach Brandenburg Concerto No. 2 at St. Mary’s Church on Sunday.

I was brought up on that and the No. 5, on what I now realize was a bad recording (better than nothing), and have never missed an opportunity to hear it once again. Sunday’s rendition by the festival orchestra under Lewis Kaplan, with soloists John Theissen, piccolo trumpet, Emi Ferguson, flute, John Ferrillo, oboe and Renée Jolles, violin, was quite simply the best I have heard.

It also flirted with danger, setting a rapid tempo in the first movement that only the most experienced of soloists could maintain accurately. Thiessen was phenomenal in his melodic and unstrained negotiation of a score that gives most trumpet players nightmares.

A little clarino goes a long way, and Bach wisely omitted the part in the second movement, providing room for some limpid and graceful work by the remaining trio, led by Ferguson, whose attitude reminds me of the musicians on Greek vases. She can also hold her own with the piccolo trumpet; some passages in unison almost made the timbres of the two instruments sound the same.

The third movement echoed the virtuosity of the first, but more so, ending in a standing ovation by an overflow crowd. (Other music lovers could watch and hear the program gratis on a large TV screen outside.) Inside the church, the acoustics were remarkable, every instrument in the concerto clearly identifiable.

The evening began with the Bach Cello Suite in C Major, BWV 1009, in an outstanding performance by Paul Dwyer, making the most of the contrast between open and stopped strings, as Bach intended. The contrasts also emphasized the sonic distinction of the baroque cello on which he was playing.

The evening ended with a fine performance of the cantata “Herz und Mund und Tat und Leben,” BWV 147, with Festival Choir-in-Residence, the Oratorio Chorale, and soloists Jolle Greenleaf soprano, Jay Carter, countertenor, Steven Caldicott Wilson tenor, and David McFerrin, baritone.

This seems Maine’s year of the countertenor, with effective use of the high male voice in Negro spirituals, a Gluck opera and now a cantata. It is a welcome addition, but it was matched by the clarity and enchanting inflections of Greenleaf in the soprano aria “Bereite dir, Jesu…”

Of course, what most of he audience was waiting for was the chorus and orchestra in “Jesu , joy of man’s desiring.” They were not disappointed, and showed their appreciation with the longest standing ovation I have seen at St. Mary’s.

There’s more to come this week. See the schedule on www.portlandbachfestival.org. and hope that there are still a few seats available.

I was unable to hear Kaplan last week in the famous Bach Chaconne, so I played Brahms’ piano transcription for the left hand (which Kaplan recommended over the better-known Busoni). It was lovely, and pretty authentic, but my left hand almost fell off after the final bar.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.

Concertos and Brandenburg Concertos

Concertos and Brandenburg Concertos
Portland Bach Festival
June 17-25, 2017
by Christopher Hyde

I don’t know which of Bach’s Brandenburg Concertos are most popular, but my favorites are No. 5, with its virtuoso keyboard passages, played at last year’s Portland Bach Festival by Arthur Haas on the harpsichord, and No 2, with its rousing piccolo trumpet part, to be performed this year on June 18 at St. Mary’s Church in Falmouth by John Thiessen.

Thiessen is noted for his virtuosity on this instrument, and the No. 2, with returning Festival artists, should be as outstanding as No. 5.

Haas will be returning as well, in the Vivaldi Flute Concerto in D Minor, with Emi Ferguson, flute, June 22 at Etz Chaim Synagog, and the Bach Harpsichord Concerto in D Major (BWV 1067) in the Sanctuary at St. Luke’s on June 23. He will appear in a number of other concerts, since  harpsichord continuo is virtually a necessity for baroque music, plus participating in a post concert lecture at Etz Chaim.

If the Brandenburg Concerto No. 3 in G Major (BWV 1048) is your cup of tea, you can hear that one too at St. Luke’s, plus the Orchestral Suite No. 2 in B Minor (BWV 1067), and the Motet “Jesu meine Freude” (BWV 227) by the Oratorio Chorale and soloists under Emily Isaacson.

The penultimate concert, June 24 at St. Luke’s,  promises to be something entirely different, featuring works that influenced Bach and others that were influenced by him, including a trio sonata by CPE Bach, the Vivaldi “Winter” Concerto and a Ligeti viola sonata.

The final work of the Festival will be the Cantata “Jauchzet Gott in allen Landen” (BWV 51) with soprano Sherezade Panthaki, whom Festival founder Lewis Kaplan calls “the greatest baroque soprano I have ever heard.” Be sure to hear her and soprano Jolle Greenleaf in the François Couperin “ Troisième Leçon à deux voix“ at the “Before and After” concert.

Cellist Beiliang Zhu will once again be playing an Amati lent to her by Florian Leonhard Fine Violins, who will also be binging other famous baroque instruments for display at the Bach and Beer event on June 19.

For further details of concerts and events, visit www.portlandbachfestival.org.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

Second Bach Festival Offers Even More

Second Portland Bach Festival
Offers Even More
by Christopher Hyde

The first Portland Bach Festival, in June of 2016, was one of the most successful premieres in recent Maine history. In fact, it was so popular that it was difficult to find seats at some of the smaller venues.

This year’s festival, June 17-25, will maintain the world-class quality of solo and ensemble performance, while adding some new features intended to broaden its audience, according to associate artistic director Emily Isaacson , who with violinist Lewis Kaplan founded and co-directed the first programs.

The festival will open with one of its most unusual concerts: “Bachtails” at the newly renovated Bayside Bowl on Alder Street in Portland. The facilities are large and complex, with room for 15 different 15-minute performances in various areas, including the rooftop, beginning at around 5:00 p.m. with “Musical Games for Kids.”
Visitors can hear all of the performances, or just one or two, Isaacson said, while enjoying cocktails, wine and beer, the last of which H.L. Mencken declared “the universal solvent for the music of old J.S. Bach.” Admission is free but drinks and food are not.

“The less formal setting for hearing early music is not that unusual,” Isaacson pointed out, since much of Bach’s non-liturgical music was meant to be heard in an intimate social setting rather than a concert hall.

The second public concert will be on Sunday, June 18, 6:30 p.m., at St. Mary’s Church in Falmouth. Tickets will be required for the concert inside the church, but it will also be broadcast on a large screen outside for the general public. “Bach on a Blanket” will feature the Brandenburg Concerto No. 2, in F Major, and the Cantata “Herz und mund,“ with soloists, the Oratorio Chorale and the Festival Orchestra conduced by Lewis Kaplan.

Both free concerts are an extension of last year’s popular “Bach and Beer” party at Ocean Gateway, which this year will be on Monday, June 19.

Bach Virtuosi Institute, June 14-25

In what Isaacson believes is the first program of its kind in the country, exceptional students from around the world will attend a twelve-day program to refine their craft, focus on the performance practice of Baroque music, and immerse themselves in the music of Bach and those inspired by his work.

The Bach Virtuosi Institute focuses on learning through performance. Fellows will perform alongside distinguished international musicians in an intimate, collegial atmosphere. Limited enrollment (10 students this year) allows all participants significant coaching and performance opportunities. Selected Fellows will perform in PBF concerts, Bach Virtuosi concerts,  at “Bach and Beer,” and at outreach concerts in the community.

All participants receive a full scholarship including tuition, room and board and stipend

For the ultimate in outreach, there will be a Cantata Sing-Along at St. Mary’s on Wednesday, June 21, with soloists and piano accompaniment to the early Cantata “Christ lag in Totes Banden (BWV 4).

For further information about individual concerts, visit www.portlandbachfestival.org. Advance tickets, including season passes, are still available but they are going fast. The first festival was sold out.

Christopher Hyde is a writer and musician who lies in Pownal. He can be reached at classbeat@netscape.net.

Oratorio Chorale: A Bach Festival Preview

Oratorio Chorale
St. Paul’s Episcopal Church, Brunswick
Feb. 26, 2017
by Christopher Hyde

It would be advisable to buy tickets immediately to the Portland Bach Festival ,June 19-24. The first one, in 2016, was an immediate success, and the Oratorio Chorale’s “Bach+” concert on Sunday, a sort-of preview of the summer programs, was sold out.

As usual, director Emily Isaacson coordinated the Chorale’s chamber singers, guest artists St. Mary Schola, and a baroque trio, into one virtually flawless program. It was short, a little over an hour in length, but fully revealed the grandeur of both J.S. Bach and his predecessor, Heinrich Schütz (1585-1672).

The integration of a baroque ensemble—Bruce Fithian, organ continuo, Timothy Burris, lute and Philip Carlsen, cello— with the chorus and soloists, was particularly well thought-out. For example, in the support given bass voices by the cello.

I hesitate to point this out, once again, but no chorus in Maine has yet developed a powerful enough bass section. Perhaps our current deepening relations with Russia will improve the situation. A Chaliapin pedal point would be paradise enough.

The otherwise astute program notes did not identify soloists in specific sections, but those with individual bass voices were well balanced. Of particular note was the Schola’s artist in residence, soprano Mary Sullivan.

I came to hear the Bach “Jesu meine Freude,” (BWV 227) one of my favorites, and to learn more about Schütz and his “Musikalische Exequien,” which is said to have influenced Brahms’ “German Requiem,” coming up soon at the Portland Symphony.

But I was amazed by the longer, more operatic Schütz work, which, like most of Bach, puts to rest any notion of “progress” in music. It is a dialog between Man and God, illustrating both poetry and Biblical verses, and is unfailingly interesting in its variety of vocal combinations, never the same twice. It also builds continually in intensity to a conclusion of chorus, Seraphim and the Holy Ghost, the latter three voices emanating from the organ loft at the back of the church.

Some of the musical effects are almost tactile, as in the begging repetition of “Lord, I will not let You go except You bless me.”

Both the Bach and the Schütz proceed rapidly through the German verses, without that bane of my youthful existence, the worrying of a phrase over and over, like a dog with a bone, prompting one to mutter “Can’t we just get on with it?”

What is there to say about Bach, who combines melody, inventiveness, technical perfection and architectural elegance in one diamond-like whole? (With a little numerology thrown in for good measure.) The fugue in the middle of the motet is one of his masterpieces, interweaving four voices so that polyphony generates celestial harmony.

Could the chorale, No. 9, have been studied by Mahler, who also employs the phrase “Gute Nacht” to good effect in “Des Knaben Wunderhorn?”

Both the baroque works, which welcome a Christian death, are considerably more cheerful than most of Mahler.  Strange, when one considers that they both originate in the Lutheran tradition, which is said to have generated the aphorism: “It’s always darkest before it gets darker still.”

Christopher Hyde is a writer and musician who lives in Pownal, Maine. He can be reached at classbeat@netscape.net.

A Musical Farewell

Portland Bach Festival
Episcopal Church of St. Mary, Falmouth
June 26, 2016
by Christopher Hyde

The Portland Bach Festival closed on a high note Friday, at the Episcopal Church of St. Mary in Falmouth, with stunning performances of three major works and a cameo appearance by Portland Mayor Ethan Strimling, who happens to have studied at Juilliard, majoring in drama. The Mayor emphasized the importance of the arts, especially classical music, in creating a vibrant city.

The concert included a world premiere of Bach’s Concerto for Three Violins BWV 1064R, reconstructed by Sebastian Gottschick. His wife, violinist Ariadne Daskalakis, was one of the soloists in Friday’s performance.

I am familiar with the version for harpsichords, apparently transcribed by Bach from a now lost three-violin concerto. It has virtuoso parts for each of the solo instruments and for the concertino as a whole, and was apparently written as a showpiece for Bach and two of his sons.

The violin version, artfully performed by Daskalakis, Renée Jolles, and Yibin Li, with the Festival Orchestra, works even better than the keyboard arrangement. Each violin (and its player) has a distinctive sound and style, making it easier to separate the voices and appreciate their combinations.

Either version is amazing when performed well, and Friday’s performance was as good as it gets. I must confess that as a youngster I agreed with Berlioz, that most of Bach was boring. I now share the opinion of festival founder Lewis Kaplan, that Bach is simply the greatest composer in the Western Classical Music pantheon. I was misled by somber, academic performances, and in any music, performance is (just about) everything.

The myriad cantatas are a case in point. The program began with Cantata No. 196, “Der Herr denket an uns.” written to be performed at a betrothal. As sung by Sarah Bailey, soprano, Jonathan Woody, bass-baritone, and Jason McStoots, tenor, with the festival orchestra and the Oratorio Chorale under Emily Isaacson, it was enough to make one want to go to church every Sunday in the year. Pure joy.

Its high point was an unusual duet for tenor and bass, which repeats the phrase “more and more” from “May the Lord bless you more and more, you and your children.” eleven times. Bach had 20 children, 10 of whom survived into adulthood.

The evening concluded with the Brandenburg Concerto No. 5, BWV 1050, with Jolles, violin, Emi Ferguson, flute, and Arthur Haas, harpsichord, with the Festival Orchestra.

I used to like the piano version, as played by Glenn Gould, since the keyboard part stood out, but the harpsichord, under Hass’ touch, wins the contest. unifying the structure and spinning out the intricate solo like a string of understated pearls. The combination of flute and violin, contrasting with the tone of Rob Regier’s harpsichord, was ravishing.

After the final note, and a long standing ovation, the audience didn’t want to go home. Kaplan and Isaacson plan to do it again in 2017. Better get your tickets now.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

(Note: I was receiving so much spam that I had to cut off the comment section of my web site. I would like to hear your thoughts and am working on a way to include legitimate comments.)

Bach Festival Sets New Standard

Portland Bach Festival
St. Luke’s Cathedral
June 20, 2016
by Christopher Hyde

In Phillip Glass’ new autobiography ”Words Without Music, “ he makes a good case for music as a trinity in equal collaboration—composer, performer, audience —(even if the audience is also the performer.)
The second concert of the new Portland Bach Festival, Monday night at St. Lukes’s Cathedral in Portland, had all three in abundance. It also had another sine qua non— fine instruments, including an Amati cello and one of Rob Regier’s magnificent harpsichords, made in Freeport, Maine.
The Bach Sonata for Violin and Basso Continuo in E Minor, BWV 1023, played by Ariadne Daskalakis, violin, Arthur Haas, harpsichord, and Beiliang Zhu, cello, was played at a pitch used by Bach (“A”-415), slightly lower than the modern “A”-440.
The next work, the Brandenburg Concerto No. 6, BWV 1051, was played at the modern pitch, and all Haas had to do was push a lever on the harpsichord to switch over. Before that I was wondering if Regier, who was in the audience, would have to retune the entire instrument between numbers, or wheel in a new one.
Technicalities aside, the concert made me think I had been away from New York for too long. Nothing is perfect, or the world would come to an end. Still, the Bach Festival, like its predecessor in Bethlehem, Pa, sets a new standard.
Having the concerts in the round, like last night’s in the small rotunda at the back of the cathedral, gives them an authentic intimacy, to say nothing of improved acoustics. The final Brandenburg No. 6, played by a concertino of two violas. Nicholas Corda and Danielle Farina, with a small chamber ensemble, had exactly the right volume and tempo.
Every detail was clear, and the rapport between the musicians, who were obviously enjoying themselves, was a delight to behold. This was virtuosity as play, in a genre that is often taken much too seriously. Bach can be a joy to hear without being any less profound.
Even the pauses between movements would have fascinated John Cage. No rustling, no coughing. You could have heard a pin drop. And there was that tiny fermata after the last note, and before the standing ovation, that signifies a truly musical experience.
The contrast between the concerto and the preceding sonata, played at a lower —and very satisfying— pitch, was a stroke of programming legerdemain. The interplay of violin and cello in the sonata gave a new meaning to the form of basso continuo.
The program began with the Cello Suite No. 1 in G Major, BWV 1007, played by Nicholas Canellakis, sounding like an entire orchestra. In spite of dramatic leaps and sudden changes in tonal color, his reading was both relaxed and melodic, setting the tone for what came after.
It was followed by the Trio Sonata from “The Musical Offering,” BWV 1079, by Renée Jolles.violin, Emi Ferguson, flute, Zhu, cello and Haas, harpsichord. I should have been listening for all the appearances and transformations of the tune Frederic the Great gave Bach to improvise upon. Instead, I was watching Emi Ferguson on the baroque flute, looking like a musician from a mosaic uncovered at Pompei.
(I’m sorry I won’t be able to attend the Bach and Beer Festival this afternoon. I hope someone has thought to brew some Bock.)

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

Portland Bach Festival Coming Soon

Portland Bach Festival
June 19-24, Portland, Maine
by Christopher Hyde

The new Portland Bach Festival, (June 19-24) featuring internationally known artists, the Oratorio Chorale, St. Mary Schola, period instruments, a Bach and beer party at Ocean Gateway, and the Maine premier of a Bach concerto for three violins, is coming up soon, and ticket sales are brisk, according to festival artistic director Lewis Kaplan. Since the venues are intimate—St. Mary’s Church in Falmouth, and St. Luke’s in Portland— it would be advisable to purchase them soon.

The festival is the brainchild of Kaplan and Emily Isaacson, director of the Oratorio Chorale. Kaplan, a prominent violinist and teacher (at Juilliard), recently resigned as artistic director of the acclaimed Bowdoin International Music Festival, which he co-founded over 40 years ago.

While there is always interest in Bach, regarded by many as the pre-eminent composer of all time, the festival also fills in a (relatively) empty time slot, between the regular concert season and the beginning of summer music festivals throughout the state.

Kaplan believes that it will be well attended by local audiences, and also serve as an incentive to music lovers to visit the state. “Concerts in the round, with period instruments, will give audiences an authentic experience of Bach. I’ve played in concerts around he world, and I want people attending these in Maine to feel that the musicians are playing just for them.”

As for the premiere of the Bach Concerto for Three Violins, here is what violinist Ariadne Daskalakis, who will be playing the work, wrote to me about it:

“It is surmised that Bach originally composed a Concerto for 3 Violins in D Major (sometime around 1716 – in which case we would have a 300th year anniversary!) which he then transcribed for 3 harpsichords. (It was a common practice to transcribe pieces for different instruments and to reuse material as necessary.) In the meantime only the autograph of the version for 3 harpsichords survived – known today as the Concerto for 3 Harpsichords in C Major BWV 1064. Various scholars have used that piece to reconstruct the version for 3 violins – now known as the Concerto for 3 Violins in D Major BWV 1064R. At the Portland Bach Festival in June we will perform a reconstruction of this piece by the German musician Sebastian Gottschick (who happens to be my husband). The music is all original Bach, and the score has been reconstructed with the intention of capturing all the voices in a manner suitable for the instrumentation.
It is a substantial 3 movement work. The 2 outer movements are quite festive and the slow middle movement is plaintive and lyrical. The 3 solo violins have significant individual roles throughout the piece, and sometimes they play together as a group within the ensemble.”

The concerto will be played at the final concert of the festival, at St. Mary’s Church, on June 24. The program also includes my favorite Brandenburg Concerto, Number 5, with its glorious harpsichord part, to be played by Arthur Haas on a harpsichord by R.G. Regier of Freeport.

Other highlights, in chronological order, include the Cello Suite No. 6, played by the award-winning cellist Beiliang Zhu, on a baroque five-string cello, the Trio Sonata for Flute, Violin, and Continuo in C Minor from “A Musical Offering” – BWV 1079 and the famous Chaconne from the Partita for Violin in D Minor – BWV 1004, played by Kaplan.

Chorale works will include the Cantata, “Wachet Auf” – BWV 140, and the Cantata, “Der Herr denket an uns” – BWV 196, sung by the Oratorio Chorale, and the Motet, “Singet Dem Herrn”­­ – BWV 225, by St. Mary Schola,

Each concert will be preceded by a half-hour exposition of the music, free and open to the public. Children’s events are also free and will include a special concert and an instrument-making workshop.

A complete schedule and information about the artists is at www.portlandbachfestival.org.

Christopher Hyde is a writer and musician who lives in Pownal, He can be reached at classbeat@netscape.net.

Bach and Beer

Bach and Beer

The news that Lewis Kaplan, co-founder of the Bowdoin International Music Festival, is collaborating with Emily Isaacson, Bruce Fithian, and internationally known soloists to present a major new Bach Festival this June in Portland was welcome in itself (more on the festival and its musical content in a later column). That Isaacson is thinking of concluding the affair with a Bach and Beer party at a venue near the shore reminded me of H.L. Mencken’s story about how Bach’s Mass in B Minor saved him from death by thirst. (“Heathen Days” (1943))

Mencken and his publisher and friend, Alfred Knopf, were attending the famous Bach Festival in Bethlehem, Pennsylvania, during Prohibition, (1920-1933) and discovered to their horror that every speakeasy in town was closed due to the sighting of “agents” some days previously.

He writes: “This seemed strange and unfriendly, for it is well known to every musicologist that the divine music of old Johann Sebastian cannot be digested without the aid of its natural solvent (malt liquor).”

They barely made it through the last concert and on their way to the train discussed how soon they could get a bootlegger to meet them at a station before New York.

Their taxi driver took pity on them and drove to a warehouse-like building with the telltale sign “Sea Food” above the door.

“We rapped on the door and presently it opened about half an inch, revealing an eye and part of a mouth. The ensuing dialog was sotto voce but staccato and appassionata. The eye saw that we were famished but the mouth hesitated.

‘How do I know,’ it asked, ‘that you ain’t two of them agents?’

‘Agents!’ hissed Knopf. ‘What an idea. Can’t you see us? Take a good look at us.’

The eye looked but the mouth made no reply.

‘Can’t you tell musicians when you see them?’ I broke in. ‘Where did you ever see a Prohibition agent who looked so innocent, so moony, so dumb? We are actually fanatics. We came here to hear Bach. Is this the way Bethlehem treats its guests? We came a thousand miles, and now—‘

‘Three thousand miles,’ corrected Knopf.

‘Five thousand,’ I added, making it round numbers.

Suddenly I bethought me that the piano score of the B minor mass had been under my arm all the while. What better introduction? What more persuasive proof of our bona fides? I held up the
score and pointed to the title on the cover. The eye read:

J.S. Bach
Mass in B Minor

The eye flicked for an instant or two and then the mouth spoke. ‘Come in, gents,’ it said. As the door opened our natural momentum carried us into the bar in one leap, and there we were presently immersed in two immense Humpen….

It was a narrow escape from death in the desert, and we do not forget all these years afterward that we owed it to Johann Sebastian Bach, that highly talented and entirely respectable man, and especially to his Mass in B minor.”

I don’t know if Emily Isaacson has heard that story, but I’m sure Mencken would have approved of her idea and the plethora of micro-breweries now gracing the City by the Sea.

More on the festival soon and the Maine premiere of a newly reconstructed Bach concerto.

Christopher Hyde is a writer and musician who lives in Pownal. He can be reached at classbeat@netscape.net.