2015 Bach Festival Archive

Festival Concerts and Artists

April 17th, 2015 – Opus One Chamber Orchestra

Brandenburg Concerto No. 6, BWV 1051
Kathryn Lockwood, Martin Alexander, viola
Sarah Bish, Carrie Brannen, Christine Mann, violoncello
James MacDonald, bass
Gregory Hayes, harpsichord

Brandenburg Concerto No. 4, BWV 1049
Elizabeth Chang, violin
Christopher Krueger, Natalie Talbot, flute

Keyboard Concerto in D minor, BWV 1052
Gilles Vonsattel, piano


April 18th, 2015 – St. John Passion, BWV 245 (version of 1725)

Bach Festival Orchestra and Chamber Choir
Julian Wachner, conductor
Tony Thornton, chorus master
William Hite, Evangelist
Dana Whiteside, ChristusDavid Kravitz, bass arias and Pilate
Kendra Colton, soprano
Emily Marvosh, alto
Matthew Anderson, tenor


April 19th, 2015 – Coffee Cantata: Schweigt stille, plaudert nicht, BWV 213

Shannon Rose McAuliffe, Lieschen
Will Prapestis, Schlendrian
Eric Christopher Perry, Narrator
Lidia Chang, flute
Denise Fan, Kevin Devin, continuo


April 19th, 2015 – Festival Closing Concert

Sonata for Flute and Continuo, BWV 1034
Christopher Krueger, flute
Alice Robbins, cello
Gregory Hayes, harpsichord

Trio Sonata, BWV 1038
Christopher Krueger, flute
Elizabeth Chang, violin
Alice Robbins, cello
Gregory Hayes, harpsichord

Cantata: Laßt uns Sorgen, laßt uns wachen, BWV 213
Cantata Orchestra
Tian Hui Ng, conductor
Shannon Rose McAuliffe, soprano
Emily Marvosh, alto
Eric Christopher Perry, tenor
Will Prapestis, bass


2015 Symposium Presenters and Topics -Archive

BACK TO – AND FORWARD FROM – J.S. BACH: A Scholarly Symposium Exploring the Revival, Reception, and Appropriation of the Music of J.S. Bach in the Long Twentieth Century

Keynote Address: Richard Taruskin (University of California Berkeley)

Christoph Wolff (Harvard University)
“More than 250 years after Bach’s Death and Still Finding New Sources”

Michael Maul (Bach Archive Leipzig)
“The Attribution of ‘Schlage doch, gewünschte Stunde’ [BWV 53] to Melchior Hoffmann Reconsidered—Insights into Bach Scholarship During the 1950s.”

Erinn Knyt (UMass Amherst)
“From Bach-Busoni to Bach-Grainger: Aesthetics, Poietics, and Interpretation”

Daniel R. Melamed (Indiana University)
“J. S. Bach’s Christmas Oratorio [BWV 248] and the Jews”

Pamela Potter (University of Wisconsin-Madison)
“’Two Sides of the German Essence’: The Politics of Commemorating Bach and Handel in Germany”

Emiliano Ricciardi (UMass Amherst)
“Bach’s Reception in Fascist Italy”

Johanna Frances Yunker (UMass Amherst)
“J. S. Bach and Composers of the German Democratic Republic”

Markus Rathey (Yale University)
“A Divided Country—A Divided Bach: The Cantor-Kapellmeister-Controversy in the 1950s and the Cold War”

Ellen Exner (University of South Carolina School of Music)
“Dr. Burney’s Misdiagnosis and the Case of Mendelssohn’s Great Passion”

Brent Auerbach (UMass Amherst)
“Unpacking/Re-Packing Bach: How Awareness of Recurring Contrapuntal Frameworks Can Enrich Analysis and Model Composition”

Russell Stinson (Lyons College)
“Bach Goes to Hollywood: The Use of His Music in Motion Pictures”

Matthew Cron (Rutgers University)
“Appropriations of Bach’s Music in Film,Television, and Video Games”