Tag Archives: Patrick Muehleise

Bach Akademie’s “German Requiem” Concert Offers Heavenly Music at St. Alban’s

Review:  St. Matthew Passion performed brilliantly by Bach Akademie Charlotte

By Perry Tannenbaum

 

2019~Akademie Requiem-06

Once you’ve performed the St. Matthew Passion, as Bach Akademie Charlotte did so brilliantly in concluding its second annual Charlotte Bach Festival back on June 15, there is little left for this powerhouse company to prove as it begins its third season. In fact, their third season began in Charlotte and then Davidson after a weeklong residency at the University of Iowa, so they arrived at St. Alban’s Episcopal Church with their “Bach & the Class of ‘85” program well-rehearsed, glowing with the honor of their invitation to perform in Iowa City, and polished after performing the same program in concert twice in the previous three days.

Both born in 1685, JS Bach and Domenico Scarlatti fit the original program title best, Bach represented by his BWV 229 Motet, “Komm, Jesu, komm,” and Scarlatti contributing the more substantial Stabat Mater. Emphasizing the liturgical aspect of the concert, Music @ St. Alban’s rebranded it as “German Requiem,” for the program built up to Heinrich Schütz’s Musikalische Exequien, the first German requiem. The afternoon concert, led by Scott Allen Jarrett, began with Schütz’s less ambitious “Selig sind die Toten” and paid homage to Schütz’s teacher, Claudio Monteverdi, with “Audi coelum,” excerpted from Vespro della beata vergine.

Jarrett made no mention of the change, and seemed quite comfortable with it, revealing that the Scarlatti was chosen more to accommodate his traveling ensemble of 10 voices than to celebrate the composer’s birthdate. That was giving up the cause too easily, in my view, for Schütz was born in 1585 and there was no mention at all of the composers’ dates, either live or in our program booklets. It was unclear whether the vocalists from the BA|CH Cantata Choir – four sopranos, two altos, two tenors, and two basses – were chosen on the basis of merit or availability, for the level of excellence among the 25 singers who had performed the Matthew Passion had been so high.

2019~Akademie Requiem-14

There was certainly no diminution of excellence among the instrumentalists who accompanied them. Seattle-based theorbo player John Lenti distinguished himself immediately in the first two pieces, strumming vigorously over the continuo in the opening Schütz song, and giving the fiery closing section of the ensuing Stabat Mater a percussive edge. Nicolas Haigh had already distinguished himself at the organ throughout the Akademie’s brief history, and cellist Guy Fishman, a principal with the Handel & Haydn Society in Boston, was returning to the Charlotte area for the first time since his stellar solo concert at the first Charlotte Bach Festival last year.

The Cantata Choir had dipped into Schütz’s work back in February, when Jarrett showed his inclination to point up the dramatic contrast embedded in “Das ist je gewisslich wahr.” Once again, the Choir began by ravishing the harmonies of the opening lines of “Selig sind die Toten,” the four men in the ensemble answering and enriching melodies beautifully initiated by the six women. Lenti’s strumming was at the vanguard of the mood change when the choir shifted with a quickened pace from their consoling words, “Blessed are the dead which died in the Lord,” to the more vigorous and affirmative “their works do follow after them.”

A more dramatic shift, from German to Latin and from the promise of heavenly reward to Mary’s keening at the Crucifixion, was in store with the onset of Scarlatti’s Stabat Mater. Jarrett didn’t venture to say where this Stabat Mater ranked among over 80 settings of this 13th century hymn listed in Wikipedia, but it’s certainly among his top choices for works scored for 10 voices – and he was obviously excited to add it to the Cantata Choir’s repertoire and share it with us.

2019~Akademie Requiem-11

Unlike the traditional Requiem, which is broken into distinctive stages, the poem venerating Mary is continuous and rhymed, following an aabccb scheme from beginning to end. When printed in stanzas, it’s usually presented in three-line tercets, so it’s interesting to observe how various composers divide the 20 tercets in their settings. Pergolesi and Poulenc, for example, wrote their settings with 12 sections, while Rossini and Dvořák preferred 10 – not agreeing at all where the intervals should be. Domenico Scarlatti’s setting was presented in eight parts (his dad, Alessandro, also set the hymn – in 18 sections), tilted more toward the choral idiom than Rossini’s and Vivaldi’s without layering on Dvořák’s orchestral preamble and blandishments.

There was no instrumental preamble at all in the opening “Stabat mater dolorosa” (“The sorrowful Mother”) section, and though the sopranos dominated early here over Haigh’s organ, the men added warm empathy and deeply textured gravity. By the end of the ensuing “Cuius animam gementum” (“Her grieving heart”) section, the Cantata Choir produced a more massive sound in the passage depicting Mary’s grieving and trembling, growing plaintive and pleading at its concluding question: “What man would not weep if he saw the Mother of Christ in such torment?”

Scarlatti’s third section, “Quis no posset” (“Who would not share her sorrow”) was hushed and slowed in Jarrett’s interpretation, so the ensuing “Eia Mater, fons amoris” (“O Mother, fount of love”), addressed to Mary, sounded freshened with heightened speed and volume, with a spate of new counterpoint launched by the female voices. The Choir’s ardor bordered on joy in the penultimate “Juxta crucem tecum stare” (“To stand beside the cross with you”), yet the closing “Inflammatus et accencus” (“Lest I burn, set afire by flames”) began more quietly and focused than the text suggested, virtually a duet with tenor Steven Soph most prominent. Stately harmonies took over in the final tercet, “Quando corpus morietur” (“When my body dies”), cresting in resolute affirmation with the Amens.

2019~Akademie Requiem-12

Soph moved downstage to sing the lead voice in Monteverdi’s “Audi coelum” (“Hear, O heaven”), literally upstaged by tenor Patrick Muehleise who vanished behind the Choir and sang the “echo” role at the end of each stanza – and by Jarrett, who gave way to Soph and led the other singers from upstage when they entered upon the duet for the final three stanzas. Certainly this was a lighter, cleverer veneration of Mary, for the vanished tenor only sang the last word of the previous stanza, usually abbreviating that word and transforming it into a different word. Soph’s “benedicam” (“bless her”) thus led to Muehleise’s “Dicam” (“I shall tell you”), but “maria” (“the seas”) was fully echoed to become “Maria,” introducing the song’s subject at last in the fourth stanza. The device persisted after the Choir joined the fun, until the penultimate stanza, ending in “solamen” (“solace”), segued into a full-throated Amen.

Pointing up the inner contrasts of Bach’s motet, Jarrett smoothed the transition between the beguiling Monteverdi devotional to the lachrymose opening line, “Komm, Jesu, komm mein Leib ist müde” (“Come, Jesus, come, my body is weary”). The singers’ acceleration in the ensuing line, saying they grew weaker and weaker, somewhat belied that resigned text before subsiding into a repeated lament on the sourness of their difficult path. Suddenly there was a complete hairpin turn toward happiness when the words “Komm, komm” repeated. Instead of their prior funereal lassitude, the singers merrily bounced the repeated words and the phrase that followed, “I will yield myself to you,” as if they were singing “Mr. Sandman.” After that upbeat ending to the Choral section, the concluding Aria began more slowly, comparatively hushed, and sleepier. But here Bach’s change of mood became more cohesive in Jarrett’s hands, giving us a satisfying ascent and resolution as we reached “the true path to life.”

If it were actually the traditional Latin Requiem translated into German, Musikalische Exequien would be far easier to describe, summarize, and pass judgment on concisely. The genesis of the piece is a little macabre, commissioned by Count Heinrich Posthumous Reuss for his own funeral in 1636 – with texts he chose himself and ordered engraved on the inside of his coffin. Only the first of the three parts of the work has anything to do with the Lutheran mass, embracing a Kyrie and a Gloria in a lengthy Concert section of 27 parts. Scored for six voices and continuo, the Concert comprises about three-quarters of the whole Exequien. It was a wonderful showcase for the BA|CH Cantata Choir’s singers as soloists, as deliverers of delicious harmonies, and as instruments of varied contrapuntal delights. Soph and alto Elizabeth Eschen impressed me most here.

Jarrett once again brought more contrasting contours in the middle Motette section, written for an eight-voice double choir. The prayerful opening line, “Herr, wenn ich nur Dich habe” (“Whom have I in heaven but you”), zigzagged no less than three times in the next four lines, sprightly, then morose, and then almost dancing in finishing with “God is my strength and portion forever.” Concluding his requiem, Schütz puts on his most elaborate – and confusing – show, scoring two different texts, the biblical “Song of Simeon” for a five-voice choir and a trio of soloists singing “Blessed are the dead who die in the Lord.”

The trio is directed by Schütz to sing at a distance from the main choir, so Jarrett deployed them to the rear of the chapel during the second interval. Quite a spectacle to take all this in at a live performance! The program booklet helped me to understand that the soloists behind me were finishing with a declaration that the dead “are in the hands of the Lord and there is no sorrow that disturbs them.” Up front, the chorus overlapped the trio and seized the final words, extoling the Christian messiah as “a light to enlighten all gentiles and a glory for your people Israel.”

2019~Akademie Requiem-16

Wrestling with two foreign languages and waves of contrapuntal complications with no instrumental respite – and no intermission – for over 100 minutes, the audience earned the praise that Jarrett offered them for their zeal and endurance. I strongly suspect they were ready for more.

A Well-Proportioned “Passion” Caps the Charlotte Bach Fest

Review: St. Matthew Passion at the Charlotte Bach Festival

2019~Charlotte Bach Fest-201

By Perry Tannenbaum

The most dramatic moment at the second annual Charlotte Bach Festival may have been a moment of silence – at the climax of the St. Matthew Passion, after Bach’s Evangelist had declared that Jesus had died. Festival conductor and artistic director Scott Allen Jarrett maintained that silence longer than any I could remember on a recording or at a live performance, including Jarrett’s own with the Charlotte Symphony in November 2013.

After this loaded interlude at Myers Park Presbyterian Church, like the world itself coming to a halt, the BA|Charlotte Cantata Choir was exquisitely empathetic and hushed singing, “Wenn ich einmal soll scheiden, So scheide nicht von me” (When I depart one day, do not depart from me). The chilling desolation of this reaction was all the more poignant because of the power that the 25 singers in the Cantata Choir had poured forth just minutes earlier in mocking and taunting the crucified Jesus as he was dying on the cross.

2019~Charlotte Bach Fest-221

There had also been power aplenty from the soloists, as we were quickly reminded after the prayerful choral lament, when tenor Stephen Soph as the Evangelist continued Matthew’s narrative – with the rending of the Holy Temple, the earthquake, the opening of graves, and the rising of the dead upon Jesus’ death. No less powerful as Jesus, baritone Jason Steigerwalt’s most memorable singing had come in his Part I recitatives, at the Last Supper and during the subsequent episodes leading up to his arrest on the first day of Passover. Of course, his last words, “Eli, Eli, lama asabthani?” had a special plaintiveness.

With Jarrett’s past and present connections to the Oregon Bach Festival, the Handel and Haydn Society, Seraphic Fire, and Charlotte Symphony, the high quality of the Cantata Choir – and the instrumental and vocal soloists he can lure to Charlotte – is not at all surprising, even if their power and dynamic range can sometimes come as a shock. All 22 of the core members were accorded extended bios in the rear of the festival program booklet. Additional space was carved out for the four Vocal Fellows who fortified the Choir during the Passion and figured prominently in the midweek, midday Bach Experience performances of two Michaelmas cantatas, Nos. 19 and 149.

2019~Charlotte Bach Fest-194

Since both the core singers and fellows were chosen by Jarrett from nationwide talent pools, it wasn’t surprising that soloists singing the Passion arias were on the same level as those who had sung for Jarrett in 2013. What astonished me more was what soloists from a reduced core Choir had achieved the previous Saturday night when they performed Bach’s Magnificat at the festival’s Opening Celebration. Overall, performances at the more intimate Christ Church by sopranos Sarah Yanovitch and MaryRuth Lown, mezzos Elizabeth Eschen and Kim Leeds, tenors Patrick Muehleise and Gene Stenger, and baritone Steigerwalt had equaled or surpassed those I’ve heard on recordings conducted by Helmuth Rilling, John Eliot Gardiner, and Masaaki Suzuki.

There were additional soloists awaiting their turns at the Celebration when another Michaelmas cantata, No. 130, followed the Orchestral Suite No. 2. These included the sweet-voiced tenor David Kurtenbach, who would sing the recitative and aria at the Matthew Passion during the High Priests’ interrogation of Jesus, and – more impressive yet – bass-baritone Charles Wesley Evans, who would take the stage at the Passion in the wake of Judas’ remorse and suicide, transforming after the touching “Gebt mir meinem Jesum weider!” (Give me my Jesus back!) into the role of Pontius Pilate.

2019~Charlotte Bach Fest-208

Other superb choristers stepped forth at Myers Park Presbyterian who had not soloed during the Opening Celebration. Most conspicuous was countertenor Jay Carter, whose recitatives and arias suffused the most intense episodes of Part II with sublimity and pathos, during the scourging of Jesus and at Golgatha, the site of the crucifixion. Edmund Milly, who hadn’t sung at the Celebration, didn’t get his first solos until Simon of Cyrene carried the holy cross, lavishing his rich bass-baritone on “Komm, sübes Kreuz” (Come, sweet Cross), with a viola da gamba obbligato from Gail Schroeder. We had no sampling of soprano Margaret Carpenter Haigh’s silvery lyricism until Jesus was brought before Pilate and she sang her recitative and the “Aus Liebe will mein Heiland sterben” (Out of love my Savior wants to die) aria, with traverso flutist Colin St. Martin playing the intro and obbligato. St. Martin’s work at the Celebration in the Orchestral Suite No. 2 had been even more substantial and impressive.

2019~Charlotte Bach Fest-110

Five other members of the North Carolina Baroque Orchestra played obbligatos with Cantata vocalists, none more ballyhooed than concertmaster Aisslinn Nosky, who made gorgeous music together with Leeds in the mezzo’s “Erbarme dich” (Have mercy) aria. Following in the footsteps of cellist Guy Fishman, Nosky had been the second Handel and Haydn Society principal in successive years to perform at Charlotte Bach’s Visiting Artist Recital Series. In partnership with the American Guild of Organists, the festival presented Isabelle Demers as their other recitalist. The big improvement here was a change from the Uptown location at St. Peter’s Episcopal, where Bálint Karosi had performed, to Myers Park United Methodist. Not only did the chocolatey organ sound marvelous, it was at the front of the sanctuary, where we could actually see Demers play without having to turn around awkwardly in our seats.

Keeping with the precedent set by last year’s recitalists, both Demers and Nosky expanded the scope of the festival beyond all-Bach. Demers branched out into organ works by Alkan and Widor, and Nosky brought us a Fantaisie for Solo Violin by Telemann as well as two sections from Stand Still, a piece written for her by Michael Oesterle. Funkier by far, Charlotte Symphony trombonist Tom Burge inaugurated a new Bach at the Brauhaus event in the back room of Free Range Brewing on a wee stage that seemed, with its string of carnival bulbs and crimson curtains, best suited for magic acts or stand-up comics. Between sips of the pub’s brew – and banter from the audience – Burge played a Bach transcription, selections from Bone Kill by Michael Davis, and after slyly fishing out a euphonium from behind the curtain, Paganini’s most famous Caprice.

2019~Charlotte Bach Fest-151

Nosky’s appearance was another kind of departure from last year, extended so that she could linger and gently whip the NC Baroque’s strings into sharper shape for the Passion – and to help in spreading the festival to Chapel Hill, where the masterwork was given at University United Methodist before its closing night performance in Charlotte. The were fewer hired guns brought in from afar to fortify NC Baroque than came to sing with the Cantata Choir, and the Passion ensemble was a lean-and-mean 32, including Nosky and organist Nicolas Haigh.

The anemic organ Haigh contended with was the only fault I found with the Baroque Orchestra, not their SlimFast number. Playing on period instruments, the company places a greater premium on authenticity – and precision – than on raw power, which is fine with me. When added muscle was needed, Steven Marquardt and Josh Cohen shared leadership of a corps of valveless baroque trumpets that bloomed gloriously in the Magnificat to launch the festival and in three Michaelmas cantatas afterwards. And just before the halfway mark at the Passion, a 10-voice children’s choir from Charlotte Latin School briefly appeared.

Never too big, and never too small. When the Cantata Choir and the Orchestra reached the final “Wir setzen uns mit Tränen neider” (We sit down with tears) of the Passion, there was soothing lullaby aspect to the music that overshadowed the usual community lamentation we hear from larger groups. Tuning in to the “rest gently” motif later in this chorus, Jarrett likely had that restful aim in mind when he hushed his forces once again. That was also fine with me. Very fine.

Charlotte Bach Festival Kicks Off Year Two in Astonishing Style

Review: Charlotte Bach Festival

By Perry Tannenbaum

2019~Charlotte Bach Fest-022.jpg

Capping its second full season of operations and concerts, Bach Akademie Charlotte has launched its second Charlotte Bach Festival, and my first impressions tell me that this festival will be slightly larger than last year’s impressive inaugural. They’ve widened the reach of the eight-day event so that it stretches from Asheville to Chapel Hill, and they’ve expanded the concert lineup with a ninth offering, breaking out of their churches-only mold with “Bach at the Brauhaus” at Free Range Brewing.

Largely because they’re performing the St. Matthew Passion – and printing the entire text for festivalgoers – the handsome festival program booklet has also expanded, including 57% more advertising pages. Most exciting at the Festival Opening Celebration in Myers Park, it was obvious that awareness of the festival had grown. Last year, I could describe attendance at Christ Church Charlotte as excellent for a weakly publicized new event. This year, they were so near capacity that you have to wonder whether Charlotte Bach will be turning away customers next year or turning to a new location for their big events.

Since Johann Sebastian Bach was tasked with producing new work like clockwork – and keeping it aligned with his church’s calendar – it shouldn’t surprise us that, in some ways, festival artistic director Scott Allen Jarrett’s programming choices are formulaic. Last year and this year, for example, one of the visiting artist recitals will be by an organist – churches do come in handy at a Bach festival! – and the other will be performed by a principal from Boston’s Handel and Haydn Society, last year cellist Guy Fishman and this year concertmaster Aisslinn Nosky. Similarly, both last year’s and this year’s Opening Celebrations, performed by the BA|Charlotte Cantata Choir and the North Carolina Baroque Orchestra, have consisted of two vocal works and one of Bach’s Orchestral Suites.

2019~Charlotte Bach Fest-023.jpg

Beginning with the Magnificat, Bach’s setting for the Virgin Mary’s prayer to God (Luke 1:46-55), Jarrett was able to regale his audience immediately with the Baroque Orchestra’s heavy artillery – timpanist Jonathan Hess and three trumpeters playing valveless baroque instruments. Yet they only needed to rock the hall for about a minute before the chorus entered and began swelling toward their full volume, adding thunder to thunder. Intermediate sections reminded us of the Cantata Choir’s collective power from time to time but also spotlighted seven of the ensemble’s 17 members in solo, duet, and trio performances.

2019~Charlotte Bach Fest-009

Sopranos Sarah Yanovitch and MaryRuth Lown immediately set the bar high in their arias, baritone Jason Stegerwalt was both nimble and mellow with easy low notes in his “Quia fecit mihi magna,” and the blend between Elizabeth Eschen and Patrick Muehleise was exquisite in their alto-tenor duet. In brief intervals between the arias or in obbligato behind the soloists, there was admirable work from a solo oboe and a pair of flutes. Midway, trumpets and timpani returned for the mighty “Fecit potentiam” chorus and immediately exited, returning once more for a triumphal “Gloria Patri.” Glorious it truly was, outshining the lauded Magnificat recording conducted by Richard Hickox.

2019~Charlotte Bach Fest-005.jpg

In Season Two, we were offered Orchestral Suite No. 2, sensibly following the Suite No. 1 that launched last year’s Charlotte Bach Festival. It’s a much quieter and more intimate piece, giving flutist Colin St. Martin the opportunity to come forward and sparkle. The slightly slow tempo Jarrett chose for the long Ouverture movement certainly made me yearn for the speed-up that was telegraphed. When the tempo did quicken, it was still a half-step slow, but there was a nice gradual gain in momentum until the slow-fast cycle repeated. St. Martin produced charming staccatos in the lovely little Rondeau and renewed the appeal of the familiar melodies that crop up later in the Polonaise and the concluding Badinerie movements.

The Cantata presented after intermission was shorter than either of the pieces that preceded it, but there was a handy “To be continued…” label attached to Cantata 130 by Jarrett in his introductory remarks. This would be the first of three Cantatas to be performed at the 2019 festival written by Bach for the Feast of St. Michael. The other two – Cantata 19, Es erhub sich ein Streit (“There arose a war”), and Cantata 149, Man singet mit Freuden vom Sieg (“The voice of joy and redemption”) – would be performed separately at midday “Bach Experience” concerts during the week, fortified with analytic lectures from Jarrett. So 130, Herr Gott, dich loben alle wir (“Lord God, we all praise you”), was a gateway to those lengthier celebrations of St. Michael’s victory over Satan, alias “Der alte Drache” (“the ancient dragon”).

Slightly stunted compared with the other two Michaelmas cantatas, six movements rather than seven, Cantata 130 didn’t lack for vocal and instrumental muscle, as Jarrett brought back all the choristers who had departed for the Suite and all three trumpeters – Josh Cohen, Steve Marquardt, and Perry Sutton. But again, comparing this performance to recordings conducted by Helmuth Rilling, John Eliot Gardiner, and Masaaki Suzuki, I found the excellence of the choir and the vocalists to be most astonishing. With all the instrumental big guns firing instantly, the musical praise seemed to begin before the vocalists joined in on the opening chorus, and Eschen was no less luminous in her mezzo-soprano recit than she had been in her previous Magnificat duet.

2019~Charlotte Bach Fest-003

Any suspicion that all of the Cantata Choir’s top vocalists had already been deployed was dispelled when baritone Charles Wesley Evans, preceded and accompanied by trumpet heraldry and timpani thunder, sang his powerful “Ancient Dragon” aria, neither eclipsed nor strained by the brass and drums. Jarrett also had the luxury of spotlighting additional singers in duet, for soprano Emily Shusdock and tenor David Kurtenbach harmonized deliciously on their recitative. Kurtenbach lingered for the prayerful aria that that followed, a soft lyrical movement that saw him in duet with flutist Rodrigo Tarraza before the stately, anthemic final chorus.

One last item to pass along after attending Monday’s “Bach Experience”: Aisslinn Nosky, slated to deliver her solo violin concert on Wednesday, will linger at the festival through its conclusion, serving as concertmaster at the upcoming performances of the St. Matthew Passion.

The Queen City Has a Regal New Bach Festival to Call Its Own

42857183534_3fc07101fe_kReview: Charlotte Bach Festival~Opening Celebration

By Perry Tannenbaum

Boasting unmistakable DNA from the Oregon Bach Festival, at the podium and in its administrative offices, the new Bach Akademie Charlotte has launched its first annual Charlotte Bach Festival in grand style, heralding national ambitions. The Festival Opening Celebration filled the chapel at Christ Church Charlotte with listeners eager to hear Bach’s vocal music performed by a professional choir and to see Johann Sebastian’s orchestral music played on authentic baroque instruments. Conducted by Scott Allen Jarrett, the combined forces of the Akademie’s Cantata Choir and the North Carolina Baroque Orchestra obliged, filling the room with robust, cleanly sculpted sound. All hands were on deck for Cantata 147, “Herz und Mund und Tat und Leben” including guest instrumentalists and vocalists. This centerpiece was preceded by the Orchestra Suite No. 1 in C Major, where we made the acquaintance of the fullest assembly of the NC Baroque Orchestra that I’ve ever seen. Concluding the concert, the “Singet demrrn ein neues Lied” motet showcased the Choir with light accompaniment from keyboardist Nicolas Haigh, violone player Sue Yelanjan, and NC Baroque executive director, cellist Barbara Krumdieck.

Jarrett is not merely a guest conductor at Oregon Bach Festival. He directs the Vocal Fellows Program there, and he is slated to deliver the lecture concerts of their Discovery Series this summer. Adam Romey, the new managing director, is the son of Kathy Romey, longtime assistant of OBF founder Helmuth Rilling; and the Bach Akademie president, Michael H. Trammell, has sung with Rilling at festival in Europe. In welcoming the audience and in introducing the pieces, Jarrett reminded me of how Helmuth Rilling engaged his OBF audiences when he was artistic director there. He isn’t as sparing, concise, gnomic, or orotund as Charlotte Symphony’s Christopher Warren-Green in making his remarks. There is a more relaxed informality and a gentle pedagogical touch. Jarrett didn’t walk off into the wings between pieces and, since he had served as music director of the Oratorio Singers of Charlotte from 2004 to 2015, he could address us with a familiarity that must have taken Rilling years to achieve in Eugene, Oregon.

Intimacy between the audience and the musicians was sustained by the compact size of the ensembles, a mere 14 musicians taking the stage for the Orchestral Suite. Yet it did not take long for these members of NC Baroque to prove they could produce a roar in the opening Ouverture movement. Deceptively stately, for the oboes are doubling and quadrupling the pace with embellishments, the movement is far longer than any one of those that follow, with a slow-fast-slow-fast-slow structure that is most satisfying when the tempo contrasts are emphatic. Not only were the wind players on point – oboists Margaret Owens and Sung Lee backed by bassoonist Allen Hamrick – but the string players, led by concertmaster Martha Perry, were also up to the task, sounding effortless in the swift episodes. There was a nice balance later on in the Gavotte movements when strings and winds veered off in different directions and a delicious blend afterwards between the sections in the Menuets. The paired Bourées were also impressive, the strings showing their nimbleness in the fleet outer portions of this movement and, in the middle, Owens and Sung interweaving nicely over Hamrick’s continuo.

Glorious was a better description of the Cantata 147 performance than merely impressive, for all of the forces at Jarrett’s command were at their shining best – and the music includes the familiar “Jesu, Joy of Man’s Desiring,” one of Bach’s greatest hits, played twice to conclude each of its two parts. Here Josh Cohen made his first appearance with his valveless natural trumpet, launching the cantata with some stunning flourishes. Most of the vocal soloists were drawn from the Charlotte Cantata Choir, underscoring the fact that Jarrett has chosen the crème de la crème of Charlotte’s plentiful choral talent. I was most delighted by Edmund Milly’s renditions of the bass recitative (“Stubbornness can blind the mighty”) and the bass aria in the penultimate song (“I shall sing of Jesus’ miracles”), both ringing with power and authority, yet there was also considerable power from soprano Margaret Carpenter Haigh in her aria (“Prepare now, O Jesus, the way”).

With native talent of that caliber, the imports figured to be outstanding, and they were. Countertenor Charles Humphries was definitely a highlight in the alto aria (“Be not ashamed, O soul”), with a lovely obbligato from Owens over Hamrick’s bassline. Tenor Patrick Muehleise had the earnest warmth that his aria demanded (“Help me, Jesus, to acknowledge Thee”), giving Krumdieck, who is so often relegated to continuo at local concerts, a chance to show her true mettle in the cello obbligato. Among the obbligatos, I don’t think any outshone the paired oboes of Owens and Sung behind alto Elizabeth Eschen’s sweet recitative (“The wondrous hand of God’s omnipotence”). For sheer luminosity, however, nothing could compare with the live performances of the “Jesu” movements, numbers 6 (“I am blest to have Jesus”) and 10 (“Jesus remains my joy”). The familiar melody is played by the orchestra, but it’s the stately choral singing that elevates the music heavenward. Which melody is accompanying the other? Part of what nearly brought me to tears, besides the sheer beauty of the performance, were the realizations of how rarely such music is heard in a live concert and the foretaste of how much this new festival could mean to this community. Jarrett delivered an additional foretaste in his introduction to this cantata, explaining its architecture, a glimpse of what he would be doing later in the Festival when will clone his work at OBF’s Discovery Series and bring it Charlotte as The Bach Experience, exploring and then performing Cantatas 75 and 76 at Myers Park United Methodist Church in separate midday concerts.

Concluding the Opening Celebration, the Cantata Choir sounded relaxed and celebratory in their motet after scaling to the pinnacle of this concert. Jarrett didn’t let up on the ensemble in the opening movement (“Sing a new song to the Lord”), calling for a slightly brisker tempo than I’ve usually heard, and I’ve certainly encountered more hushed and reverent accounts of the choruses in the middle movement. Yet there was still a definite éclat when the ensemble lit into the final “Lobet den Herrn in seinen Taten” (“Praise the Lord in His works”), similar to the opening movement in its ecumenical return to the mother of us all, the Psalms of the Old Testament. Once more, Jarrett and the Choir accelerated with effortless speed, producing satisfying layers of melody, rich textures and counterpoint, building to what many people would call a cathedral of sound. Less pretentious folk could simply – and rightly – call this concert a grand opening.