About Bach+ Spring 2017

Live Arts Maryland’s Bach+ series explores the infinite creativity and joy that is the music of Johann Sebastian Bach.  Now entering its third year, Bach+ offers much more than performances of Bach’s music within a beautiful environment (even though we are privileged to perform in historic St. Anne’s Church).  Bach+ is about communication—exploring the musical dialogue among Bach and those who came before him as well as those who were influenced by him or respond to his music—and collaboration—between performers and the audience as well as among performers working in variety of genres

March 12:
Mary Bonhag, soprano and Evan Premo, double bass and composer, explore the vast musical opportunities that lie between the outer extremes of range.  Taking inspiration from music of Bach and Purcell, their program also showcases new works written for them.  Featured on the program includes a composition by Premo, which intersperses movements from Bach’s First Cello Suite with new dances written in response, and Premo’s Seasonal Song Cycle, which has become a signature piece for Bonhag and Premo.

Program:
3 Bach Inventions
Where everything is music–Evan Premo
Bach/Premo Dance Suite
Allemande
Minuets and Waltzes
Courante
Polska
Slip Gigue

Fairest Isle–Purcell, arr. Premo/Bonhag

Three Songs of Remembered Love–Lembit Beecher
I. Corn Blue Shirt
II. The Most Beautiful Waltz
III. The Quiet Snow Fell Down

If music be the food of love–Purcell
Not all my torments
Sweeter than roses

Seasonal Song Cycle–Premo
in-Just
Summer Morning
It would melt in my hand
Velvet Shoes

April 20:
“Reclaiming the past” – Tatiana Chulochnikova, violin, presents a program that juxtaposes baroque compositions with neoclassical/neobaroque works for solo violin.  The program includes works by Biber, Bach, Telemann, Glass and a transcription of the famous “Toccata and Fugue in D minor.”

May 11:
Bach’s encounter with the music of Antonio Vivaldi, especially the famous Opus 3 concerti, published as “L’Estro Armonico” (Harmonic Inspiration), most likely brought back to Bach by his friend Johann Ernst of Saxe-Weimar, nephew to Bach’s employer in Weimar.