Bach’s cantatas were his spiritual diary, written to illuminate the church calendar with music of astonishing power. Under the direction of Colin Mann, the Festival Chorus and Festival Ensemble joined distinguished soloists to perform two of Bach’s great sacred works: Cantata 65 (They will all come forth out of Sheba), a festive piece celebrating the Epiphany, and Cantata 78 (Jesus, who has rested my soul), a masterwork of devotion that combines dramatic choruses with tender arias. Rich in theological depth and musical brilliance, these cantatas capture Bach’s ability to blend faith and artistry into an uplifting communal experience.

At the heart of Bach’s output is his mastery of counterpoint, and nowhere is this more profound than in The Art of Fugue. The Lydian Quartet wove together its intricate voices, demonstrating Bach’s ability to turn pure musical architecture into something deeply expressive. Interwoven with this monumental work are some of Bach’s most lyrical arias, sung by soprano Mary Bonhag, including the beloved “Sheep May Safely Graze.” Organist Gregory Hayes joined to highlight Bach’s canons and pastoral melodies. This soulful program revealed Bach’s music as rigorous, yet always full of humanity.

The festival opened with a dialogue between two of Bach’s most beloved voices: the grandeur of the organ and the intimacy of the cello. Organist Aaron Tan and cellist Ignacy Gaydamovich brought out Bach’s genius for both invention and emotion. From the pastoral charm of the Pastorella in F to the noble St. Anne Prelude and Fugue, the audience heard Bach at his most majestic. Paired with the luminous Cello Suite in G major—a work whose opening prelude has become an icon of classical music—this program revealed Bach’s extraordinary range, from contemplative chorale settings to dazzling virtuosity.

The Festival concludes on October 27 with an inspiring afternoon of Bach’s sacred music, featuring two cantatas and one of his most profound motets. Under the direction of conductor Colin Mann, the performance will bring together Festival musicians, distinguished soloists, the Festival Chorus, Choral Scholars, and young singers from the Grand Monadnock Youth Choir. The program highlights Bach’s deeply spiritual side with the radiant motet Jesu, meine Freude (BWV 227), the penitential cantata Aus der Tiefen rufe ich, Herr, zu dir (BWV 131), and Brich dem Hungrigen dein Brot (BWV 39), a work centered on generosity and care for others. With chorus, soloists, and orchestra united, this culminating concert offers a powerful close to the 2024 Festival. Read more.

Viva Bach Peterborough continues the 2024 Festival on October 26 with an enchanting evening of chamber music, showcasing some of Bach’s most beloved and inventive works. The program includes the intricate Ricercar a 3 and radiant Trio Sonata from The Musical Offering (BWV 1079), the elegant Orchestral Suite in B minor (BWV 1067), and the joyful Brandenburg Concerto No. 4 (BWV 1049). The concert brings together a distinguished ensemble of Festival musicians: flutists Matthew Lee and Jeff Harley; violinists Joana Genova, Jaroslaw Lis, and Artistic Director Veronika Schreiber; violist AhLing Neu; cellist Ignacy Gaydamovich; double bassist Wayne Roberts; and harpsichordist Gregory Hayes. Together, these artists will illuminate Bach’s genius for counterpoint, color, and collaboration in an intimate setting. Read more.

Viva Bach Peterborough opens the 2024 Festival with an evening of “dueling” harpsichords and flute. The program includes Bach’s Sonatina from the cantata Actus Tragicus (BWV 106), the French Overture (BWV 831), two solo partitas — in G major for harpsichord (BWV 829) and in A minor for flute (BWV 1013) — and the brilliant Concerto for Two Harpsichords (BWV 1061a). Featured artists are harpsichordists Gregory Hayes and Jeffrey Grossman, and flutist Matthew Lee, all celebrated performers known for their artistry and engaging stage presence. Read More.