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.