Opening Concert

Photo: Gert Mothes

The title of this year’s Bachfest, »In Dialogue« can be found already in the programme of the opening concert, traditionally performed by the Thomanerchor and the Gewandhaus Orchestra. On what basis did you choose the pieces?
The order of the compositions in the opening concert corresponds to the liturgical order of a Marian Vespers service, except that the works were not written by a single composer, it’s a dialogue of musical styles from four centuries. One focal point is Claudio Monteverdi, with excerpts from his »Vespro della Beata Vergine«, in addition to which there are motets by Johann Hermann Schein and Sven-David Sandström based on verses from the Song of Songs . Among the pieces played by our own organist of St Thomas’, Johannes Lang, is an arrangement of the Marian hymn »Ave Maris Stella« by Franz Liszt, and then Bach’s »Magnificat« will bring the concert to a solemn close. 

... So, a contrasting programme. Does Bach’s Magnificat make him an ideal partner in dialogue for music before and after him?
There couldn’t be a better partner in dialogue than Bach. On the one hand, he adopted and developed numerous principles from the 17th century, and on the other, innumerable composers of later generations took inspiration from him. But our programme will also point up other connections. For example, with the direct contrast you’ll be able to hear how much early music corresponds to contemporary music, how »Italian« Thomaskantor Schein’s compositions are, or how lovingly Liszt arranges a mediaeval hymn. 

This time, the Thomanerchor will also sing the B Minor Mass to close the Bachfest. How do you go about performing this epic piece?
The B Minor Mass is always a huge challenge for a boys’ choir. After all, it’s the only lengthy piece of church music that Bach precisely did not write for the choristers of St Thomas’ during his time in Leipzig. We’ve performed the piece several times already, but the boys change choir sections every year, so it’s almost like rehearsing it from scratch every time. What is important to me is that we base the Kyrie and Gloria on the »Dresdner Stimmen«, that is, the set of parts that Bach dedicated to the court of Dresden in 1733. They contain considerably more articulation marks than in the later, complete score. 

Do you have a favourite movement in the B Minor Mass?
Absolutely: the »Et incarnatus est« in the Credo; that is, the description of how Christ was made man. Bach wrote this movement – probably his last completed composition – specially for the mass and created such an intimate, fragile piece that it never fails to make a deep impression on me. Musically, it shows me that directly beside the crib hangs the cross, that is, the new-born Christ is destined for death on the cross. Because of its particular musical character, we sing this movement also with just a small choir.