OTTAWA — The Ottawa Bach Choir performed its most recent concert Sunday evening in Knox Presbyterian Church. Artistic Director Lisette Canton chose a program of lesser-known but rewarding Passion-related music from the late Renaissance and early Baroque music from the major European musical centres of the time.
It began with William Byrd's Miserere mei, Deus, a serenely beautiful setting of the first verse of Psalm 51. It was a strong start for Canton and her choir with all the technical values lined up nicely and a wonderfully centred sense of hope and reverence.
Next came a set of five motets from Heinrich Schütz's Cantiones Sacrae. Schütz was probably the greatest German composer before J. S. Bach and his sacred music has an unfailing sense of high seriousness. These motets are not only among his most notable achievements, but are innovative in technique, even daring for his time. Although there was mild uncertainty in the opening moments, the rest of the performance was truly moving. A wide range of sonorities was enhanced by the accompaniment of cellist Amanda Keesmaat, bass player Reuven Rothman and organist Jennifer Loveless.
A simple, contemplative offering followed, Ecce quomodo moritur Justus by Jacobus Gallus. Then there was a most persuasive account of Das Blut, Jesu Christi by Johann Ludwig Bach (1677-1731). This obscure member of music's most accomplished dynasty does credit to the family name.
Gregorio Allegri's Miserere mei, Deus is another setting of Psalm 51, this time in its entirety. This is the piece that was the exclusive property of St. Peter's in Rome until an 11-year-old Mozart memorized it from two hearings and wrote it down. Around the beginning of the CD era it became popular through a recording by the Tallis Scholars. It was heard so often that some listeners got sick of it, but it was a joy to hear on Sunday, not least on account of the soaring refrain so beautifully rendered by soprano Agnes Zsigovics.
The major and concluding work on the program was Tomás Luis de Victoria's Officium Defunctorium. Although Victoria died nearly 400 years ago, and though his musical language has long been superseded by others that speak more directly to more modern times, yet there is no other composer who so consistently evokes the sublime.
A few minor intonation problems notwithstanding, the choir maintained a high standard throughout this long and complex a cappella score, demonstrating once again how fortunate we are to have such a fine vocal ensemble in our area.
