One Long River of Song: Our 2025–2026 Season
Tracing the evolution of European music over eight centuries
Tracing the evolution of European music over eight centuries
If you’ve attended our concerts over the years, you no doubt have noticed that Sonoma Bach’s sweet spot is the music of the Renaissance and Baroque periods, roughly from 1400 to 1750. On occasion, we’ve extended our reach backward into the 14th century, and fast-forwarded into the Classical era (Mozart), the Romantic period (Brahms), and even into the 20th century (Britten and others). But these forays have been relatively rare, generally a result of chasing a theme backward or forward.
Now, inspired by a powerful memoir by the late, great author Brian Doyle—whose book title we have borrowed for our 2025–2026 season—we will bring to life nearly the entire history of European polyphonic music in the classical tradition. And we’ll do it in one fell swoop, from roots in sacred monophonic chant through the development of polyphony, touching lightly—like a skipping stone—on successive styles and achievements right up to the 21stcentury—a long river indeed!
In our Opening Recital, the Green Mountain Consort will begin with chant, then move into the development of 13th-century polyphony, progressing in the second half of our concert to the ‘modern music’ of Guillaume de Machaut and Johannes Ciconia. In November, Circa 1600’s Harvest Time concerts will highlight the musical Renaissance (roughly 1400–1600),featuring plenty of sacred and secular music by our usual suspects—Josquin Desprez, G.P. da Palestrina, and Orlande de Lassus—and by many others. In our 14th-annual Early Music Christmas, the Sonoma Bach Choir, under its new director, Amanda McFadden, will join with brass and viols in A Three-Nation Celebration, featuring 17th-century music from Germany, France, and England.
In January, the wonderful organist Anne Laver will join us again for our annual Organ Recital, this time featuring 18th-century high Baroque music—especially Bach and Vivaldi—as well as the Viennese composers Haydn and Mozart. The recital will also feature the debut of our Wild Rose Treble Ensemble. Our Sacred Realms concerts in March will focus upon the sacred part-song tradition of the 19th century. The Church of St. Seraphim will ring
with rich sonorities and daring harmonies.
In April, we close out the century with Brahms’ inimitable—and comforting—Ein deutsches Requiem, accompanied by Live Oak Baroque Orchestra. The program will also include Brahms’ Schicksalslied. And then, finally, we’ll step across a line we’ve rarely crossed: Circa 1600 will traverse the 20th century, featuring works by Debussy, Britten, Barber, Hindemith, and many others—closing the concert and our season with stirring music composed in
the new millennium.
What a trip! You’ll find lots of information about each of our concert sets and about our other activities in this brochure. To set the proper mood, we’ve also shared many artworks featuring European rivers through the ages. We warmly invite you to join us in October as we set sail upon One Long River of Song.
-Robert Worth, Music Director
Now, inspired by a powerful memoir by the late, great author Brian Doyle—whose book title we have borrowed for our 2025–2026 season—we will bring to life nearly the entire history of European polyphonic music in the classical tradition. And we’ll do it in one fell swoop, from roots in sacred monophonic chant through the development of polyphony, touching lightly—like a skipping stone—on successive styles and achievements right up to the 21stcentury—a long river indeed!
In our Opening Recital, the Green Mountain Consort will begin with chant, then move into the development of 13th-century polyphony, progressing in the second half of our concert to the ‘modern music’ of Guillaume de Machaut and Johannes Ciconia. In November, Circa 1600’s Harvest Time concerts will highlight the musical Renaissance (roughly 1400–1600),featuring plenty of sacred and secular music by our usual suspects—Josquin Desprez, G.P. da Palestrina, and Orlande de Lassus—and by many others. In our 14th-annual Early Music Christmas, the Sonoma Bach Choir, under its new director, Amanda McFadden, will join with brass and viols in A Three-Nation Celebration, featuring 17th-century music from Germany, France, and England.
In January, the wonderful organist Anne Laver will join us again for our annual Organ Recital, this time featuring 18th-century high Baroque music—especially Bach and Vivaldi—as well as the Viennese composers Haydn and Mozart. The recital will also feature the debut of our Wild Rose Treble Ensemble. Our Sacred Realms concerts in March will focus upon the sacred part-song tradition of the 19th century. The Church of St. Seraphim will ring
with rich sonorities and daring harmonies.
In April, we close out the century with Brahms’ inimitable—and comforting—Ein deutsches Requiem, accompanied by Live Oak Baroque Orchestra. The program will also include Brahms’ Schicksalslied. And then, finally, we’ll step across a line we’ve rarely crossed: Circa 1600 will traverse the 20th century, featuring works by Debussy, Britten, Barber, Hindemith, and many others—closing the concert and our season with stirring music composed in
the new millennium.
What a trip! You’ll find lots of information about each of our concert sets and about our other activities in this brochure. To set the proper mood, we’ve also shared many artworks featuring European rivers through the ages. We warmly invite you to join us in October as we set sail upon One Long River of Song.
-Robert Worth, Music Director
