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  • Bach's World
    • 2022-2023 Concerts >
      • Travels with Sebastian
      • The Old Bach Archive
      • Christmas with Bach
      • The Little Organ Book
      • Bachapella
      • Arnstadt & Mülhausen
      • Bach Through the Years
    • 2022-23 Educational Events >
      • BachTalks
      • Saturday Sings!
    • 2022-23 Virtual Offerings >
      • The Choir Loft >
        • Feb. 5 - Winter's Chill - Dianna Morgan
        • Feb. 12 - The Heirs of Bach: Charles Ives - Steve Osborn
        • March 12 - The Heirs of Bach: Hugo Distler - Steve Osborn
      • Repertoire Exploration Projects
    • Tickets
    • Donate today!
  • Who we are and What we do
    • Mission Statement
  • Our Ensembles
    • Sonoma Bach Choir
    • Circa 1600
    • Green Mountain Consort
    • Live Oak Baroque Orchestra
  • Support
    • Donate
    • Sponsor a Singer!
    • Escrip & Amazon Smile
  • Resources
    • Virtual Offerings - Archive >
      • The Choir Loft
      • Virtual BachTalk
      • Adventures in Sightsinging
      • Parliamo Italiano! Language Workshop
      • Madrigal Mondays
      • Chorale Wednesdays
      • Motet Fridays
      • Virtual Recording Projects
      • Virtual Concerts >
        • Live Oak Baroque Orchestra
        • Music for these Distracted Times - Barefoot All-Stars
        • Agave Baroque American Originals
        • Bach's Long Walk to Lübeck - Anne Laver, organ
    • Concert Programs
    • Scores & Parts
    • Rehearsal Recordings
  • Contact
  • Join our Mailing List!
Bachapella
Green Mountain Consort

Saturday, March 11 at 8 P.M. & Sunday, March 12 at 3 P.M.
Bachgrounder lecture 35 minutes before each performance
Bach had access throughout his life—especially in Leipzig, where he moved in 1723—to many works of music by other composers, in both manuscript and print form. There is no question that he made use of this treasure trove,
performing and arranging many pieces and studying and playing others to glean musical ideas.
The Green Mountain Consort will explore this repertoire, known to us from lists, catalogs and surviving scores.
We’ll perform pieces for up to eight voices from the 
Florilegium Portense (1618 and 1621), a compendium of polyphonic music; we’ll feature motets from Schütz’ Geistliche Chormusik; and we’ll include pieces by Bach’s predecessors as Thomascantor, such as Sethus Calvisius and J.H. Schein.
Click here for Tickets
Picture
Interior of St.Thomas Church, Leipzig, Germany.
“Throughout his life Bach showed an insatiable interest in all kind of music, old and new, and of all nations... He assimilated all the achievements to which his time was heir as completely as if he had consciously set out to do so.” 
​
— Hans T. David and Arthur Mendel (1945)
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