Telemann, Bach & The Gospel Tradition Bach Collegium San Diego (BCSD), one of the country’s leading baroque ensembles, is bringing together of two venerable traditions–on the one hand, two extraordinary works from the German Lutheran tradition which meditate on the release of death and the joys that await, and on the other hand, music of comfort from the Gospel tradition and where and how these two worlds intersect. Rooted in the deep traditions of gospel music, Black funerals transform grief into joy, mourning into praise. Death is seen not just as the end of suffering, hardship, or injustice, but as a victory, a return to a promise fulfilled. Both cantatas are likely to have been written for funerals around 1707-8, though the specific identity of the deceased is unknown. A unique “quiet” instrumentation is featured in both cantatas which highlights violas da gamba, recorders, and omits the customary instruments of the violin family. This instrumentation was often linked to funeral cantatas. G.P. Telemann Du aber Daniel gehe hin TVWV 4:17 J.S. Bach Gottes Zeit ist die allerbeste Zeit ‘Actus Tragicus’ BWV 106 Including music from the Gospel tradition rooted in a triumphant send-off celebrating the end of earthly struggles. SOLOISTS Margaret Carpenter Haigh, soprano Reginald Mobley, countertenor Gene Stenger, tenor David Tinervia, bass Bach Collegium San Diego engages audiences with accessible, historically informed performances and educational programs featuring repertoire from the Renaissance, Baroque, and early Classical eras. The ensemble was founded in 2003 by Music Director Ruben Valenzuela to diversify the musical offerings of the San Diego community. Bach Collegium San Diego on Facebook / Instagram
