2025 Concert Season

Concert I - 14/15 June 2025 Tauranga & Matamata

J. S. BACH - Mass in A Major, BWV 234

A. VIVALDI - GLORIA, RV 589

Johann Sebastian Bach (1685–1750)

Few composers have shaped Western music as profoundly as Johann Sebastian Bach. A master of harmony, structure, and counterpoint, his works continue to inspire musicians and audiences alike. Yet, in his own time, he was better known as an organist than as a composer, and much of his music was forgotten after his death—until Felix Mendelssohn reignited the world’s appreciation for his genius in the 19th century. Today, Bach’s legacy is undeniable, and his choral music remains a cornerstone of the classical tradition.

Among his many sacred works, the Missa Brevis in A Major, BWV 234 is a true gem. One of four short masses he composed, it is a work of grace and elegance, filled with luminous textures and intricate vocal lines. Unlike some of his more monumental choral pieces, this setting is refreshingly concise, yet no less rich in detail. The inclusion of two flutes—a rare feature in his masses—adds a distinctive pastoral quality, evoking images of shepherds’ flutes on a quiet hillside.

Bach was a composer who never let a great melody go to waste, and this mass is no exception. Many of its movements originated in his earlier cantatas, carefully reworked to fit the sacred mass structure. This creative recycling was common practice in the Baroque era, but Bach elevated it to an art form. His ability to seamlessly transform pre-existing music into something entirely new is part of what makes his compositions so endlessly fascinating.

The six movements of this mass offer a stunning interplay between chorus and soloists, each section bringing a new colour to the work. The Gloria is a highlight, with solo voices intertwining in dialogue with the choir. The arias are exquisite in their variety—a shimmering soprano aria with flute accompaniment, an intimate alto solo with strings, and a bold bass aria supported by a solo violin. The final movement brings all voices and instruments together in a joyful and triumphant conclusion, reminding us why Bach’s music remains as powerful today as it was centuries ago.

For those who love choral music at its most exhilarating, this is not a performance to miss. Bach’s Missa Brevis in A Major is a work of unmatched beauty, full of warmth, vitality, and deep musical insight. We can’t wait to share it with you!

Vivaldi’s Gloria: A Venetian Masterpiece

Antonio Vivaldi (1678–1741) may be best known today for The Four Seasons, but his sacred choral works are equally thrilling, and his Gloria in D Major, RV 589 remains one of the most celebrated of them all. Written around 1715 for the Ospedale della Pietà, a Venetian institution that provided musical training for girls, this joyous and uplifting work reflects both the virtuosity of the performers for whom it was composed and Vivaldi’s own genius for melody and drama.

The Ospedale della Pietà was no ordinary orphanage. It was, in many ways, one of Europe’s finest musical conservatories, boasting an exceptional choir and orchestra trained to a professional standard. Vivaldi, a priest, violin virtuoso, and composer, spent much of his career there, crafting both instrumental concertos and sacred works to showcase the remarkable talents of the young musicians under his direction.

The Gloria presents the traditional Latin text in a series of twelve beautifully contrasting sections, almost like a mini-cantata. From its bold, trumpet-laden opening to its radiant conclusion, the piece brims with infectious energy, lyrical elegance, and Vivaldi’s unmistakable rhythmic drive.

The opening movement, Gloria in excelsis Deo, bursts into life with jubilant choral fanfares, while the gentle, flowing lines of Et in terra pax evoke a moment of deep reverence. The bright, dance-like duet Laudamus te showcases the soprano soloists, a testament to the vocal agility expected of Vivaldi’s singers.

Throughout the work, Vivaldi’s dramatic contrasts and inventive orchestration keep the listener engaged. The tender aria Domine Deus pairs a soaring soprano melody with a graceful violin solo, while the alto solo Domine Deus, Agnus Dei unfolds as a poignant musical dialogue between voice and choir. The final movement, Cum Sancto Spiritu, brings everything together in a magnificent double fugue, a thrilling and triumphant ending to this remarkable work.

Like many of Vivaldi’s compositions, the Gloria lay forgotten for over two centuries, rediscovered only in the 1920s among a treasure trove of his manuscripts. After its first modern performance in 1939, it quickly gained the recognition it deserves—today, it is one of the most frequently performed Baroque choral works, beloved for its exuberance, lyricism, and sheer joy.

Few composers capture the spirit of devotion and celebration like Vivaldi and Bach. In this programme, we bring together their distinct yet complementary voices—Vivaldi’s Gloria, bursting with vibrant colour and radiant joy, and Bach’s Missa Brevis in A Major, a work of grace and refined beauty. With our friends from Opus Orchestra joining us, this performance will illuminate the timeless brilliance of these two Baroque giants.

Concert II - 13/14 September 2025 MT MAUNGANUI & ROTORUA

L. Beethoven - MASS in C, op. 86 &

Piano Sonata No. 8 in C minor, Op. 13

Featured Artists

Beethoven's Mastery: Mass in C, is a celebration of one of the most iconic composers of all time, Ludwig van Beethoven. Featuring organist Jeremy Woodside and the Pathetique Sonata with young scholar David Jiang on piano, the concert brings together two distinct but equally powerful works by Beethoven.

Composed in 1807-1808, the Mass in C (Op. 86) is one of Beethoven's early sacred choral compositions. Written at a time when he was developing his distinctive style, it demonstrates his ability to blend classical forms with emotional depth and innovative techniques. The Mass was commissioned by the Austrian archbishop Joseph Franz Maximilian for the consecration of a church, but it was not performed until several years later, in 1814. Despite its initial lack of success, the work has gained recognition as a masterful contribution to the sacred choral repertoire.

The Mass in C is known for its grandeur and intricate vocal writing, making it a thrilling and challenging piece for any chamber choir. One of its highlights is the Gloria, which exudes both exuberance and complexity, with rapid contrapuntal sections that give the choir a chance to display their technical mastery. The Credo, a declaration of faith, is marked by its dramatic contrasts, from the solemn to the triumphant, showcasing Beethoven's ability to balance both intimate and monumental moments within the same work.

What makes this work particularly rewarding to sing in a chamber choir is the combination of technical challenge and emotional expression. The choir must navigate Beethoven’s intricate harmonies and rhythms, which demand precision and an understanding of his unique approach to vocal texture. The choir’s ability to balance these elements, especially in the Gloria and Credo, is what brings this work to life, making it a truly fulfilling experience for both the singers and the audience. The organ, played by Jeremy Woodside in this performance, supports and enhances the choral lines, adding depth to the overall sound and further highlighting the emotional power of Beethoven’s music.

Pathetique Sonata

Beethoven’s Piano Sonata No. 8 in C minor, Op. 13, commonly known as the Pathetique Sonata, was composed in 1798-1799 and premiered in 1800. One of Beethoven’s most famous piano works, the sonata is renowned for its emotional intensity, which was revolutionary for its time. The Pathetique stands out as an example of Beethoven’s ability to blend dramatic contrasts in the classical sonata form, infusing the work with a profound sense of melancholy and grandeur.

The sonata's first movement, Grave - Allegro di molto e con brio, begins with a slow, mournful introduction that leads into a vigorous and stormy Allegro section. The second movement, Adagio cantabile, is lyrical and tender, offering a stark contrast to the intensity of the first. The final movement, Rondo: Allegro, brings a return to vigorous activity, concluding with a sense of resolution.

For David Jiang, our very own choral scholar performing the Pathetique Sonata on piano, this piece represents a unique opportunity to engage with Beethoven’s deep emotional complexity. The sonata’s sweeping melodic lines and dramatic contrasts are challenging and provide a platform for any young pianist to demonstrate their technical skill and musical maturity.

Bringing Beethoven’s Mastery to Life

This concert offers a rich and diverse experience, with the combination of organ, piano, and choir bringing Beethoven’s music to life in dynamic ways. The Mass in C provides a unique opportunity for the chamber choir to demonstrate their technical skill and emotional connection to Beethoven’s sacred music. Each section of the Mass, from the contrapuntal Gloria to the expressive Credo, challenges the choir to balance precision with emotional expression, making it a deeply fulfilling piece to perform.

David Jiang’s performance of the Pathetique Sonata adds a contrasting yet complementary element to the concert. This piano work’s dramatic intensity and lyrical moments create a powerful contrast with the choral work, offering the audience a full range of Beethoven’s emotional depth. The concert promises to leave a lasting impression, as the audience experiences the extraordinary technical mastery and profound emotional resonance that defines Beethoven’s music.

Concert III - 22/23 NOVEMBEr 2025 Tauranga & second VENUE TBC

G. F. HANDEL - Messiah, HWV 56

Scholars’ Baroque is proud to announce its Annual Performance of Handel’s Messiah, presented in collaboration with NZ Barok. This revered masterpiece, composed by George Frideric Handel in 1741, remains one of the most significant works in the Baroque choral canon. Known for its powerful and uplifting oratorio structure, Messiah features profound scriptural texts, with its most famous segment, the “Hallelujah” chorus, transcending centuries as a symbol of joy and spiritual triumph.

Performed by Scholars’ Baroque alongside NZ Barok, New Zealand’s leading Baroque orchestra, this concert promises an exceptional interpretation of Handel’s monumental work, showcasing the vibrant energy and depth of Baroque style and ensuring a moving and memorable experience for all.