As Ryan Turner began his second season as Music Director of Emmanuel Music so ambitiously with Bach’s B Minor Mass, it seems a good time to reflect on this small, but extremely productive organization and its place in the Boston musical world. One of the most characteristic—and felicitous—aspects of classical music in Boston is the proliferation of these groups, often founded around a chorus, but featuring non-choral music as well, often cultivating a speciality in Baroque music, and often combining this with the music of Classical, Romantic, and contemporary composers. Boston is home to other groups that play Baroque music on period instruments, and some of these have achieved international reputations. At Emmanuel music of the eighteenth century and earlier is played on modern instruments in a style which conforms more or less with the performance practices developed in the postwar years by Günther Ramin and Kurt Thomas with the Thomanerchor at Leipzig, and extending to Fritz Lehmann and Karl Richter in Berlin and Munich—with roots in the reformed performances of the 1920s. This doesn’t mean that these musicians don’t listen to their historically informed colleagues. In Boston, it is pretty well impossible for them not to exchange ideas and to learn from one another. As compelling as period performances of Baroque masters are, there is one great virtue to modern instruments: the music can be performed as part of a tradition extending up to the present day. The musicians can perform Bach seamlessly amidst Brahms, Bruckner, Stravinsky, Schoenberg, Vaughn Williams, or, say, John Harbison, Principal Guest Conductor at Emmanuel Music, who wrote an enlightening personal note on the B Minor Mass for this performance.
Appending and interspersing selections from Bach’s Well-Tempered Clavier Book I with the Joplin and Nazareth works was a programmatic suggestion made by a friend of Mr. Rifkin. Thus, there are immediate segues from a Bach prelude or prelude-fugue pair to a (usually) same key Joplin/Nazareth piece.