Colorado Bach Ensemble is dedicated to performing and promoting the music of Johann Sebastian Bach and his contemporaries with a special focus on Bach’s vocal masterpieces. Under the guidance of its artistic director, James Kim, Colorado Bach Ensemble’s mission is to study and perform Bach’s music in the spirit and with the grace of the Baroque style, to grow the audience for Bach’s music through concerts, recording, and tours, and to cultivate a deep appreciation for Bach’s music through engaging educational programs.
Composed for the 6th Sunday after Trinity, BWV 9 (It is our salvation come here to us) is based on a hymn by Martin Luther’s Protestant co-founder Paul Speratus. It begins with a bright, light chorale fantasia featuring flute, oboe, strings, continuo, and chorus.
The cantata is then framed by three recitatives that comprise a miniature sermon on our fallen nature and the uplifting promise of redemption and renewal. Between these are two arias that serve as vignettes on the journey of our fall and rise. It concludes with a warm, resonant chorale in E major, offering reassurance and hope.
Handel’s beloved Messiah returns to CBE this December, highlighting the holiday season with a complete performance of this brilliant and inspiring masterwork. Composed in 1741, its Dublin premiere began a remarkable ascent as one of the great pillars of classical music in the hearts and minds of audiences worldwide.
Messiah’s endurance is rooted in a message that transcends its formal context: “Comfort ye, comfort ye my people.” Handel’s dramatic orchestration, exquisite Baroque counterpoint, and evocative word painting breathe drama and intimacy into the unfolding narrative of Christ, culminating with a promise of new life, redemption, and enduring hope.
Composed in 1724, the St. John Passion is a grand and turbulent work produced at the height of Bach’s creative and expressive powers. The foreboding restlessness and tension in the opening chorus propel us into the inner world of John the Evangelist and his dramatic witness of betrayal, torment, and transfiguration in the gospel narrative.
Unlike the St. Matthew Passion’s broad themes, St. John explores our personal experience of suffering, anguish, fear, loss, and the enduring sustenance of hope. Amid it all, Bach’s glorious orchestration, counterpoint, and harmonic language sharpen each exquisite moment, from the severe to the sublime.
Composed for the second Sunday before Lent, BWV 18 begins with a brooding sinfonia that sets the stage for a reflection on falling rain and snow and the new growth it will eventually bring. Undoubtedly, Bach’s parishioners were beginning to anticipate the upcoming seasonal fasting, and this cantata reminds them that this period of sacrifice will bear spiritual fruit.
The opening key of g minor gives way to the warm central recitativo and chorus in E-flat major, transporting the listener from grey earthly concerns to heavenly bliss. The final chorale serves as a prayer for steadfastness throughout the season.
Composed in 1724, the St. John Passion is a grand and turbulent work produced at the height of Bach’s creative and expressive powers. The foreboding restlessness and tension in the opening chorus propel us into the inner world of John the Evangelist and his dramatic witness of betrayal, torment, and transfiguration in the gospel narrative.
Unlike the St. Matthew Passion’s broad themes, St. John explores our personal experience of suffering, anguish, fear, loss, and the enduring sustenance of hope. Amid it all, Bach’s glorious orchestration, counterpoint, and harmonic language sharpen each exquisite moment, from the severe to the sublime.
Composed for the second Sunday before Lent, BWV 18 begins with a brooding sinfonia that sets the stage for a reflection on falling rain and snow and the new growth it will eventually bring. Undoubtedly, Bach’s parishioners were beginning to anticipate the upcoming seasonal fasting, and this cantata reminds them that this period of sacrifice will bear spiritual fruit.
The opening key of g minor gives way to the warm central recitativo and chorus in E-flat major, transporting the listener from grey earthly concerns to heavenly bliss. The final chorale serves as a prayer for steadfastness throughout the season.
Composed for the 6th Sunday after Trinity, BWV 9 (It is our salvation come here to us) is based on a hymn by Martin Luther’s Protestant co-founder Paul Speratus. It begins with a bright, light chorale fantasia featuring flute, oboe, strings, continuo, and chorus.
The cantata is then framed by three recitatives that comprise a miniature sermon on our fallen nature and the uplifting promise of redemption and renewal. Between these are two arias that serve as vignettes on the journey of our fall and rise. It concludes with a warm, resonant chorale in E major, offering reassurance and hope.
Handel’s beloved Messiah returns to CBE this December, highlighting the holiday season with a complete performance of this brilliant and inspiring masterwork. Composed in 1741, its Dublin premiere began a remarkable ascent as one of the great pillars of classical music in the hearts and minds of audiences worldwide.
Messiah’s endurance is rooted in a message that transcends its formal context: “Comfort ye, comfort ye my people.” Handel’s dramatic orchestration, exquisite Baroque counterpoint, and evocative word painting breathe drama and intimacy into the unfolding narrative of Christ, culminating with a promise of new life, redemption, and enduring hope.