In a revelatory bit of programming, this week's St. Paul Chamber Orchestra concerts, heard Thursday night at Temple Israel in Minneapolis, juxtapose the second half of Bach's "The Art of the Fugue" with a cappella religious choral works by contemporary Estonian composer Arvo Pärt.
Both men share a profound spirituality, though they express it in vastly different ways. Together, the dense complexity of the Bach and the utter simplicity of the Pärt created an experience of spellbinding transcendence.
"The Art of the Fugue" is Bach's final, and some would say, his most profound work. The way he was able to take a single theme and spin it out into 19 fugues and canons is a demonstration of both genius and craft.
But it is also a demonstration of his faith. The pairing with Pärt helped to heighten the experience of that. For Bach, the order in his music reflected an orderly universe in the hands of an omnipotent, benevolent God.
For Pärt, his a cappella choruses, rooted in ancient plainsong, Gregorian chant and Renaissance polyphony, are the highest expressions of his spirituality. Whether setting liturgical texts or Biblical passages, there is great power to be found in the simplicity of his utterances.
In the hands of veteran conductor Dale Warland, the SPCO Chorale remains a musical force to be reckoned with in this music. All of Warland's trademarks were in place: a warm tone and crystalline sound, clarity of harmonies, and impeccable diction. Having him on the podium was one of the highlights of the evening.
Bach wrote "The Art of the Fugue" to be performed by himself on the keyboard (most likely the organ), but SPCO presented it in a arrangement for string quartet and wind quintet by flutist Samuel Baron, who uses various combinations of instruments, from a duet for flute and bassoon to massed ensembles. This adds varieties of colors, which helps illuminate the effects in the subtle and sophisticated score.
It's hard to imagine a stronger instrumental performance. There were nine soloists who also had the experience of playing together as an ensemble. It was the best of all possible worlds. They played with precision, but also with exuberance, bringing Bach's complex music to life.
William Randall Beard writes regularly about music.