Scott Allen Jarrett

Oregon Bach Festival review: Bach to the future

Festival‘s return to its original performance space provides a welcome reminder of past glories

By BRUCE BROWNE 

The walls of Beall Hall on the University of Oregon campus have absorbed a great deal of beautiful sounds for almost ninety years. Walking into the Mira Frohnmayer Music Building and into this grand dame of venues the other night was as comforting as ever, like putting on those comfy old slippers and settling back with a snifter of calvados. We were there for an old friend – J.S. Bach that is – and his epic St. Matthew Passion, the opening concert of the 2017 Oregon Bach Festival.

Beall is the choice of halls — and Halls — this year for the season’s Bach St. Matthew Passion, the Berwick Academy concerts, the [Re]Discover education series and the Howells Requiem/Taverner Protecting Veil concert. OBF forces will also perform three times in the Silva Concert Hall in Eugene’s Hult Center, offering there the Stangeland Youth Choral Academy concert, Handel’s Hercules and the season closer Missa Solemnis by Beethoven.

The 2017 Oregon Bach Festival opened with an unsurprising work, Bach’s ‘St. Matthew Passion,’ and a surprise conductor. Photo: Athena Delene.

The choice of Matthew Halls as artistic director in 2011 brought great change to the Oregon Bach Festival: “an exciting new chapter in the festival history” was the statement from then president and general director John Evans. Now in his fourth year of artistic leadership, Halls prepared the OBF Festival Orchestra and Chorus, soloists and Pacific Boychoir for his first Oregon Bach Festival St. Matthew Passion. 

Another first, however, this one for the Halls family, brought about a change of plans. A son was born to conductor Halls and his wife (congratulations all) and the baton passed to Scott Allen Jarrett, director of music at Boston University’s Marsh Chapel and director of the Vocal Fellows program and chorus master for the Festival.

Scott Allen Jarrett conducted J.S. Bach’s ‘St. Matthew Passion.’

Standby conductors are kept in the wings for these necessities. “Everything was covered, because we knew going in that Hall’s wife would be giving birth around this time,” emeritus founding festival director Royce Saltzman said. Nevertheless, Mr. Jarrett had only four rehearsals with the entire ensemble. For a Bach cantata or even a Mozart Requiem, this would be enough, but for the heavyweight St. Matthew, weighing in at three hours, it is barely enough for most mortals. Yet Mr. Jarrett pulled it off with panache, and a calm demeanor of authority.

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