Sunday’s concert provided the rare opportunity to hear the harpsichord featured as a principal instrument, in solo concerti, alongside the great organ chorale preludes and trios of Johann Sebastian Bach. The Washington Bach Consort presented its artistic director and founder J. Reilly Lewis and associate conductor Scott Dettra in The Art of the Keyboard, a program that highlighted Bach’s music for the harpsichord and organ. This concert offered the large audience to hear the music on exceptional instruments. The portative organ was acquired by Lewis in 1977, the founding year of the consort and used in the first performance of the consort October 1977 in Dogwood Chapel at Georgetown University. Two German double harpsichords were also featured; one by William Dow (1986) and the other by Tom and Virginia Wolf (1991). The concept of the program was admirable. Presenting two of the nation’s foremost keyboard artists in a concert that was conceived beautifully from a historical standpoint was sure to be a successful concert.

National Presbyterian Church was packed with the consort’s most ardent followers. The quartet that sang the chorales that preceded the keyboard music throughout featured soprano Rebecca Kellerman Pertretta, mezzo-soprano Barbara Hollinshead, tenor Gerald Kavinski and bass Richard Giarusso. Notably, early music veteran Hollinshead has been a member of the Washington Bach Consort since 1980. Reilly and Dettra accompanied the singers on the portative organ in alternation, as they both were also featured as soloist on the church’s Skinner organ. Opening the concert was the sung chorale, “Komm Heiliger Geist, Herre Gott” BWV 59/3 accompanied by Lewis. Scott Dettra offered forth the Fantasia, BWV 651 at the church organ on the same chorale tune. Dettra’s performance was marked by bright registrations, flashy passagework and a solid pedal point throughout. Watching Dettra at the instrument was a display of utter amazement. J. Reilly Lewis played the first harpsichord work of the concert, “Allegro” from the Italian Concerto, BWV 971. Seated midway in the sanctuary, it was interesting to experience how the delicate, metallic timbre of the instrument would carry in the large space of the National Presbyterian Church.

Most connoisseurs of early music recordings are often spoiled by the up close stereo recording clarity of the harpsichord. It is fascinating how the manner in which the sound of a harpsichord can noticeably cut through a chamber orchestra, yet alone in a large space is not as effective. Though, the church is not as large as the Washington National Cathedral, it perhaps should have been a consideration to make use of acoustic shells and since the aim of the program was to feature the harpsichord somewhat on the same level as the organ, a small amount of amplification may have added a bit more substance to the sound (much to a purist’s chagrin). In the concerti for two harpsichords featured on the concert, the instruments were at their best.

Three movements from the Concerto in C Minor for Two Harpsichords, BWV 1060 were quite delightful, noting the ‘echo’ effect between Lewis and Dettra. The Concerto in C Major for Two Harpsichords, BWV 1061 was performed with chamber orchestra. In this work with orchestra, the sense of ensemble seemed to be ambiguous. Overall, the addition of the chamber orchestra to the element of the music making made the listening most enjoyable. Particularly, the Sinfonia in G, BWV 196 performed by the chamber orchestra and portative organ was beautiful and lyrical in nature. The Skinner Organ was certainly was the victor in this concert. Though not intentional, it was the magnificent attributes of the organ that were punctuated and both Dettra and Lewis reigned supreme.

Bach’s chorale prelude “ Nun komm der Heiden Heiland” BWV 661 was played with great sensitivity by Lewis, commanding in execution, yet with an air of expectation, well reflected in the subtle organ registrations. Ending the program was Komm, Gott, Schöpfer, Heiliger Geist, BWV 667 in which Lewis played the church’s marvelous instrument in all its majesty and splendor. What was truly clear is that J. Reilly Lewis and Scott Dettra are certainly well-loved and respected for their commitment to the Washington Bach Consort. The very large audience expressed their appreciation with exuberant applause. “They are just wonderful.” said one concert attendee. AGREED.