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There are evenings when music ceases to be presentation and becomes persuasion — when sound itself argues for order, proportion, and grace. American Classical Orchestra's  Healing Bach, presented February 26, 2026, at the Church of St. Vincent Ferrer, was such an evening: restorative not by slogan, but by structure.

One entered beneath Gothic arches. One left steadied.

When Bach Heals

The notion that Johann Sebastian Bach heals is hardly a sentimental invention. Listeners across centuries have sensed in his music a rare equilibrium — intellect disciplined by faith, emotion ordered by counterpoint. Increasingly, contemporary research has suggested that listening to Bach may reduce physiological markers of stress and calm sympathetic nervous system activity. Science may yet be catching up to intuition.

But long before studies, there was experience: the pulse aligning with steady bass lines; breath synchronizing with unfolding phrases; tension resolving as inevitably as a cadence.

Bach does not soothe by indulgence. He restores by design.

A sample of Bach's original manuscript and modern printed version as distributed at the pre-concert lecture by ACO Conductor and Director Thomas Crawford. This occurred before the concert entitled HEALING BACH by the American Classical Orchestra at the Church of St. Vincent Ferrer in NYC. Photo by Edward Kliszus

Thomas Crawford: Scholar, Advocate, Architect

Before the concert proper, Thomas Crawford — founder and artistic director of the American Classical Orchestra — gathered the audience for a pre-concert lecture that was less preamble than preparation. For over four decades, Crawford has shaped the ACO into what The New York Times has called a “mainstay of the New York early-music scene,” praising its playing as “simply splendid.”

That splendor rests not on polish alone but on principle.

Thomas Crawford, Conductor, in his pre-concert talk before the American Classical Orchestra Concert entitled Healing Bach at the Church of St. Vincent Ferrer in NYC. Photo by Edward Kliszus

Crawford illuminated the evening’s works with scholarly clarity, tracing structural logic and historical context while never losing sight of music’s physiological immediacy. With handouts, musical examples, and animated demonstrations, he prepared listeners not merely to hear, but to understand.

It was pedagogy in the highest sense — the opening of doors.

A Sacred Acoustic

The Church of St. Vincent Ferrer proved no mere venue but collaborator. Consecrated in 1918 and built in soaring Gothic Revival style, its stone nave creates a natural bloom ideally suited to period instruments. Overtones mingle; lines interweave; harmonic tensions linger just long enough to register.

One thinks inevitably of Leipzig’s Thomaskirche, where Bach served as Kantor for nearly three decades. Sacred architecture shapes sacred sound. In such spaces, counterpoint is not abstract geometry but lived experience — lines rising and converging beneath vaults designed for transcendence.

In this setting, Bach felt neither antiquarian nor reconstructed. He felt present.

Period Instruments: Sound Before Modernity

The American Classical Orchestra has long committed itself to historically informed performance. Gut strings replace steel; natural brass sings without valves; Baroque oboes speak with plangent directness; harpsichord and organ anchor the continuo.

The difference is not cosmetic. It is philosophical.

Marc Schachman, Oboe, demonstrating at the pre-concert talk before the American Classical Orchestra Concert entitled Healing Bach at the Church of St. Vincent Ferrer in NYC. Photo by Edward Kliszus

Modern instruments favor uniform projection and sustained brilliance. Period instruments favor speech — articulation shaped like language, dynamic nuance embedded in attack and release. The result is clarity without glare, warmth without excess.

Under Crawford’s direction, the continuo — alternating between organ and harpsichord — supplied rhythmic vitality of uncommon sensitivity. One felt the music breathe.

Orchestral Suite No. 2: Grace in Motion

Bach’s Orchestral Suite No. 2 in B Minor (BWV 1067), likely composed for Leipzig’s Collegium Musicum, opened the evening with buoyant elegance. The ensemble played lean and alert, textures transparent yet full.

At its center stood flutist Sandra Miller, ACO principal since 1992 and a founding member of Concert Royal. Her flauto traverso sang with rounded lyricism in slower movements and flashed with nimble articulation in rapid passages. The celebrated Badinerie — that perpetual-motion jewel — unfolded with brilliance and wit, earning immediate audience delight.

Here was virtuosity disciplined by style: ornament as rhetoric, not decoration.

Ich habe genug: The Art of Surrender

If the Suite charmed, Cantata BWV 82 — Ich habe genug — stilled the air.

Few works in Bach’s output confront mortality with such serenity. The text, rooted in Lutheran pietism, expresses readiness for departure — not despair, but fulfillment.

Baritone Edward Vogel brought warmth and inward focus to the cantata’s introspective landscape. His tone carried supple resonance; phrases were shaped with patient breath. In the aria “Schlummert ein,” he resisted theatrical excess, allowing stillness to speak.

Alongside him, oboist Marc Schachman offered obbligato lines of aching refinement. A graduate of The Juilliard School who has performed internationally and recorded for Centaur Records, Schachman produced tone at once reedy and luminous. In dialogue with Vogel, his instrument did not accompany; it consoled.

The effect was chamber music in its truest form — shared vulnerability rendered in counterpoint.

Jauchzet Gott: Jubilation Unleashed

From inward meditation, the program pivoted to radiant proclamation. Cantata BWV 51 — Jauchzet Gott in allen Landen — demands virtuosity of both soprano and natural trumpet at near-athletic extremes.

Soprano Nola Richardson delivered coloratura passages with radiant clarity and buoyant ease. Cascading melismas rose effortlessly into the church’s upper reaches, each ornament shaped with elegance rather than display.

Trumpeter Steven Marquardt navigated the treacherous demands of the natural trumpet with ringing assurance. Without valves, the instrument relies entirely on overtone precision and embouchure control. His tone sparkled, ascended, and filled the nave with exultant brilliance.

The duet between soprano and trumpet became a dialogue of celestial exuberance — jubilation made audible.

The Chamber Collective

Throughout, the ensemble displayed cohesion born of long collaboration. Concertmaster Augusta McKay Lodge led with stylistic authority. Violinists Karl Kawahara, Peter Kupfer, and Theresa Salomon shaped textures with articulate finesse. Violist Kyle Miller and cellist Myron Lutzke enriched the harmonic core with warmth and clarity. John Feeney anchored the bass line; bassoonist Andrew Schwartz completed the continuo with idiomatic fluency.

What distinguished the performance was not individual display but collective listening — music shaped as conversation rather than hierarchy.

This is the essence of chamber playing: democracy in sound.

The ACO Legacy

Now in its forty-first season, the American Classical Orchestra remains New York’s leading period-instrument orchestra. Its history includes performances at the Metropolitan Museum of Art, Lincoln Center’s Great Performers Series, and a landmark anniversary Beethoven Ninth at the Cathedral Church of St. John the Divine.

Under Crawford’s steady stewardship, the ensemble has balanced scholarship and accessibility, performance and education. Its Classical Music for Kids program continues to introduce young audiences to Baroque and Classical repertoire with clarity and imagination — an investment in listening itself.

In an era of digital distraction, such commitment carries civic weight.

Conviction Over Display

What ultimately distinguished Healing Bach was conviction. These musicians do not treat historical practice as a form of museum preservation. They treat it as argument — that this music, played on instruments for which it was conceived, in spaces shaped for resonance, speaks directly to modern life.

Bach’s genius lies not in ornament but in architecture. His counterpoint organizes emotion; his harmonies resolve tension without sentimentality. In Crawford’s hands and within St. Vincent Ferrer’s luminous acoustics, that architecture stood revealed.

Leonard Bernstein once observed that great music does not answer questions; it clarifies them. Harold Schonberg insisted that style without structure collapses into surface.

On this evening, structure prevailed.

The audience did not erupt so much as rise — thoughtful, quiet, steadied.

Johann Sebastian Bach (aged 61) in a portrait by Elias Gottlob Haussmann, second version of his 1746 canvas. Public Domain

Why This Matters Now

In a cultural climate often defined by acceleration and noise, the American Classical Orchestra offers something radical: deliberation. It invites listeners to attend, to breathe, to hear complexity resolved through order.

That is no small gift.

The 2025–26 season promises further explorations of Baroque and Classical masterworks shaped by the same principles of integrity and insight.

They deserve and earn full houses.

Healing Bach at St. Vincent Ferrer: American Classical Orchestra Delivers Restorative Brilliance

AMERICAN CLASSICAL ORCHESTRA — Healing Bach

Conductor and Director Thomas Crawford Church of St. Vincent Ferrer, New York City

Featured Artists: Sandra Miller, flauto traverso; Edward Vogel, baritone; Marc Schachman, oboe; Nola Richardson, soprano; Steven Marquardt, trumpet

The Program: Johann Sebastian Bach (1685–1750) Orchestral Suite No. 2 in B Minor, BWV 1067 Ich habe genug, Cantata BWV 82 Jauchzet Gott in allen Landen, Cantata BWV 51

Season sponsored by Mizuho Americas.

AMERICAN CLASSICAL ORCHESTRA New York's Leading Period Instrument Orchestra PO Box 105, New York, NY 10024-9998 Phone: (212) 362-2727 Email: [email protected] Website: www.aconyc.org YouTube: youtube.com/ACONYC

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