This mass was written in 1811 in Brasil, and is relatively unknown in Europe. As is often the case with these more obscure works getting the score is a challenge, and I was emailed an online version a few months ago. I did make an effort to learn my two interventions as bass soloist; these seemed to me to be a little bit odd, but I discovered on Tuesday that the key signatures had been omitted, so that in fact I had learned it wrong! Fortunately it was only the difference of one sharp or flat in each case, so it was quickly put right.
The weather today is quite nice: around twelve degrees, and for the first time in a long time it isn't raining. The sun is a welcome sight especially as the days are getting shorter and shorter.
I have another rehearsal this evening and then two performances on Saturday and Sunday evenings. Then next week is more open until the third and final performance on Saturday the 8th. Then I have another week of no performances until that weekend; the director of the Minimes has switched the repertoire at short notice, because apparently they have been unable to find the two virtuoso horn players necessary to tackle BWV 40. Unusually, the director has decided to present the planned programme next year in December instead, and change the selected cantatas for December 16th of this year. It means that I have quite a bit to learn as the replacement cantata BWV 57 has a lot of solo baritone singing.
Later that same day (December 16th) after the Minimes concert, I will also have to present a Bach bass aria with organ and violin accompaniment at St. Andrew's Nine Lessons and Carols service. It will be a nice opportunity to collaborate with the musical director of St. Andrew's... Jesús Cordona is usually conducting the choir but I am looking forward to hearing him on the violin with Heather Charlton on organ. As well there will be Messiah excerpts, which will warm me up for the full Messiah which takes place on December 27th in Bruges.
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