'Voices' performs Bach’s Mass in B minor
Voices, conducted by William Weinert
Saturday, September 19, 2026
Incarnate Word in Rochester, NY
This performance inspired me to create this pseudonym to post reviews, because I have so many thoughts! First and foremost, while the concert was long and the church wasn't air conditioned, it was well worth attending. In an age of AI slop, underfunded arts programs, and a general sense that the world is falling apart, listening to live music by incredible musicians is healing to the soul. It was my first time hearing Bach's B minor Mass live, and was, overall, a delightful use of an evening.
This was William Weinert's first performance after retiring from the Eastman School of Music, and it is clear that he took all the passion he may have spent each workday and funneled it into this one performance. His conducting consisted of his expected brand of minimalism, and yet he achieved a beautiful sound from both the choir and orchestra - but especially the choir.
In general, the piece (sort of) alternates between full choir/orchestra and solos (or duets). The first choral movements set the standard for subsequent ones: seamless blend, good tuning, and sensitive phrasing, among both the singers and instrumentalists. The first duet showcased two beautiful sopranos and a fine representation of the ensemble's continuo. However, the first truly inspirational movement was the Gloria.
Andrew McCandless, the new Professor of Trumpet at the Eastman School of Music, was leading the charge on the piccolo trumpet for the vast majority of the piece. His performance last night was some of the best piccolo trumpet playing I've had the fortune to hear. The remarkably warm tone throughout was impressive enough, but his facilities moving through extreme ranges and dynamics were astounding. The Gloria was the first showcase of his skill, but the famous trumpet excerpts later in the piece during the Credo were equally good. Not only were individual parts remarkable, the stamina needed to excel in these famous excerpts after playing the rest of the two and a half hour Mass proved why Dr. Weinert hired the best trumpet player in the region. My notes included: "the ding-dongs are CLEAN", and while I cannot pinpoint that section of music directly, I imagine that was very high praise when I wrote it down.
One of the most beautiful movements of the night was Laudamus Te, performed by Liyao Yu (mezzo-soprano) and Kellen Mikesell (violin). Yu's coloratura was exceptionally clean and her voice was beautifully warm and comforting. Mikesell's performance was another stand out of the evening, and I was shocked to learn that he is still an undergraduate student! He certainly has a promising career ahead of him.
I was also impressed, as I always am, with oboist Nathan Clarke. Clarke's ability to make a potentially grating instrument sound warm and inviting is always a delight. This is the second time I've heard Clarke perform alongside singers, and I remain impressed with his ability to blend and balance sensibly in a chamber music setting. Andrea McGaugh, the singer with which Clarke dueted, was also a delight to listen to. McGaugh's pitch-perfect tuning was a welcome reprieve, and her mahogany tone was perfect for the repertoire.
The following solo movement, featuring Peter Schoellkopff, left something to be desired from a balance perspective - I think the horn line was too prominent, and much preferred the vocal and bassoon lines. Schoellkopff is, of course, an accomplished ensemble singer, and his skill and talent were on full display. I have never heard a bass more suited to choral and oratorio singing, and always look forward to hearing his performances. Jia-Lin Lee and Michael Deresz, the bassoonists, played beautifully as a section and blended well with Schoellkopff. This aria was also where I first appreciated James Jeffrey's reliable and artistic harpsichord playing. I thought this aria was a highlight, despite one of the violists quite visibly yawning halfway through (lol).
The last choral movement before intermission was spirited and filled with coloratura. Most of the ensemble seemed locked in, but I appreciate that those who were lost chose to mouth along, rather than add to the chaos. The "half-time" applause was incredibly enthusiastic - including some folks bouncing to their feet. Concertmaster Mikesell got a well-deserved handshake from the conductor, and then the hall cleared out quickly for the requisite bathroom break.
Right off the bat, the second half started with incredible piccolo trumpet playing, as mentioned earlier. I was especially impressed with the sopranos and altos in the choral movements in the Credo. Their sustained phrases were clear as bells and they leaned into the dissonances in a way that pulled at my heartstrings. (My notes included "wow sopranos", "alto line!! wow", and "wow! sus chords, mezzos especially", so I hope I've done them justice).
A standout soloist of the night overall was Jason Rober, the baritone who sang "Et in Spiritum Sanctum". This was, by far, my favorite aria of the night, and anytime I get to enjoy Rober's delicate phrasing, velvet tone, and expert musicality is a good time. Clarke, again, did a very good job duetting with the vocal line.
The Sanctus featured one of my favorite bass lines in the piece, which I thought the section did very well. Ashley Hibbard, the mezzo-soprano who sang the last aria of the night, had a beautiful voice that inspired me to look for her upcoming performances. I will admit, my notes at this point in the program consisted primarily of "it's so hot, I'm going to die", so I may not have been a particularly receptive audience member.
That being said, I have never been more thankful that I did not leave a concert early than when I heard the final movement, the Dona Nobis Pacem. This was truly the best of the best from the entire concert, representing all of my favorite things from the singers and instrumentalists. Clarke and McCandless were stunning in their respective featured moments, and the choir was perfectly in tune and in sync. While I am not a particularly religious person, and was not emotionally moved by the text itself (which was the standard text from the Catholic Latin Mass), the repetition of "grant us peace" hit different, as they say.
Though I will admit I sometimes fear that religion offloads responsibility onto a deity, I believe peace is something we must work for, rather than something we are granted. Our world is ravaged by genocide, threatened by the rise of fascism, and oppressed under wealth inequality and government corruption. Music is a remedy against dehumanization, a pillar of community, and a balm to the weary soul. Despite our current apathetic zeitgeist, I left this concert feeling inspired.
All in all, I thought the Voices performance of Bach's Mass in B minor was inspiring and beautiful. There were some moments of suspect intonation and at times the ensemble was unsteady, but it was well worth spending my Saturday night listening to one of the great pieces of Western Art Music.
8.5/10