About the Consort
“The quality of performance on this recording [Myths Contested] is extremely high… I do not think I have ever heard a better performance of one of the cantatas.”
—The Diapason
“[Myths Contested] has an X factor in its favor… and the listener is bound to feel the album is entirely original.”
—All Music Guide
Mission
The Washington Bach Consort shares the transformative power of music, with the works of J.S. Bach and other Baroque composers at the core. Our professional artists inspire audiences with the highest levels of artistic excellence, enrich the cultural life through historically-informed performances, and provide educational programs in the Washington, DC community and beyond.
Vision
To continue being a top-tier Baroque and classical music organization, passionately sharing and masterfully performing the music of J.S. Bach.
About the Consort
Founded in 1977 by the late Dr. J. Reilly Lewis, and since 2018 headed by Dr. Dana Marsh, the Washington Bach Consort is a nationally preeminent vocal and period-instrument ensemble based in Washington, DC. While the group is especially renowned for its historically informed performances of 18th-century music on period instruments, the entire breadth of its offerings spans the 14th to the 19th centuries. The Consort has also made regular appearances alongside prestigious groups such as the National Symphony Orchestra, the Post-Classical Ensemble, Washington Performing Arts, and the Washington Cathedral Choral Society.
In May 2019, the Council of the District of Columbia honored the Washington Bach Consort in recognition of the 30th anniversary of the group’s free classical-music performances through the popular Noontime Cantata Series. Recordings and printed programs of these performances are now archived in the permanent collection of the Library of Congress.The Council’s 2019 proclamation acknowledged the Consort’s commitment to enriching the lives of audiences through making Bach’s music accessible to the widest possible range of listeners. Emphasizing the transformative power of music, all educational outreach programs (reaching 3,000 D.C. public school students) are given free of charge. The impact has been consistently evident in evaluations from DC teachers, who praise the ensemble’s role in providing one of the few live classical music education experiences available to their students.Noteworthy ensemble recordings include Bach’s complete motets, magnificats by both J.S. and C.P.E. Bach, the first American recording of the F major and G minor masses, an album of solo cantatas featuring opera luminary Elizabeth Futral, and most recently in 2022, the album “Myths Contested,” which has received effusive critical acclaim from numerous media platforms.
The Washington Bach Consort has been nationally recognized for the visionary excellence of its work: in 2020, an SMU DataArts study identified the Consort as the nation’s 8th highest-performing arts organization and 2nd highest-performing music organization, among thousands of nonprofits. In 2023, Spur Local (formerly the Catalogue for Philanthropy) continued its tradition of recognizing the Bach Consort as one of the best small nonprofits in greater Washington since 2004.
In October 2023, the Bach Consort released its first album in more than 15 years. Myths Contested, on the Acis label, offers both an historical and a modern-day look at perspectives and values that society connects to music. It features Consort musicians performing Bach’s The Contest between Phoebus and Pan and Trevor Weston’s A New Song, a Consort commission that had its world premiere in 2022.
Annual Review
2023 was a great year for the Bach Consort! Some of the most memorable moments include the release of our brand new recording featuring a commissioned work by award-winning composer Trevor Weston, multiple performances at The Music Center at Strathmore, and our continued outreach and education efforts through Bach in Your Neighborhood and Bach to School.
2023 was a great year for the Bach Consort! Some of the most memorable moments include the release of our brand new recording featuring a commissioned work by award-winning composer Trevor Weston, multiple performances at The Music Center at Strathmore, and our continued outreach and education efforts through Bach in Your Neighborhood and Bach to School. We couldn’t do it without you. The Consort thrives thanks to your generosity and support!
Read the full 2023 Annual Review
Past Annual Reviews
2022 Annual Review 2021 Annual Review 2020 Annual Review 2019 Annual Review
Diversity, Equity, and Inclusion
The Washington Bach Consort (WBC) affirms the values, rights, and contribution of all BIPOC and LGBTQ+ persons within the global human family.
The Washington Bach Consort (WBC) affirms the values, rights, and contribution of all BIPOC and LGBTQ+ persons within the global human family.
These communities have suffered highly visible injustices, as well as hidden (and not-so-hidden) systematic discrimination in housing, employment, education, and many other areas of society.
The historical development of western classical music, including the field of early music, has been shaped by cultural biases. These deeply rooted biases have resulted in systemic discrimination that over centuries has played a key role in the formation of our discipline.
The Washington Bach Consort has mindfully committed to taking its own steps to address such inequities. The Consort’s efforts include, but are not limited to:
- Expanding our board of directors with additional BIPOC members to reflect Washington, DC’s diverse population
- Providing diversity training for all staff and board members
- Hiring additional BIPOC businesses for consulting engagements
- Amplifying initiatives to hire BIPOC musicians and interns
- Continuing our free music education programming for more than 3,000 DC public and public charter school students every year
- Establishing a diverse education council composed of teachers, arts professionals and other community leaders to discuss strategies to enhance educational programming, particularly for marginalized communities
- Making performances and education programs more accessible to diverse audiences, including DC public and public charter school students from all wards of the city who may be hearing Bach’s music for the first time (62% of our audience members participate in Consort programming free of charge)
- Ensuring that programming addresses communities of color by commissioning musical compositions from BIPOC composers and presenting early music by diverse composers
- Presenting performances featuring a broader representation of musical genres together with baroque music
- Sponsoring community events in collaboration with BIPOC organizations
- Offering a free “Bach in Your Neighborhood” outreach series
- Developing concerts and educational programming in partnership with African-American cultural institutions and Historically Black Colleges and Universities
The Washington Bach Consort is devoted to a future where the talents, dignity and value of all human beings are fully honored and respected.
Strategic Plan Highlights
2021–2026
Read more about our 5-year strategic plan for Washington Bach Consort’s growth.
Our Mission
The Washington Bach Consort shares the transformative power of music, with the works of J.S. Bach and other Baroque composers at the core. Our professional artists inspire audiences with the highest levels of artistic excellence, enrich the cultural life through historically-informed performances, and provide educational programs in the Washington, DC community and beyond.
Our Vision
To continue being a top-tier Baroque and classical music organization, passionately sharing and masterfully performing the music of J.S. Bach.
Our Strategic Vision
This five-year plan will build upon our recognition as the premier period music ensemble in the nation’s Capital and substantially increase impact and visibility through the addition of high-profile programs, significant joint ventures and an enhanced education program.
By enhancing our programming, marketing it well and extending our reach, the Washington Bach Consort will be further cemented as a leading performing arts institution while remaining rooted in our local community.
Our Goals and Strategies
Performances
- Present at least one annual performance at a premier Washington area venue
- Add repeat performances to expand accessibility
- Undertake offering concerts featuring vocalists from Historically Black Colleges and Universities
- Enter upon collaborations with other DC-based arts organizations, such as dance ensembles or opera companies
- Explore semi-staged oratorios
Educational & Outreach Programming
- Create “Bach Consort in Your Neighborhood” outreach concerts
- Agree to a joint educational venture with an African American cultural institution
- Develop an Education Council of educators, arts professionals and other community leaders to discuss ways to enhance educational programming
Dr. J. Reilly Lewis
Dr. J. Reilly Lewis (1944–2016) was an American choral conductor and keyboard artist specializing in baroque music, particularly the music of J. S. Bach.
Dr. J. Reilly Lewis (1944–2016) was an American choral conductor and keyboard artist specializing in baroque music, particularly the music of J. S. Bach. Born in Vallejo, California, he attended Oberlin College and received masters and doctoral degrees from Juilliard. As a Fulbright Scholar, he spent a year studying conducting, organ and harpsichord in Frankfurt, Germany. At the time of his death, he was the founder and artistic director of the Washington Bach Consort, music director of Cathedral Choral Society, and the organist and choirmaster at Clarendon United Methodist Church in Arlington, VA. He is survived by his wife, his daughter, and his grandson.
In Memoriam: Dr. J. Reilly Lewis, Founder, 1944–2016
There are no words to express the grief and sadness we feel at the unexpected passing of our dear friend and leader Dr. J. Reilly Lewis on June 9, 2016.
Not only our founder, conductor, and Artistic Director of the Washington Bach Consort, Reilly was a beloved fixture in DC’s classical music community. An exceptional musician with a passion for baroque music, he became one of the world’s leading Bach specialists.
His talents took his performance and conducting career across America and throughout Germany and Europe. Despite his travels, he called Washington, DC home for nearly all his life. For that, and for the community of musicians and music lovers he built for us here, we are all thankful.
“No matter how successful we became, no matter how many awards we received, or where we toured, what mattered most to Reilly was the music,” said Bach Consort Executive Director, Marc Eisenberg. “As our organization grew, Reilly developed deep connections with people. It was the music that started these relationships, but it was Reilly who sustained these incredible friendships. For Reilly, his work with the Bach Consort wasn’t a job, it was his passion and pleasure.” The Bach Consort’s official statement on J. Reilly Lewis’ death can be found here.
On June 16, 2016, friends and loved ones celebrated Reilly’s life and love of music with a beautiful service at the Washington National Cathedral, where he began his musical career in the junior boys choir. A recording of the musical prelude and funeral service is available for viewing here.
Articles about Reilly’s full life and amazing accomplishments can be found here.
To honor Reilly’s legacy, please consider making a monthly donation of $10 or more. For more information, please visit here.
Tribute to J. Reilly Lewis (1944-2016) | Washington Bach Consort
Commissioned for the 40th Anniversary of the Washington Bach Consort, founded by J. Reilly Lewis (1944-2016). First presented at the Residence of the Belgian Ambassador on May 10, 2018 in Washington, D.C.
Johann Sebastian Bach
Born into a musical family, Johann Sebastian Bach (1685-1750) received his earliest instruction from first his father, then upon his death in 1695, his older brother, Johann Christoph.
Born into a musical family, Johann Sebastian Bach (1685-1750) received his earliest instruction from first his father, then upon his death in 1695, his older brother, Johann Christoph. Bach’s first permanent positions were as organist in Arnstadt (1703-07) and Mühlhausen (1707-08). During these years, he performed, composed, taught, and developed an interest in organ building. From 1708-17 he was employed by Duke Wilhelm Ernst of Weimar, first as court organist, and after 1714, as concertmaster, where, he was required to produce a new cantata each month.
Since the court chapel at Bach’s next position (Music Director for Prince Leopold of Cöthon, 1717-23) was Calvinist, there was no need for church compositions. Bach’s new works were primarily for instrumental solo or ensemble. Among these important compositions were the Brandenburg Concertos, the first volume of The Well-Tempered Clavier, the “French” and “English” Suites for harpsichord, and most of the sonatas and suites he wrote for other instruments.
In 1723, Bach was appointed cantor at the St. Thomas Church and School, and Director of Music for Leipzig, positions which he retained for the rest of his career. His official duties included overseeing music in the four principal churches of the city and organizing musical events sponsored by the municipal council. His usual performing group consisted of sixteen singers and eighteen instrumentalists. During his first six years in Leipzig (1723-29), Bach’s most impressive compositions were his sacred cantatas (four yearly cycles), and the St. John and St. Matthew Passions.
After 1729, Bach no longer concentrated on composing sacred vocal music. For services, he re-used his own substantial repertory of cantatas and turned increasingly to the music of his contemporaries. During the 1730s, Bach renewed his interest in keyboard compositions and completed his Clavier-Übung (Keyboard Practice).
During Bach’s last decade (the 1740s), he completed and revised several large-scale projects which he had started earlier: The Well-Tempered Clavier Vol. II, a manuscript collection of chorale preludes, and the B Minor Mass. New works, such as Musikalische Opfer (Musical Offering) and the canonic variations for organ on “Vom Himmel hoch” and Die Kunst der Fuge (The Art of the Fugue) showed an increased interest in fugal and canonic writing. In the 1740s, Bach made various journeys, most notably to the court of Frederick the Great. He continued a lively interest in the building of organs and kept informed about the latest developments in the construction of harpsichords and pianofortes.