Sara Levy: Performer, Collector, and Patron of the Arts
Sara Levy née Itzig (1761-1854), a salonnière, skilled performing musician, and active participant in enlightened Prussian Jewish society, played a powerful role in shaping
the dynamic cultural world of late eighteenth- and early nineteenth-century Berlin. A patron and collector of music, she commissioned musical compositions from both
Wilhelm Friedemann Bach and his brother Carl Philipp Emanuel Bach. Archival
evidence demonstrates Levy's position as an essential link in the transmission of
the music of their father, J.S. Bach, and as a catalyst for the "Bach revival" of the
early nineteenth century, which was led by her great-nephew Felix Mendelssohn.
Levy preserved and transmitted repertoires that would have been lost without her, including a large number of works by various members of the Bach family.
Her father was a wealthy financier, and so the young Sara Itzig received the finest musical education available, including harpsichord lessons with Wilhelm Friedemann Bach, eldest son of J.S. Bach. Around the time of her marriage to Salomon Levy in 1783, she began to host salon gatherings in her home, in which people gathered to socialize and to discuss new cultural ideas. However, unlike other salons hosted by women in Enlightenment Berlin, which were centered primarily around literature, Sara’s salon was musical. Sara became a keyboard virtuoso, defying the expectation of the late 18th century that women could play only easy pieces. By the mid-1790s she was performing outside of her salons as well, in concert series and, later, as a concerto soloist at the amateur music society known as the Sing-Akademie zu Berlin (The Singing Academy of Berlin).
Sara Levy was one of the first private collectors to take an interest in the preservation and performance of music of previous generations, especially that of J.S. Bach. This was at a period when older music in general was neglected in favor of newer music, and Bach’s music in particular was viewed as old-fashioned and overly difficult to understand. In spite of that, Sara Levy, along with her sisters and her husband, played solos, chamber music, and concertos by Bach and his contemporaries.
Around 1813, Sara donated the majority of her enormous collection of manuscript scores and printed sheet music to the Sing-Akademie. It was there, in 1829, that her great-nephew Felix Mendelssohn Bartholdy staged his famous performance of J.S. Bach’s St. Matthew Passion—the event that sparked the so-called “Bach revival” of the 19th century.
- Based on comments by Rebecca Cypress, author of Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin
the dynamic cultural world of late eighteenth- and early nineteenth-century Berlin. A patron and collector of music, she commissioned musical compositions from both
Wilhelm Friedemann Bach and his brother Carl Philipp Emanuel Bach. Archival
evidence demonstrates Levy's position as an essential link in the transmission of
the music of their father, J.S. Bach, and as a catalyst for the "Bach revival" of the
early nineteenth century, which was led by her great-nephew Felix Mendelssohn.
Levy preserved and transmitted repertoires that would have been lost without her, including a large number of works by various members of the Bach family.
Her father was a wealthy financier, and so the young Sara Itzig received the finest musical education available, including harpsichord lessons with Wilhelm Friedemann Bach, eldest son of J.S. Bach. Around the time of her marriage to Salomon Levy in 1783, she began to host salon gatherings in her home, in which people gathered to socialize and to discuss new cultural ideas. However, unlike other salons hosted by women in Enlightenment Berlin, which were centered primarily around literature, Sara’s salon was musical. Sara became a keyboard virtuoso, defying the expectation of the late 18th century that women could play only easy pieces. By the mid-1790s she was performing outside of her salons as well, in concert series and, later, as a concerto soloist at the amateur music society known as the Sing-Akademie zu Berlin (The Singing Academy of Berlin).
Sara Levy was one of the first private collectors to take an interest in the preservation and performance of music of previous generations, especially that of J.S. Bach. This was at a period when older music in general was neglected in favor of newer music, and Bach’s music in particular was viewed as old-fashioned and overly difficult to understand. In spite of that, Sara Levy, along with her sisters and her husband, played solos, chamber music, and concertos by Bach and his contemporaries.
Around 1813, Sara donated the majority of her enormous collection of manuscript scores and printed sheet music to the Sing-Akademie. It was there, in 1829, that her great-nephew Felix Mendelssohn Bartholdy staged his famous performance of J.S. Bach’s St. Matthew Passion—the event that sparked the so-called “Bach revival” of the 19th century.
- Based on comments by Rebecca Cypress, author of Sara Levy's World: Gender, Judaism, and the Bach Tradition in Enlightenment Berlin
About the Bach Cantata Choir
The Bach Cantata Choir's mission is to sing the entire set of cantatas by Johann Sebastian Bach over a period of 30 years (view cantatas performed to date). We are a choir of about 50 members plus an orchestra of between 8 to 15 members depending upon the concert.
We perform approximately five concerts each year – two or three cantatas per concert. Most concerts are on Sunday afternoons at 2:00 p.m. and all concerts are held at the Rose City Park Presbyterian Church at 1907 NE 45th Avenue in Portland, Oregon (map). Concerts are free (free-will offering accepted) unless advertised otherwise.
The Bach Cantata Choir is a legally organized non-profit corporation under Oregon law, and is a registered 501(c)(3) corporation with the IRS. Donations to the choir are fully deductible for income-tax purposes.
We perform approximately five concerts each year – two or three cantatas per concert. Most concerts are on Sunday afternoons at 2:00 p.m. and all concerts are held at the Rose City Park Presbyterian Church at 1907 NE 45th Avenue in Portland, Oregon (map). Concerts are free (free-will offering accepted) unless advertised otherwise.
The Bach Cantata Choir is a legally organized non-profit corporation under Oregon law, and is a registered 501(c)(3) corporation with the IRS. Donations to the choir are fully deductible for income-tax purposes.
Ralph Nelson, Artistic Director
Composer/conductor Ralph Nelson is in demand as an Artist-in-Residence throughout the Portland area. A graduate of Amherst College and subsequently a composition and conducting student of Nadia Boulanger in France, Nelson has served in many capacities since moving to Portland, Oregon over 40 years ago. For 22 years, he was a member of the administrative staff of the Oregon Symphony, and then became Executive Director of the Portland Symphonic Choir. During the summer of 2008, Ralph studied conducting with Helmuth Rilling, Tom Davies and Tim Sawyer at the Oregon Bach Festival in Eugene.
In addition to composing and teaching, Ralph is Choir Director at First Immanuel Lutheran Church in Portland, Director of the Holladay Park Plaza Singers, and a member of the Portland Symphonic Choir. In the summer, Ralph sings with Mastersingers USA, an all-male group under the direction of former Amherst College Professor Bruce McInnes.
In addition to composing and teaching, Ralph is Choir Director at First Immanuel Lutheran Church in Portland, Director of the Holladay Park Plaza Singers, and a member of the Portland Symphonic Choir. In the summer, Ralph sings with Mastersingers USA, an all-male group under the direction of former Amherst College Professor Bruce McInnes.
Meet our Board of Directors.
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