In Retrospect: Rehearsing Bach for Central Presbyterian’s Music Vesper
Looking back on the Music Vesper held in 2026 at Central Presbyterian Church in Vancouver. Rehearsing at the sanctuary’s white grand piano offered a quiet space to reflect on the contrasting textures of two J.S. Bach works: the expressive lines of the Adagio from the Concerto in D minor (BWV 974) and the energetic contrapuntal drive of the Capriccio, the final movement of Partita No. 2 in C minor (BWV 826).
Even in his instrumental music, Bach composed as a devout Christian whose art was linked to his faith. Preparing these pieces for the vesper was a grounded reminder that beneath the counterpoint and technical discipline, the underlying purpose remains simple: to give glory to God.
I will always be thankful to the piano mentors who guided my path: Corazon Arevalo-Coo, who gave me my first lessons and brought me through the intermediate repertoire; Stella Goldenberg Brimo, who led me deeper into the classics, teaching me to master technical intricacies without losing an artist’s interpretive soul; and Beguentch Gueldyev, who introduced me to a wider repertoire, in particular the Russian masters.
