What does Johann Sebastian Bach, George Frideric Handel and Domenico Scarlatti have in common? Sunday’s concert by The Washington Bach Consort on Sunday not only was a program by Baroque composers, but a potpourri of sacred gems by masters born in the same year. Themed ‘A Vintage Year: 1685,’ the concert featured a lesser known mass by Scarlatti, Bach’s Cantata No. 131 and Handel’s ‘Dixit Dominus.’ Bach’s ‘Concerto in D Minor for Oboe, Violin and Orchestra’ provided the perfect tour de force for the newly minted concertmaster, violinist Andrew Fouts and accomplished Baroque oboist Geoffrey Burgess. Fouts gave long lyrical phrases to his lines for the solo violin, complimented by the brilliant tone of Burgess’ oboe. In the ‘Adagio,’ the consort violinists played with wonderful pizzicati in the strings, adding an overall pastoral feeling to the movement. J. Reilly Lewis brought a sense of ensemble at the harpsichord, with the sparkling presence of the unique keyboard instrument. The pre concert lecture by Bach scholar Dr. Michael Marrisen was a plus and prepared the listener for devices used in Baroque music, particularly the sequence, heard in the ‘Allegro.’ Perhaps the new musical discovery of the afternoon was the ”Missa Breve, La Stella” by Domenico Scarlatti. Known primarily as a composer o great, virtuosic keyboard works, this mass was a divine revelation sacred choral art. Musically, it was reminiscent of the stile antico, or old style of composing, hearkening back to the polyphony of Palestrina with voices entering in succession. The use of the picardy third was a constant throughout, adding to the ethereal transparency of the work. The singers were one in producing a sound of unparalleled beauty under music director J. Reilly Lewis. The mass concluded with the serenity of the ‘Dona nobis pacem’ sung by the chorus with a well nuanced pianissimi, sealed with the delicacy of the theorbo played by Richard Stone on the final ‘pacem.’ The cantata “Auf der Tiefe rufe ich” BWV 131 is one of Bach’s earliest church cantatas. Beginning with a lilting, somber sinfonia by the consort, the sacred work was sung with reverent beauty. A constant throughout was the melodious lines of the solo oboe played by Burgess. Bass soloist Richard Giarusso was stellar in his solo lines, bringing a warm contour to his phrasing. His elegant vocal presence was further enhanced by the duet like passages ‘married’ blissfully to the resonance of Burgess’ oboe. Tenor Luke Frels entered with a sweet, but nervous tone in the ‘Meine Seele, particularly in the climaxes of the vocal line. Ending the program was the majestic “Dixit Dominus” by Handel. This choral work revealed the Italian influence on the young Handel, like a tight wire act carefully balancing the operatic demands of the solo lines with the pristine vocal color of the ensemble. Soprano Rebecca Kellerman Petretta was remarkable in the way she sang with a sense of blend in the ensemble, yet delivered with operatic heft, especially in the ‘Dominus a dextris.’ In contrast, soprano Laura Choi Stuart maintained a piercingly high, straight soprano throughout which created a wonderful tension in the duet passages with Petretta. Countertenor John Bradford Bohl was sterling in his solo aria, ‘Virgam virtutis,’ with a voice of clarity and dexterity evident in execution. Tenor Luke Frels was quite exceptional in the ‘Dixit,’, revealing a tone of warmth and confidence. Giarusso was a solid force throughout, delivering the goods without fail. Scott Dettra seamlessly alternated between the harpsichord and continuo organ for the work’s duration. The spatial grandeur of the ‘Gloria Patri’ evoked the majesty of the heavens as we lavished in the art of such a vintage year.