Bach: The Art of Fugue
on Bach’s Original Instruments
Collegium Musicum ’23
OUTHERE/RAMEE RAM2406. 82’41
Bach left many unanswered questions with his monumental Art of Fugue, one of which was which instruments they were intended to be played on – if, indeed, they were intended to be played at all. It was presented in open score, with a separate line for each line of music. This was common practice for many decades for music intended for scholarly or didactic purposes, particularly for organists. Samual Scheidt, for example, used the same format in his 1624 Tabulatura Nova, asking organists to copy the music into their own preferred format for performance. The instruments chosen for this interpretation by Collegium Musicum ’23 are very special: two 1729 violins and a viola by Johann Christian Hoffmann from the Leipzig Thomaskirche’s own collection of instruments of Bach’s time. The anonymous cello is from 18th-century Central Germany from the same collection. They are all usually displayed behind glass in the side room of the church.
Tabea Debus is a young recorder player, currently studying at the Royal Academy of Music. She first came to my attention when she sent me a review copy of her first CD (
Andrew Benson-Wilson : Early Music Reviews + 