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.
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Nimm von uns, Herr, du treuer Gott BWV 101
This recording does exactly what it says on the cover, recreating an imaginary books of vihuela duets in the style and manner of the sole surviving example of such a collection. There are many examples of music for two lutes from the 16th century, but only one for two vihuelas. To make up for that omission, Ariel Abramovich and Jacob Heringman have joined forces to arrange a variety of pieces for two vihuelas in the style of the mid-16th century.
Andrew Benson-Wilson : Early Music Reviews + 