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Joseph Haydn and his London Disciples

Pink chrysanthemum

Rebecca Maurer fortepiano
79:04
Genuin classics GEN19650
Music by Haydn, Thomas Haigh and Charles Ignatius Latrobe

Haydn’s visits to London were notable from a number of aspects, above all their great success with the capital’s concert-going public, but also for his interaction with native composers. It was an interaction that worked both ways, leading not only to a significant body of works by English composers either influenced by or dedicated to Haydn, but also to the visitor embracing in his own compositions such quintessentially native forms as the catch and the glee.

The present CD focuses on the former, framing works by Thomas Haigh (1769-1808?) and Christian Ignatius Latrobe (1758-1836) between sonatas composed by Haydn for his second London visit. Both the Sonatas in C (Hob XVI:50) and in E-flat (Hob XVI:52) date from 1794 or 5 and comprise two of three dedicated to Therese Jansen, an exceptionally talented pupil of Clementi; they are also the last group of piano sonatas composed by Haydn. That Jansen was a virtuoso is clear from the size and scope of these works, big pieces that require considerable technique and fingering strength in such as the outer movements of the E-flat Sonata. They are also admirably suited to the instrument played by the German keyboard player Rebecca Maurer, a Broadwood of 1816 with a bell-like upper register and bold, resonant bass. As Maurer points out in her excellent notes, with these sonatas the piano leaves the confines of the salon and enters the concert hall. Her actions match her words; these are performances at once boldly virtuosic and sensitively poetic, performances in which her ability to lay out counterpoint clearly is matched by a strong sense of innovatory fantasy and appreciation of Haydn’s wit. Listen, for example, to the fun of the light staccato touch Maurer brings to the opening of the C-major Sonata, or the boldness of that of No. 52, a boldness complemented by the wonderful moment of suspense created by the silence that precedes the codetta of the exposition. In short this is Haydn playing of a high order.

Little is known of London-born Thomas Haigh, other than that he studied with Haydn during the course of his first visit to London in 1791-92. His Sonata in B flat is one of three published in 1796 and ‘humbly dedicated (by Permission) to Dr. Haydn’. Like its fellows it is in two movements, the first of which opens with an adagio before proceeding to a bright-eyed sonata-form Allegro with many scalic flourishes. The second movement Allegretto is based on ‘a celebrated air by Asioli’, a rather naïve rondo with Alberti bass. Published in the same year are three rondos with the principal theme based on one of the popular canzonettas Haydn composed in 1794, the episodes being of Haigh’s composition. His Fantasie was published posthumously (in 1817) and again pays tribute to his master by juxtaposing somewhat incongruously the famous ‘Emperor’s Hymn’ with the whirling folk dance that forms the finale of the ‘Drumroll’. While Haigh’s music is not without interest it is less engaging than that of the Moravian minister and dilettante composer Christian Latrobe, represented here by only the central Lente (sic) movement of his Sonata in B flat, opus 3/2. According to Latrobe Haydn visited him and having heard the sonatas suggested he publish them, which the former agreed to do if Haydn would allow him to dedicate them to him. The appealing movement played by Maurer has a simple song-like theme in the sentimental style. It would be interesting to hear the rest of the sonata if it is all as good as this.

Maurer plays the lesser works of Haigh and Latrobe with as much insight and respect that she brings to the Haydn. To cap off what is both an interesting and extremely well-played and recorded CD, the presentation is exemplary, including not only notes on music and performer but also colour photographs and a description of the piano.

Brian Robins

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Recording

Schmelzer: Le memorie dolorose

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Tenet Vocal Soloists, Acronym
74:20
Olde Focus Recordings FCR914

Following relatively hot on the heels of a fabulous recording of settings of the Jubilus Bernardi by Capricornus, this stunning performance of a little-known Passiontide oratorio by Schmelzer (perhaps the first of a major piece of vocal music?) can only enhance the reputation of the ensemble Acronym, and also those of the Tenet Vocal Soloists (in this case 11 first-class singers).

Viennese tradition saw musical settings of reflections on Christ’s passion by the leading poets and composers of the day performed in elaborate theatre-like sets for the private devotion of the emperor and his inner circle. Here Nicolò Minato contrasts happy memories from Christ’s life with the events from the story of his crucifixion. The musical style is very much of the age – the narrative is declaimed in tuneful recitative and each section is followed by arias whose melodies are simple but memorable. There are also a duet, three trios, a quartet and two choruses. As tradition also seemed to demand, various passages were set by the emperor himself, here Leopold I, one of which is the longest track on the CD (perhaps Schmelzer was obliged to ensure that this was the case?). Acronym interpolate two sonatas for strings.

The singing is glorious and the instrumental playing (including violini piccoli and lirone!) outstanding. The whole has a very relaxed sense of pace – nothing seems rushed or over-dramatised. If anything, in fact, at points I wanted a little more anguish and pain in the voices; but I stick by my overall impression of the performance – the fact that I listened to it back-to-back three times should give an idea.

I’m afraid I didn’t react in the same way to the booklet note. Firstly – and this is probably just me, so perhaps it’s not even a point worth making – I found the references to “our oratorio” and “our sepolcro” and the conclusion that the work “well deserves its first recording” a little twee. More importantly, I found a paragraph about alterations of the libretto very difficult to read. I understand the reasoning behind the change (even though ultimately I think it is a suprious argument), but I wonder why a quarter of a page of the notes had to be devoted to taking “a clear stand”; given that the piece is as obscure as it is, why not just make the changes tacitly? No-one need be any the wiser. It is the banner-waving I find difficult, not the objectionable passages in the original. Ultimately, though, where does such modern-day censorhip stop?

Brian Clark

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Recording

Bach: Cantatas Nos 106 & 182

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Amici Voices
61:37
hyperion CDA68275

This is a fine showcase for Amici Voices, a group of like-minded young singers, based I suspect around the admirable Helen Charleston, who have enlisted some of their able friends as instrumentalists, including their professors and talent around their home-base in Harpenden to make this recording. They work without a director, like Vox Luminis, and I only felt the lack of direction once – in the change of tempo at the start of the durch Jesum Christum fugue at the end of BWV 106. The overall result is the right kind of music-making: bright and enthusiastic.

Sometimes a shade over-enthusiastic, as in the bass’s Bestelle dein Haus in 106, where in a recording as opposed to a live performance over-dramatising phrases can lead to a coarsening. But Helen Charleston’s In deine Hände is utterly ravishing. And how does Michael Craddock manage to give such a convincing top G when reaching for Paradise and still give a grainy F# on alte Bund at the very bottom? The vocal range is testing in BWV 106 even when done at 415, though I think the arguments (not rehearsed in the liner notes) for doing it at 392 (as with other Mulhausen cantatas where string and wind parts are notated in different keys) are strong on practical as well as musicological grounds.

Two other comments on 106: first, when you are using only an organ bass much of the time, the organ really needs to have more of an an 8’ principal tone. Without it, an 8’ violone is welcome especially when you sing the ‘choruses’ two to a part. With such light scoring as in 106, and the boundaries between chorus and arioso so fluid, I personally prefer single voices: it is easier to match single voices to the very straight sounds of recorders and viols. That is demonstrated clearly by Bethany Partridge’s beautiful soprano line in Ja komm, Herr Jesu.

The eight singers come into their own in the motet Komm, Jesu komm (BWV 229). Here we can hear each individual line clearly, with the sopranos exemplary. Singers of inner parts have to learn to trust that they will be audible without resorting to singing though notes or pushing over bar lines, still less to turning on the vibrato. Just occasionally – often at the ends of phrases when breath is short – that is what happens in all the voice parts and we get a note pushed through the texture, or a weak note accented inappropriately. But when they are all listening to and singing to each other, you can hear the potential for the understated ensemble singing that those who have been trained as ‘soloists’ in the conservatoires find it hard to adjust to, but helps us understand that we need to approach Bach’s vocal lines from behind – singing Bach with a style developed from the motets of Schütz and Schein, and from the Altbachisches Archiv.

BWV 182, Himmelskönig, sei willkommen is another early cantata dating from Palm Sunday in 1714, Bach’s first composition as Konzertmeister in Weimar. Although scored for recorder, a single violin and two violas with a ‘cello sometimes independent of the basso continuo with SATB, the work has a later feel to it. Again there are problems with the pitch at which it works, and the decision to play the recorder part on a transverse flute may have something to do with the difficulty of getting a recorder to play convincingly in E minor in the alto aria. A traverso certainly makes that aria more luscious in feel, though here I found a more ‘modern’ singing style from Helen Charleston less convincing. When Cantata 182 was re-scored for Leipzig, and new parts written for a different context, the scoring was thickened (there are indications of more strings) and an oboe was added to the second violin line, while the top violin doubled the recorder in tutti sections. As it stands, Amici Voices balance the slightly more robust instrumental of the Weimar scoring better, and the sprightly singing and well-controlled lines of a slightly more conventional score with its division into arias, recitatives and choruses (including a motet-style chorale in No 7) give it a more established performance practice style, where singers sound as if they are more at ease.

All in all, this is a good calling card for the group and they should feel encouraged by the way the quality of their performance has been captured, even if there are musicological issues that might have been resolved in the planning with the consequent effect on the performance practice. I was glad to have some details of pitch, instruments and an indication of temperament. The brief liner notes explain the choices behind the programme, but do not attempt to enter the minefield of issues around pitch and instrumentation. We need groups like this to get going – do encourage them and get this CD.

David Stancliffe

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Recording

Monteverdi: Missa in illo tempore, Magnificat a 6 voci

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Ensemble Corund, Stephen Smith
50:36
Spektral SRL4-17159

The Ensemble Corund was founded by Stephen Smith who has lived and worked in Switzerland since 1982. They are based in Lucerne, and this CD of Monteverdi’s six-voice – Cantus, Sextus, Altus, Tenor, Quintus and Bassus -sacred works published in the volume dedicated to Pope Paul V and published in 1610, where the other works comprise what we know as the Vespers of the Blessed Virgin Mary, is sung two to a part by four mean-range sopranos, and two each of hautes–contres, tenors, low tenors and basses. The singers are clean and well blended and arrive at a comfortable pitch by singing the mass based on B flat at 415 (which is I suspect what the organ is tuned to, rather than on G at 465 or even higher as the surviving organs in North Italy of the period would suggest as the basic pitch there in the early 17th century): there is no detail about the pitch, organ, theorbo (inaudible till the magnificat – or was it only used there?), edition or anything else of HIP interest). The Magnificat à 6 is sung down a fourth at 440, as the clefs imply.

The singing is attractive both for the blend and balance of the clear voices, and for the fact that the ensemble creates a warmth of tone without any hint of vibrato.  The singers – Sara Jäggi of Vox Luminis among them – retain a welcome clarity in the sections where close imitation can lead to fogginess in a larger acoustic or with less disciplined voices. As far as I can tell, it was recorded in a studio, but the acoustic has quite a grateful give.

In the Magnificat, I am occasionally taken by surprise by the style of the realisation of the organ part which does not always seem to me in character with the vocal writing. Singers sing the duet and solo lines unfussily, and thanks to the downward transposition the voices are comfortable in their range. The liner notes – where a whole double page is left blank – are spectacularly uninformative: a page on the ensemble and a page on the director in both English and German, followed by the text in Latin, German and English is all that there is. Nonetheless, I like this performance: it is clear, undemonstrative and musical in its shaping of the sections of the mass where the conductor is not afraid to vary the tempo in the longer numbers, for example, and this sensitivity to the word-setting as well as the occasional homophonic sections – like the Incarnatus and the Benedictus – makes this recording a welcome addition to those available.

David Stancliffe

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Recording

Bach: The Trio Sonata Project

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Tripla Concordia, Walter van Hauwe
63:08
Arcana A114
BWV527, 997, 1027-29

The five pieces presented on this CD are all transcriptions and arrangements of works by Bach; three of them are derived from sonatas for viola da gamba and harpsichord – BWV 1029, 1027 and 1028 put into keys that are easier for recorders after analogy with the version for two flutes (BWV 1039) of No 1 in G, which may well be the earlier version. The others pieces are an arrangement for recorder and harpsichord of the C minor lute partita BWV 997 and the D minor trio sonata for organ BWV 527.

The idea of re-scoring works so that novel combinations of instruments can play them – perhaps domestically for fun or for instruction – was something that Bach clearly did with his own compositions, so the idea is not new. This group is primarily of recorder players, who had a good time re-imagining these versions which sound pretty plausible.

Bach is always worth playing in any version you can: whether these arrangements will last remains to be seen. They are easy to listen to, the players are more than competent and I am consigning my copy to the car for a bit, as they provide novel but unchallenging listening.

David Stancliffe

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Recording

Bach: Cantatas BWV 169 & 2

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Le Banquet Céleste, [Céline Scheen,] Damien Guillon, [Nicholas Scott, Benoît Arnould] ScTTB, Maude Gratton organ
74:07
Alpha Classics Alpha 448
+BWV 543, 662-664

Alpha have produced a number of fine recordings over the years, and this CD from Damien Guillon, the countertenor, collaborating again with Maude Gratton playing the 2007 Thomas organ in the Église Réformée du Bouclier in Strasbourg is full of wonderful sonorities. It gives us a truer picture of what Bach Cantatas can sound like when the accompaniment based on a substantial organ, and the organ in this church is in the west of a gallery that runs round three sides of the church. Plenty of room has been created for singers and instruments – including a mellow-toned harpsichord – and the effect of cello and contrabass, organ and harpsichord in recitatives is breathtaking.

I know the church, and have played its organ, which is pitched at A=415 Hz (though it has a couple of ranks at 440). The acoustics are not over-resonant, but gave enough give to ensure good blend. The detailed specification is given, but unfortunately no details of the registration for individual movements.

Guillon sings beguilingly, and, save for one awkward change of register in BWV 169.iv on the words sie schließt die Hölle zu, (though perhaps that gritty sound is intended here?) with his habitual elegance and musicianship. The one-to-a-part strings and wind are perfectly tuned, and the organ when playing obligato lines sings out nobly, but never swamps the rest of the band. It is another recording – like that of arias from the cantatas made by A Nocte Temporis with Reinoud van Mechelen with a Traverso and continuo (Alpha 252 – reviewed in the EMR in December 2016) using the 1718 André Silbermann organ in Saint Aurélie, Strasbourg – that gives us a sense of the rich sonorities you can find if you look for an appropriate organ. The other Cantata on this CD is BWV 82, Ich habe genug, in the version Bach made for an alto/mezzo voice in C minor in 1735.

The other works on this CD are played stylishly by Maude Gratton on the organ. There are three Chorale Preludes on Allein Gott in der Höh sei Ehr – BWV 662, 663 and 664, and the Prelude and Fugue in A minor, BWV 534.

Small clips on Youtube allow us to glimpse something of her nimble pedalling as well as her sparkly style and well-chosen registrations.

This is a CD that has given me much pleasure, and from which I have learnt a lot: but I know of no suitable organs in either 415 or 465 in England where we might be able to perform our Bach Cantatas like this, so I hope the builders will listen to this and see what they can do! I recommend this without reservation.

David Stancliffe

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Recording

Telemann: Chamber music treasures from Dresden and Darmstadt (2)

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Les Esprits Animaux
64:13
Musica Ficta MF8029

This is the second review of this recording we have received. You can find the other here.

Those with knowledge of Telemann’s biography will know that he worked in neither Dresden nor Darmstadt, all the works recorded here linked with those centres by their inclusion in libraries in one or, in the cases of the popular Concerto alla Polonaise and the D-minor Concerto, both cities. Their diffusion testifies to the widespread popularity of Telemann’s works beyond the cities in which he worked. It must be added that his authorship of the concertos in B flat and D remains conjectural; on the evidence of the ear alone, I would certainly be inclined to suspect the former as a work of Telemann’s. It is much the least inventive of this group of works, with a Rococo-style opening Allegro that even at five minutes outstays its welcome. The four-movement D-major Concerto for flute and strings is another matter. Opening with an easy flowing Intrada with interesting ‘riffs’ for violin and cello periodically breaking out, it continues with an appealing Aria in which the flute takes the ‘vocal’ part, a brief, lively Gavotte and a graceful Minuet featuring a solo cello in the central section. The presence of three first recordings (TWV 43:G8; the B flat; and the Intrada) would commend the CD to the attention of Telemanniacs if nothing else did.

In fact there is a much more to it than that. For some years Les Esprits Animaux has shown itself to be one of the foremost Baroque chamber ensembles, its performances above all notable for a sense of spontaneity rarely encountered in this repertoire. Mention above of the word ‘riffs’, more frequently associated with jazz, was not accidental, for there is a strong feeling of the improvisatory about all Les Esprits do. The music lives from bar to bar, every gesture counting and contributing to an exhilarating sense of fantasy, of bizzarie. It is necessary to go no further than the beguiling opening Dolce of the Concerto alla Polonaise to hear the stylishly delicate manner in which first violinist Javier Lupiáñez embellishes repeats to know there will be nothing routine about these beautifully played and balanced performances. Caveats? Well, just occasionally I feel the animal spirits run away with the performers a little too much, leading them to excessively fast tempi, as in the Allegro ma non troppo finale of TWV43:G8. Other than that this a disc that conveys the sheer joy of music making to a degree rarely experienced. If you’ve yet to catch up with the unbounded pleasure of listening to Les Esprits Animaux this is the time to rectify the omission.

Brian Robins

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Recording

Buxtehude: Membra Jesu nostri

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The Chapel Choir of Trinity Hall, Cambridge, Orpheus Brittanicus, Newe Vialles, directed by Andrew Arthur
70:17
Resonus RES 10238

It is often the context of the music-making that distinguishes its character, and the near ideal conditions of a choir of young singers (helped by performing in the excellent acoustic of Jesus College) together with a quintet of singers who share that background and the strings, lute and keyboard of Orpheus Britannicus, joined by the Newe Vialles viol consort in the subdued Part 6 (Ad Cor) provide a very coherent group of musicians for this tense, yet restrained masterpiece of early German Baroque oratorio.

I admire the overall sound – there are no prima donnas here, nor the sense that this is just another routine performance. The intensity of it all is maintained by the experienced and capable direction of Andrew Arthur, as is the sense of the different chori – well laid out in the structure of the work as it is in the performance. His scholarly and helpful essay is a key element in the liner notes, revealing where and how Anders von Düben transcribed this work from its tablature original of 1680 into staff notation. This is complemented by a revealing note on the Latin text by Francis Basso, which is then given with an English translation. Details of pitch, instruments and tuning complete a model booklet.

The major decision for anyone directing Membra Jesu nostri is whether to use single voices throughout or to use a choir as well as a group of solo singers. Using a choir of bright, young voices and placing the instruments and single voices in the foreground gives a good balance and a clean distinction between the two vocal groups. The choir sings with conviction and clarity, no individual voices stand out to spoil the cohesion and they reflect their director’s precision and their regular experience of singing in the small Chapel at Trinity Hall. This is ideal.

The singers charged with solo lines sing well with each other in the duet and trio sections while retaining their own individuality. Nicholas Mulroy’s distinctive voice never has to over-sing, and Daniel Collins is a good match for him in tone and intensity. His leading of the almost Purcellian moments with their tightly wrought suspensions like the trio sections towards the end of Ad Manus (which were given to the solo singers, unlike the SSA passage at the opening of the final tutti section: I love it, but why?) gave these moments a richness that made me wonder about using the choir at all: the ATB sound is so rich! It was perfect in sit tamen gustatis in Ad pedes, the first number where the choir is tacet. To hear Reuben Thomas on his own you have to wait for Ave verum templum Dei where he sings with the strings – the effortlessness of his bottom notes is miraculous.

Eloise Irving, the first soprano, sings beautifully, with a clarity and grace to which Charlotte Ives responds with a warmer tone; in the duet and trio sections, the contrasting tone colour (unlike the identical tone of S1 and S2 in the choir) offers a genuine contrast, and helps colour the words, which all five solo singers enunciate with exemplary clarity. The choir might have copied this – especially in the homophonic quasi-parlando sections – to advantage. The obvious benefit of a many-voices choir is demonstrated in the long, seamless, fluid lines of the final Amen.

The strings are perfect: I have never heard the Sonata in tremulo in Ad Genua so beautifully detailed by the violins, and the reedy quality of the bass violin is a perfect complement in this music. Their wonderful relaxed cross rhythms in the opening to Ad Latus are a model for how to play this brief sonata.

The viols in Ad Cor made a dark contrast, introducing the SSB vocal complement for this number with its rich chromatic suspensions and a piano end like BWV 106. Their reedy tone is not dissimilar to the sudden change to a regal and trombones in the underworld in L’Orfeo. There is such wonderful variety of mood and expression in this pioneering work, and we should be glad that it has received such skilled and musical a treatment. If you want a recording to complement a six-voice performance, I recommend this CD wholeheartedly; and in its own right it is a fine advertisement for this director and his college choir.

David Stancliffe

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Mozart, Beethoven: Quintets for piano and winds

Pink chrysanthemum

Ensemble Dialoghi
51:08
harmonia mundi musicque HMM 905296
K452, Op. 16

It is not often possible to place similar works by Mozart and Beethoven side by side and unequivocally assert that the Mozart is the greater, but for all the prevarication of the notes accompanying this new coupling it does apply to the E-flat quintets for piano and wind (oboe, clarinet, horn and bassoon). There is, of course, a reason. While the Beethoven is a relatively early work, composed in 1796 (the year before the C-major Piano Concerto), the Mozart dates from his high maturity, 1784, a period during which he was composing the six great string quartets dedicated to Haydn. Indeed, in an oft quoted passage from a letter to his father Leopold, Mozart wrote that at its first performance the quintet ‘called forth the very greatest applause: I myself consider it the best work I have ever composed’.

While we must probably allow for the understandable enthusiasm of the moment in this verdict, the quintet is a work of sublime qualities that surely unquestionably acted as the inspiration and model for Beethoven’s work a dozen years later. Not only is the key and layout of each work the same, with three movements, the first of which opens with a slow introduction, but there are also thematic similarities between the two works. Yet Beethoven at the age of 26 was already very much his own man and there are also significant differences between the two, which can immediately be heard in the contrasts between the two slow introductions, where Beethoven gives us an improvisatory, fantasia like preamble introduced by hunting calls that differs significantly from Mozart’s more structured opening. The latter, at once more contrapuntal and already reaching for the sublime by the time we reach the wind’s imitative descending figure (ff bar 9), transports us to quite a different world. As do the slow movements. Beethoven’s Andante cantabile is based on a song-like theme introduced by the piano, continuing as a quasi-rondo with concertante opportunities for the four wind instruments in the course of its dreamily romantic discourse. Mozart’s Larghetto is again more highly structured, its translucent theme given to the wind to instigate an exploration of dynamics and colour, much of it over the piano’s bed of arpeggiated figuration.

It is, I think, the greater directness of the Beethoven that for me makes its performance by the Barcelona-based Ensemble Dialoghi the more satisfying of the two. But there is no doubting that this fine group of players, all members of leading European period instrument orchestras, are technically outstanding and have obviously worked hard to achieve an excellent balance. That is no easy matter in such works, though it does help to have a fortepiano, here a copy of a Viennese instrument made Walter’s firm around 1800, which in the hands Cristina Esclapez produces some beguiling tone in quieter passages. This is especially notable in the beautiful playing of the lovely Beethoven central movement mentioned above. If I’m a little less happy about the Mozart it is because I don’t find the Dialoghis make enough of Mozart’s often extremely subtle dynamic contrasts. Again we can turn to the central Larghetto for an illustration: The first wind motif marked p is immediately answered by a more assertive f for full ensemble before continuing with a dialogue between piano and wind again marked p. Yet we hear little of those contrasts here or throughout the movement, where tension built and released through crescendos answered by piano is too often ironed out by uniformity.

This perhaps sounds hypercritical and many listeners will probably not share my concerns, but I feel there is more to the Mozart than is revealed here. Notwithstanding, there can be no gainsaying the expertise and general musicality of these engaging performances, which have been very well recorded. The notes – which include a somewhat pretentious and unnecessary ‘hypothetical narrative’ for both works – are unusually extensive.

Brian Robins

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Recording

Bach: Concertos for Organ and Strings

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Les Muffatti, Bart Jacobs
79:59
Ramée RAM1804

This is an interesting and beautifully produced CD, combining three elements: ingenious scholarship, a fine organ and excellent playing.

First, what are these organ concertos by Bach? There are none – or rather, none that survive in that precise form. But both Bart Jacobs the organist and Christof Wolff the scholar have hit on the same supposition: that the concert Bach gave on the new Silbermann organ in the Sophienkirche in Dresden in 1725, where a newspaper review says that Bach ‘performed various concertos with sweet underlying instrumental music’, might well have contained movements drawn from earlier instrumental concerti composed at Köthen and Weimar, some of which have survived in later concerti for harpsichord; and another potential source could be movements that found a home in the series of cantatas written in 1726 that feature the organ as a solo instrument either in a concerto-like sinfonia or sometimes as a melodic alternative to a wind instrument in arias. So the prime source for quarrying these ‘concertos for organ and strings’ are the church cantatas BWV 169, 40, 146, 188, and 35; with sinfonias from BWV 156, 75, 29 and 120a. There are just four movements drawn from harpsichord or violin concertos in addition, and some of this assemblage has been transposed up or down a tone to help it fit a group of movements.

Second, this CD was recorded using the fine Thomas organ in the church in Bornem, not far from the Thomas organ-building works in Southeastern Belgium.  This ingenious instrument, after the organ for Rötha near Leipzig that Silbermann built in 1721/2 and which must have been known to Bach, offers a system of jeux baladeurs – a number of ranks that can be played by transmission on more than one key- or pedal-board. Its position on the floor of the north transept allows the 3.3.2.1.1 strings and harpsichord to group around it easily and ensures a unanimity between organ and instruments that is rare – though perhaps unsurprising in view of Bart Jacobs impressive playing in the CD of Bach Cantatas produced under the title Actus Tragicus with Vox Luminis in 2017. A description and full specification together with detailed registration is included, and I can vouch for the quality of the instrument and the excellence of the acoustic as I played it in 2014. I particularly liked the registration for the slow movements incorporating the 8’ Dulcian, the languid tremulant and the versatile Nasat. 

Third, the quality of playing, the balance between the instruments and the apt registration are splendid. The organ is not over-strident, and the registrations provide both blend and clarity: no wonder Bach must have prized Silbermann’s instruments. The only drawback is that the organ’s pitch of A=440 Hz means that no wind instruments playing at 415 can be included, which were a feature of a good number of the cantata movements. And the use of the organ pedal 16’ from time to time seems plausible, though the string 16’ is a robust contrabasso rather than an edgy violone. But that aside, I find the arrangements and performance highly convincing and entirely in the style and spirit of Bach’s own multiple borrowings and rearrangements. I recommend this novel and delightful performance and hope that Bart Jacobs will publish his versions so that others can play them.

David Stancliffe