Johann Sebastian BACH (1685–1750)
Two-Part Inventions, Sinfonias, Trio Sonata No 3, Goldberg Aria
incantati
rec. 19-21 May 2021, Church of the Ascension, Plumstead, London
FIRST HAND RECORDS FHR122 [59:57]
Presenting transcriptions of well-known keyboard works by J.S. Bach, the musicians of incantati - Emma Murphy (recorders), Rachel Stott (viola d’amore), Asako Morikawa (viola da gamba) -
bring together “three instrumental timbres which were used in the baroque period to represent enchantment or otherworldliness, whether it be the touch of the supernatural, the moment of falling in love or the departure into the next world. The recorder’s sweet tone was associated with pastoral and amorous scenes, while the viola d’amore’s ethereal quality enhances moments of spirituality in both religious music and opera.”
Most of these pieces are conceptually distanced from this kind of symbolism but this is an instrumental combination that works very well for these kinds of transcriptions. Bach’s music is famously performable on just about anything, but all of these instruments lend the music a convincing period feel, and seem as likely as any for an ad hoc performance of the time. With this sequence of single movements nicely ordered and considerately arranged in terms of major and minor tonalities this is more a recording in which you can gently immerse yourself in Bach without any fear of excessive drama or loud shocks. There are some nicely subtle contrasts on the way, with one or other instrument left out for the Two Part Inventions, and Bach’s delayed entry of the bass part in something like Allein Gott in der Höh sei Ehr creating its own atmosphere. Further contrast comes from Emma Murphy’s bundle of different recorders, ranging from soprano to tenor.
This whole very enjoyable production has a rather English feel to it. The sound is soft-edged and harks somewhat back to the Renaissance feel of William Byrd. I can’t argue that the playing is anything less than idiomatic to J.S. Bach, but it certainly has a more laid-back feel when compared to more flamboyant recorder players such as Maurice Steger - admittedly in different repertoire, but there does seem to be a difference in stylistic flavour. If Emma Murphy was throwing in all kinds of virtuoso ornamentation you would of course hear me remarking on that as well so the point comes full circle - the synergy with incantati is very good indeed in this regard. My point is you could also throw Dowland’s Flow my tears into this programme and it wouldn’t really sound out of place.
Dominy Clements
Contents
Sinfonia No 1 in C major, BWV 787 [1:16]
Invention No 7 in E minor, BWV 778 [1:41]
Invention No 11 in G minor, BWV 782 [1:53]
Sinfonia No 4 in D minor, BWV 790 [1:20]
Invention No 4 in D minor, BWV 775 [1:20]
Invention No 13 in A minor, BWV 784 [2:01]
Fuga super ‘Allein Gott in der Höh sei Ehr’, BWV 716 [2:43]
'Wer nur den Lieben Gott lässt walten’, BWV 691 [2:54]
Sinfonia No 8 in F major, BWV 794 [1:27]
Invention No 1 in C major, BWV 772 [1:24]
Invention No 2 in C minor, BWV 773 [1:56]
Sinfonia No 9 in F minor, BWV 795 [3:41]
Invention No 10 in G major, BWV 781 [1:04]
Trio Sonata No 6 in G major, BWV 530: II. Lento [5:22]
Trio super ‘Herr Jesu Christ dich zu uns wend’, BWV 655 [4:05]
Sinfonia No 11 in G minor, BWV 797 [2:07]
Invention No 8 in F major, BWV 779 [1:14]
Invention No 15 in B minor, BWV 786 [1:33]
Sinfonia No 13 in A minor, BWV 799 [1:45]
Trio Sonata No 3 in D minor, BWV 527 [13:22]
Aria from Goldberg Variations, BWV 988 [4:19]
