Your guide to classical music online

Bach Across and Back Again

David Vernier

Artistic Quality:

Sound Quality:

You’d think they at least could have mentioned the Swingle Singers. If you were around in the ’60s and were listening to music–or if you are a bit–okay, a lot younger but are performing music in a style and sensibility virtually invented by that Paris-based group, led by American Ward Swingle–you certainly should know the Swingle Singers and their unique take on Bach (and other Baroque and Classical composers), singing his instrumental music with a cool mono-syllabic, vocal jazz sound and style (with accompanying bass and drums) . But here, inexplicably, there is no such acknowledgement (the re-formed, re-constituted group that performs under the Swingle Singers name today has almost nothing in common with its predecessor.) Even more amazingly, the sketchy liner notes imply that the idea for this project–to arrange instrumental music by J.S. Bach “for just the human voice”–was a newly invented one.

In the early 1960s Swingle and his French virtuoso studio-session colleagues pioneered a vocal ensemble genre that celebrated impeccable technique while reveling in a sensuous interpretive style that melded the old and the new in a way that even the most hard-boiled traditionalist couldn’t resist.  The group featured here–I really don’t get the name SLIXS, or the disc title QuerBach (the word “quer” in German means “crosswise”, “across”, or “sideways”)–takes that tradition and runs with it. They really are very good–outstanding, actually. And even though the program lasts only about 18 minutes, you are completely captivated by their style and verve and technical expertise and command of the music.

You are also aggravated by the lack of any information about the group–they want you to buy the CD but give you only 18 minutes of music and refuse to give you any clue as to who they are or why you should care about them. Fortunately, the music and the singing are terrific–the six Bach selections (including movements from the double violin concerto and the Goldberg Variations) are well chosen and expertly realized, and even though no mention is made of additional instruments, there definitely is some sort of (electronic?) enhancement of the bass. Their singing also includes a far more extensive array of syllables and vocal sounds than those employed by the Swingle Singers–in fact, here each singer seems to be just going off on his or her own, as a solo jazz singer would do, while keeping Bach’s musical lines intact. This gives an air of spontaneity to the performances but also makes you more aware of individual singers.

Here we have six singers compared to the Swingles’ eight, and only one woman, as opposed to the Swingle Singers’ four women/four men configuration–but in the context of these arrangements the lineup works very well. Your only complaint will be that you wish there were more music.

« Back to Search Results


Recording Details:

Album Title: QUERBACH

J.S. Bach: Movements from Concerto for 2 Violins in D minor BWV 1043; Goldberg Variations BWV 988; Concerto for Oboe & Violin in D minor BWV 1060; Sonata No. 4 for Violin & Harpsichord in C minor BWV 1017; Cantata BWV 56

Search Music Reviews

Search Sponsor

  • Insider Reviews only
  • Click here for Search Tips

Visit Our Merchandise Store

Visit Store
  • Ideally Cast Met Revival of Gounod’s Roméo et Juliette
    Metropolitan Opera House, Lincoln Center, NY; March 19, 2024—The Met has revived Bartlett Sher’s 1967 production of Gounod’s R&J hot on the heels of its
  • An Ozawa Story, November, 1969
    Much has justifiably been written regarding Seiji Ozawa’s extraordinary abilities and achievements as a conductor, and similarly about his generosity, graciousness, and sense of humor
  • Arvo Pärt’s Passio At St. John The Divine
    Cathedral of St John the Divine, New York, NY; January 26, 2024—When one thinks of musical settings of Christ’s Passion, one normally thinks of the