Here’s one of those wonderful yet dubious compilations that purport to tell us what “may” be historically correct but can in no way be proven–in this case, what music was in the library of J.S. Bach. The bottom line is that no one knows for sure, but some learned guesswork has produced this quite generous list of works, filling two CDs, that contains pieces by composers Bach probably admired and/or whose works he copied or otherwise was known to have possessed. Regardless of the Bach connection, the program is a fascinating collection of examples of Baroque styles and genres, varying in quality (but most of it is quite good) and generally receiving first rate performances.
As you would expect, the list reads like a 17th-century “who’s who”, including Frescobaldi (a fine Ricercar for voice and organ), Johann Reincken (a feisty Toccata for harpsichord), Albinoni (a classic violin sonata), Buxtehude (an organ Toccata and a Ciacona for voice and instruments), Johann Fux (a well-crafted Sonata for violin, cornetto, trombone, and bassoon), and Pachelbel (a Ciacona in D minor that shows this composer could write more than one boring “canon”). Bach’s “French connection” is represented by works of André Raison (a sturdy if predictable organ mass), Nicolas De Grigny (two sturdy if predictable short organ fugues plus a couple of other pieces), and Jean-Henri d’Anglebert (an elaborate and technically demanding harpsichord suite). Some of the best music–two solo vocal cantatas and a “choral motette”–is by Bach’s father’s cousin, Johann Michael Bach. These pieces show a clear mastery of form and melodic invention that’s always engaging and skillfully combined with the texts and instrumental accompaniments.
The great master himself is represented by several selections, including two rarely heard “sacred songs” (alternately sung by soprano Salomé Haller and tenor Hans Jörg Mammel) and three organ works (Fantasia BWV 562, the chorale “Allein Gott in der Hoh sei Ehr” BWV 663, and Pièce d’orgue BWV 572), ably performed by Jörg Andreas Bötticher on the organ of St. Thomas Church, Strasbourg. As mentioned, the instrumental and vocal work is top-notch, however, I find Haller’s soprano to have a piercing, penetrating edge that doesn’t invite prolonged listening. Bötticher employs some unusual stops in the BWV 663 chorale that will delight some and distract others. And given that the recordings were made in different venues at different times, the sound isn’t entirely consistent from track to track–but this isn’t a big deal. The liner notes contain reams of speculation and imaginings regarding who were Bach’s teachers, who were his influences, and what music did he himself own–all worthy and important questions. But in the absence of clear answers, and in the presence of this entertaining disc, I suggest you just sit back and enjoy the music.
