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Johann Sebastian Bach

The Well-Tempered Consort – I

PHANTASM 1

Credits Tracklist Programme note Biographies

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Johann Sebastian Bach

The Well-Tempered Consort – I

PHANTASM

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Recorded in Jesus-Christus-Kirche, Berlin-Dahlem, Germany, 4–7 February 2019

Post-production Julia Thomas

Recording Producer & Engineer Philip Hobbs

Design stoempstudio.com

Cover & Inside Images Photographs by Marco Borggreve

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Johann Sebastian Bach (1685–1750) The Well-Tempered Consort – I

1 — Ricercar a3 (from Musical Offering BWV 1079) 5:57 2 — Sinfonia No. 9 BWV 795 (from Inventions and Sinfonias) 2:4 4 3 — An Wasserflüssen Babylon BWV 653b 3:11 4 — Prelude No. 19 BWV 864 (from The Well-Tempered Clavier Book 1) 1:17 5 — Fugue No. 19 BWV 864 (from The Well-Tempered Clavier Book 1) 2:18 6 — Fugue (from Prelude and Fugue in C major BWV 547) 3:13 7 — Fugue No. 17 BWV 886 (from The Well-Tempered Clavier Book 2) 2:21 8 — Prelude No. 22 BWV 867 (from The Well-Tempered Clavier Book 1) 2:16 9 — Fugue No. 22 BWV 867 (from The Well-Tempered Clavier Book 1) 2:25 10 — Fugue No. 14 BWV 859 (from The Well-Tempered Clavier Book 1) 3:00 11 — Prelude No. 24 BWV 869 (from The Well-Tempered Clavier Book 1) 2:28 12 — Fugue No. 24 BWV 869 (from The Well-Tempered Clavier Book 1) 5:4 4 13 — Fugue No. 9 BWV 854 (from The Well-Tempered Clavier Book 1) 1:17 14 — Aus tiefer Not BWV 686 (from Clavier-Übung III) 4:56 15 — Prelude No. 22 BWV 891 (from The Well-Tempered Clavier Book 2) 1:56 16 — Fugue No. 22 BWV 891 (from The Well-Tempered Clavier Book 2) 3:28 17 — Vater unser im Himmelreich BWV 737 2:07 18 — Fugue BWV 552 (from Clavier-Übung III) 5:33 19 — Kyrie, Gott heiliger Geist BWV 671 (from Clavier-Übung III) 3:52 20 — Ricercar a6 (from Musical Offering BWV 1079) 6:46

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PHANTASM LAURENCE DREYFUS treble viol and director EMILIA BENJAMIN treble viol JONATHAN MANSON tenor viol HEIDI GRÖGER bass viol and violone MARKKU LUOLAJAN-MIKKOLA bass viol with LIAM BYRNE bass viol

Phantasm wishes to thank Falk Kulawik (Jesus-Christus-Kirche), Ralph Woodward (Cambridge, UK), and Peter Ballinger (PRB Productions – editions used for tracks 2, 4, 5, 14, 20) for their support of this recording.

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Johann Sebastian Bach

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The Well-Tempered Consort – I

In 1975 the pianist Charles Rosen asserted that ‘only the performer at the keyboard is in a position to appreciate the movement of the voices, their blending and their separation, their interaction and their contrasts. A fugue of Bach can be fully understood only by the one who plays it, not only heard but felt through the muscles and nerves.’ To feel Bach through one’s ‘muscles and nerves’ is, to be sure, an enviable goal, though Rosen exaggerates how well a keyboard player can appreciate the singularity of each voice. That’s why a viol consort – attuned through its repertoire and experience to ‘an equal music’ – can hope to offer supplementary insights into the Bachian experience.

In this first installment of The Well-Tempered Consort, we attempt to uncover the riches concealed behind the more neutral resources of the harpsichord and organ so as to liberate characters lurking in the shadows of Bach’s polyphonic edifices. Applying ‘the consort principle’ – how instruments of the same family produce polyphony –, we confront a host of surprising figures populating some of Bach’s most radical inventions whose previous existence we hadn’t suspected.

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Consort playing is heavily invested in the confluence of independent voices, and in performing English music from Tye to Purcell, our chief task is to characterize the interactions between equal voices, putting flesh on the bones of the counterpoint so as to enact what Balzac calls la comédie humaine. It is of course not any different in a Bach fugue, whose musical subjects, much like figments of real people, wrest and vie with one another, shaping a simulacrum of lived experience.

Drawn chiefly from the two books of Bach’s Well-Tempered Clavier, the Musical Offering and the Clavier-Übung III, our chosen repertoire forges some uncanny links with venerable English traditions while also leaping into a chromatic twelve-tonal world drenched in what borders on a raw modernism. The older consort genres comprised polyphonic fantasies, In nomines based on a cantus firmus as well as some dances. Approaching Bach’s imitative works with these in mind, it is easy to see roughly equivalent genres: fugues and imitative preludes are updated viol fantasies, and chorale preludes resemble In nomines, with dance gestures sprinkled liberally everywhere. And while a viol consort can’t compete with contrasting organ stops in distinguishing registers, it might provide some compensation by cultivating an intimacy in the setting of An Wasserflüssen Babylon or a devotional innocence, as in Vater unser im Himmelreich. Viols seem also well equipped to underscore a poignant shift in the narrative, as in the final section of Aus tiefer Not, or to experience more viscerally the shocking eruption in the extraordinary Kyrie, Gott heiliger Geist where (at 3:17) Bach makes an expressionist plea for mercy.

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The madcap exploits of the subject in Fugue No. 19, with its perverse distribution of rising fourths set against the beat, now have a way to produce a vertiginous set of joyful pranks when players can toss conflicting accents at one another: Bach dresses himself up here as Till Eulenspiegel. Desperation and anger surface when Bach’s odd habit of inserting rests into fugue subjects now cause four players to hyperventilate in adversarial frustration within Fugue No. 22 (track 16), a piece littered with breaths amidst a theme heard every which way. The portraiture of distinct thematic characters likewise proves more vivid when players mime contrasting affective gestures. Bach cycles obsessively between three of them in Sinfonia No. 9 and crafts – in an exquisite miniature – a complex engagement with tragedy: depressive resignation in a slow chromatic fall, mournful sighs and imploring, and contortions of a body in pain.

Equally, Bach’s stylistic references to music beyond the keyboard repertory seem clearer, such as in the vocal feel of the fivevoiced Prelude No. 22 (track 9) that evokes the haunting ostinatos of the Passion choruses. In the case of the two Ricercars from the Musical Offering (a3 and a6), it is striking how very forward looking and empfindsam the Ricercar a3 now sounds: the virtuoso triplet flourishes in the two upper parts (02:44-02:52) could have come from the trio sonatas by Johann Gottlieb Graun (1702/3–1771), just as the galant sighs and patterned breaths (03:25-03:37) foreshadow the slow third movement of the Musical Offering’s Trio Sonata. The Ricercar a6, on the other hand, looks backward as a daring hybrid invoking a seventeenth-century

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fantasia (built on a succession of ever new subjects) within a more modern fugue based on monothematic statements of the so-called royal theme set by Frederick the Great when, in 1747, the old Bach paid a much-publicized visit to the court at Potsdam.

The audacious spirit pervading the keyboard preludes and fugues reminds us with what experimental zeal Bach unleashed his inventive urges. Portraying them on viols sometimes renders them as even more alienated than is possible on a keyboard. In Fugue No. 24, a work that tinkers with twelve-tone chromatic space, Bach courts an intentional harshness in his fugal manipulations: a primary sighing theme that covers every chromatic pitch is ‘consorted’ by a countersubject whose response is, frankly, rather ugly (0:13-0:23). The tortured subjects remain suspended in an agony relieved only by flowing diatonic episodes (such as at 01:14-01:31), and their very loveliness makes us long for them, even though, as episodes in a fugue, they are supposed to be the most inconsequential music in the piece.

If anyone ever thought Bach’s fugal works were mere displays of academic technique, think again! Robert Schumann (1838) put it just right when he called them ‘character pieces of the highest type, truly poetic creations, each of which demands its individual expression, its individual lights and shades’.

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A consort that is ‘well-tempered’ of course calls to mind Bach’s two books of 48 Preludes and Fugues situated on all twelve scale degrees in which the tuning of even the strangest keys has to be made bearable. In this recording, to suit the viols, we have experimented with two approaches to keys: in about half the tracks we’ve altered Bach’s pitch to flatter the resonance of our fretted instruments, while in the other half we’ve retained Bach’s unusual keys to explore sonorities usually foreign to us. The following table shows the source of each work and where we’ve situated our ‘temperament’ (devised by Markku Luolajan-Mikkola) with regard to the keyboard original. One also sees how many parts are in each piece and who is playing in each track.

Laurence Dreyfus, Markku Luolajan-Mikkola – all tracks Jonathan Manson – all tracks except 11, 15 Emilia Benjamin – tracks 3, 6, 8–12, 14, 15, 18–20 Heidi Gröger – tracks 3, 7–9, 19 (bass viol); 6, 14, 18–20 (violone) Liam Byrne – tracks 14, 20 11

voices

original key

consort key

1.

Ricercar a3

3

C minor

A minor

2.

Sinfonia No. 9

3

F minor

D minor

3.

An WasserflĂźssen Babylon

5

G major

G major

4.

Prelude No. 19

3

A major

G major

5.

Fugue No. 19

3

A major

G major

6.

Fugue

5

C major

C major

7.

Fugue No. 17

4

A flat major

F major

8.

Prelude No. 22 (WTC 1)

5

B flat minor

B flat minor

9.

Fugue No. 22 (WTC 1)

5

B flat minor

B flat minor

10.

Fugue No. 14

4

F sharp minor

F sharp minor

11.

Prelude No. 24

3

B minor

B minor

12.

Fugue No. 24

4

B minor

B minor

13.

Fugue No. 9

3

E major

E major

14.

Aus tiefer Not

6

A minor

A minor

15.

Prelude No. 22 (WTC 2)

3

B flat minor

A minor

16.

Fugue No. 22 (WTC 2)

4

B flat minor

A minor

17.

Vater unser im Himmelreich

4

A minor

A minor

18.

Fugue

5

E flat major

D major

19.

Kyrie, Gott heiliger Geist

5

G major

G major

20.

Ricercar a6

6

C minor

A minor

Š Laurence Dreyfus, 2020

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Phantasm

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Phantasm, an award-winning consort of viols, was founded in 1994 by Laurence Dreyfus and has become recognized as the most exciting viol consort active on the world scene today. The ensemble catapulted into international prominence when its debut recording of works by Henry Purcell won a Gramophone Award for the Best Baroque Instrumental Recording of 1997. It has since won two further Gramophone Awards, for Orlando Gibbons in 2004 and John Dowland’s Lachrimae in 2017.

The consort has travelled the world over, performing in Prague, Tokyo, Istanbul, Helsinki and Washington DC. Other engagements have included the Trigonale Festival in Austria, Barcelona Early Music Festival, Bergen International Festival, Lufthansa Festival of Baroque Music in London, Mazovia goes Baroque in Warsaw, Stockholm Early Music Festival, London’s Wigmore Hall, Brussels’ Palais des Beaux-Arts and Ghent’s De Bijloke.

Phantasm’s recordings have garnered steady praise with critics singling out their ‘intensity and homogeneity of tone’ and their ‘acuity to the music’s ever-active emotional flux’. The ensemble was awarded a Diapason d’or de l’année for Dowland’s Lachrimae (2017) and a Diapason d’or for Byrd’s Complete Consort Music (2011).

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Phantasm was consort-in-residence at the University of Oxford and Magdalen College from 2005 to 2015. In 2015 the ensemble’s base of artistic activities moved to Berlin where members from the UK, the USA, Finland, and Germany assemble to rehearse and record new repertoire.

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Laurence Dreyfus

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treble viol / director

Laurence Dreyfus was born into a family of musicians, and was taught to read music before he could read English. He played piano and cello as a child, and was particularly drawn to chamber music, having been coached

by Edgar Ortenberg, a member of the famed Budapest Quartet in the 1940s. He studied cello with Leonard Rose at The Juilliard School in New York and later viol with Wieland Kuijken at the Royal Conservatoire in Brussels.

He completed a PhD in musicology at Columbia University under the supervision of the leading Bach scholar Christoph Wolff. A dual career as musicologist and performer took him all over the world to research music history, perform concerts and give lectures and performance classes. As a scholar and lecturer, Dreyfus held professorships at Yale, Stanford, University of Chicago, King’s College London, and most recently at Oxford University and Magdalen College.

In 2002 his cademic research on Bach and Wagner was recognized by a Fellowship in the British Academy.

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Emilia Benjamin

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treble viol

Emilia Benjamin read History of Art at the University of East Anglia where she led the orchestra from the violin, and went to a life-changing concert of Dowland’s Lachrimae, the sound of which was so heavenly that she instantly became a viol player. During her university years she made her own treble viol in the workshop of a lute maker, which she still plays today. At some point she was struck by the insight that if she was going to spend most of her life working, then that work ought to be the thing she enjoyed most.

This was, and is, consort playing. She duly went to the Guildhall School of Music and Drama in London to do a postgraduate course in early music, specializing in viol and baroque violin. Since then she has spent the intervening twenty-five years or so performing and recording, not just viol consort music, but a healthy picking of most Western music written in the seventeenth and eighteenth centuries, playing viols, violin, viola and lirone.

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Jonathan Manson

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tenor viol

Jonathan Manson was born into a musical family in Edinburgh. He received his formative training at the International Cello Centre under the direction of Jane Cowan; he then studied under the great cello teacher Steven Doane at the Eastman School of Music in Rochester, New York. A growing interest in early music led him to Holland, where he studied viola da gamba with Wieland Kuijken. He was invited to become principal cellist of the Amsterdam Baroque Orchestra, with whom he performed and recorded more than 150 Bach cantatas and, together with Yo-Yo Ma, Vivaldi’s Concerto for two cellos. Nowadays Manson specializes mainly in chamber music. He is the cellist of the London Haydn Quartet, principal cellist of the Dunedin Consort and co-principal of the Orchestra of the Age of Enlightenment. He has collaborated with Trevor Pinnock, Emmanuel Pahud, Sophie Gent, Matthew Truscott, Elizabeth Kenny, Carolyn Sampson and Laurence Cummings. He was invited to play the solo viol part in George Benjamin’s opera Written on Skin at the Royal Opera House, and made concerto appearances in London’s Wigmore Hall and New York’s Carnegie Hall. He teaches at the Royal Academy of Music in London.

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Heidi Gröger

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bass viol / violone

Born in Eichstätt, Bavaria, Heidi Gröger studied viola da gamba with Philippe Pierlot and baroque cello with Jaap ter Linden at the Royal Conservatoire of The Hague, where she was awarded her Master’s degree with distinction. She later won leading prizes at the International Van Wassenaer Competition, York Early Music International Young Artists Competition and Biagio-Marini-Wettbewerb.

She played in the Freiburger Barockorchester, Concerto Vocale, Berlin Baroque Soloists and Harmonie Universelle.

She later founded her own chamber Ensemble Fleury which recorded Rameau’s Pièces de clavecin en concerts for Sony Classics. In collaboration with Johannes Weiss, she is Artistic and Executive Director of the Musikfest Eichstätt, an annual summer festival in her home town where Phantasm made its debut in 2018. Since 2011 she teaches viola da gamba at the Frankfurt University of Music and Performing Arts.

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Markku Luolajan-Mikkola

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bass viol

Markku Luolajan-Mikkola enjoys the challenge of playing some of the most demanding pieces written for his instruments, which he performs on various viols and historical cellos, ranging from the sixteenth century to the present day. Contemporary music is also important to him, experiencing all the new possibilities for expression and communication offered by living composers. He was Artistic Director of the Finnish Baroque Orchestra from 2010 to 2013, and in 2010 founded the BRQ Vantaa Festival. As a soloist, he has received the National Janne Award, the Finnish Broadcasting Company’s special honour prize and the Classical Music Emma Prize. He began teaching the modern cello at the Sibelius Academy in 1970s, even before graduating there himself: many of his students from that period now play in leading European orchestras. He currently teaches both viol and baroque cello at the Sibelius Academy. In addition to the Sibelius Academy he also studied at the Royal Conservatoire of The Hague. During his student years, he was taught among others by Arto Noras and Wieland Kuijken.

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Johann Sebastian Bach

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Das wohltemperiertes Consort – I

1975 behauptete der Pianist Charles Rosen, dass „nur der Interpret am Klavier in der Lage sei, die Bewegung der Stimmen, ihre Mischung und Trennung, ihre Interaktion und ihre Kontraste zu schätzen. Eine Fuge von Bach kann nur von demjenigen vollständig verstanden werden, der sie spielt, nicht nur gehört, sondern auch gefühlt durch die Muskeln und Nerven.“ Bach durch die „Muskeln und Nerven“ zu spüren, ist sicherlich ein beneidenswertes Ziel, obwohl Rosen überbewertet, wie gut ein Tastenspieler die Eigenart jeder Stimme schätzen kann. Deshalb kann ein Gambenconsort – abgestimmt durch sein Repertoire und seine Erfahrung auf eine „gleichberechtigte Musik“ – hoffen, ergänzende Einblicke in die Bachsche Erlebniswelt zu bieten.

In dieser ersten Folge von Das wohltemperiertes Consort versuchen wir, den Reichtum aufzudecken, der sich hinter den neutraleren Ressourcen von Cembalo und Orgel verbirgt, um Charaktere zu befreien, die im Schatten von Bachs polyphonen Strukturen lauern. Gerade durch ein Gambenconsort mit gleichberechtigen Stimmen stoßen wir auf eine Vielzahl überraschender Figuren, deren Existenz wir nicht erwartet hätten.

Bei der Aufführung englischer Musik von Tye bis Purcell besteht die Hauptaufgabe des Consort-Spiels darin, die 20

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Wechselwirkungen zwischen gleichberechtigten Stimmen zu charakterisieren und dem Kontrapunkt Fleisch auf die Knochen zu legen, um das zu inszenieren, was Balzac la comédie humaine nennt. Nicht anders ist es natürlich in einer Bachschen Fuge, deren musikalische Themen, ähnlich wie Figuren realer Menschen, miteinander ringen und konkurrieren um ein Simulakrum des Gelebten zu formen.

Unser ausgewähltes Repertoire, das hauptsächlich aus den beiden Büchern von Bachs Wohltemperiertem Klavier, dem Musikalischen Opfer und der Clavier-Übung III, stammt, knüpft einige unheimliche Verbindungen zu ehrwürdigen englischen Traditionen und springt gleichzeitig in eine chromatische zwölftonige Welt, die von dem durchdrungen ist, was sich dem rohen Modernismus annähert. Die älteren ConsortGenres umfassten polyphone Fantasien, In nomines auf einem Cantus firmus sowie einige Tänze. Wenn man sich Bachs imitativen Werken vor diesem Hintergrund nähert, ist es leicht, etwa gleichwertige Gattungen zu sehen: Fugen und imitative Präludien sind modernisierte Gambenfantasien, und Choralpräludien ähneln In nomines, mit Tanzgesten, die überall großzügig besprüht sind. Und obwohl ein Gambenconsort bei der Registerunterscheidung nicht mit kontrastierenden Orgelklängen mithalten kann, kann es dies durch die Pflege einer Intimität in der Fassung von An Wasserflüssen Babylon oder einer hingebungsvollen Unschuld, wie in Vater unser im Himmelreich, ausgleichen. Gamben scheint auch gut gerüstet, um eine deutliche Verschiebung der Erzählung zu unterstreichen, wie im letzten Abschnitt von Aus tiefer Not, oder um die schockierende Eruption im außergewöhnlichen Kyrie, Gott heiliger Geist, wo (um 3:17) Bach ein

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expressionistisches Plädoyer für Barmherzigkeit macht, eindringlicher zu erleben.

Die tollkühnen Exploits des Subjekts in Fuge Nr. 19, mit seiner perversen Verteilung der steigenden Quarten gegen den Grundschlag, haben nun die Möglichkeit, eine schwindelerregende Reihe von freudigen Streichen zu produzieren, bei denen die Spieler widersprüchliche Akzente aufeinander werfen können: Bach verkleidet sich hier vielleicht als Till Eulenspiegel. Verzweiflung und Wut tauchen auch anders auf, wenn Bachs seltsame Gewohnheit, Pausen in Fugenthemen einzufügen, nun vier Spieler in feindseliger Frustration innerhalb der Fuge Nr. 22 (Track 16), hyperventilieren lässt, einem Stück, das mit Atem übersät ist, inmitten eines Themas, das überall gehört wird. Auch das Porträt von unterschiedlichen thematischen Charakteren erweist sich als lebendiger, wenn die Spieler kontrastierende affektive Gesten mimen. Bach zyklisiert in der Sinfonia Nr. 9 obsessiv zwischen drei von ihnen und fertigt – in einer exquisiten Miniatur – eine komplexe Auseinandersetzung mit der Tragödie: depressive Resignation in einem langsamen chromatischen Abstieg, traurige Seufzer und Flehen, und Verzerrungen eines schmerzenden Körpers.

Ebenso scheinen Bachs stilistische Bezüge zur Musik jenseits des Tastenrepertoires klarer zu sein, wie z.B. im vokalen Feeling des fünfstimmigen Präludiums Nr. 22 (Track 9), das an die quälenden Ostinatos der Passionschöre erinnert. Bei den beiden Ricercars aus dem Musikalischen Opfer (a3 und a6) fällt auf, wie sehr zukunftsweisend und empfindsam das Ricercar a3 jetzt klingt: Die virtuosen Triolenfiguren

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der oberen Stimmen (02:44-02:52) könnten aus den Triosonaten von Johann Gottlieb Graun (1702/3–1771) stammen, ebenso lassen die galanten Seufzer und gemusterten Atemzüge (03:25-03:37) den langsamen dritten Satz der Triosonate des Musikalischen Opfers vorausahnen. Das Ricercar a6 hingegen blickt rückwärts als gewagter Hybride, der eine Fantasie aus dem siebzehnten Jahrhundert (basierend auf einer Abfolge immer neuer Subjekte) in einer moderneren Fuge auf der Grundlage monothematischer Wiederholungen des sogenannten königlichen Themas von Friedrich dem Großen hervorruft, als der alte Bach 1747 dem Potsdamer Hof einen vielbeachteten Besuch abstattete.

Der kühne Geist, der die Präludien und Fugen der Tastatur durchdringt, ruft uns in Erinnerung, mit welchem experimentellen Eifer Bach seine erfinderischen Triebe entfesselt hat. Die Darstellung mit Gamben macht sie manchmal noch entfremdeter, als es auf einer Tastatur möglich ist. In der Fuge Nr. 24, einem Werk, das einen zwölftönigen Raum auskostet, umwirbt Bach eine bewusste Härte in seinen Fugenmanipulationen: Einem primären Seufzer-Thema, das jede chromatische Tonhöhe abdeckt, wird ein Gegenüber gestellt, dessen Antwort brutal und hässlich ausfällt (0:13-0:23). Die gefolterten Subjekte bleiben in einer Qual suspendiert, die nur durch fließende diatonische Episoden (wie z.B. um 01:14-01:31) erleichtert wird, und man sehnt sich nach deren großer Schönheit, auch wenn sie als Episoden in einer Fuge die unbedeutendste Musik des Stückes sein sollen.

Wenn jemand jemals dachte, Bachs flüchtige Werke wären nur eine Demonstration akademischer Technik, dann denk noch einmal 23

darüber nach! Robert Schumann (1838) hat es genau richtig formuliert, als er sie bezeichnete als „Charakterstücke höchster Art, zum Teil wahrhaftig poetische Gebilde, deren jedes seinen eigenen Ausdruck, seine besonderen Lichter und Schatten verlangt“.

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Ein „wohltemperiertes“ Consort erinnert an die beiden Bände Bachs mit 48 Präludien und Fugen, die sich auf allen zwölf Skalengraden befinden, in denen die Stimmung auch der seltsamsten Tonarten erträglich gemacht werden muss. In dieser Aufnahme haben wir, um den Gamben gerecht zu werden, mit zwei Ansätzen für Tonarten experimentiert: In etwa der Hälfte der Tracks haben wir Bachs Tonhöhe verändert, um die Resonanz unserer Instrumente mit Bünden zu schmeicheln, während wir in der anderen Hälfte Bachs ungewöhnliche Tonarten beibehalten haben, um die uns normalerweise fremden Klangfarben zu erforschen. Die folgende Tabelle zeigt die Herkunft der einzelnen Werke und wo wir unsere Stimmung (entwickelt von Markku Luolajan-Mikkola) in Bezug auf das Original platziert haben. Gleichzeitig wird deutlich, wie viele Stimmen das Stück beinhaltet und wer interpretiert.

Laurence Dreyfus, Markku Luolajan-Mikkola – alle Stücke Jonathan Manson – alle Stücke bis auf Tracks 11 und 15 Emilia Benjamin – Tracks 3, 6, 8–12, 14, 15, 18–20 Heidi Gröger – Tracks 3, 7–9, 19 (Bassgambe); 6, 14, 18–20 (Violone) Liam Byrne – Tracks 14, 20

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Stimmen

Original-Tonart

Consort-Tonart

1.

Ricercar a3

3

c-Moll

a-Moll

2.

Sinfonia Nr. 9

3

f-Moll

d-Moll

3.

An Wasserflüssen Babylon

5

G-Dur

G-Dur

4.

Präludium Nr. 19

3

A-Dur

G-Dur

5.

Fuge Nr. 19

3

A-Dur

G-Dur

6.

Fuge

5

C-Dur

C-Dur

7.

Fuge Nr. 17

4

As-Dur

F-Dur

8.

Präludium Nr. 22 (WTC 1)

5

b-Moll

b-Moll

9.

Fuge Nr. 22 (WTC 1)

5

b-Moll

b-Moll

10.

Fuge Nr. 14

4

fis-Moll

fis-Moll

11.

Präludium Nr. 24

3

h-Moll

h-Moll

12.

Fuge Nr. 24

4

h-Moll

h-Moll

13.

Fuge Nr. 9

3

E-Dur

E-Dur

14.

Aus tiefer Not

6

a-Moll

a-Moll

15.

Präludium Nr. 22 (WTC 2)

3

b-Moll

a-Moll

16.

Fuge Nr. 22 (WTC 2)

4

b-Moll

a-Moll

17.

Vater unser im Himmelreich

4

a-Moll

a-Moll

18.

Fuge

5

Es-Dur

D-Dur

19.

Kyrie, Gott heiliger Geist

5

G-Dur

G-Dur

20.

Ricercar a6

6

c-Moll

a-Moll

© Laurence Dreyfus, 2020 Übersetzung: Laurence Dreyfus

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