Johann Sebastian Bach (1685-1750)
Die Kunst der Fuge BWV1080.1
Chorale: Wenn wir in hoechsten Noethen (1715)
il Gusto Barocco/Jörg Halubek
rec. 24-29 September 2024, Friedenskirche Ponitz
Berlin Classics 0303621BC [69]

Die Kunst der Fuge (The Art of Fugue) is the fifth album in a series on the music of J.S. Bach by Jörg Halubek and his ensemble il Gusto Barocco, following on from a very respectable recording of the Brandenburg Concertos (review), and a further disc with concertos. Halubek plays harpsichord continuo and directs in BWV1080, but the ensemble sonorities are also enriched by the historic Silbermann Organ from 1737 to be found in the recording venue.

Die Kunst der Fuge famously indicates no instrumentation, and despite arguments that this is essentially a keyboard work there have been any number of arrangements from orchestra to string quartet. il Gusto Barocco counts sixteen musicians for this version, with traverso flutes, oboes and bassoons, as well as three trombones, the aforementioned keyboards, and something called a zink, which is a cornet ‘brass’ type of instrument with finger holes. All of this adds up to a distinctive period sound with plenty of options for inner contrast of contrapuntal voices. A nice example of this is in the Fuga contraria (VII), in which the busy notes are taken by the organ, with the stretched theme moving through its textures with lovely entries by the trombones and, in the last minute, the higher range of the zink.

The ordering of fugues and canons is a whole subject in its own right, but with some shuffling of the published order the sequence in this recording works well, with fuller ensemble sonorities contrasting here and there with harpsichord solo or solo strings, and the organ creating its own atmosphere when doubled with the brass instruments such as the Tripelfuge (VIII). This particular piece transforms after the first minute, the music alternating with strings and winds and ultimately allowing for a grand tutti by the end.

As it should be, the glorious final Fuga a 3 Sogetti ends where Bach left it incomplete, and without any grand ritenuto for the final notes. The final resolution of the work in Bach’s chorale, Wenn wir in hoechsten Noethen, is taken simply with organ and the quasi-vocal tones of the zink in the upper countermelodies. The booklet lists this as having been composed in 1751, which would have come as a surprise to everyone.

This is a fine version of Die Kunst der Fuge with plenty of character and some beautiful moments. The acoustic of the Friedenskirche in Ponitz is not huge, and photos show the musicians up in the organ loft looking a bit cramped, but there is a fair amount of stereo ambience and detail even if this isn’t the most spectacular recording in the history of forever. I found this recording of BWV1080 technically good but a bit too dispassionate for real involvement. All of the notes are there, but none of it moved me particularly and there were no real surprises and excitement that would bring me back for repeated listening. It is as if this recording were approached as more of an intellectual exercise than an immersive listening experience, which I’m sure doesn’t do real justice to what these musicians are capable of.  

It’s perhaps too much of a chalk and cheese comparison, but Cuarteto Casals shows how less can be more in their recording on Harmonia Mundi (review). This may not be to everyone’s taste but does have a quietly compelling and emotionally involving quality that is often elusive in this music – something it shares with a now evergreen favourite, Angela Hewitt on the Hyperion label (review). Solo, consort and quartet versions are in a majority, but ensemble New Collegium has a nice recording with strings, winds and trombones on the Ramée label (review). If you are looking for a period recording of Die Kunst der Fuge then il Gusto Barocco is a valid choice, but for me there is more behind Bach’s uniquely weighed notes than is brought out here.

Dominy Clements          

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