Composer: Johann Sebastian Bach
Works: The Art of Fugue, BWV 1080
Performers: CBC Toronto Chamber Orchestra; Kenneth Gilbert (harpsichord)
Recording: December 1965, CBC Studios, Toronto
Label: TAHRA 2.108-2.109 [2 CDs 122.26]
Bach’s The Art of Fugue, a monumental exploration of contrapuntal technique, embodies the composer’s late stylistic concerns while presenting challenges to interpreters due to its unfinished nature. Written during the final years of his life, the work serves not merely as a theoretical treatise but as a profound musical statement. Hermann Scherchen’s orchestration of this seminal collection, captured in this 1965 recording, provides an intriguing lens through which to view Bach’s intricate counterpoint, diverging significantly from the more conventional interpretations that have become standard in recent decades.
Scherchen’s approach is characterized by a lean orchestral texture, a refreshing departure from the lush, thick string sonorities often favored in recordings from the 1960s. His tempi are brisk, imbuing the performance with a sense of urgency that highlights the work’s intellectual vigor. The clarity of orchestration allows each instrument to shine, with the strings establishing a robust foundation upon which the winds can weave intricate lines. Notably, the seventh fugue showcases this dynamic interplay, beginning with a powerful crescendo from the strings that invites the winds to complement and balance the texture. This moment captures the essence of Scherchen’s interpretative strategy, where dynamics are not merely a matter of volume but serve as a crucial tool for articulating the tension and release intrinsic to Bach’s fugal writing.
However, the performance does not escape all shortcomings. Fugue 9, which features Kenneth Gilbert on solo harpsichord, reveals a significant flaw—the instrument is notably out of tune, particularly in the lower register. Despite this issue, Gilbert’s interpretation is commendable for its dynamism and expressiveness, contributing to the overall narrative of the piece. His subsequent appearances in the canons, where he assumes a more intimate role against the orchestration, provide a refreshing contrast and underscore the multifaceted nature of Bach’s writing. Scherchen’s orchestration excels particularly in the longer fugues, numbers 12 and 18, where he employs the full orchestral palette to create symphonic movements that retain the integrity of Bach’s original conception. The interplay of voices is expertly rendered, allowing the listener to appreciate the complexity of the counterpoint without sacrificing emotional depth.
Recording quality, a product of the era’s technology, presents both advantages and challenges. The sound engineering permits a clear delineation of instrumental lines, an essential aspect of any interpretation of The Art of Fugue. While some might argue that the modern instruments lack the warmth of period-specific approaches, Scherchen’s orchestration compensates for this with its vibrant character and meticulous attention to balance. This recording, while not conforming to contemporary performance practices, offers a historical perspective that enriches our understanding of Bach’s work.
Scherchen’s interpretation stands as a valuable document of a distinctive, if somewhat idiosyncratic, approach to Bach’s The Art of Fugue. It illuminates an alternative pathway through the intricacies of the fugal form, revealing the work’s emotional and intellectual breadth. While it may not satisfy purists seeking historically informed performances, it nevertheless provides a compelling and moving experience, showcasing Scherchen’s ability to breathe new life into a cornerstone of the Western classical canon. The juxtaposition of Scherchen’s orchestration with Gilbert’s harpsichord playing, despite its flaws, ultimately creates a rich tapestry of sound that invites ongoing exploration and appreciation.
