D!ssonanti - Bach (2024) [Hi-Res]

Tracklist

01. The Well-Tempered Clavier, Book II: Prelude and Fugue No. 16 in G Minor, BWV 885 (Arr. for Ensemble by Sébastien Marq)
02. Nun komm, der Heiden Heiland, BWV 659 (Arr. for Ensemble by Antoine Torunczy)
03. Clavier-Übung III: Christ, unser Herr, zum Jordan kam, BWV 684 (Arr. for Ensemble by Sébastien Marq)
04. Fantasia and Fugue in A Minor, BWV 904 (Arr. for Ensemble by Antoine Torunczy)
05. Violin Partita No. 2 in D Minor, BWV 1004: V. Ciaconna (Arr. for Ensemble by Sébastien Marq)
06. Schübler Choräle. Wo soll ich fliehen hin, BWV 646 (Arr. for Ensemble by Sébastien Marq)
07. Pedal-Exercitum in G Minor, BWV 598 (Arr. for Bassoon by Sébastien Marq)
08. Schmücke dich, o liebe Seele, BWV 759 (Arr. for Ensemble by Sébastien Marq)
09. Wir Christenleut, BWV 710 (Arr. for Ensemble by Sébastien Marq)
10. Clavier-Übung III: Allein Gott in der Höh sei Ehr, BWV 676 (Arr. for Ensemble by Sébastien Marq)
11. Passacaglia and Thema fugatum, BWV 582 (Arr. for Ensemble by Sébastien Marq)

Johann Sebastian Bach never hesitated to adapt, rework and truly metamorphose his own music with remarkable aplomb. There is no shortage of examples. It is this model of transcription that the D!ssonanti ensemble has sought to follow in the programme on this disc. With the notable exception of the Ciaccona BWV 1004, originally written for solo violin - and already the subject of countless transcriptions throughout the ages - they have for the most part drawn on the keyboard repertoire, and in particular the great organ, an instrument that is both fascinating and sometimes a little intimidating. The Passacaglia and Thema Fugatum BWV 582, almost always written for four voices, is the culmination of this repertoire.

Each of the members of the ensemble, in the course of a busy life spent in contact with Bach's music played on period instruments and with a concern for authenticity in the most prestigious ensembles (Les Arts Florissants, Pygmalion, Freiburger Barockorchester, Amsterdam Baroque Orchestra, Concerto Copenhagen...), have acquired sufficient proximity to his musical language to respect, if not the letter, at least the spirit.

"Our hope is to use these adaptations to show Bach in a light that is both new and familiar. A protean Bach that we've had a lot of fun imagining - and the treasure chest we've opened is not about to close again...".

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