Album Tweets 1.

Walt Mundkowsky

[August 2009.]

Johann Sebastian BACH: The Art of Fugue, BWV 1080 (1740-45, 1748-50). Richard Jones edition of score; includes new Davitt Moroney harpsichord account (2 CDs, 70:30 + 19:50). The Associated Board of the Royal Schools of Music, Signature Series (http://www.abrsm.org/publishing/publications/1188). Pub. 2002; softcover, 128 pp. ISBN: 9781854728708.

Bought for Moroney’s CDs, the score makes it a keeper. (Cheap @ 20.00 GBP.) Charles Rosen called it “above all, a work for oneself to play.”

Johann Sebastian BACH: Die Kunst der Fuge, BWV 1080 (1740-45, 1748-50). Alice Ader (pno). Fuga Libera FUG 544 (2 CDs) (http://www.alpha-prod.com/). Distributed in the US by Allegro Music (http://www.allegro-music.com/).

Not weird or penetrating as the 105:48 TT may suggest, just a broad Romantic slog. Pianistic variety all over, when what’s wanted is focus.

“The Queen’s Galliard.” John DOWLAND: Lute Music 4. Nigel North (lute). Naxos 8.570284. Distributed in the US by Naxos (http://www.naxos.com/).

North wraps the cycle. (Bart heard 2 and 3.) Lots of galliards: 13 cuts out of 25. The songs get more shadings, esp. a 6:26 Loth to depart.

“Upon a Bank with Roses.” John WARD: Consort Music. Rose Consort of Viols: Alison Crum, Sarah Groser, Roy Marks, Susanna Pell, Peter Wendland (viols); John Bryan (org). cpo 999 928-2 (http://www.cpo.de/). Distributed in the US by Naxos (http://www.naxos.com/).

Ward’s oeuvre for viols is superb. More Fantasias and In Nomines here than madrigals; oddly he left no dances. Big sound, artful structures.

Heinrich SCHÜTZ: Musikalische Exequien, Op. 7, SWV 279-281 (1636); Geistliche Chormusik, Op. 11, SWV 369-397 (1648) (exc.); Kleine geistliche Konzerte, Op. 8 & 9, SWV 282-337 (1636, 1639) (exc.). La Chapelle Royale, Ageet Zweistra (vc), Jonathan Cable (violone), Jan Willem Jansen (org), Konrad Junghänel (theorbo), Philippe Herreweghe (dir.). Harmonia Mundi HMG 501261 (http://www.harmoniamundi.com/).

Five covers have graced this 1987 classic. Herreweghe’s knack for telling detail still jolts, and the blend of sadness and buoyancy unifies.