As indicated in the short accompanying notes (but the overall presentation is deluxe this is a disc to give as a present), although chorales weren't originally conceived for any other purpose than to fulfil a concrete liturgical function, they gave rise to other traditions which were later well consolidated. In this sense the performance of these works using purely instrumental forces-a viola da gamba quartet (three of the instruments used dating from the end of the seventeenth century)-offers performers a new perspective from which to approach this exceptional music.
The Quartet's version, which almost resembles a fantasia, reflects the independence of the instrumental parts within the polyphonic framework. Their sound is pure and the longer values marvellously "inflated" (this is only possible, at least to this extent, using instruments). Of note is also the richness of their phrasing, the range of different colours, variants and details achieved, as well as the addition of voices in some chorales (tracks 4, 8, 18, 22 and 26) by the Tölzer Knabenchor, another tradition-that of the schola cantorum, which today, more than ever, needs to be rescued. Splendid voices that transmit the warmth and freshness of innocence even with its natural imperfections, something that Bach always had in mind, despite his frequent complaints about the poor quality of his pupils. I think it is terrific that versions such as these exist, alternative versions, especially when they are perfectly acceptable from a purely historical point of view. A delight to listen to. ANTONIO EZQUERRO
The first recording from the Quartetto Italiano di Viole da Gamba features the members of Tölzer Knabenchor of Munich. Letting loose both within and outside the limits of a strongly rigid structure as is the case with Bach’s chorales (pieces with very concrete construction and use), this CD is a splendid example of Guielmi’s imaginative approach. The hand of Stefan Winter is unmistakable as producer. The key element in the combination is articulation, the different characters fashioned from a minimum of instruments that take advantage of its nuances, differences and prosaic details. But in Preludi Ai Corali the atmosphere is intentionally peaceful, and what dominates is a religious melos, distanced from day to day secularity. The sounds of the Quartetto develop through a diverse texture, close to the density of an organ, the instrument for which these works were composed. EDUARDO NOTRICA