Bach, J S: Trio Sonata in G major, BWV1038

A fresh take on J.S. Bach led by Jed Wentz, a foundermember of the ensemble Musica ad Rhenum. The ensemble aims to perform music of the baroque period implementing the basso continuo styles and tempi indicated in 18th century source material. Whilst doing so they defend the performer’s right to be equal to the composer when interpreting and realising the score. This makes for an exciting experience, far removed from dry, academic interpretations of the music. Wentz writes ‘All I can say about this recording is that it is a true and honest reflection of how I felt these pieces should be performed on the day I recorded them. About some of them I have already changed my mind as my own taste revolves with the times: of Bach’s wishes I know as little as anyone else.’ The instruments used in this recording arereconstructions of originals from Bach’s time, and sources such as Kirnberger and Quantz are the guides on matters of tempi, the expression of metre signs, and on technique.

Borgstede performs regularly at venues such as The Concertgebouw, Wigmore Hall and the Konzerthaus in Vienna. He has won the York Early Music Competition, and the Ben Weber Award He has recorded for Brilliant Classic the Four Books of Pièces de Clavecin by Francois Couperin to critical acclaim.

It should be remembered that Bach himself was one of the most assiduous adapters and arrangers of his own music and because these chamber pieces were primarily concerned with music-making, the instruments used very often reflected what was available to the composer at the time.

This music was not intended primarily for listeners and certainly not for public concerts. Baroque chamber music was intended almost exclusively as a way for the performer to further his musical education and training, and at the same time to give him pleasure. Its second purpose was to serve as an exercise and testing ground for composers. Because this music is primarily made for the intimate communion of composers and performers, and only readily includes an audience who can call themselves connoisseurs or discriminating enthusiasts, the audio disc, rather than the conventional concert performance, seems an ideal way to listen.