Bach • The Art of Fugue • Phantasm
The Historical Paradox
Phantasm's new recording of Bach's Die Kunst der Fuga presents us with a fascinating contradiction. Led by Laurence Dreyfus and joined by organist Daniel Hyde, this ensemble delivers Bach's masterwork through instruments that create an intriguing historical tension.
Is this an historically informed performance? While we can confidently say that performing this work on a modern Steinway piano would be ahistorical (the instrument didn't exist in Bach's time), the use of a viol consort raises equally valid questions. Was Bach even familiar with the concept of a "consort" of viols? If Bach conceived of this work primarily for keyboard, he might actually find a pianist's interpretation more recognizable than one by viols.
This isn't to discredit Phantasm's approach. Anyone who can and wants to play Bach should do so. However, recordings like these blur the lines of what constitutes "authentic" performance of early music on period instruments.
The Ensemble's Evolution
This isn't Phantasm's first encounter with The Art of Fugue. Their 1998 Simax recording (featuring Wendy Gillespie rather than current member Emilia Benjamin) made a case for performing this work on viols, citing the long tradition of consort performances of fugal music, particularly in England.
Interestingly, in that earlier recording, they chose to omit the canons and Contrapuncti 12-13, suggesting these movements may not sound as effective on viols. The implication—though never explicitly stated—was that these movements were somehow less worthy of recording.
In this new release on the Linn label, Phantasm presents a more "complete" Art of Fugue, but with a twist: Dreyfus still avoids performing the canons on viols, instead delegating them to organist Daniel Hyde. The Contrapuncti 12-13, however, are now realized by the viol ensemble. It's worth noting that the organ and viols never play together, though such combinations have been employed by other ensembles.
Understanding the Viol Aesthetic
The viol family emerged during the Renaissance in Spain and Italy. Unlike the violin family, viols feature frets, more strings, and are bowed with an underhand grip. The viol da gamba (played against the leg) was particularly popular as an amateur instrument. The sound is generally less strident than modern strings, with a steady tone reminiscent of an organ and limited dynamic range.
This creates an understandable affinity between viols and Bach's backward-looking counterpoint. While string quartets have recorded BWV 1080 with more expressive results, the viol consort produces a more homogeneous sound. There's something intimate about the viol consort tradition—instruments that might have been stored in a Renaissance home, allowing family and friends to play together not for an audience but for their own enjoyment. The viol might be considered the clavichord's relative, designed for domestic pleasure, while violin-family instruments served public expression like the harpsichord.
The Musical Approach
Bach's Art of Fugue carries significant weight for audiences and performers alike, often viewed as his swan song despite challenges to this narrative in Phantasm's liner notes. Two aspects deserve consideration: the compositional construction and the emotional content embedded within the harmonies.
A viol performance aligns well with those seeking to uncover Bach's compositional forms. There's a restraint to Phantasm's interpretation, with differentiation between movements primarily achieved through tempo variations rather than dramatic contrasts. While the ensemble sound blends beautifully, the independence of voices—which the open-score notation would seem to encourage—is less pronounced than in recordings using different instrumentation.
In this way, Phantasm remains true to its identity as a historically-focused ensemble celebrated for championing consort music by Purcell, Lawes, and Gibbons.
Musical Highlights
Among the work's standout sections are Contrapuncti 7-9. Comparing this new recording to their earlier Simax version reveals subtle differences. In Contrapunctus 7, despite similar tempos (3:43 versus the earlier 3:25), the 1998 recording displays more vitality and voice independence, particularly from bass gambist Markku Lulojan-Mikkola.
At 2:22 in the new recording is a climactic moment where we hear the slower version of the theme (diminutionem) against the faster subject—a perfect demonstration of Bach's ability to combine different temporal versions of the same material, reminiscent of an Escher drawing.
Contrapunctus 8, written in three parts, benefits from the well-chosen tempo and the ensemble's expert articulation. While the tempos between recordings are again similar (6:04 versus 5:50 previously), the newer recording features less church reverb, creating a more intimate sound better suited to the domestic setting these works suggest. Contrapunctus 9 offers the most virtuosic feel, with its subject featuring quick notes following dramatic leaps. When Bach layers the original theme from the first contrapunctus over this faster-moving counter theme at 0:40, it's genuinely delightful. Phantasm's tempo choices and technical execution are impeccable throughout. Daniel Hyde's organ contributions are well-matched in tuning and volume level. Despite being recorded in a separate location, his playing integrates seamlessly, offering just a touch more reverb. His thoughtful registration in the Canon alla Decima, contrapunto alla Terza helps distinguish the two voices with clarity.
Surprisingly, the ensemble takes a more animated approach to Contrapunctus 13 rectus, giving it an almost gigue-like character that provides welcome contrast.
The Verdict
This is music that demands appreciation not for its surface qualities but for the craft required to create it. Like Bach's violin chaconne (BWV 1004.5), The Art of Fugue encapsulates a remarkable variety of emotional content within its formal constraints. Bach demonstrates not only technical mastery in transforming a humble theme across movements but also the ability to create emotionally rich experiences. Despite my profound respect for Dreyfus and his colleagues, this performance—expertly executed though it is—lacks the stylistic flair evident in Bach's concertos, vocal works, and keyboard pieces. The application of an older viol aesthetic to Bach's music, while intellectually interesting, falls short of realizing this music's fullest emotional potential.
For listeners interested in alternative approaches, I recommend comparing this recording with interpretations by NeoBarock, Brecon Baroque, or Les Récréations. While Phantasm's recording is lovingly crafted by expert musicians, it ultimately represents a cerebral approach that may not reveal all the emotional depths this remarkable work contains.
