CHAMBER MUSIC

BACH. The Musical Offering, BWV1079.

Lodomi Harpsichord Ensemble (John

Francis, flute; John Tunnell, violin;

Sarah Francis, oboe and cor anglais;

Bernard Davis, viola; Roger Birnstingl, bassoon; Norman Jones, 'cello; Millicent

Silver, harpsichord). Saga Q XID5237 (12 in., 10s. 9d. plus ls. 9d. P.T.).

As is well known, The Musical Offering consists of two vast fugues, or Ricercares, a trio sonata and a number of ingenious canons, all based on a splendid tune allegedly composed by Frederick the Great. For the most part Bach does not say what instruments he wants, and not always how the canons should be resolved. Thus the music needs more than the usual amount of editing. On this record the editing has been done by the harpsichordist, Millicent Silver. I wish she had played the opening threepart Ricercare on the harpsichord, the instrument for which it seems both suited and intended; she prefers to let the violin, viola and 'cello tackle it. However, there can be no right or wrong in such matters, and generally her choice of instruments is intelligent and nicely varied. There is much to be said for playing the intricate six-part Ricercare with a mixture of strings and woodwind, for in this way the contrapuntal strands are given maximum clarity, and there is a little to be said for putting this magnificent piece at the end. Bach himself finished with the strange, almost mystical canon for flute, violin and continuo, and a magical ending it makes if played with slow, quiet intensity. On this record the piece seems to me to be played too casually, and perhaps it is as well that it comes in the middle. Few of the canons reach the musical heights of this one, and I question the point of playing all four possible solutions of the one marked Quaerendo invenietis ("Seek and ye shall find"); it is extraordinarily clever to write a canon with four solutions, but even Bach couldn't make them all interesting. Many of these canons really need seeing as well as hearing, and a score is a virtual necessity if they are to be appreciated. (Boosey and Hawkes publish one.)

However, the best of The Musical Offering can be enjoyed with the ears alone. The two Ricercares go well, as does the trio sonata, though I did not care for the over-long slow-up at the end. But performances for the most part are stylish and pleasing. Due to the nearness of the players to the microphone, the sound is rather hard and at times shrill; for instance at the end of the first group of canons. Even so, at 12s. 6d. this record is a very good bargain. R.F.