Fretwork’s ancient flavor convinces

BACH – The Art of Fugue

There’s very little not to like about this recording. As a period enthusiast, I love that Fretwork decided to join the likes of those who’ve attempted this unparalleled work on string quartet. I don’t even care that Fretwork is a viol group (an ensemble mode that had already gone out of style by the time of Bach’s birth). Their sound is that good.

It’s an odd marriage, I admit. Many purists would scoff at the idea (they already have, trust me) of performing an organ work on string quartet, especially the rather ancient-sounding viol quartet. But then, when I really think about it, the whole thing isn’t so odd. After all, this work, Bach’s last great gift to the world, was considered archaic even in its own time. By the time Bach began composing this work, fugues had been replaced by minuets and other examples of what was to come. (Bach’s son, C.P.E., often ribbed his father for being too old-fashioned. By this time, C.P.E., like many of his contemporaries, had already been swept up in early classicism.)

What stands out most about Fretwork’s sound is that it’s unmistakably organ-like. It definitely has a very breathy quality. But, as you’d expect from an accomplished quartet, their sound is also very dynamic. The contrast between bass and treble is brilliant throughout. An especially nice example of this is the Contrapunctus IX, which consists of several echoing lines that play off each other with an almost uncanny autonomy.

The true power of a fugue resides in its ability to present simultaneous, alternate, not to mention convincing, views of a melody. No fugue does this nearly as well as The Art of Fugue. And very few now alive have brought it to life as convincingly as Fretwork.