This attractive anthology of chamber music by C. P. E. Bach enjoyed a short life as an LP before yielding to progress. The programme consists of two of Emanuel Bach's trio sonatas, a Duo for flute and violin, 12 pieces for two flutes and two violins, and the cantata Phyllis und Thirsis for soprano, tenor, two flutes and continuo. The trio sonatas are among Bach's earliest compositions, dating from 1731 while the cantata was composed almost 35 years later in 1765 when he was court harpsichordist to Frederick the Great.
There are no hidden masterpieces here, and dare I suggest that the little pieces for flutes and violins with continuo and the Duo are probably more fun to play than to listen to. The cantata, though, is an attractive rarity although it is not sung as Bach intended it. The work is, in spite of its title and text, written for one voice, not two. The solution offered here is effective from a literary viewpoint but less justified from a musical one, since by putting Thirsis's part down an octave both colours and textures are fractured. But Rosemarie Hofmann and Nigel Rogers are pastoral folk with such sensibility that compromise is soon forgotten.
The trios are both skilfully written in that fascinating transitional style of the period, firmly anchored to baroque disciplines on the one hand, yet with a galant airiness and elegance on the other. I confess to having found the performances rather less than ideal, with weak gestures, variable intonation and an all-pervading air of routine. Not so long ago there would have been no alternative view of these pieces available in the catalogue. Now, however, I can confidently recommend performances by Le Nouveau Quatuor (Amon Ra), who bring greater warmth and more vivid colours to the music of the 17-year-old Bach.
In short, rather a mixed bag. Assiduous C. P. E. Bach gramophiles will be attracted by the cantata which has not previously been recorded. But music lovers of a less specialist turn of mind would be well advised to approach this highly individual member of the Bach clan via his symphonies and concertos. The recorded sound is clear and resonant, though at a low level. The booklet essay is long, excursive and rather awkwardly translated.'