For a long time Ensemble Sans Souci Berlin has kept the same personnel that managed to achieve uniqueness in the ensemble‘s work early on its history. This uniqueness is based on an intense analysis of performing practice and history of thought in keeping with the times, instrument making according to early models and interpretation of newly-discovered sheet music. This fruitful teamwork of musicology and experience leads to extremely convincing results and, as such, it comes as no surprise that on its latest recording the ensemble turns its attentions to Friedemann Bach, in time for the celebration of the three hundredth anniversary of W. F. Bach‘s birthday.
In relation to the six decades of Wilhelm Friedemann Bach’s active career as a musician the number of works handed down is somewhat limited. His works were scattered, many have gone missing over the centuries or were later destroyed by the effects of war. It was not until 1999, when the estate of the Berlin “Singakademie” was discovered in Kiev and these works were subsequently returned to Berlin, that the world was given new insights into the eldest Bach son‘s oeuvre.
The selection of works on this production ranges from pieces for solo harpsichord to trio sonatas. In the early eighteenth century, ever since Corelli’s four influential publications in the 1680s and 1690s, latter-mentioned work represented the genre that the string quartet was to become: the ultimate in instrumental music and a touchstone for each and every composer. Counterpoint and singing melody could be combined with sophisticated harmony in these works – something that Wilhelm Friedemann Bach managed to achieve in brilliant fashion.