Bach Anna Magdalena Notenbuch. ^a Lorraine Hunt (sop); ^b David Bowles (vc); Nicholas McGegan (hpd, ^c clavichord).

Harmonia Mundi (Full price) (Cassette) HMU40 7042; (CD) HMU90 7042 (74 minutes: DDD). Texts and translations included.

Cantata No. 82 ^ab , Ich habe genug—Schlummert ein. Bist du bein mir, BWV508 ^ab. Gedenke doch, mein Geist, BWV509 ^ab. Willst du dein Herz mir schenten, BWV518 ^ab. Wer nur den lieben Gott, BWV691. French [Suite] Suites—D minor, BWV812; C minor, BWV813. The Well-tempered Clavier, Book 1—Prelude in C, BWV846 ^c. Goldberg Variations, BWV988—Aria. Minuets—G, Anh114; G minor, Anh115 (both composed by Petzold); G, Anh116; Menuet fait par Monsieur Bohm. [Polonaise] Polonaises—F, Anh117 ^c; G minor, Anh123 (C. P. E. Bach); D minor, Anh128 ^c; G, Anh130 (Hasse); ^c G minor, Anh119 ^c. [March] Marches—D, Anh122 (C. P. E. Bach); E flat, Anh127. Solo per il Cembalo, Anh129 (C. P. E. Bach). Musette in D major, Anh126. Rondo in B flat, Anh183 (Couperin).

We can readily imagine with what modest pride the 40-year-old Bach presented his second wife Anna Magdalena with this most delightful of all domestic scrapbooks. Bach himself started it off for her with two of the keyboard Partitas (A minor, BWV827 and E minor, BWV930) which later formed part of the collection published as the composer's Op. 1 in 1731. Thereafter it was up to Anna Magdalena herself to choose and to enter little compositions which made particular appeal. Not all the music by any means is by her husband and there are pieces for example by Couperin, Bohm, Stolzel, Hasse and her stepson Carl Philipp Emanuel as well as several by anonymous composers. Many if not all these pieces were probably family favourites and were doubtless performed by the various members of the Bach household—a redoubtable ensemble if ever there was.

Nicholas McGegan, and Lorraine Hunt with David Bowles have taken full advantage of the generous durations afforded by CD technology and offer a programme considerably more representative of Anna Magdalena's taste than was ever possible within the confines of a single LP. This is a well planned programme which, though omitting the two Partitas—an understandable decision since performances of these are frequent and plentiful—includes over half the number of pieces in the Music Book. Connoisseurs of this enchanting anthology will be reassured to know that almost all of the most priceless jewels are included, among them the aria on which the Goldberg Variations are based, the aria "Schlummert ein" from BWV82, the Prelude in C major from Book 1 of the 48, Couperin's B flat Rondeau from the sixth Ordre, the French Suite in D minor (BWV812) and the three movements which Anna Magdalena copied from the French Suite in C minor (BWV813), the fine harmonization of the hymn Wer nur den liebe Gott lasst walten, Stolzel's aria Bist du bein mir and the anonymous but affecting aria Gedenke doch, mein Geist.

All this and much else besides is very sensitively performed. Lorraine Hunt gives a beautifully restrained and expressive account of Schlummert ein; perhaps it was a shade too slow but better that by far than driving the tempo too hard. Gedenke doch, a sacred Lied comes over well, too. My only complaint with this item is that it is far too short. Anna Magdalena copied only one verse but there must surely have been others. I enjoyed in equal measure McGegan's harpsichord and clavichord playing. Nothing is hurried and rhythms, though taut have an elasticity which allows the music to breathe. The Couperin Rondeau, a particularly happy choice on Anna Magdalena's part, benefits enormously from McGegan's leisurely and eloquent playing as does the famous C major Prelude from Book 1 of the 48.

In summary, an attractive programme performed with affection and a good sense of style. The booklet contains the texts of the vocal items in German, English and French and there is a fine accompanying essay by the Bach scholar, Georg von Dadelsen who edited the Anna Magdalena Clavierbuchlein for Barenreiter in 1959.

NA