Bach Daemons

Bach's Daemons

The 'Daemons' (as in Philip Pullman's 'Golden Compass') are the instrumental obbligatos 'circling' the solo singers in J.S. Bach's church music. As musical manifestations of the 'soul', Bach uses this setting to highlight the relationship between humans, their souls, and the Divine. By using the archaic baroque musical language of figures, they comment, insist and sometimes question the text. In this intriguing programme, we draw parallels between some of these obbligato arias and Bach's sonatas for harpsichord with obbligato violin in which many of the same figures appear. Seen from this angle, these sonatas appear to be imbued with specific messages or meanings.

Julia Gooding - soprano
Penelope Spencer - violin
David Roblou - harpsichord/organ

"Violinist Penelope Spencer added to the effect, standing centre stage for her long obbligato passages, which were expressively played from memory and in dialogue with the vocalists. This made for touching moments and a sense of engagement with the audience" The Australian, Feb 2008

Programme

J.S. Bach (1685 - 1750) BWV 249 (Easter oratorio)
Soprano Aria (Mary, mother of James) "Seele, deine Spezereien"
Sonata for violin and harpsichord in b minor BWV 1014

BWV 171" Gott, wie dein Name, so ist auch dein Ruhm"
Soprano aria: "Jesus soll mein erstes Wort"
Sonata for violin and harpsichord in E Major BWV 1016

BWV 58 "Ach Gott, wie manches Herzeleid"
Soprano Aria "Ich bin vergnügt in meinem Leiden"
Sonata for violin and harpsichord in f minor BWV 1018

BWV 204 "Ich bin in mir vergnügt"
Soprano aria "Die Schätzbarkeit der weiten Erden"
Sonata for violin and harpsichord in A major BWV 1015

Listening Cards