The ensemble Café Zimmermann takes its name from Gottfried Zimmermann's famed Leipzig coffee house, which became home to Telemann's Collegium Musicum in 1723 (the ensemble Bach was to become musical director of in 1729). The group's aim apparently is to offer performances that restore the more congenial public aspect of concert-going as Bach and his contemporaries likely would have experienced it in an atmosphere such as Zimmermann's establishment.
Though well intentioned as this effort may be, given what is known about the often spotty level of musicianship available to Bach, it's highly unlikely that he ever heard performances of these gems so technically accomplished and strategically conceived as these.
The ensemble's performances are remarkably tight, typically adopting widely contrasting tempos from movement to movement, informed by precise rhythmic structures and dynamic schemes. This polished virtuosity diminishes the sense of spontaneity characteristic of a public performance, though the outcome is certainly worth the trade-off. Harpsichordist Celine Frisch's abundant use of ornamentation throughout BWV 1052 and her carefully considered restraint during the Affettuoso of BWV 1050 are simply thrilling. Likewise, the clever, selectively applied accents with which violin soloist David Plantier garnishes his reading of BWV 1042 are unique, to say the least. Indeed, instead of taking us back in time as initially intended, Café Zimmermann's performances can only be described as forward-looking, testifying to the continued endurance of Bach's genius. If the current state of Bach performance practice interests you at all, waste not another moment in acquiring this outstanding CD. Very highly recommended. --John Greene, ClassicsToday.com
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