Deryk Barker writes in response to my remarks on Scherchen's Bach Mass
in B Minor:

>>It is remarkable in that he uses a chamber choir with what appears to be a
>>scaled down orchestral accompaniment.
>
>In his mid-30s Paris set of the Brandenburgs he used a harpsichord.  The
>only other complete 1930s set I know was the Busch Ensemble, which still
>used a piano.

It seems that Scherchen suffered from being too far ahead of his time in
more ways than one.  Listening again to the Mass in B Minor I was again
astonished how he really makes the Et resurrexit dance.  There is not just
stifled academic pontification about how elements of stylized Renaissance
dance forms can be found in Bach's music but a real jubilant moment of
joyful apotheosis.  He makes John-Elliot Gardiner sound too heavy and flat
footed by comparison!  The rhythmic lightness imparted by Scherchen gives
the impression that his basic tempo might be faster, but in fact both he
and Gardiner clock in at 3:47 - exactly.  I can only speculate what people
thought of this at the time the recording was made.  In an age when thick,
syrupy and heavy Bach was the norm, Scherchen must have stuck out like a
sore thumb.  Then again even today by way of comparison to Scherchen,
Herrheweghe is left to seem too syrupy, heavy - in short too old fashioned.

I am certainly looking forward to acquiring Scherchen's Bach St Mathew
Passion.

Philip Peters also asks which recording of the Bach Mass I am listening to:

>I take it that you are referring to the recording with Loose, Ceska,
>Burgsthaler, Dermota & Poell?

That's right recorded October, 1950 in the Mozartsaal, Vienna.

>The Art of the Fuge was a very important work to Scherchen and I know that
>he recorded it at least two more times but have never been able to locate
>them in whatever form.  Any ideas?

As a matter of coincidence I just received the Tahra transfer of the
Beromuenster 'Kunst der Fuge' in the mail today.  The booklet lists 6
recordings by Scherchen of this work:

1.  Zurich 1949 with the Beromuenster Orchester for the Decca label
(orchestrated Vuataz)

2.  Vienna 1965 for the Westminster label (orch.  Scherchen).  Released on
CD by Millennium label and Universal Victor Japan.  Those interested might
want to look in the HMV Australia site (www.hmv.com.au) which lists the
Millennium 2 CD set recording for a little over US$5!

3.  Lugano 1965 recorded for "Accord" label (orch.  Scherchen)

4.  CBC/ Toronto released by Tahra (Tah 108-109)

5&6. With Swiss Romande Orchestra 1950 (orch. Vuataz).

Incidentally I brought the Tahra Beromuenster Kunst der Fuge for the
inspired coupling with the Schoenberg Variations for Orchestra.  Just
as the last four notes of the unfinished quadruple fugue in the KdF are
B-A-C-h so too at the climax of the Schoenberg the same notes, B-A-C-h
inherent in the tone row, emerge to ring out in glorious triumph.  Almost
predictably this is the finest recording of the Schoenberg I have ever
heard.  Never has the main theme sounded so beautifully and exquisitely
lyrical, the hushed moments so deeply misterioso, and the finale so
exalted.  Yet again it illustrates that as an eloquent advocate of
Schoenberg's music how Scherchen was way ahead of his time - and in
fact still remains ahead of our own time.  Maybe his time will come!

Satoshi Akima
Sydney, Australia
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