Without question, every skilled musician ultimately draws motivation from teh masterpieces of JS Bach. Even though the German composer’s impact diminished prior to the clarinet’s evolution into its contemporary form, Martin Fröst presents a performance that is both articulate and smooth, making this concise yet powerful recording worthy of his recognition.

This album exudes an exceptionally personal ambiance, recorded in Fröst’s studio located in the tranquil swedish countryside, where fellow musicians lent their skills while enjoying a nearby respite. The atmosphere is initiated by an aria from the Goldberg Variations, enhanced with a hint of jazz through Sebastián Dubé’s bass accompaniment that effortlessly complements Fröst’s melodic expressions. In two Inventions, he collaborates with his brother Göran on viola; moreover, he executes a double-tracked rendition of the G major Sinfonia—an accomplishment so nuanced that few could replicate it effectively. Despite its lively tempo, this piece retains a serene and unpretentious quality.

the theorbo played by Jonas Nordberg enriches the Air on the G string while avoiding clichés; it becomes particularly captivating when Anastasia Kobekina strays from conventional baroque cello lines to present Gounod’s lush Ave Maria melody alongside Fröst’s flowing Prelude in C accompaniment. The collaboration takes an emotional turn when Benny Andersson joins for an echo-laden interpretation of Largo from Keyboard Concerto No.5—a testament to how even legendary figures like ABBA find inspiration within Bach’s works.