The Tacamis Trio marked the release of their new album, J.S. Bach: Goldberg Variations, with a launch party in Toronto. Based in Winnipeg, the double reed ensemble performed the arranged work at the Arts & Letters Club on January 31, 2026. The album, issued on Leaf Music on January 16, features Caitlin Broms-Jacobs's adaptation of Bach's iconic keyboard piece.
The Tacamis Trio, comprising oboist Caitlin Broms-Jacobs, English hornist Tracy Wright, and bassoonist Allen Harrington, has been collaborating for about 15 years within the Manitoba Chamber Orchestra. Their latest project reimagines Johann Sebastian Bach's Goldberg Variations, BWV 988, originally composed around 1741 for keyboard. The album encompasses the aria and all 30 variations, highlighting Bach's masterful harmony, counterpoint, and a recurring 32-bar bass line that shifts from serene to intricate tempos.
The ensemble conceived the arrangement amid COVID-19 lockdowns, when live performances halted. "We had this crazy idea," Broms-Jacobs recalled, crediting Wright for the initial inspiration to tackle the Goldbergs. As a self-described "binge worker," Broms-Jacobs drafted the first half of the adaptation in roughly two weeks, distributing parts for isolated practice. Their debut of the piece occurred in 2020 before a limited audience, with performers shielded by plexiglass barriers. Subsequent live outings followed, and the recording sessions spanned four days in June 2025 at St. John’s Anglican Church in Winnipeg.
At the Toronto event, hosted by Adam Sherkin of Piano Lunaire, the trio delivered a seamless rendition. The arrangement distributes melodic and contrapuntal elements across the instruments' distinct timbres, fostering a collaborative dynamic. "I was very pleased when we first got together to play it," Harrington shared. Sherkin observed, "It very much feels like an equal effort." Addressing Bach's potential reception, Broms-Jacobs ventured, "I feel like he would approve of the concept of an arrangement."
The Goldbergs hold a storied place in classical music, evoking benchmarks like Glenn Gould's seminal recording and Víkingur Ólafsson's contemporary take. Sherkin called the trio's effort "a remarkable achievement," underscoring its innovation for double reeds despite technical demands like rapid decorations and register shifts.