Called ‘Ouvertüren’ in Germany, because they began with a large-scale overture à la française, Bach's Suites for orchestra offer a unique synthesis of the French and the Italian styles. The Leipzig Cantor did not content himself with a mere set of amiable dances for his ‘Collegium Musicum’: he revived the genre in his own manner, accenting the contrasts, refining the orchestration, and introducing a hitherto unknown contrapuntal element. Two centuries later these admirable orchestral works continue to represent an indispensable treasure of the Baroque. *****Financial Times
JOHANN SEBASTIAN BACH [1685-1750] Suite no.4 in D major / Ré majeur / D-Dur BWV 1069 for 3 oboes, bassoon, 3 trumpets, timpani, strings and b.c. · I. Ouverture (11'26) · II. Bourrées I & II (2'50) · III. Gavotte (1'55) · IV. Menuets I & II alternativement (4'14) · V. Réjouissance (2'29) Suite no.2 in B minor / si mineur / h-Moll BWV 1067 for flute, 2 violins, viola and b.c. · I. Ouverture (10'41) · II. Rondeau (1'28) · III. Sarabande (2'36) · IV. Bourrées I & II alternativement (2'04) · V. Polonaise & Double (3'17) · VI. Menuet (1'05) · VII. Badinerie (1'23)
Suite no.1 in C major / Ut majeur / C-Dur BWV 1066 for 2 oboes, bassoon, strings and b.c. · I. Ouverture (9'17) · II. Courante (2'18) · III. Gavottes I & II alternativement (3'13) · IV. Forlane (1'13) · V. Menuets I & II alternativement (3'15) · VI. Bourrées I & II alternativement (2'42) · VII. Passepieds I & II (3'47) Suite no.3 in D major / Ré majeur / D-Dur BWV 1068 for 2 oboes, bassoon, 3 trumpets, timpani, strings and b.c. · I. Ouverture (9'49) · II. Air (4'37) · III. Gavottes I & II alternativement (4'00) · IV. Bourrée (1'10) · V. Gigue (2'47)
