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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 joyous orchestral works represent an indispensable treasure of the Baroque.
Suite Nr. 4 D-Dur Für 3Ob, Fg, 3Trp, Pk, Str&BC, BWV 1069 - I. Ouvertüre
- II. Bourée I & II
- III. Gavotte
- IV. Menuet I & II Alternativement
- V. Réjouissance
Suite Nr. 2 H-Moll Für Tfl, 2Vn, Va & BC, BWV 1067 - I. Ouvertüre
- II. Rondeau
- III. Sarabande
- IV. Bourée I & II Alternativement
- V. Polonaise & Double
- VI. Menuet
- VII. Badinerie
Suite Nr. 1 C-Dur, BWV 1066 - I. Ouvertüre
Suite Nr. 3 D-Dur, BWV 1068 - I. Ouvertüre
7th January 2012
“The Freiburg orchestra’s CD offers no star soloist, but doesn’t need one in Bach’s four orchestral suites, where the entire ensemble is the soloist.
The touchstone of these performances is their joie de vivre: a lively pace, a rhythmic verve, a stylistic sleight-of-hand that keeps this music fresh and the listener on his/her toes.”
“In the Freiburg Orchestra's exhilaraing account, the soft-grained Baroque flute which gilds the B minor Suite certainly fits well with the 'small is beautiful' impulse...Its reading may lack sensational revelations, but it's exuberant and stylish, laced with felicitous insights into Bach's sophisticated take on the French style...the dances leap off the page and overtures crackle with incisive declamation.”
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