1 LP - 6.43051 AZ - (p) 1984
1 CD - 8.43051 ZK - (p) 1984

Johann Sebastian Bach (1685-1750)

Ouvertüre (Suite) Nr. 1 C-dur, BWV 1066
27' 40"
- Ouverture 10' 51"
- Courante
2' 54"
- Gavotte I alternativement / Gavotte II 3' 04"
- Forlane 1' 20"
- Menuet I alternativement / Menuet II
3' 52"
- Bourrée I alternativement / Bourrée II 2' 12"
- Passepied I / II 3' 27"
Ouvertüre (Suite) Nr. 2 h-moll, BWV 1067
22' 55"
- Ouverture
11' 37"
- Rondeau 1' 34"
- Sarabande 3' 03"
- Bourrée I alternativement / Bourrée II 1' 49"
- Polonaise / Double
3' 00"
- Menuet 1' 27"
- Badinerie 1' 25"

CONCENTUS MUSICUS WIEN (mit Originalinstrumenten)

- Leopold Stastny, Flûte traversière - Andrea Bischof, Violine (1066)

- Jürg Schaeftlein, Oboe - Karl Höffinger, Violine (1066)

- Marie Wolf, Oboe - Helmut Mitter, Violine (1066)
- Milan Turković, Fagott - Kurt Theiner, Viola
- Alice Harnoncourt, Violine - Josef de Sordi, Viola (1066)
- Erich Höbarth, Violine - Nikolaus Harnoncourt, Violoncello
- Anita Mitterer, Violine (1066)
- Eduard Hruza, Violone
- Peter Schoberwalter, Violine (1066) - Herbert Tachezi, Cembalo

Nikolaus Harnoncourt, Leitung

Luogo e data di registrazione
Casino Zögernitz, Vienna (Austria) - dicembre 1983
Registrazione live / studio
Producer / Engineer
Prima Edizione CD
- Teldec "Das Alte Werk" - 8.43051 ZK - (1 cd) - 51' 35' - (p) 1984 - DDD
Prima Edizione LP
- Teldec "Das Alte Werk" - 6.43051 AZ - (1 lp) - 51' 35" - (p) 1984 - Digital

The musical term suite means a row, a sequence of pieces, in fact primarily of dances. Bach himself, it must be said, never named his suites thus, but used the name of the weighty introductory movement, “Ouverture”, as the title of the entire work. Nevertheless, they are genuine suites which count among the last works of this ancient category.
Through the extension of the dominating introductory movement, the overture, to half the length of the entire work, Bach elevated his suites from the sphere of light "table music" and formed them into genuine works of “worldly” festive music. The elements of greatness and splendour are underlined by the constitution of the orchestra in the 1st, 3rd and 4th suites. The dances and charaeteristic pieces follow the overture according to a brilliant plan of dramatic significance.
In the C major Suite, a beginning is made by a nostalgic, song-like courante in the French manner. This lcgato piece is followed, as if the reins were being let looser, by a gay gavotte (in which. in accordance with Muffat’s demands, the second and fourth crotchet “should be far more restrained than hurried”); this intensification finds its climax in a wild southern forlana. Constant quaver movement in the middle parts is here intended to represent the excited crowd of spectators. This most unbridled and folk-like of all Bach`s dances is followed, in most extreme contrast. hy a minuet. the court dance “par excellence." ln a self-contained symmetrical sequence (a kind of miniature suite in itself) - minuet/bourrée/passepicd (a quick variety of minuet) - the spirits that have become so heated by the forlana are calmed again, and made "fit for the court" once more. In addition, the two last dances represent a symmetrical final reflection of the first two: courante (song-like) and gavotte (refinedly dance-like) are corresponded to by the bourrée and passepied. These two dances are closely related to the first two, the bourrée being the more lively sister of the gavotte and the passepied, a peculiarly song-like variety of this dance form, recalling the courante. It differs markedly from the usual pattern, its expressly legato quaver figures in the first section and even more so in the Passepied II (in the oboe solo) imparting a flowing, cantabilc quality to the piece. The hemiole finesses of the traditional passepied are suggested in the background in this piece.
In the B minor Suite, the intensification of expression of the individual dances is perhaps still more clearly marked. The sequence of dances begins with a discreetly noble Rondeau (a gavotte) and rises to powerful expression in the measured striding of the Sarabande. The impetuous Bourrée I and the delicate Bourrée II bring a further intensification, which finds its goal in the grandiose and proud Polonaise. The latter’s “Double” is at the same time the virtuoso climax of the flute solos in this suite. Again the classical Minuet follows as an elegant calming influence. Since, however, this suite is truly speaking a  flute concerto, the impudent, coquettish Badinerie is tacked on as a bravura piece for the flute - a ready- composed encore, as it were.

Nikolaus Harnoncourt (1929-2016)
Stampa la pagina
Stampa la pagina