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1 CD -
Teldec 8.43051 XH (c) 1989
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1 LP -
Tedec 6.43051 AZ (p) 1984 |
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NIKOLAUS HARNONCOURT - 25 Years
on TELDEC |
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Johann Sebastian
Bach (1685-1750) |
Ouvertüren Nos. 1
& 2 |
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Ouvertüre
(Suite) Nr. 1 C-dur, BWV 1066 |
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27' 40" |
A1
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- Ouverture |
10' 51"
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Courante |
2' 54"
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Gavotte I alternativement / Gavotte II |
3' 04"
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Forlane |
1' 20" |
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- Menuet I alternativement /
Menuet II |
3' 52"
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Bourrée I alternativement / Bourrée II |
2' 12"
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Passepied I / II |
3' 27"
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Ouvertüre
(Suite) Nr. 2 h-moll, BWV 1067 |
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22' 55" |
B1 |
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Ouverture |
11' 37"
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- Rondeau |
1' 34"
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Sarabande |
3' 03"
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Bourrée I alternativement / Bourrée II |
1' 49" |
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Polonaise / Double |
3' 00"
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Menuet |
1' 27"
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Badinerie |
1' 25" |
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CONCENTUS MUSICUS
WIEN (mit Originainstrumenten) |
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- Leopold Sastny, Flûte
traversière
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- Jürg
Schaeftlein, Marie Wolf, Oboen |
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- Milan Turković,
Fagott |
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- Alice Harnoncourt,
Erich Höbarth, Anita Mitterer (Nr.
1), Peter Schoberwalter (Nr. 1),
Andrea Bischof (Nr. 1), Karl
Höffinger (Nr. 1), Helmut Mitter
(Nr. 1), Violinen |
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- Kurt Theiner,
Josef de Sordi (Nr. 1), Violen |
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- Nikolaus
Harnoncourt, Violoncello |
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- Eduard Hruza, Violone |
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- Herbert Tachezi, Cembalo |
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Nikolaus
HARNONCOURT, Leitung |
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Luogo
e data di registrazione |
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Casino
Zögernitz, Vienna (Austria) -
dicembre 1983 |
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Registrazione:
live / studio |
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studio |
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Producer
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Edizione CD |
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TELDEC
- 8.43051 XH (243 033-2) - (1 CD -
durata 51' 33") - (c) 1989 - DDD |
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Originale LP
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TELDEC
- 6.43051 AZ - (1 LP - durata 51'
35") - (p) 1984 - Digitale |
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Note |
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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.
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