Orchestral Suites Bach

This recording by Trevor Pinnock is one of the finest ever. Played on original baroque instruments, the sound is a little thinner than what we are used to with modern orchestras. This is not a fault - it is actually an advantage. It brings Bach to life - every instrument is heard clearly, the feel is gutsy, real, lively. This is the Brandenburgs as Bach himself would have heard it. Wonderful stuff.

Originally recorded in stereo in 1978 and 1979 and released on two separate LPs, these performances of Bach's Orchestral Suites (also known as the Overtures) with Trevor Pinnock leading his English Consort were as good as it got at the time for period instrument performances. And this 2007 single-disc re-release does not change that assessment. The Consort's strings are dry but warm – check out the Air from the Third Suite – the winds are colorful and quirky – check out the Forlane from the First Suite – the brass is controlled but cutting – check out the Ouverture from the Fourth Suite – and the timpani is vivacious but thankfully not overwhelming – check out the Réjouissance, also from the Fourth Suite.

La Petite Bande has recorded a spectacular rendition of Bach’s four orchestral suites, certainly some of the most spectacular instrumental music of the Baroque repertoire. La Petite Bande director, Sigiswald Kuijken, has written a very informative essay explaining the history of these pieces. Unfortunately, more is unknown than known. Kuijken speculates that the works were conceived for string orchestra and the wind parts were added at a later date. He also notes that sections of the 4th Suite were reused in the opening chorus of the Christmas Cantata, BWV 110. Kuijken also remarks that he has rethought his approach to these works opting for small musical forces as opposed to the rather large ensemble that La Petite Bande employed in its performances and recording of about 30 years ago.

These four suites, which Bach gave the title ouverture in a reference to French opera, contain some of Bach's finest orchestral writing. Each is composed of a series of dance movements scored for strings and a small contingent of winds. Sir Neville Marriner leads a delightful performance on modern instruments.

Hans-Martin Linde and his consort of period instruments emphasize the glories of Bach's marvellous tonal palette, making much of the sonorities afforded by the writing. From beginning to end these are performances which set the blood coursing through one's veins; Linde reckons that if Bach went to the trouble of scoring movements for trumpets, drums, oboes, bassoons and strings, then he probably was aiming at vivid, if not heroic gestures. [N.A. Gramophone+[/quote]