JS BACH ORCHESTRAL SUITES

RICHARD EGARR · DIRECTOR &

AAM003 ℗ & © 2014 Academy of Ancient Music All rights of the producer and of the owner of the work reproduced reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of this record prohibited. www.aam.co.uk

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JS BACH ORCHESTRAL SUITES BWV1066-9

RICHARD EGARR · director & harpsichord ACADEMY OF ANCIENT MUSIC

Disc One Disc Two

Suite No.1 in C major BWV1066 No.2 in B minor BWV1067 Suite No.3 in BWV1068 Suite No.4 in D major BWV1069

1. Ouverture 9’45 8. Ouverture 11’04 1. Ouverture 10’07 6. Ouverture 12’53 2. 2’16 9. Rondeau 1’27 2. Air 4’21 7. Bourée I & II 2’46 3. I & II 2’43 10. 3’06 3. Gavotte I & II 3’19 8. Gavotte 1’47 4. Forlane 1’21 11. Bourée I & II 1’39 4. Bourée 1’39 9. Menuet I & II 3’24 5. Menuet I & II 2’56 12. polonaise 5. 2’57 10. Réjouissance 2’48 & Double 2’48 6. Bourée I & II 2’34 13. Menuet 1’11 7. I & II 2’54 14. Badinerie 1’43

Total timing 47’33 Total timing 46’16

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a new kind of instrumental music There is no question that the Collegium The schedule of these “ordinaire Concerten” directorship amounted to a major was made even more demanding by the For a long time, most of Johann Sebastian Throughout the 17th century, students commitment. Bach was now responsible, additional commitments of the thrice- Bach’s chamber and ensemble music was primarily from the University of Leipzig in addition to his regular church music yearly trade fairs, when the Collegium assigned to the years 1717 to 1723, when had formed private societies that played obligations, for preparing and carrying performed twice weekly. Programmes he served as Kapellmeister at the princely an increasingly important role in public out a weekly series of performances were printed only for very special occasions court of Cöthen. However, more recent musical life — they were often led by throughout the year. such as the reception of members of the studies based on original sources and style the city’s most prominent professionals, Electoral Saxon and Royal Polish Court in criticism have led to a thorough revision such as Adam Krieger, Johann Rosenmüller, Dresden. However, vocal and instrumental of the traditional chronology affecting Sebastian Knüpfer and Johann Kuhnau. pieces by a great variety of this part of his output, including the four In 1701, the young and energetic law must have been included in the weekly Orchestral Suites BWV1066–9. student and first organist of the recently concert series; it is impossible to reconstruct, even in the broadest outlines, It now seems that only the smaller part of rebuilt New Church, Georg Philipp any of the more than 500 two-hour the instrumental ensemble music (or at Telemann, founded a new Collegium that programmes for which Bach was least the part which survives) belongs to he led for four years and that attracted the responsible. the Cöthen period, while the greater part most capable musicians from within and

was composed at Leipzig — principally outside the city. Bach was associated with Pertinent performing materials from the for the Collegium Musicum, a concert this organisation throughout his Leipzig 1730s are extremely sparse. Nevertheless, society consisting of active professional years, and he served as its music director (1685–1750). among the traceable compositions are Painting (1746) by Elisa Gottlob Haussmann (1695–1774) and amateur musicians as well as from 1729 until the early 1740s. four by Bach’s cousin, Johann passive members. Bernhard Bach of Eisenach, the

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Armida abbandonata by Handel, four Italian The four Orchestral Suites belong here, too. point to their use even during the decade In terms of format, the Orchestral Suites solo by Porpora and Scarlatti, and Their sources definitely point to Leipzig, after Bach’s death. There is new general differ significantly from the keyboard a Grosso in F minor by Locatelli. even though it remains unclear whether evidence that instrumental music played suites in that they do not adhere to any Additionally, “Mr. Bach de Leipzig” is found they were specifically written for the a much larger role in the life of the kind of pattern in their organisation of among the subscribers to Telemann’s Collegium Musicum or perhaps for Bach’s St Thomas School students than movements. However, they all have in Nouveaux Quatuors, published in Paris activities outside of Leipzig. One needs heretofore assumed. Throughout the 17th common an Ouverture that serves as an in 1738, which suggests that he wanted to keep in mind that the Thomaskantor and 18th centuries the school produced opening movement — a tradition going these pieces for his Collegium series. maintained the position of titular court a significant number of professional back to the ballet suites in 17th-century Although these few works and composers Kapellmeister after leaving Cöthen until the musicians so that it earned the reputation French . Apart from this, no suite cannot be considered representative at death of Prince Leopold in 1728, and that of a true conservatory of music. The use resembles any other and taken together all, they confirm that the repertoire was he immediately accepted another titular at the School does not mean, however, they offer the broadest possible spectrum both instrumental and vocal, and that the Kapellmeister appointment at the ducal that any of Bach’s instrumental ensemble of traditional dance types and modern most modern kind of music — such as the court of Saxe-Weißenfels in 1729, followed works were composed for this purpose, it gallantry movements: Courante, Gavotte, Porpora cantatas and the Telemann flute in 1736 by the appointment as Electoral- only suggests their broader function. The Forlane, Menuet, Bourée, Passepied, quartets — played a role. This is definitely Royal court in Dresden. principal sources of the Orchestral Suites Rondeau, Polonaise, Badinerie, Air, Gigue indicate that the first and fourth originated and Réjouissance — presenting a much also the primary context for most of Bach’s Moreover, a recently analysed inventory of from around 1725 whereas the third Suite more innovative mixture than can be extant instrumental chamber music. The the old St Thomas School library indicates can be dated to 1731. No.2, with its hybrid found in the keyboard suites. In quite a few for one, two, three and four that at least some of the Orchestral Suites mixture of concerto elements and suite movements Bach also takes an adventurous and strings, for example, were and the were used form and the extraordinary virtuosity of its approach. Characteristic examples in this among his major contributions to a new for student performances. This happens flute writing, dates from 1738–39 and hence respect are on the one hand in No.3 the kind of instrumental music. to be corroborated by some extant early counts as Bach’s very last orchestral work. tantalizing and lilting melody of the copies of scores and performing parts that

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“” that put Bach right expanded expressive range. By composing DIRECTOR’S NOTE Recordings of the opening fugal sections next to the very best tunesmiths in the dances Bach significantly refined his of the first movements are often ludicrously business, and on the other the daring musical language, not so much in the basic As with our recording of the Brandenburg frenetic, especially so in interpretations venture of strict canonic treatment of the realm of vocabulary, syntax and grammar Concertos (HMU 807461.62) we have of Suite No.4. As this music also appears outer voices in the Sarabande of the B but notably in the area of articulation chosen here to perform JS Bach’s in the opening chorus of Cantata minor Suite. and expression. Nowhere else but in his magnificent “Ouvertures” with single BWV110 (written for Christmas Day 1725), Another differentiating element consists suites of dances do we encounter a more players and at a low pitch. Using one player I recommend the listener look at and in the orchestral scoring of the works. systematic, sophisticated and far ranging per part creates a wonderful chamber- listen to the content and meaning Bach Nos. 3 and 4 resemble each other the exploration of the subtleties of musical music feel and allows the flexibility that is associates with it before considering the most because both of them make use of articulation and along with it the fine essential in Bach’s music. Also, any balance speed at which it should be performed three trumpets and , two and three tuning of musical expression. issues with the trumpets are obviated by instrumentally. The text Bach originally , respectively, and a standard string playing at a low, “French” pitch and by not set with this music could very well sum up ensemble. Suites Nos. 1 and 2, however, requiring the players to blast over a full our best hopes for performing all of these feature two completely different orchestral © 2013 Christoph Wolff string section. wonderfully joyous pieces: sounds: oboes, and strings versus Professor Christoph Wolff is renowned as the In recent years there seems to be mounting leading Bach scholar of his generation and is May our mouths be full of laughter solo flute and strings. Above all, the four Adams Professor of Music at Harvard. competition to see who can play the And our tongues full of praise! Orchestral Suites serve as a vivid reminder In 2000, his biography Johann Sebastian Bach: Orchestral Suites faster — and more of the general importance of Bach’s art of the Learned Musician was short-listed for the metronomically! — than the last ensemble. Pulitzer Prize. dance composition that Forkel so rightly We cannot agree with this trend. To do emphasised in his 1802 biography. This art so would be to neglect the character of © 2014 Richard Egarr transcends the genre proper as it indeed the dances themselves, particularly that of affects all facets of instrumental and the Boureé, which should have a slightly vocal music, notably the and their mucky, farmer-like tread.

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Richard Egarr · director & harpsichord

The AAM’s Music Director Richard Egarr is and Principal Guest Conductor of the a brilliant harpsichordist and equally skilled Hague Philharmonic. He also conducts the on the organ, and modern Philadelphia, Royal Concertgebouw and piano. He is an accomplished conductor, London . and his zeal for music-making has led to his As a soloist he has performed throughout being described as “the Bernstein of Early Europe, Japan and the USA. His acclaimed Music” by USA National Public Radio. solo recording output includes a cycle Egarr trained as a choirboy at York of JS Bach’s keyboard works as well as Minster, at Chetham’s School of Music in music by Couperin, Purcell and Mozart. Manchester and as at Clare For many years he formed an “unequalled College, . He later studied with duo” (Gramophone) with violinist Andrew Gustav and Marie Leonhardt. Manze, with whom he has recorded music from Biber to Schubert. Egarr was appointed Music Director of the AAM in 2006. He is involved with Richard Egarr is Visiting Artist at the various other historically informed Juilliard School in New York, and also orchestras, including Boston’s Handel teaches at the Amsterdam Conservatoire. and Haydn Society. Outside the period- instrument world, he is Associate Artist with the Scottish Chamber Richard Egarr

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Academy of Ancient Music by 17th-century English composer ever global classical cinecast, in which Christopher Gibbons. In June 2012 Egarr Handel’s streamed to thousands The Academy of Ancient Music is Sutherland, and Dame Emma directed the AAM in a performance of cinemas worldwide. In summer 2013 renowned as one of the world’s finest Kirkby, and the first-ever recordings on of Handel’s Water Music as part of The it accompanied the National Gallery’s orchestras, thrilling audiences with its period instruments of Mozart’s complete Queen’s Thames Diamond Jubilee Pageant. exhibition “Vermeer and Music” as Resident fresh, engaging performances of and Beethoven’s piano Since launching its own record label in Ensemble, the first time that musical and classical music. Playing on period concertos. 2013, Egarr has directed the inaugural disc performance had been featured as an instruments and inspired by the sound- Birth of the symphony: Handel to Haydn and ongoing part of a major London “Transmitting the kick of worlds composers might have known, a recording of JS Bach’s St John Passion. art exhibition. And since 2010 it has an energy drink” the AAM has changed the perceptions of trained the next generation of period Financial Times, 2012 The AAM enjoys ongoing relationships a generation of music-lovers through its instrumentalists and arts managers with a superlative roster of guest artists. concerts and recordings of music from through its education scheme, AAMplify. Monteverdi to Beethoven. In 2006 the harpsichordist and conductor Alongside the stewardship of Richard Egarr, Richard Egarr succeeded Christopher regular guest directors and artists include Tracks from the AAM discography have Founded in 1973 by , Hogwood as Music Director. Since then violinist Alina Ibragimova, mezzo-soprano been streamed millions of times via the the AAM has since performed on every Egarr has toured with the orchestra to Sarah Connolly, counter-tenor Andreas AAMplayer at www.aam.co.uk since its continent except Antarctica. It is best major concert halls throughout the Far Scholl, conductor Bernard Labadie and the launch in 2011. known to millions worldwide for its East, USA, Australia and Europe. Choir of King’s College, Cambridge. The AAM is Associate Ensemble at the discography of over 300 discs, which has His recordings with the AAM have won in London and Orchestra- won numerous plaudits including the 1985 Edison, Gramophone and MIDEM awards The AAM is dedicated to providing in-Residence at the University Brit Award for best classical recording. and include a cycle of Handel’s complete enriched experiences of baroque and of Cambridge. Highlights include discs of Handel instrumental music Opp. 1-7 and the classical music for a worldwide audience. starring David Daniels, Dame Joan world-premiere recording of music In 2009 it featured in the world’s first- Visit www.aam.co.uk to find out more.

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Academy of Ancient Music

VIOLIN I Pavlo Beznosiuk Frank De Bruine (Mathuys Hofmans, Antwerp, 1676) (Olivier Cottet, 2008, after G.A. Rottenburgh, II Brussels, c.1740) Bojan Čičić Lars Henriksson (R. Ross, 2002, after A. Stradivari) (Pau Orriols, 2012, after I.H. Rottenburgh, Brussels, c.1720) Jane Rogers Gail Hennessy (Olivier Cottet, 2008, after G.A. Rottenburgh, (Jan Pawlikowski, Krakow, 2008, after models Brussels, c.1740) by Guarnerius) trumpet Andrew Skidmore David Blackadder (Frank Tomes, 1990, after William Bull, 1690) (Mathias Thir, Vienna, c.1770) Phillip Bainbridge (Robert Vanryne, 2012, after Schneider, Dresden, Judith Evans c.1720) (Anon, Italy, c.1750) Timothy Hayward FLUTE (Robert Vanryne, 2012, after Schreiber, Dresden, Rachel Brown c.1720) (Rod Cameron, 1987, after Scherer, c.1725) timpani Benedict Hoffnung Ursula Leveaux (Lefima, Germany, 2012, after Anon, (Olivier Cottet, Paris, 2012, after Charles Bizey, eighteenth century) early eighteenth century) Pavlo Beznosiuk

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AAM RECORDS “Another day, another orchestra own-label. But wait, because this is something special. JS BACH The ambitious roster of forthcoming releases, including the Bach Passions with stellar ST JOHN PASSION casts, should be worth waiting for.” CLASSICAL MUSIC MAGAZINE, OCTOBER 2013 AAM002, released March 2014 James Gilchrist • Matthew Rose BIRTH OF THE SYMPHONY Ashley Riches • Elizabeth Watts HANDEL TO HAYDN Sarah Connolly • Andrew Kennedy AAM001, released October 2013 Christopher Purves • Richard Egarr Richard Egarr • director & harpsichord Choir of the AAM

     “… there are riches at almost every turn.” BBC Music Magazine, 2014 CLASSICAL MUSIC MAGAZINE

Disc of the Week BBC RADIO 3 Coming soon: JS BACH St Matthew Passion “A striking success … Expertly led by harpsichordist Richard Egarr, and superbly played, AAM004 to be released March 2015 it programmes an attractive selection of symphonies by five 18th-century composers to illustrate the title ‘Birth of the symphony’. The contents prove enjoyable both in Forthcoming release schedule correct at time of printing. sequence and as historical display case.” BBC MUSIC MAGAZINE, 2013 To find out more about future releases, browse the AAM’s 300-strong discography, listen to samples and order CDs, visit www.aam.co.uk/recordings.

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JS BACH ORCHESTRAL SUITES BWV1066-9 AAM003

℗ & © 2014 Academy of Ancient Music 11b King’s Parade, Cambridge CB2 1SJ, UK

Recorded in the Apex, Bury St Edmunds on 4–7 February 2013

Jonathan Manners & Adam Binks · executive producers Philip Hobbs · producer & engineer Julia Thomas · editor Gary Haslam (www.processstudios.net) · design and artwork Patrick Harrison (www.patrickharrison.com) · photography (unless stated)

Performing editions prepared by Richard Egarr from original scores.

All rights of the producer and of the owner of the work reproduced reserved. Unauthorised copying, hiring, lending, public performance and broadcasting of this record prohibited.

www.aam.co.uk Ursula Leveaux

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Academy of Ancient Music

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