JS BACH ORCHESTRAL SUITES RICHARD EGARR · DIRECTOR & HARPSICHORD ACADEMY OF ANCIENT MUSIC 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 AAM003_booklet_24pp_s5.indd 2-3 14/08/2014 12:01 ACADEMY OF ANCIENT MUSIC 3 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 Suite No.2 in B minor BWV1067 Suite No.3 in D major 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. Courante 2’16 9. Rondeau 1’27 2. Air 4’21 7. Bourée I & II 2’46 3. Gavotte I & II 2’43 10. Sarabande 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. Gigue 2’57 10. Réjouissance 2’48 & Double 2’48 6. Bourée I & II 2’34 13. Menuet 1’11 7. Passepied I & II 2’54 14. Badinerie 1’43 Total timing 47’33 Total timing 46’16 AAM003_booklet_24pp_s5.indd 4-5 14/08/2014 12:01 JS BACH · ORCHESTRAL SUITES ACADEMY OF ANCIENT MUSIC 7 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 composers 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 Johann Sebastian Bach (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 overtures by Bach’s cousin, Johann passive members. Bernhard Bach of Eisenach, the cantata AAM003_booklet_24pp_s5.indd 6-7 14/08/2014 12:01 JS BACH · ORCHESTRAL SUITES ACADEMY OF ANCIENT MUSIC 9 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 cantatas 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 Concerto 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 opera. 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 composer 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 concertos 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 harpsichords and strings, for example, were and the Brandenburg Concertos 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 AAM003_booklet_24pp_s5.indd 8-9 14/08/2014 12:01 JS BACH · ORCHESTRAL SUITES ACADEMY OF ANCIENT MUSIC 11 “Air on the G string” 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 timpani, two and three tuning of musical expression. issues with the trumpets are obviated by instrumentally. The text Bach originally oboes, 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, bassoons 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.