Bach - Brandenburg Concertos, Orchestral Suites ("Orchestral Works") [3CD]
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Bach Collegium Japan, Masaaki Suzuki (cond.)
Recorded 2003 & 2008 | Released 2009
"First-class engineering and generous timings make this set a prime recommendation if you are looking for this repertoire on period instruments. Outstanding in every way." (ClassicsToday)
Personnel:
Masaaki Suzuki (cond.)
Bach Collegium Japan
Recording:
June 2008, MUZA Kawasaki Symphony Hall, Japan (Brandenburg Concertos)
October 2003, Kobe Shoin Women's University, Japan (Orchestral Suites)
BIS-SACD-1721/22
(The Orchestral Suites have previously been released on BIS-SACD-1431)
Track listing:
CD 1
1. Brandenburg Concerto No. 1 in F major, BWV 1046: 1. (No tempo indication)
2. Brandenburg Concerto No. 1 in F major, BWV 1046: 2. Adagio
3. Brandenburg Concerto No. 1 in F major, BWV 1046: 3. Allegro
4. Brandenburg Concerto No. 1 in F major, BWV 1046: 4. Menuet - Trio - Menuet - Polonaise - Menuet - Trio - Menuet
5. Brandenburg Concerto No. 2 in F major, BWV 1047: 1. (No tempo indication)
6. Brandenburg Concerto No. 2 in F major, BWV 1047: 2. Andante
7. Brandenburg Concerto No. 2 in F major, BWV 1047: 3. Allegro
8. Brandenburg Concerto No. 3 in G major, BWV 1048: 1. (No tempo indication)
9. Brandenburg Concerto No. 3 in G major, BWV 1048: 2. Adagio
10. Brandenburg Concerto No. 3 in G major, BWV 1048: 3. Allegro
11. Brandenburg Concerto No. 4 in G major, BWV 1049: 1. Allegro
12. Brandenburg Concerto No. 4 in G major, BWV 1049: 2. Andante
13. Brandenburg Concerto No. 4 in G major, BWV 1049: 3. Presto
CD 2
1. Brandenburg Concerto No. 5 in D major, BWV 1050: 1. Allegro
2. Brandenburg Concerto No. 5 in D major, BWV 1050: 2. Affettuoso
3. Brandenburg Concerto No. 5 in D major, BWV 1050: 3. Allegro
4. Brandenburg Concerto No. 6 in B flat major, BWV 1051: 1. (No tempo indication)
5. Brandenburg Concerto No. 6 in B flat major, BWV 1051: 2. Adagio ma non tanto
6. Brandenburg Concerto No. 6 in B flat major, BWV 1051: 3. Allegro
7. Orchestral Suite No. 4 in D major, BWV 1069: 1. Ouverture
8. Orchestral Suite No. 4 in D major, BWV 1069: 2. Bourrée 1/2
9. Orchestral Suite No. 4 in D major, BWV 1069: 3. Gavotte
10. Orchestral Suite No. 4 in D major, BWV 1069: 4. Menuet 1/2
11. Orchestral Suite No. 4 in D major, BWV 1069: 5. Réjouissance
CD 3
1. Orchestral Suite No. 3 in D major, BWV 1068: 1. Ouverture
2. Orchestral Suite No. 3 in D major, BWV 1068: 2. Air
3. Orchestral Suite No. 3 in D major, BWV 1068: 3. Gavott 1/2
4. Orchestral Suite No. 3 in D major, BWV 1068: 4. Bourrée
5. Orchestral Suite No. 3 in D major, BWV 1068: 5. Gigue
6. Orchestral Suite No. 1 in C major, BWV 1066: 1. Ouverture
7. Orchestral Suite No. 1 in C major, BWV 1066: 2. Courante
8. Orchestral Suite No. 1 in C major, BWV 1066: 3. Gavotte 1/2
9. Orchestral Suite No. 1 in C major, BWV 1066: 4. Forlane
10. Orchestral Suite No. 1 in C major, BWV 1066: 5. Menuet 1/2
11. Orchestral Suite No. 1 in C major, BWV 1066: 6. Bourrée 1/2
12. Orchestral Suite No. 1 in C major, BWV 1066: 7. Passepied 1/2
13. Orchestral Suite No. 2 in B minor, BWV 1067: 1. Ouverture
14. Orchestral Suite No. 2 in B minor, BWV 1067: 2. Rondeau
15. Orchestral Suite No. 2 in B minor, BWV 1067: 3. Sarabande
16. Orchestral Suite No. 2 in B minor, BWV 1067: 4. Bourrée 1/2
17. Orchestral Suite No. 2 in B minor, BWV 1067: 5. Polonaise - Double
18. Orchestral Suite No. 2 in B minor, BWV 1067: 6. Menuet
19. Orchestral Suite No. 2 in B minor, BWV 1067: 7. Badinerie
Review (ClassicsToday):
The Orchestral Suites already have been released and received a 10/10 at that time. However, at 3 SACDs for the price of 2, even if you already have the Suites you can purchase this set for no additional money, and give the extra disc to a friend or Bach newbie. It makes a great gift. Certainly these Brandenburgs are every bit as good. Their principal distinguishing quality is a lightness and clarity of texture that, combined with Masaaki Suzuki's ideally chosen tempos (not too fast, but always lively), gives Bach's counterpoint an expressive joy very different from the full-speed-ahead mechanical relentlessness typical of so many period-instrument performances of this music. This is particularly evident in the First concerto, whose lopsided mixture of horns, oboes, bassoon, and violino piccolo often sounds like a garbled mess. Not here. Even the first movement finds a natural and effortless balance of instrumental lines, and that's no mean feat.
The Second concerto is noteworthy for some very nimble and unscreechy trumpet playing, while the flutes and violin in the Fourth, and the harpsichord in the Fifth, are all outstandingly well played. Best of all, though, is Suzuki's handling of the two concertos for strings, Nos. 3 and 6. He claims to be aiming for less bass-heavy texture by using instruments akin to Bach's viola pomposa instead of the standard cello--that is, a viola-like creature in the cello range played like a violin. Whatever the reason, the result is amazingly lyrical, transparent, and pleasing to the ear (the well-balanced continuo helps too).
In the Third concerto Suzuki interposes a full slow movement between the two quick ones Bach has left us, in the form of a transcription of the second movement of the Concerto for Three Harpsichords, itself thought to have been transcribed from an original triple violin concerto. It works fabulously well, far better than the few bars of cadenza that we often hear. First-class engineering and generous timings (nearly 70 minutes per disc) make this set a prime recommendation if you are looking for this repertoire on period instruments. Outstanding in every way.
The Second concerto is noteworthy for some very nimble and unscreechy trumpet playing, while the flutes and violin in the Fourth, and the harpsichord in the Fifth, are all outstandingly well played. Best of all, though, is Suzuki's handling of the two concertos for strings, Nos. 3 and 6. He claims to be aiming for less bass-heavy texture by using instruments akin to Bach's viola pomposa instead of the standard cello--that is, a viola-like creature in the cello range played like a violin. Whatever the reason, the result is amazingly lyrical, transparent, and pleasing to the ear (the well-balanced continuo helps too).
In the Third concerto Suzuki interposes a full slow movement between the two quick ones Bach has left us, in the form of a transcription of the second movement of the Concerto for Three Harpsichords, itself thought to have been transcribed from an original triple violin concerto. It works fabulously well, far better than the few bars of cadenza that we often hear. First-class engineering and generous timings (nearly 70 minutes per disc) make this set a prime recommendation if you are looking for this repertoire on period instruments. Outstanding in every way.
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