Aesthetically, this 
                is old-fashioned, big-orchestra Bach, 
                but without the big orchestra. In the 
                two canonical suites, the slow introductions 
                are solidly, even stolidly, weighted, 
                with the dotted rhythms consciously 
                squared-off. The ensuing fugues chug 
                along cheerfully and more or less indiscriminately, 
                with no real sense of purpose or destination, 
                though terraced dynamics contribute 
                short-term variety. The Air from 
                BWV 1068 is not glamorized, but the 
                harpsichord tinkles only very 
                occasionally and is kept well in the 
                background. The dance-based movements 
                are reasonably paced, but some of them 
                start off on the wrong foot in the poetic 
                sense: the strong tutti attack 
                on the Bourrée of BWV 
                1069, for example, loses the "upbeat" 
                feeling, throwing the musical scansion 
                out of whack. 
              
 
              
In hindsight, it's 
                hard to see how anyone could have mistaken 
                the G minor suite, currently identified 
                as Wilhelm Friedemann's, for Dad's work. 
                (RCA's Stateside LP licensing, back 
                in the 1970s, proudly identified it 
                as "Suite No. 5"!) Its Ouverture 
                is just "introductory" music, not at 
                all ceremonial in manner; the Aria, 
                constructed from short, segmented motifs, 
                resembles neither the famous Air 
                cited earlier nor any similarly titled 
                movement of Johann Sebastian's I know; 
                and only the fugued opening of the concluding 
                Capriccio evinces any contrapuntal 
                interest. That noted, this remains a 
                pleasing, gracious piece of Baroquerie 
                which oughtn't be neglected just because 
                of its spurious former attribution, 
                and might be sufficient reason to investigate 
                this disc at bargain price. 
              
 
              
Moments of congestion 
                when the trumpets are going, and of 
                dryness when they're not, betray the 
                age of the decent stereo recording, 
                and the digital processing exposes previously 
                buried bits of sclerotic execution in 
                the low strings. 
                
              
 
              
Stephen Francis 
                Vasta  
              
see also
              
Johann 
                Sebastian BACH (1685 
                - 1750) Orchestral 
                Suite No.1 in C major BWV1066 (1724) 
                Orchestral Suite No.2 in B minor BWV1067 
                (1738)  Orchestre de Chambre Jean-François 
                Paillard/Jean-François Paillard.recorded 
                in 1963 – no further details given. 
                ADD
 
                 Orchestre de Chambre Jean-François 
                Paillard/Jean-François Paillard.recorded 
                in 1963 – no further details given. 
                ADD  WARNER APEX 2564 61257-2 [45’33"] 
                [JPh]
 
                WARNER APEX 2564 61257-2 [45’33"] 
                [JPh]
              Apex 
                are to be congratulated on this release 
                which I can recommend wholeheartedly