Aureole etc.




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Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett

 

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Johann Sebastian BACH (1685-1750)
Suites Nos. 1 - 4 BWV 1066 - 1069
Overture (Suite) No. 3 in D (BWV 1068) [16:48]
Overture (Suite) No. 2 in b minor (BWV 1067) [17:26]
Overture (Suite) No. 1 in C (BWV 1066) [18:27]
Overture (Suite) No. 4 in D (BWV 1069) [17:43]
I Barocchisti/Diego Fasolis
rec. May 2001, Auditorium 'Stello Moro' RSI, Lugano, Switzerland. DDD
ARTS 47649-8 [70:24]


"In our imagination the picture of Johann Sebastian Bach as the most important baroque composer and Cantor of the Thomaskirche is predominant", according to Klemens Hippel in the programme notes of this recording. Is it? I doubt it. Yes, the St Matthew Passion is frequently performed and recorded, but the church cantatas? Only a handful have become really well-known, but most of them have only been recorded as part of complete cantata cycles and are hardly ever performed. In comparison, the products of Bach's activities as a composer of instrumental music are far better known, and to a wider audience, than most of his sacred works. And that is certainly the case with the four orchestral suites or, as Bach himself called them, 'Overtures' - after the opening movement.
 
These Overtures are proof of the growing interest in French music in Germany in the first decades of the 18th century. Bach was neither the first nor the last composer of overtures in French style. His friend Georg Philipp Telemann was another German composer who wrote a large number of this kind of work. Whether Bach wrote more than these four is unknown.
 
It is generally thought that Bach wrote his Overtures during his time as Kapellmeister at the court in Cöthen, but there is reason to believe that at least three of them were composed in Leipzig. The first is probably the oldest, which is reflected by the scoring for two oboes, bassoon, strings and basso continuo, which was the common scoring for works of this kind. In the third and fourth three trumpets and timpani are added, and the fourth Overture has a third oboe part as well. The second Overture is completely different: it is the most galant of the four, and the scoring for strings and basso continuo with a solo part for the transverse flute reflects the growing popularity of that instrument in Germany in the 1730s. It has been suggested that this part was written for Pierre-Gabriel Buffardin, the famous flautist at the court in Dresden.
 
The large number of recordings in the catalogue shows the popularity of these four Overtures. Considering the so-called 'crisis' in the recording industry is partly due to the fact that the same repertoire is recorded over and over again one has to ask whether a new recording is really needed. The chance that a new recording is technically better than any of the recordings already available is very slim. The only reason left then is an interpretation which offers a new approach. I can't find anything of the sort here. In fact, this is one of the most disappointed recordings of the Overtures I have heard for some time.
 
In general, there is a lack of differentiation between 'good' and 'bad' notes, and the articulation often leaves much to be desired. In regard to dynamics this recording is as flat as a pancake: there is too little dynamic difference between notes, but there is also a lack of dynamic shade on single notes. Now and then tasteful ornamentation is added, but without any consistency. The tempi are often unsatisfying, and some movements are outright boring, like the rondeau from the Overture No 2 or, even worse, the B section of the overture from the fourth Suite. On the other hand, the air from the 3rd Overture is played in a beautiful andante tempo. As a result it does not for once sound funereal.
 
Actually that air is the only part of this recording I really enjoyed, and the only reason I'm going to keep this disc. How could I recommend a disc because of just 3 minutes and 36 seconds?
 
Johan van Veen
 

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