Bach: 4 Orchestral Suites

Johann Sebastian Bach (Composer), Nikolaus Harnoncourt (Conductor), Concentus Musicus Wien (Orchestra) | Format: Audio CD

Product Details

• Orchestra: Concentus Musicus Wien
• Conductor: Nikolaus Harnoncourt
• Composer: Johann Sebastian Bach
• Audio CD (October 5, 1993)
• SPARS Code: DDD
• Number of Discs: 2
• Label: Teldec
• ASIN: B000000SLH
• Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
• Amazon Best Sellers Rank: #28,715 in Music (See Top 100 in Music)

Track Listings

Disc: 1

1. Suite (Overture) No. 1 In C Major, BWV 1066: Ouverture

2. Suite (Overture) No. 1 In C Major, BWV 1066: Courante

3. Suite (Overture) No. 1 In C Major, BWV 1066: Gavotte l - Gavotte ll

4. Suite (Overture) No. 1 In C Major, BWV 1066: Forlane

5. Suite (Overture) No. 1 In C Major, BWV 1066: Menuet l - Menuet ll

6. Suite (Overture) No. 1 In C Major, BWV 1066: Bourree l - Bourree ll

7. Suite (Overture) No. 1 In C Major, BWV 1066: Passepied l - Passepied ll

8. Suite (Overture) No. 2 In B Minor, BWV 1067: Ouverture

9. Suite (Overture) No. 2 In B Minor, BWV 1067: Rondeau

10. Suite (Overture) No. 2 In B Minor, BWV 1067: Sarabande

See all 14 tracks on this disc

Disc: 2

1. Suite (Overture) No. 3 In D Major, BWV 1068: Ouvertüre

2. Suite (Overture) No. 3 In D Major, BWV 1068: Air

3. Suite (Overture) No. 3 In D Major, BWV 1068: Gavotte I - Gavotte II

4. Suite (Overture) No. 3 In D Major, BWV 1068: Bourree

5. Suite (Overture) No. 3 In D Major, BWV 1068: Gigue

6. Suite (Overture) No. 4 In D Major, BWV 1069: Ouverture

7. Suite (Overture) No. 4 In D Major, BWV 1069: Bourree I - Bourree II

8. Suite (Overture) No. 4 In D Major, BWV 1069: Gavotte

9. Suite (Overture) No. 4 In D Major, BWV 1069: Menuet I - Menuett II

10. Suite (Overture) No. 4 In D Major, BWV 1069: Rejouissance

Customer Reviews

Most Helpful Customer Reviews

20 of 21 people found the following review helpful:

5.0 out of 5 stars Old Fashioned Fun?, April 21, 2002

By 

D. Seymour "snadmus" (Atlanta, GA USA) - See all my reviews
(REAL NAME)   

This review is from: Bach: 4 Orchestral Suites (Audio CD)

I must admit that I bought this recording by mistake. At the time, I was looking for a good digital recording of Bach's Orchestral Suites on period instruments. I just couldn't stomach Hogwood's rather bland and heartless version. So, naturally by accident, I ended up with an antique (1967) recording by Nikolaus Harnoncourt. Teldec's remastered sound is nothing short of incredible - which probably speaks the most for the quality of the original recording itself. I often put this recording on shuffle play with my other (digital) baroque discs and have never noticed a change in clarity or quality when it comes on. The instruments are well-balanced and the members of the Concentus Musicus Wien play as if they were actually at a dance event, and as if they enjoyed it. Of special note are the Overture from Suite No. 1, the Polonaise and the Badinerie from Suite No. 2, the Overture, Air and Gavottes from Suite No. 3, and the Rejouissance from Suite No. 4. An excellent companion set to the Brandenburg Concertos. A noteworthy analog recording from the 60's. Don't hesitate to enjoy it.

16 of 17 people found the following review helpful:

5.0 out of 5 stars Still the yardstick, September 28, 2003

By 

Peter G. Watchorn (Cambridge, MA USA) - See all my reviews
(REAL NAME)   

This review is from: Bach: 4 Orchestral Suites (Audio CD)

This 1966 (!) recording is one of Harnoncourt's greatest efforts - not to mention the contribution of Wolf Erichson, the famous and inspired producer for the whole Teldec "Das alte Werk" series. It is beautifully played throughout, with rich (certainly not thin), Viennese string tone, and fine contributions from the woodwind and brass. The overtures are played at exactly the right tempi and it's great to hear all the repeats (including the entire fugue in each of the overtures). Needless to say, the dance movements are beautifully shaped, with a wealth of fine detail that most conductors simply miss (or don't know about). Nice to hear French style courantes taken at the gentle pace the intricate dance steps require. The Italian forlana (suite no. 1), on the other hand, is truly electrifying and energetic.

There is incredible contrast present here too, with adjacent dances given completely different character (try suite no. 1 to test this statement). In suite no. 3, the dotted rhythm of the opening of the overture is considerably sharpened (actually altered from what's written). Only Harnoncourt has interpreted these rhythms this way, and it makes compelling listening. Overall this set is still the yardstick, and I prefer it even to Harnoncourt's own later digital version.

Like Harnoncourt's equally great recording of the b minor mass, this set imparts, more strongly than has any version has since, the sense of really discovering for the first time music you thought you already knew.

The recorded sound is a reminder of just how good Telefunken's "Royal Crown" stereo was. This set's a great bargain, and no Bach lover should be without it. It also proves to what extent Harnoncourt's vital and intelligent musical approach has permeated and influenced our consciousness to this day. Because of him, our approach to earlier - and increasingly, later music has changed, even among those musicians and listeners who claim not to like what Harnoncourt does. An amazingly smart, passionate and knowledgable musician. Highly recommended.

8 of 9 people found the following review helpful:

5.0 out of 5 stars Harnoncourt plays Bach, April 29, 2004

By 

Daniel Szekely "Grampa" (Eagle River, AK United States) - See all my reviews
(REAL NAME)   

Amazon Verified Purchase

This review is from: Bach: 4 Orchestral Suites (Audio CD)

Bach would be pleased with these recordings!!
Outstanding, sensitive interpretation on period instruments. This is like hearing these pieces for the first time, through very different ears than other interpretations on newer instruments. Over time, instruments have been developed which have physical characteristics suited for large halls - metal flutes (Harnoncourt's play wood), steel strings (they play on gut), and musical figures peculiar to these instruments and true to the original style of playing.