Orchestral suites (Bach)

The four Orchestral Suites by Johann Sebastian Bach ( BWV 1066-1069 ). It is to an opening movement in which a section of slow overture. Since Bach gave these suites no special title, they are often called today after the heading of the first sentence simply " overtures ".

This first set already in the score often takes more than half the space a, which underlines its importance. It always consists of a French overture with a first section in the typical dotted rhythm, a subsequent fugal with extensive concertante passages and a - here varied always strong - resumption of the initial section. Repeat sign at the end suggest the common repetition of the second and third parts; as this would give today's standards the first set too strong a weight, the replicate is now mostly omitted. As Bach has moved here, is unknown.

On the first extensive set each followed by a free succession of dances; in the Bach Orchestral Suites observed while no specific dance sequence; so there is not a single Allemande and only once a (for him otherwise so frequent ) Gigue; however, appear dances like forlane, Réjouissance or Badinerie by Bach otherwise practically not used. During the opening sentences are clearly influenced by concertante elements which instrumental groups represent the dance movements then usually in a rather simple manner opposite to each other, especially in the first and second suite.

The four compositions have survived independently, ie not constitute about one cycle. Autographs scores are not available, but only copies of the individual parts. Therefore, dating was not long possible (see below). It is certain that Bach performed the works from 1723 as part of his concerts with the Collegium Musicum in Leipzig.

1909 Gustav Mahler led a suite after the orchestral works by JS Bach. on, combining the records from the second and third orchestral suite.

  • 3.1 Suite in G minor BWV 1070
  • 3.2 Suite in F major, BWV 1071

The four Orchestral Suites

Suite No. 1 in C major, BWV 1066

  • Oboe I / II
  • Bassoon
  • Violin I / II
  • Viola
  • Basso continuo
  • Ouverture c - ¢ - c C major
  • Courante 3/2 in C major
  • Gavotte I ¢ C major - Gavotte II ¢ C major
  • Forlane 6/4 in C major
  • Minuet I 3/4 C major - Minuet II 3/4 C major
  • Bourrée I ¢ C major - Bourrée II ¢ C minor
  • Passepied 3/4 I - Passepied II 3/4 C major

Little is known about the origin of the entire work group, it also forms the first suite no exception. After all votes from Bach's first Leipzig years have survived; as they most likely will not go back to a composition score, but on a pre-existing set of parts and the copyists otherwise not enrolled for Bach, it is now believed that Bach brought the work to Leipzig and it was a colleague of performance available. Whether the suite was in Köthen or already in Weimar, but it can not be inferred.

The Ouverture is working as a single sentence actually concert and includes comprehensive three-part parts for the oboes and the (only here gave her own voice ) Bassoon. The winds carry no additional topic a, but there is a distinctive counterpoint. In some of these solos they play around the orchestral violins, bring the subject successively in unison on different pitches. Thus, the fugue subject in the entire central part of the sentence is always present.

The third section is a free variation of the beginning, first violin and bass by - at least rhythmically - swap the votes.

After the overture the work of the trio of woodwinds in general sets in sets in groups one against the strings. So Courante and Gavotte I are set in four parts; both oboes to double the first violin. Gavotte II is a "classic " trio of oboes and Contiunuo, the upper strings in places, add a little fanfare. The following is a forlane, spread in the oboe and first violin her quiet about the topic excited swirling middle voices.

The Minuet again contains a "Trio ", but this time for the strings alone, Spitta described his mysterious character with the words " fragrant sweet and secretly caressing hovering it with elastic tread. " It follows a Bourrée, which again the classic trio for woodwinds contains.

The final Passepied used in the contrasting middle section the original theme in the upper strings and adds the manner of a variation, add a continuous chain -eighth of the two unison oboes.

Suite No. 2 in B Minor BWV 1067

  • Flute
  • Violin I / II
  • Viola
  • Basso continuo
  • Ouverture c - ¢ - ( Lentement ) 3/4 in B minor
  • Rondeau ¢ B minor
  • Sarabande 3/4 in B minor
  • Bourrée I ¢ B minor - Bourrée II ¢ B minor
  • Polonaise ( Moderato ) 3/4 in B minor - Double 3/4 in B minor
  • Minuet 3/4 in B minor
  • Badinerie 2/4 B Minor

An autograph score has not survived, but most votes from the period from 1738 / 39th Bach took over in 1739 after a two year hiatus, the Collegium Musicum and the work have provided for its regular coffee house Concerts in Leipzig. But this will not be the first performance; today's research is based on a previous version in A minor. There are good reasons that the first version was written for strings only; it then contained probably not the solo Bourrée II, and the strikingly few other solo parts were probably entrusted to the first violin.

The second suite contains some masterful compositional finesse, including in the final section of the overture an implied multiple canon all voices and in several sentences canon between the upper part and bass; in the Sarabande even a strict canon Quint; that leaves some researchers start the work until later Leipzig period.

The introductory section uses the flute only doubling the first violin and builds on imitation between this and the bass. The Fugatothema in the following part is characterized by a characteristic derivative ( which is played staccato usually present); it is conducted in the exposition through all the parts before the first interlude introduces the flute as a solo instrument. In the often very extended solo passages the continuo brings clear again and again the fugue subject, which makes for a strong thematic coherence of the extended movement. The final part - again in the dotted rhythm of the opening - plays significantly to the topic and it leads contrapuntal through all the strings.

Central sets are Bourrée and Polonaise. They each contain a second set, which gives the flute space for virtuosic solos - in the Bourrée supported by soft ( " doucement " ) string chords in the Polonaise by the subject in the continuo. The two sentences are framed by a Sarabande and Minuet, which are based on continuous imitation between the first violin and bass - the flute twice only the violin.

Is initiated the sequence of dances by a Rondeau - this adds between the topics repetitions contrasting passages a, (ie, not the flute) to highlight the most the middle voices. The final Badinerie ( " dalliance " ) will come back fully to the virtuosity of the flutist, supported by a driving continuo and chord strumming the strings. The set is one of the most famous single sets of Baroque music; his theme has become even as a ringtone.

Suite No. 3 in D major, BWV 1068

  • Trumpet I / II / III
  • Swot
  • Oboe I / II
  • Violin I / II
  • Viola
  • Basso continuo
  • Air c D major
  • Gavotte I ¢ D major - Gavotte II in D major
  • Bourrée ¢ D major
  • Jig 6/8 D Major

It will not get any autograph score, could provide information about the origin of the work. Striking, however, is the compositional technique, since the base of the orchestration is alone in the strings: The oboes doubled without exception, the first violin (only in Gavotte II, the first and second violin), and the trumpets support rhythmically and tonally by particular subjects heads and cadences emphasize. It is natural to think of a first version for strings alone; but the schematic orchestration manner with constant emphasis on the first violin part does not always mean an early date; just as well could have been the cause of lack of time. Since it apparently went primarily to the strengthening of the melody, perhaps a special occasion was before - Bach resulted in Leipzig with the Collegium Musicum regular performances in Zimmerman 's Coffeehouse by which also had a garden for open-air performances.

The Fugatothema is a widely ausgesponnener dominant basically and could, as Diether de la Motte noticed only occur when the harmony had recorded the seventh chords in general in their language. There are only two - quite extensive - solo passages, and both are similarly structured: A large-scale solo first violin, initially only supported by the strings. Gradually, oboes and trumpets added with accompanying voices, until finally the full tutti sound is obtained. Another two bars of the first violin with continuo lead again in the tutti, and a new implementation of the fugue subject.

The following, by the strings alone put forward Air ( "Melody", so no dance movement ) with its long-held chords and long-reaching cantilenas on the progressive in characteristic octave leaps bass line is one of the most famous single records of classical music, as it is very often the subject of machining been.

The other sets of the now quite short composition are strongly based on clear and repeated several times each characteristic rhythms that give the sets a bit small membered character. To be followed by a gavotte with a contrasting middle movement and a Bourrée. The final Gigue converted, shortly before its end yet so typical of Bach chromaticism one.

Suite No. 4 in D major, BWV 1069

  • Trumpet I / II / III
  • Swot
  • Oboe I / II / III
  • Bassoon
  • Violin I / II
  • Viola
  • Basso continuo
  • Bourrée I c D major - Bourrée II ¢ B minor
  • C Gavotte in D major
  • Minuet I 3/ 4 D Major - Minuet II 3/4 D Major
  • Réjouissance 3/4 D Major

Except during the first three bars of the overture Bach used the trumpets only for doubling other instruments; therefore has been hypothesized that a primitive form got along without trumpets. Since the original score is not obtained, however, this remains somewhat speculative.

On the dating is only the - certainly later - revision of the overture in his cantata " our mouth filled with laughter " ( BWV 110) a clue: Here Bach adds in the fugal middle section adds a four-part choral setting. This cantata was performed on the first Christmas Day in 1725; since Bach concentrated in his first years in Leipzig mainly due to the cantata composition is - similar to the first suite - to assume that he had brought the score from Köthen or Weimar.

In contrast to the third overture the oboes are obligate, and so here the instrumental groups are clearly separated from each other right at the beginning and towards one another. The fugal uses a rather non- issue in a continuous triplet, whose characteristic counterpoint of repeated notes in dotted rhythm explains why Bach later drew on this sentence to illustrate the laughter. A first solo section addresses only the woodwinds, but introduces no further thematic material. A second solo section presents the individual choirs before, can they reunite and then leads them in longer passages against each other, especially the long motivic Trio Lenke tablets stand out in the bass. The third solo passage is reserved to the strings before the oboe should come back and bring the section with another indicated issues implementing end. The final dotted part is not literal resumption of the beginning, but used the same subject material and performs the instrumental groups with similar intensity against each other. Striking is particularly strong at the beginning of the dissonant, expressive harmonies.

The first Bourrée sets the oboe and string orchestra consistently against each other and leaves the topic sections alternately recite, with the other group intersperses little fanfare-like motifs on the conclusions. Bourrée II ( in the relative minor ) consists of plaintive, derivative stressed oboe melody over a witty and virtuosic bassoon solo, with a little wiping throw motif in the strings.

In the Gavotte, the first half of subjects will be carried forward together, the second consists of a bass motif, through which the oboes and high strings alternately pat plain district.

The minuet is the calming influence and are rather conventional. In the first sentence the oboes to double the strings, the strings in the trio left alone.

The final Réjouissance drives a very unusual game with melody and periodicity, as you would expect it closer to a composer of the next generation. An expressive, wide intervals preferable upper voice is supported by a locally imitative bass and simple, harmonious voices filling agent; the second part divides the two instrumental groups again and contains almost enforcement, like features, especially in a passage before the resumption of the theme, which uses excessive chromaticism on a pedal point.

Dating

Since instrumental parts are only available from Bach's Leipzig period, has often been suspected, the works were created until the time of Bach's takeover of the Collegium Musicum. On the other hand, they seemed stylistic reasons well in his time as a court musician in Köthen to fit, especially the suites 1 and 2 with their somewhat smaller orchestra.

Recent studies conclude that the versions obtained were indeed written probably for the Leipzig needed, but that the first versions of exploitable must have originated much earlier - in any case before the French Suites ( BWV 812 .. 817 ). This is inferred from the absence of certain stylistic features in the introductory part of the overtures. Further, since in Bach's Weimar cantatas and Köthener happen a whole lot of French overtures and these sentences can be dated because of the existence of autograph scores, more precise detailed comparisons could be made.

As a result, today seems quite certain that the fourth overture already created ( in a version without trumpets ) in Weimar 1716, on the beginning of the Köthen period ( about 1718), the third in an all- string version, then the other two (including the second. these early versions were in A Minor with solo violin) in any case before 1723 then surely the well-known overtures, but not yet necessarily contain all the dance movements.

Other orchestral suites

Suite in G minor BWV 1070

The Bach - Werke-Verzeichnis lists this suite with a cast of two violins, viola and basso continuo. The style of this work but can be difficult to bring to that of Johann Sebastian Bach in line; it is now the next generation of composers, probably one of his sons attributed.

Suite in F major, BWV 1071

Here is an early form of the first Brandenburg Concerto. This concert begins not like the one just discussed suites with a French overture, but is in its early version of a so-called Italian overture is - a three-movement form of fast concerto movement, Adagio and dance.

Swell

Bach-Werke-Verzeichnis Furlana Baroque trumpet Christoph Wolff
622940
de