J.S Bach Ouvertüren Freiburger Barockorchester and Pablo Heras-Casado
- Johann Sebastian Bach (1685-1750): Suite no.4 in D major / D-Dur BWV 1069
- 11. Ouverture11:26
- 2Bourrées 1 & 202:51
- 33. Gavotte01:55
- 44. Menuets 1 & 2 alternativement04:15
- 55. Réjouissance02:35
- Suite no.2 in B minor / h-Moll BWV 1067
- 61. Ouverture10:42
- 72. Rondeau01:29
- 83. Sarabande02:37
- 94. Bourrées 1 & 2 alternativement02:05
- 105. Polonaise & Double03:18
- 116. Menuet01:05
- 127. Badinerie01:23
- Suite no.1 in C major / C-Dur BWV 1066
- 142. Courante02:19
- 153. Gavottes 1 & 2 alternativement03:14
- 164. Forlane01:13
- 175. Menuets 1 & 2 alternativement03:16
- 186. Bourrées 1 & 2 alternativement02:42
- 197. Passepieds 1 & 203:32
- Suite no.3 in D major / D-Dur BWV 1068
- 201. Ouverture09:49
- 212. Air04:38
- 223. Gavottes 1 & 2 alternativement04:00
- 234. Bourrées 1 & 2 alternativement01:10
- 245. Gigue02:48
Info for J.S Bach Ouvertüren
Called “Ouvertüren” in Germany, because they began with a large-scale overture à la française, Bach’s 'Suites for orchestra' offer a unique synthesis of the French and the Italian styles. The Leipzig Cantor did not content himself with a mere set of amiable dances for his Collegium Musicum: he revived the genre in his own manner, accenting the contrasts, refining the orchestration, and introducing a hitherto unknown contrapuntal element. Two centuries later these joyous orchestral works represent an indispensable treasure of the Baroque.
“The Freiburg orchestra’s CD offers no star soloist, but doesn’t need one in Bach’s four orchestral suites, where the entire ensemble is the soloist. The touchstone of these performances is their joie de vivre: a lively pace, a rhythmic verve, a stylistic sleight-of-hand that keeps this music fresh and the listener on his/her toes.” (Financial Times)
“In the Freiburg Orchestra's exhilaraing account, the soft-grained Baroque flute which gilds the B minor Suite certainly fits well with the 'small is beautiful' impulse...Its reading may lack sensational revelations, but it's exuberant and stylish, laced with felicitous insights into Bach's sophisticated take on the French style...the dances leap off the page and overtures crackle with incisive declamation.” (BBC Music Magazine)
Petra Müllejans, conductor
The Freiburger Barockorchester
can look back on a success story lasting over twenty years and is a popular guest at the foremost concert halls and opera houses. A glance at the ensemble’s concert calendar shows a diverse repertoire played at a variety of venues, ranging from the Baroque to the contemporary and from Freiburg to the Far East.
The Freiburgers’ artistic credo, however, remains unchanged: the creative curiosity of each individual member, with the aim of playing a composition in as lively and expressive a manner as possible. This also involves assigning demanding solo concertos to players from the orchestra’s own ranks. Cultivated yet at the same time exciting ensemble playing has thus become the orchestra’s international trademark.
The FBO collaborates with leading artists such as René Jacobs, Andreas Staier and Thomas Quasthoff, and enjoys a close cooperation with harmonia mundi France. The artistic success of this musical partnership has been demonstrated in numerous recordings which have won top awards such as the Jahrespreis der Deutschen Schallplattenkritik 2009, the Edison Classical Music Award 2008, the ECHO Klassik Deutscher Musikpreis 2007, and the Classical Brit Award 2007.
Under the artistic directorship of its two Konzertmeisters Gottfried von der Goltz and Petra Müllejans, and under the baton of selected conductors, the FBO presents around one hundred performances per year in a variety of formations from chamber to opera orchestra: a self-governing ensemble with its own subscription concerts at the Konzerthaus in Freiburg, the Liederhalle in Stuttgart and the Berlin Philharmonie in addition to a worldwide touring programme.