While this cannot be a first-choice recording of the Bach Overtures (Suites), it’s certainly a worthy addition to any collector’s Bach shelf. Citing numerous examples of recent research, including conductor Siegbert Rampe’s own, along with articles by Dirst, Rifkin, and Wolff, Rampe and his excellent period-instrument ensemble Nova Stravaganza strive to show what may have been the original forms of these four famous works. That means we get to hear suites Nos. 3 and 4 without trumpets and timpani; suite No. 2 played in A minor instead of the usual B minor–and with a solo violin rather than flute; and suite No. 1 as “a simple septet”–two oboes, two solo violins, solo viola, bassoon, and harpsichord (reinforced “in accordance with period practice” by 16′ violone). Now, although the music is fundamentally the same, these reconstructions produce some interesting “new” sounds–and if you think the result is weaker, thinner, and less impressive than the commonly performed versions, you’d be wrong. The music holds its elegance, liveliness, poignancy, and power while allowing us to hear even more clearly the inner workings of each movement. So how does the beloved Air from the suite No. 3 sound when played by a violin solo, accompanied only by violin, viola, and continuo? Aside from a bit too much heaviness in the bass line, this version plays out as beautifully as in a larger orchestral setting. Violin soloist Margarete Adorf’s artful ornamentation succeeds in enhancing a tune that almost by definition is already a perfect ornament.
To this thoughtfully conceived program Rampe adds two overtures (without dance movements) that he and others argue were originally part of full suites, but that Bach later excised and revised to include as the opening movements of cantatas BWV 119 and BWV 97. These relatively short pieces are scored for oboes, bassoon, strings, and continuo and in these performances strike a fine balance between their festive character and the intimacy of their reconstructed chamber settings. In general the recording is comfortably bright (notably brighter than on Savall’s reference version) with especially fine definition to the upper parts. The bass lines, whether cello or violone, tend to be less distinct, making their presence felt more than cleanly articulated. Nevertheless, the ensemble sound is remarkably full, dance rhythms really jump, and Rampe’s very extensive notes are worth reading. It may not be the Bach suites exactly as we know them–but it’s still Bach that fans of these works will be bound to appreciate.
