Hyperion Records

Orchestral Suite No 4 in D major, BWV1069
composer
1724

Recordings
'Bach: The Four Orchestral Suites' (CDD22002)
Bach: The Four Orchestral Suites
Buy by post £10.50 CDD22002  2CDs Dyad (2 for the price of 1)  
Details
Movement 1: Ouverture
Track 7 on CDD22002 CD2 [11'02] 2CDs Dyad (2 for the price of 1)
Movement 2: Bourrée
Track 8 on CDD22002 CD2 [2'46] 2CDs Dyad (2 for the price of 1)
Movement 3: Gavotte
Track 9 on CDD22002 CD2 [2'00] 2CDs Dyad (2 for the price of 1)
Movement 4: Menuet
Track 10 on CDD22002 CD2 [4'22] 2CDs Dyad (2 for the price of 1)
Movement 5: Réjouissance
Track 11 on CDD22002 CD2 [2'30] 2CDs Dyad (2 for the price of 1)

Orchestral Suite No 4 in D major, BWV1069
EnglishFrançaisDeutsch
Suite No 4 in D major, BWV1069, has an opening whose echoing rhythms, held notes and periods of silence seem to illustrate the outdoors, even when the music is heard inside a building; the contrasted central section of the overture movement is much more of a bustling affair. If the opening represents some spectacular royal event, such as a parade, then the central portion must surely represent the reaction of the admiring crowd. If this seems far-fetched, we must remember that the French overture had originated in the music accompanying the entrance of the sovereign at the start of a production—usually, then, of a ballet. The following pair of bourrées gives scope for the display of the wind instruments, both in dialogue with the strings in the first and with their seeming light approval in the second. The gavotte is unusual in that the line which emphasizes the steps of the dance is the bass line; the material is shared during the later centre of each repeated section, but throughout the melodic line of the violins seems to question, rather than to reinforce, the predictable character of the titled dance. The two minuets, during which Bach tactically withdraws the added trumpets to produce a more brilliant effect later, have a somewhat more intimate character; in the first, the oboes and bassoon double the strings throughout, whereas in the second, played alternativement, the strings play alone. This scoring may have been designed to reflect the traditional character of the French minuet as Bach understood it. The final réjouissance must for today’s English listeners point forwards to the similarly titled movement of Handel’s Music for the Royal Fireworks. Bach’s réjouissance here leads us to wonder whether perhaps the original version of BWV1069 may not itself have been intended to be played as an accompaniment to some ballet or mime depicting a contest or a battle of some kind.

from notes by Stephen Daw © 1996

Track-specific metadata
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Details for CDA66502 track 11
Réjouissance
Artists
ISRC
GB-AJY-91-70211
Duration
2'30
Recording date
23 November 1990
Recording venue
Recording producer
Martin Compton
Recording engineer
Tony Faulkner
Hyperion usage
  1. Bach: Orchestral Suites Nos 3 & 4 (CDA66502)
    Disc 1 Track 11
    Release date: June 1991
    Deletion date: September 1996
    Superseded by CDD22002
  2. Bach: The Four Orchestral Suites (CDA66701/2)
    Disc 2 Track 11
    Release date: September 1992
    Deletion date: September 1996
    2CDs Superseded by CDD22002
  3. Bach: The Four Orchestral Suites (CDD22002)
    Disc 2 Track 11
    Release date: September 1996
    2CDs Dyad (2 for the price of 1)
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