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OC 0795
BACH, J.S.: French and English Suites (Wolf, Temmingh, Marincic)

BACH, J.S.: French and English Suites (Wolf, Temmingh, Marincic)

The Classical Shop
release date: November 2011


Artists:

Axel Wolf

Soloist

Domen Marincic

Soloist

Record Label
Oehms Classics

Genre:

Chamber


Classical

Total Time - 72:56
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BACH, J.S.: French and English Suites (Wolf, Temmingh, Marincic)

 

JOHANN SEBASTIAN BACH

Select Complete Single Disc for
     
1 

Sonata No. 4 for Harpsichord and Violin in C minor, BWV 1017 (arr. for recorder, viola da gamba and lute)

3:48
 Axel Wolf Soloist
     
2 

Pedal-Exercitium in G minor, BWV 598 (arr. for viola da gamba)

2:12
 Domen Marincic Soloist
     
 

English Suite No. 2 in A minor, BWV 807 (arr. for recorder, viola da gamba and lute)

 
3 II. Allemande 3:45
 Axel Wolf Soloist
4 III. Courante 1:43
 Axel Wolf Soloist
5 IV. Sarabande 3:24
 Axel Wolf Soloist
6 V. Bourree I-II 4:00
 Axel Wolf Soloist
7 VI. Gigue 3:28
 Axel Wolf Soloist
     
8 

Lute Partita in E major, BWV 1006a

5:41
 Axel Wolf Soloist
     
 

French Suite No. 5 in G major, BWV 816 (arr. for recorder, viola da gamba and lute)

 
9 I. Allemande 3:44
 Axel Wolf Soloist
10 II. Courante 1:46
 Axel Wolf Soloist
11 III. Sarabande 3:58
 Axel Wolf Soloist
12 IV. Gavotte 0:58
 Axel Wolf Soloist
13 V. Bourree 1:15
 Axel Wolf Soloist
14 VI. Loure 2:39
 Axel Wolf Soloist
15 VII. Gigue 3:32
 Axel Wolf Soloist
     
 

French Suite No. 3 in B minor, BWV 814 (arr. for recorder, viola da gamba and lute)

 
16 I. Allemande 3:51
 Axel Wolf Soloist
17 II. Courante 2:11
 Axel Wolf Soloist
18 III. Sarabande 3:08
 Axel Wolf Soloist
19 IV. Anglaise 1:26
 Axel Wolf Soloist
20 V. Menuet - Trio 2:57
 Axel Wolf Soloist
21 VI. Gigue 2:10
 Axel Wolf Soloist
     
22 

6 Schubler Chorales, BWV 645-650 (arr. for recorder, viola da gamba and lute)

4:06
 Axel Wolf Soloist
     
23 

Fugue in G minor, BWV 1000 (arr. for lute)

7:14
 Axel Wolf Soloist


For a modern recorder player, historical performance practice is certainly both principle as well as a native musical language.

But if one wants to perform the works of J.S. Bach, the repertoire is very slim. Stefan Temmingh’s love of Bach pushed him to take on this challenge and concern himself with performance practice in the baroque. In an extensive booklet text, he argues that the harpsichord literature in the baroque era was transcribed for other instruments quasi as a “lingua franca”. Reorchestrated versions of Bach’s Concerto for Four Harpsichords (itself an arrangement of Vivaldi compositions), for example, can be found from the 18th century, usually for one or two melody instruments with continuo.

Above all, this practice predominated in France, e.g. in connection with works by Couperin and Dieupart, which were certainly some of the sources of inspiration for Bach’s French Suites. Stefan Temmingh continues the long tradition of arranging such pieces for a melody instrument. Domen Marincic on the viola da gamba and Axel Wolf on the lute provide the ideal support for the basic sound of the recorder. Although this combination of instruments emphasizes another aspect of the composition, the fundamental idea behind the music does not change.

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