Orchestral Suite No. 2 in b minor, BWV 1067 Johann Sebastian Bach
Ouverture, Rondeau, Sarabande, Bourrée I Bourrée II, Popnoaise, Double, Badinerie Johann Sebastian Bach was deeply influenced by
Vivaldi's superb sense of musical development. During his years in Weimar, Bach
was able to become acquainted with the works of "modern" Italian
composers in the Duke of Weimar's library—the motoric rhythms and wonderful
forward drive of the fast movements in Bach are a direct result of Vivaldi's
influence. Nevertheless, the Suite in B Minor heard this evening reflects more
the traditions of the French court—the work begins with a magnificent ouverture
(a composition with a stately section to begin, followed by a quick section in
fugal style) and is followed by a series of court dances. This suite, however,
reflects the hybridization of styles in which Bach excelled: The French dance
suite has been partially Italianized by the use of the concerto principle (solo
flute) and the quick section of the ouverture is much more Italian in its
orientation than French, as is the final movement, labelled
"badinerie," or a jest. David Schrader
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Johann Sebastian Bach
Orchestral Suite No. 2 in b minor Play
Recorded on 06/05/2008, uploaded on 10/10/2010
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Orchestral Suite No. 2 in b minor, BWV 1067 Johann Sebastian Bach
Ouverture, Rondeau, Sarabande, Bourrée I Bourrée II, Popnoaise, Double, BadinerieJohann Sebastian Bach was deeply influenced by Vivaldi's superb sense of musical development. During his years in Weimar, Bach was able to become acquainted with the works of "modern" Italian composers in the Duke of Weimar's library—the motoric rhythms and wonderful forward drive of the fast movements in Bach are a direct result of Vivaldi's influence. Nevertheless, the Suite in B Minor heard this evening reflects more the traditions of the French court—the work begins with a magnificent ouverture (a composition with a stately section to begin, followed by a quick section in fugal style) and is followed by a series of court dances. This suite, however, reflects the hybridization of styles in which Bach excelled: The French dance suite has been partially Italianized by the use of the concerto principle (solo flute) and the quick section of the ouverture is much more Italian in its orientation than French, as is the final movement, labelled "badinerie," or a jest. David Schrader
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Nun komm’ der Heiden Heiland, BWV 659
Prelude and Fugue in d minor, Book II
English Suite No. 2 in a minor, BWV 807
Concerto in d minor BWV 1052
Prelude and Fugue in E Major from Well-Tempered Clavier Book II
Prelude and Fugue in e minor from Well-Tempered Clavier Book I
Harpsichord Concerto in d minor
Prelude and Fugue in A minor (audio)
Performances by same musician(s)
Passacaglia
Cello Sonata in B-flat Major
Trio Sonata in d minor "La follia" Op. 1 No. 12
Suite from Les Indes Galantes
Harpsichord Concerto in d minor
Aria Sopra "La Bergamesca"
Concerto No. 2 in B-flat Major
Concerto a cinque, Op. 2 No. 4
Sinfonia a cinque in g minor
Sinfonia Dall' oratorio Il Giosuè
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