J.S. Bach's four Orchestral Suites belong to that select group of works one could truly call classical hits! They stem from Bach's extremely productive time in Cöthen which ended in 1721.Unfortunately the only sources that have come down to us are copyist parts from Leipzig . These originally formed the basis for the critical complete edition volume which was published in 1967 as part of the ' New Bach Edition? .At that time Bärenreiter also issued separate scores and parts which however were prepared with additional articulation and performance suggestions. Bärenreiter's new edition of Bach's great four suites now presents the Urtext as found in the ' New Bach Edition? i.e. without emendations and performance suggestions. The orchestral parts have been re-engraved and the material includes an alternative version of the Overture and Air to the D major suite BWV 1068 including a 'Violino concertato? part.- Urtext editions of these important works- Newly engraved parts and fully realized continuo- For the first time an alternative version of the Overture and Air to the D major suite BWV 1068 with ' Violino concertato ? is included / Flûte Et Orchestre

Par TELEMANN GEORG PHILIPP. Durée: 10', Format: ETP small/ Répertoire / Flûte Traversière et Orchestre

This ?Suite' is not one of my 'epic' instrumental concertos such as the concertos for cello, violin or oboe, but a substantially smaller-structured series of dance forms arranged into a suite. Sunken worlds suddenly emerge here, only to reach the surface, hover in dangerously distorted fashion and then sink back to the bottom.Almost every individual movement allots the solo flute a specific tonal colouring and an instrumental group from the orchestra: in the opening Allemande, the flutes of the orchestra (including alto and bass flute and later also piccolo to include the entire flute family) - the string section in the Sarabande - in both chorales (extremely muted in the first and brutalist in the second), the brass etc. - and it is only in the concluding Badinerie that all orchestral groups are combined, although they are terraced in the Baroque style, one following another, seldom all playing simultaneously.This permits the flute to remain the provider of all impulses - it attaches itself to the wide variety of instrumental colours, becomes suffused with these colours and thereby shines in different lights - acerbic, pale and radiant. This first performance marks the conclusion of my two-year residence with the Cleveland Orchestra. The immense versatility of this fine body of sound (which is indeed treated as such with the sum of its parts) and the exciting dark timbre of its principal flautist Joshua Smith have to a great extent determined the form and tonal character of my Flûte en suite. Jörg Widmann / Flûte Et Orchestre