Bach: Orchestral Suites (CCO/Müller-Brühl)

As part of my one-disc-at-a-time survey of my classical CD collection, I’m going through the Naxos 30th Anniversary box set. Here’s #1.

For those who consider the music of J. S. Bach to be stuffy, stodgy, and otherwise unpleasant, the orchestral suites are the perfect antidote. This is, in the best possible sense of the word, delightful music. Yes, it’s impeccably written—what do you expect from the greatest musician who ever lived?—but it’s also a lot of fun. The orchestral suites are among the most populist and accessible pieces Bach ever wrote: Whether or not they were ever intended to be danced to, they were closely based on dance forms that would have been recognizable to most listeners. A knowledge of Baroque-era dances is not required to enjoy this music, however. The joy is palpable.

This recording by Helmut Müller-Brühl and the Cologne Chamber Orchestra is, in so many words, one of the finest I’ve heard, and this seems like a good time for a brief but lively discussion about the validity of period performances—that is, performances and recordings where period-authentic instruments are used, and the performance practice is based on the latest research. And just to be clear: While Müller-Brühl’s interpretation is clearly influenced by Baroque performance practice, the instruments used are not authentic to the Baroque era. My other recording of Bach’s orchestral suites is by Christopher Hogwood and the Academy of Ancient Music—a leading figure in historically informed performance—and I have to say that, as good as Hogwood is, there are moments where I actually prefer Müller-Brühl’s approach. Two standouts for me are the famous “Air” (i.e., “Air on a G String”) from the Third Suite, which has a wonderful warmth and tenderness, and the Second Suite’s “Badinerie,” which is one of the best (and fastest) I’ve ever heard. I’m reminded of Adam Fischer’s statement (and I’m paraphrasing) that the quality of a performance has more to do with the musicians than the instruments they’re using. Clearly, Müller-Brühl and the Cologne Chamber Orchestra know how to play this music, and the results are a delight.

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