Bach: Ouvertüren BWV 1066, 1068–The English Concert/Trevor Pinnock—DG The Original Source/Archiv vinyl reissue [2025]

A cause for celebration, as here we have DG The Original Source’s first remastering/reissue release from DG’s “Archiv Produktion” imprint. Founded in 1948 under the DG umbrella, it became a subsidiary in 1958 and specialized in Early and Baroque music.

When I was growing up in the 1960s, the distinctive grey covers were the gold standard for the best in Early and Baroque music practice, primarily with the famed Münchener Bach-Chor & Münchener Bach-Orchester directed by Karl Richter. They became for Archiv what the Berlin Phil did for the parent company DG. Benchmark LPs.

However, by the 1970s, the tide had turned to a more “historically informed practice” (HIP). Serious musicological research, different tuning, gut strings, conical bore woodwinds, baroque bows, forgotten instruments like the oboe d’amore, the viola da gamba and baroque trumpets and horns. Living and studying in London during this time was like living in a musical revolution. Many musicians, such as my conducting professor, Bernard Keefe, said, “It was an excuse to play out of tune.” Others were far more conciliatory, and a cottage industry of the finest Baroque players across Europe pooled their talents among the many new orchestras. Also, the early music departments at the four London music colleges and on the continent took on a new shine.

London was home to many of the orchestras, but among the finest was The English Concert (founded in 1972) directed by the great harpsichordist and conductor Trevor Pinnock. It is these musicians who bring us two of Bach’s greatest orchestral works, the Ouvertüren BWV 1066, 1068 (also known as Suites—Bach wrote four Suites but called them “Ouvertüren”). Included here are the Suite No. 1 in C major, BWV 1066 and Suite No. 3 in D major, BWV 1068.

The recording originates from 1978, recorded in London’s Henry Wood Hall by engineer Karl Naegler.

Typical of the Emil Berliner Studios team, the AAA remastering is exemplary, with a nice sense of air surrounding the instruments of the small orchestra. And lots of transparency around the thickly-scored opening of the Suite No. 3 (trumpets and timps).

As befits one of the top London HIP groups, the players listed on the gatefold inside cover read like a who’s who of the cream of London’s freelance baroque players. Until we get to the solo flute parts of the 2nd Suite and a few other moments here and there, there’s nothing technical to challenge these virtuosos. As such, their intonation is flawless, and they play these gracious dance movements with elegance and panache. Pinnock varies the tempos so each movement retains interest. And all the members play with infectious rhythmic energy.

And the famous “Air on the G String” is played beautifully and with lovely string tone (plain phrasing with no Stokowski syrupy touches). In fact, this track highlights what’s special about this reissue—instrumental timbral accuracy. The construction and tuning of these baroque originals or copies varies so much, it can be a dizzying challenge to capture what’s what and who’s who. No problems, here. Superb and a demonstration record for those wishing to highlight how effective and important timbral accuracy is on audiophile releases.

Highly recommended.

Tracklisting:

Side A

J.S. Bach: Orchestral Suite No. 1 in C Major, BMV 1066

1. I. Overture

2. II. Courante

3. III. Gavotte I-II

4. IV. Forlane

5. V. Menuet I-II

6. VI. Bourrée I-II

7. VII. Passepied I-II

Side B

J.S. Bach: Orchestral Suite No. 3 in D Major, BWV 1068

1. I. Overture

2. II. Air

3. III. Gavotte I-II

4. IV. Bourrée

5. V. Gigue