No. 1 in C major; No. 2 in B minor; No. 3 in D major; No. 4 in D major.

Selected comparison:

Amsterdam Baroque Orch, Koopman (1/90) RD77864

In this new recording of Bach's four Orchestral Suites, Jordi Savall's chamber ensemble Le Concert des Nations joins forces with the Capella Reial de Catalunya. The combined string force is much as we have come to expect from a period instrument performance of these pieces, nowadays: in this instance it is four first violins, three seconds, two violas, two cellos and violone; but Savall further enriches the fundament with a double-bass and, for some of the time, at least, his own instrument, the viola da gamba. Here, though, the gamba is played by another since Savall directs the suites from the podium.

Although the performances are not without their rough edges I found myself deriving plenty of enjoyment from them. Savall himself is a stylish and often passionate viola da gamba player and he brings these qualities to his interpretation of Bach's Suites. The robust character and resonance of the overtures belonging to the two D major works are splendidly realized here with crisp articulation and clearly punctuated phrasing from the strings and wind alike. Listeners may well feel on occasion that the sound of the upper strings lacks the confidence and finesse on display in the other sections—the celebrated Air of the Third Suite, played here in ensemble rather than as a solo, lacks the refinement present in rival versions by the Academy of Ancient Music (L'Oiseau-Lyre), Cologne Musica Antigua (Archiv Produktion), La Petite Bande and the Amsterdam Baroque Orchestra (Deutsche Harmonia Mundi/BMGthe latter last year's Baroque GRAMOPHONE Award Winner). Few, on the other hand will sense either lack of character in the performances or lack of imagination in Savall's approach to the music.

Tempos are moderate on the whole—a feature which I like—allowing the music to breathe naturally. The overtures themselves benefit especially from Savall's feeling for the innate grandeur, and the noble gestures inherent in the form. That belonging to the second of the D major Suites comes over splendidly with incisive wind playing and vibrant statements from the timpani. What a thrilling movement it is with its kaleidoscopic colours, its invigorating rhythms and its sheer joie de vivre. Perhaps the Overture to the B minor Suite, in essence a chamber work, is a little too ponderous in tempo and too weighty in the bass but it certainly lacks neither shape nor nobility. The soloist in this performance is the talented French flautist, Marc Hantai whose tone is warm and clear. Like Christopher Hogwood (AAM), Reinhard Goebel (Cologne Musica Antigua) and Nikolaus Harnoncourt (Vienna Concentus Musicus on Teldec/Warner Classics), Savall observes both the slow and fast section repeats in each of the overtures. Elsewhere, in keeping with all the other sets I have mentioned all repeats are scrupulously adhered to.

In summary, here is a set which though not top of my league table is unlikely to disappoint listeners. The recording itself was made in the Grande Salle of the Arsenal at Metz and is pleasantly resonant. Savall is never dull and is often refreshing in his individuality and in his feeling for ornament. Koopman's recording with the Amsterdam Baroque Orchestra remains my first recommendation but there are so many interesting things going on in the new set from Savall that I shall want to hear it on many subsequent occasions. N.A.