Together with the Brandenburg Concertos, these four Orchestral Suites or Overtures are all that have survived from what is certain to have been a much more prodigious orchestral output from JS Bach. They are some of his most genial pieces, ideally approachable for newcomers to classical music.

The order of the suites here does not follow their BWV numbering, which was thought to represent their chronology, but arranges them with the two celebratory trumpet and drum works as bookends, the quieter suites sandwiched between. Pearlman's version, also on period instruments (Bach: Orchestral Suites 1-4 - Pearlman), puts them in a different order, using what is now thought to be their most likely chronology.

If you have already heard the splendid Fasolis/I Barochisti set of the Brandenburgs, then the same virtues apply: a taut ensemble with period instruments, brisk tempi, foot-tappingly infectious dance rhythms and sheer spontaneity of playing. There is a zest and wit about these performances which I found irresistible.

Regarding tempi, while Pearlman's version of the famous Air from the Suite no. 3 in D remains in the somewhat sentimental shade of the Victorian 'Air on a G string'. Fasolis, however, has a lovely flowing tempo which fits in better with the rest of the dance movements. Occasionally, he raises the adrenalin by throwing in a very fast speed, breathtakingly played. The Réjouissance, last track on the disc, rockets off like a greyhound, wildly celebratory. Some of the repeats in Gavottes or Gigues are also treated to a faster run through the second time - a not uncommon Baroque performing practice.

Compared with the comparatively relaxed Pearlman, Fasolis is consistently brisker, adds more ornamentation and varies the repeats in the dances more imaginatively. His overtures sound much more French in style, with their many trills and snappy rhythms, almost transporting one to Versailles. He is generous with repeats but tends to omit the long second repeats in the overtures. His core ensemble of 7 violins, viola, cello, oboe, bassoon and violone produces a very transparent sound, often surprising one by bringing out echo phrases or rhythmic figures which add much to the freshness of the playing. In the B minor Suite, he reduces forces even more, producing an exquisitely light and delicate sound which matches the gentle tootings of the wooden Baroque flute.

Arts' 96k/24bit PCM recording took place in the carefully controlled ambience of a Swiss Radio studio and is vivid and natural, with bloom on the strings, setting the drums and trumpets behind the band to ring out magnificently but not overwhelm the balance.

Pearlman's set of Suites on Telarc is certainly reliable and well-recorded, but if you want more excitement, happy surprises, more characterful playing and an even more authentic-sounding performance, Fasolis is your man.

Copyright © 2009 John Miller and HRAudio.net

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