BWV 1070 is often listed as "Orchestral Suite No. 5" in some older recordings or catalogs, modern musicology almost certainly attributes this work not to Johann Sebastian Bach, but to his eldest son, Wilhelm Friedemann Bach (1710-1784).
Program Notes: Wilhelm Friedemann Bach (formerly J.S. Bach?) – Orchestral Suite in G minor, BWV 1070
Welcome, dear concert-goer, to a delightful and slightly mysterious journey into the Baroque. Tonight, we present a piece often encountered as "Bach's Orchestral Suite No. 5," BWV 1070, though its true authorship has been a fascinating puzzle for musicologists. While it carries the BWV number (designating it as a work once attributed to Johann Sebastian Bach), the consensus among scholars today points to his eldest and famously complex son, Wilhelm
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BWV 1070 is often listed as "Orchestral Suite No. 5" in some older recordings or catalogs, modern musicology almost certainly attributes this work not to Johann Sebastian Bach, but to his eldest son, Wilhelm Friedemann Bach (1710-1784).
Program Notes: Wilhelm Friedemann Bach (formerly J.S. Bach?) – Orchestral Suite in G minor, BWV 1070
Welcome, dear concert-goer, to a delightful and slightly mysterious journey into the Baroque. Tonight, we present a piece often encountered as "Bach's Orchestral Suite No. 5," BWV 1070, though its true authorship has been a fascinating puzzle for musicologists. While it carries the BWV number (designating it as a work once attributed to Johann Sebastian Bach), the consensus among scholars today points to his eldest and famously complex son, Wilhelm Friedemann Bach, as the most likely composer.
A Case of Mistaken Identity (and a Brilliant Son!)
Johann Sebastian Bach (1685-1750) was a prolific composer, and after his death, many of his scores, and those of his talented children, were copied and circulated. The manuscript for this "Suite No. 5" was copied by Christian Friedrich Penzel, one of J.S. Bach's last pupils, in 1753. Penzel simply noted "di Sig. Bach" ("by Mr. Bach"), and for a long time, it was assumed to be the master himself.
However, several musical clues suggest otherwise:
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Key Shifts: Unlike J.S. Bach's strictly homotonal suites (where all movements stay in the same key), the third movement of this suite, an "Aria," boldly shifts to E-flat Major. This kind of harmonic exploration was more characteristic of the younger, more adventurous generation, particularly Wilhelm Friedemann.
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Formal Peculiarities: The structure of some movements, while still Baroque, deviates subtly from J.S. Bach's typical patterns, leaning towards the emerging "Galant" style that Wilhelm Friedemann embraced.
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Wilhelm Friedemann's Style: Scholars like David Schulenberg have pointed to stylistic similarities between this suite and other confirmed works by Wilhelm Friedemann, known for his inventive, sometimes eccentric, and often deeply expressive musical language. He had a reputation for being a brilliant but restless genius, often overshadowed by his monumental father.
So, while we continue to use the BWV number for identification, tonight you are likely hearing the sparkling, perhaps slightly more "modern" voice of Wilhelm Friedemann Bach, a composer worthy of his own spotlight!
A G-minor Delight: What to Listen For:
Regardless of its precise parentage, this suite in G minor is a captivating work for strings and continuo, filled with charm, drama, and elegant melodies.
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Larghetto – Un poco allegro: The suite opens with a grand, stately French Overture, typical of the era. A slow, dignified section with dotted rhythms sets a serious tone, leading into a contrasting, lively "Un poco allegro" fugal section. The brilliance here is in the interplay of the string voices, full of energy and intricate weaving.
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Torneo: This movement is rather unique! A "Torneo" (tournament) suggests a formal, perhaps even competitive, dance or display. It's spirited and rhythmic, hinting at the ceremonial, yet also maintains a graceful air.
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Aria (Adagio): This is the heart of the suite, and perhaps the most striking movement. Its shift to E-flat Major provides a warm, lyrical contrast. The "Aria" unfolds with a singing, expressive melody, allowing the strings to truly showcase their tender and reflective qualities. It's a moment of profound beauty that speaks to a later Baroque sensibility.
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Menuetto alternativo – Trio: A charming pair of minuets. The first "Menuetto" is elegant and courtly. The "Trio" offers a lighter, contrasting middle section (sometimes in the major key), before the first "Menuetto" returns.
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Capriccio: The suite concludes with a lively and often virtuosic "Capriccio." As the name suggests, it's a piece full of whimsy and brilliance, typically fast and energetic, bringing the suite to an exhilarating and playful close. Listen for the rapid passagework and perhaps a touch of the impish spirit that characterized Wilhelm Friedemann's own personality.
A Family Legacy:
This Orchestral Suite is a wonderful example of the rich musical legacy of the Bach family. Even if not by the elder J.S., it stands as a delightful testament to the vibrant musical environment cultivated within the Bach household. It's a work that balances traditional Baroque forms with hints of the emerging Classical style, and its unique character is a joy to discover.
So, prepare to be charmed by this captivating suite, whether by father or son, and enjoy this fascinating piece of Baroque history and beauty!
