Bach: Orchestral Suite No.2 - Breath Dancing in Elegant Order (G.Fumet / B.Thomas) | [MuseLAB]

Описание: 00:00 I. Ouvertüre
07:14 II. Rondeau
08:45 III. Sarabande
12:19 IV. Bourrée I & II
14:26 V. Polonaise - Double
17:37 VI. Menuet
18:44 VII. Badinerie

Gabriel Fumet, Flute
Etienne Peclard, Cello
Françoise Lengellé, Harpsichord
Bernard Thomas, Conduct
Orchestre de chambre Bernard Thomas


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Our musical pilgrimage toward absolute order now reaches a singular peak, traversing the courts and coffee houses of Leipzig. In 1739, Johann Sebastian Bach unveiled a definitive testament to how the 'human breath'—the monophonic flute—could be perfectly integrated into the monumental structure of an orchestra: the Orchestral Suite No. 2 in B minor, BWV 1067.

This work emerged during the zenith of Bach's creative maturity. Musicologists view this piece as a flawless synthesis, where the rigid and sophisticated 'German counterpoint' serves as a skeletal frame dressed in the ornate, fashionable garments of the 'French courtly dances' that enchanted Europe at the time. Bach did not merely arrange trendy dance tunes; he intensely explored how a solo instrument could breathe organically and maintain its freedom within the grand mechanical apparatus of an orchestra.

To breathe life into this historical and intellectual text, we have chosen a performance by Gabriel Fumet, who preserves the elegant tradition of the French flute school. Together with the precise ensemble of the Bernard Thomas Chamber Orchestra, this recording eschews a heavy symphonic approach in favor of perfectly restoring the transparent and nimble chamber-like texture inherent to Baroque music. Over the solid basso continuo forged by Étienne Peclard's cello and Françoise Lengellé's harpsichord, Gabriel Fumet's flute sings like a bird gliding freely between steadfast marble columns.

The opening 'Ouverture' is more than a mere beginning; it is a ceremonial and majestic proclamation announcing the arrival of a sovereign. Bernard Thomas does not treat this massive structure as a heavy accompaniment machine but tunes it as a vibrant, living organism. Once the grand and sharp dotted rhythms, characteristic of the French style, are resolutely performed by the orchestra, the atmosphere shifts abruptly into a light Fugue section. It is here that the flute, previously blended into the ensemble, finally finds its voice and takes its first flight.

Amidst this intricate orchestral mechanism, Gabriel Fumet's flute emerges with the rounded, supple 'human breath' unique to the French school. It is a warm, clear tone that feels like the texture of wood, distinctly different from the sharp, metallic sounds of modern instruments. In the 'Rondeau' and 'Sarabande', we witness a wondrous acoustic consideration: how the orchestra vacates space for the soloist's voice.

The Sarabande, in particular, is the most intimate and reflective moment of this suite. Originally a sensual and fast dance of Spanish origin, the Sarabande was sublimated by Bach into a solemn and noble procession. Fumet's breath does not struggle against the weight of the orchestra. Instead, it dances among the strictly erected pillars of harmony, enjoying complete freedom within those rules. This is the core of our exploration: that the 'human breath' becomes sublime when it perfectly understands its place within the order.

The suite continues into the 'Polonaise' and its variation, the 'Double'. Here, the flute's role transitions from a lyrical singer to a rhythmic dance partner. While the cello and harpsichord maintain an unwavering, folk-like, and heavy bass line, the flute weaves a tapestry of complex and brilliant ornaments above it. Gabriel Fumet unravels this difficult virtuosity with a fluid and brisk grace, sounding like clear water winding over solid rock.

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