For those not in the know, good things always come in threes! I mean, there was once the Concerto in Italian style, BWV 971, reconfigured according to the by then modern disposition advocated in Italy at the beginning of the 18th century (anthology Concerti italiani, 2004, OP30301).

More recently, the Goldberg Variations, reimagined for a small string ensemble, crowned a fabulous apotheosis in the land of the variation (Variations on Variations, OP30575).

And here are now three completely original orchestral suites by Bach, a new fool’s game organized by a tongue in the cheek Rinaldo Alessandrini, once again surrounded by his dear friends from the Concerto Italiano.

1 - 8 ouverture à la française, BWV 831 (Clavier-Übung II, 1735)

9 - 13 partita pour traverso, cordes et basse continue en ré majeur

14 - 21 ouverture pour cordes et basse continue en sol majeur

This beautifully traversed, and wholly impassioned new recording opens on the sheer elegance of ouverture à la française, BWV 831, and in particular the graceful Ouverture, the slightly more strident fare of Courante and the flourishing Gavotte I - Gavotte II, and then we get the structured Passepied I - Passepied II, the sweeping Sarabande, the playful Bourrée I - Bourrée II, rounding out on the perky Gigue and the astute Echo.

Along next is the magnificently cultured partita pour traverso, cordes et basse continue en ré majeur, which begins on the ornate Adagio and the dainty Aria I, before bringing us the royal Minuetto I - Minuetto II, the resoundingly sprightly Aria II, coming to a close on the upbeat Giga.

The final piece of this musical trilogy being the enthralling ouverture pour cordes et basse continue en sol majeur, which opens on the structured magnificence of Ouverture, the refined Entrée and the airy Aria I, and then we get the spirited Bourrée, the elegant Minuet, the resplendent Aria II, the work, and the collection, closing on the demure Gavotte and the free flowing beauty of Gigue.

Rinaldo Alessandrini @ Instagram