Orchestral Suite No.3 in D major, BWV 1068

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Johann Sebastian Bach’s Orchestral Suite No. 3 in D major, BWV 1068 is a remarkable example of Baroque grandeur and refinement, with an even more remarkable composition history: J.S. Bach wrote the first violin and continuo parts around 1730 (in his Leipzig time); his son C.P.E. Bach wrote out the trumpet, oboe and timpani parts, and Johann Ludwig Krebs (JSB's student) wrote out the second violin and viola parts.

The suite radiates a festive and celebratory spirit, enhanced by its rich orchestration. With the inclusion of trumpets, oboes, and timpani alongside the strings, C.P.E. Bach created a composition that feels grand and ceremonial. From the stately opening to the lively dance movements, the music flows with both grace and energy. Yet it’s not just the instrumentation that makes this suite special; it’s the balance between its joyful character and the depth of expression found in every note.

One part in particular has gained legendary status: the second movement is the famous Aria, a serene and flowing melody that has become one of the most recognizable works in classical music. This melody has echoed through concert halls and even popular culture, cementing its place in the hearts of listeners worldwide.

The Orchestral Suite No. 3 remains a shining example of Bach's mastery. It is both a festive celebration and a testament to his ability to elevate even the simplest dance forms into profound musical experiences. Through its intricate yet accessible design, the suite continues to captivate audiences, making it one of Bach’s most enduring works.
In Synchestra's edition of this work, musicians will be able to choose whether they want to play with the original "strings-only" version of J.S. Bach, or with the "enhanced" version by his son Carl Philipp Emanuel.

Anecdote

An interesting anecdote about Bach's Orchestral Suite No. 3 revolves around the famous "Aria." In the late 19th century, violinist August Wilhelmj arranged it for solo violin and strings, creating the version known as "Air on the G String," ( Air auf der G-Saite) where the entire melody is played on the lowest string of the violin. This arrangement gave the piece an even more intimate and lyrical feel.