No. 1. Suite in C (for two oboes, and bassoon, with strings)

No. 2. Suite in B minor (for flute with strings)

No. 3. Suite in D (for two oboes, three trumpets, and drums, with strings)

No. 4. Suite in D (for three oboes, bassoon, three trumpets, and drums, with strings)

The term “suite” was not given by Bach to the four compositions that now are so named—the suites in C major, B minor, and two in D major. He used the word “ouverture.” The original parts of these overtures were handed over in 1854 by the Singakademie of Berlin to the Royal (now Stadt) Library of that city.

Bach probably composed the four suites during his stay at CÖthen (1717-23), as Kapellmeister to Prince Leopold of Anhalt-CÖthen. The prince was then nearly twenty-four years old, an amiable, well-educated young man, who had traveled and was fond of books and pictures. He played the violin, the viol da gamba, and the harpsichord. Furthermore, he had an agreeable bass voice and was more than an ordinary singer. Bach said of him, “He loved music, he was well acquainted with it, he understood it.” The music at the Court was chiefly chamber music, and here Bach passed happy years.

Under the reign of Leopold’s puritanical father there was no Court orchestra, but in 1707 Gisela, Leopold’s wife, set up to please her husband an establishment of three musicians. When Leopold returned from his grand tour he expanded the orchestra. In 1714 he appointed Augustinus Reinhard Stricker Kapellmeister, and Stricker’s wife Catherine soprano and lutanist. In 1716 the orchestra numbered eighteen players who, “with some omissions and additions,” constituted its membership under Bach. Stricker and his wife retired in August, 1717. Leopold offered the post of Kapellmeister to Bach, “who was known to him since his sister’s wedding at Nienburg in the previous year.” This orchestra, reinforced by visiting players, probably played the Brandenburg music before it was performed elsewhere.