Each of these is followed by a musette, a little bagpipe piece. 1 in A major, BWV 806: II. You can still see many wonderful historical decorative features from the various renovations. 2 in A minor, BWV 807: V. Bourrée I and II, English Suite no. 1 in A major, BWV 806: VII. Gigue, English Suite no. He added a version with extensive ornamentation to it. All six begin with an extensive prelude, following the example of French lute suites. Courante, English Suite no. 6 in D minor, BWV 811: IV. ‘English’ suites, BWV 806-811The six ‘English’ suites were probably composed between 1710 and 1720, and in any case before the ‘French’ suites and the partitas. Allemande, English Suite no. “It is in fact a suite that was composed without pretentions.”, “This recording was made in the Bartolotti House, where harpsichordist Gustav Leonhardt used to live. Clips taken from original discs may contain strong language. 6 in D minor, BWV 811: V. Gavotte I and II, English Suite no. 4 in F major, BWV 809: III. General Introduction . In the English Suites, Bach adds only one pair of dances between the sarabande and the gigue. This work is licensed under a Creative Commons Licence. The English Suites seem to have got the name because Bach intended them for 'an Englishman of rank' as an early biographer put it. Her early training in classical ballet seems to have paid off as well: she never forgets the origins of Bach's movements in dance numbers, and they step lightly and elegantly, with no vulgar whirling or posturing. Pierre Hantaï revives old memories.”. Sarabande, English Suite no. The English Suites, BWV 806–811, are a set of six suites written by the German composer Johann Sebastian Bach for harpsichord (or clavichord) and generally thought to be the earliest of his 19 suites for keyboard, the others being the six French Suites, BWV 812–817, the six Partitas, BWV 825-830 and the Overture in the French style, BWV 831. And the title page of the copy belonging to Bach’s youngest son, Johann Christian, who also lived in London, states ‘fait pour les anglois’. Allemande, English Suite no. 3 in G minor, BWV 808: II. Her booklet notes are as clear and engaging as her playing, and on the pair of hybrid CD/SACDs to which I've been listening, the recorded sound matches the musical qualities on show; crystal clear and pleasantly resonant. This page has been archived and is no longer updated. All six begin with an extensive prelude, following the example of French lute suites. It is one of the most impressive buildings in the old centre of Amsterdam. In Nos. Courante, English Suite no. Courante II, English Suite no. Gigue, English Suite no. Gigue, English Suite no. The Bartolotti HouseWe made this recording at The Bartolotti House, at Herengracht 170 and 172. 1 in A major, BWV 806: I. Prelude; 2 English Suite no. Disc 1. P centuries. 5 in E minor, BWV 810: II. And we can’t complete the task without the financial support of our patrons. 1 in A major, BWV 806: I. Prelude, English Suite no. 3 in G minor, BWV 808: V. Gavotte I and II, English Suite no. They probably date from around 1713 or 1714. 5 in E minor, BWV 810: V. Passepied I and II, English Suite no. It was built around 1620 as a residence, on commission from the wealthy businessman Willem van den Heuvel, who had inherited a lot of money from a childless uncle by marriage, called Giovanni Battista Bartolotti, who came from Bologna. Allemande; 3 English Suite no. Courante, English Suite no. Sarabande, English Suite no. Gigue. 2 in A minor, BWV 807: IV. It remains rather unclear as to why they are called ‘English’. Courante I, English Suite no. Allemande, English Suite no. Leonhardt was one of the pioneers of early music in the Netherlands. The French harpsichordist Bertrand Cuiller has learned to play this ‘English suite’ especially for All of Bach. Please help us to complete the musical heritage of Bach, by supporting us with a donation. 2 in A minor, BWV 807: II. According to Phillip Spitta the English Suites must be regarded as Bach's most deliberate and developed excursions in the suite form. Like the other ‘English’ suites, this one also begins with an extensive prelude. I'll be waiting in line: it's been a consistently fascinating journey, Like This? English Suite no. Gould fans (and I have my moments) shouldn't find this emotionally pallid either; with Hewitt the expressive nuances and dynamic contrasts don't feel as though they're superimposed. J. Matheson says that they give 'the picture of a contented and satisfied mind delighting in order and repose' In these Bach combines elements of the French tradition with the south German suite type which Johann Jacob Froberger had originated. If you choose to use this review on your site please link back to this page. 4 in F major, BWV 809: IV. J.S. 6 in D minor, BWV 811: II. 1 in A major, BWV 806 English Suite for keyboard No. The First Suite is positively French in style, while the others are more Italianate...if you've ever shuddered at the extremes of expression, interpretation, tempi and noises-off in Gould's Bach, then Hewitt should be a profound pleasure. Sarabande, English Suite no. 5 in E minor, BWV 810: III. Sarabande et les agréments de la même Sarabande, English Suite no. That is hardly ever the case with Bach. P. th. 170 was occupied by harpsichordist, organist and conductor Gustav Leonhardt from 1974 to his death in 2012. He keeps to the lower keyboard, preferring to create the contrast through his playing.The character of the Prelude is simple, and in this piece Bach shows us the most cheerful and easygoing side of the key of A minor. That's not to say that there isn't effervescent, energetic playing - there's plenty, but while brisk tempi are allowed, there's no rush, which gives Hewitt time to let every voice speak, and for her ornamentation to be impeccably delivered. 1 in A major, BWV 806: VI. Courante, English Suite no. 4 in F major, BWV 809: VI. 5 in E minor, BWV 810: I. Prelude, English Suite no. 6 in D minor, BWV 811: VI. 4 in F major, BWV 809: II. Bach: The English Suites . There are still many recordings to be made before the whole of Bach’s oeuvre is online. To a certain extent, they are more French than the so-called ‘French’ suites. Orchestral passages alternate with solo interventions, although they are all played on the harpsichord. They are also stylistically linked to the six harpsichord suites by the French composer Charles Dieupart, who lived in London. Allemande, English Suite no. According to Cuiller, the whole suite can be regarded as a homage to A minor. Instead you're drawn into her world, and Bach's, where you're never yelled at or forced to be impressed. 2 in A minor, BWV 807: III. 1 in A major, BWV 806: V. Sarabande, English Suite no. 4 in F major, BWV 809: I. Prelude, English Suite no. Although he had sight-read some of parts of it at home, he had never played the whole work before, let alone in concert. But just like Bach’s other surviving suites for keyboard, the English suites are predominantly a synthesis of German, Italian and French style elements. Find out more about our use of this data, and also our policy on profanity. The two parts of the Bartolotti House came into the possession of Vereniging Hendrick de Keyser, which now has its office there. 2 in A minor, BWV 807: I. Prelude, English Suite no. Some listeners may feel that Hewitt's English Suites are under-characterised, but she never needs to shout to make her point. 3 in G minor, BWV 808 English Suite for keyboard No. 3 in G minor, BWV 808: I. Prelude, English Suite no. 3 in G minor, BWV 808: III. However, its harmonic simplicity does not mean it can just be dashed off. Cuiller calls it a real hit, written in the light and accessible style of an Italian concerto.

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