The music so cuts loose, you can easily forget that you're dancing within such a defined space. Revered for their intellectual depth and technical and artistic beauty, Bach's works include the Brandenburg concertos; the Goldberg Variations; the English Suites, French Suites, Partitas, and Well-Tempered Clavier; the Mass in B Minor; the St. Compared to the French Suites, the six English Suites contain more complex music. Forkel Composer Time Period Comp. In the English Suites especially, Bach's affinity with French lute music is demonstrated by his inclusion of a for each suite, departing from an earlier tradition of German derivations of French suite those of and are examples , which saw a relatively strict progression of the dance movements , , and and which did not typically feature a Prelude. The difficulty rating system that Piano Street uses enables me to search by difficulty level for pieces at my students' various playing levels.
Only on the 8th note of the passage does Bach change the low pedal to a G, clarifying the arrival of G Major. The mass sounds like strings; the solo like a harpsichord. The gigue evokes the hunt, with blood-racing horn calls and view-halloos. Hewitt's in her element, however. This courante is characterized by continuous eighth note motion throughout, every so often interrupted by connective sixteenth note figures.
He manipulates those scale figures, fragmenting them and rearranging them, maintaining our interest at all times. Bach flaunted his disregard for the rules and wrote a pair of consecutive octaves going into bar 11 that must have shocked his students! With 37 individual movements to consider, I doubt I ever will. In the first, Bach injects more counterpoint than in the previous gallantries. The sarabande, the longest in the set, also digs the deepest emotionally. As we hear in so many sarabandes including five of the six in these suites , the rhythmic structure is such that we frequently experience a clear emphasis on beat 2 of the measure the meter is ¾, as expected. In contrast, the 2nd Bourrée, in c minor, is somewhat hushed, sad and troubled in character. Nevertheless, it's not a slow dance.
Rhythmically, this bourrée is very similar to the 1st eighth and quarter note juxtaposition, for example , but articulations are smoothed out, and the sections feel like beautifully continuous long phrases. She takes it faster than most, but rather than looking shallow in comparison, she makes other pianists come off as a bit pretentious. This suite also departs from the scheme of the other five, in that the Prelude is short and based on a theme from a suite by Dieupart. The sarabande may be my favorite of its type in the set, perhaps due to its minor key. Of particular note and creating great excitement is the passage, occurring once in each half of the movement, of sixteenth notes in which a melodic line on one string alternates with repeated soundings of the adjacent open string. I particularly enjoyed her transition to the recap. I'd certainly call this set the best I've heard, but I don't know the versions by van Asperen or Levin, both of which look intriguing.
Sarabande et les agréments de la même 18. The following pair of gavotte and musette derived from the drones of country music; a pedal note sounds throughout, in this case, G provides a light break before the fugal gigue finale. The two bourées — the first quick and full of intrigue, the second joyous and rustic and in the bright key of A major — lead to the final gigue, which has always struck me as a triple-time rewrite of the prelude, especially in its fanfare main idea and its syncopated subthemes. The 3rd note which is also a major 3rd is D-F , leading us out of C major and heading toward the dominant, G Major. If you have a PayPal account, the safest way to pay online, just enter your email adress and password and follow the easy steps to complete the payment. The piece begins commonly with a short note, a semiquaver before the first bar and it is followed by an arpeggiation of the tonic chord in the left hand.
Two gavottes follow, the second a major-mode version of the first. The Gigue is in fact a three-part fugue of great difficulty which needs clarity, precision, and a sense of line to be effective. My first recording came from the Cleveland Public Library and the French pianist Reine Gianoli, a pupil of Cortot. This material then gets back on track with a passage of alternating scale and arpeggio figures, through which exceptional intensity and harmonic energy gradually build through sequential writing. It's a crazy ride that seems to braid its two main lines together. These English suites were composed between 1715 and 1720 and first published in Leipzig between 1805 and 1813. He also assimilates some Italian influences.
This 2nd bourrée is a direct minor key complement to the 1st, balancing the movement perfectly. From here Bach takes us on a flowing, driving, directional, and sometimes breathless journey of continuous 16th note figures, passing through multiple key areas, utilizing pedal tones, and bringing us to a remarkable climax of chords, rests, and harmonic triumph. I got the simpler movements but passages in the prelude and in the gigue eluded me. Johann Sebastian Bach 31 March 1685 — 28 July 1750 was a German composer and organist whose sacred and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity. They may not be elsewhere. Period Piece Style Instrumentation keyboard Authorities Primary Sources External Links. She retains superb control over phrase shape, touch, balance, and dynamics.
The bouncy, lively, and positive feel of the movement work together to give it an unmistakable dance vibe. The prelude strikes me as Bach in one of his Italian-concerto virtuoso moods, although, in contrast to the third suite, the textures are not particularly concerto-like. Taken up by the right hand, it is then swapped back and forth between the hands. . The bourées fly by, the first blithely, the second like an angry wasp. The sarabande is also, appropriately light, although it too has elements of inversion between its first and second parts.