Juan Sebastián Bach Suites inglesas Vídeos
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The F Major tonality of the Fourth Suite – the midpoint of the tonally ordered sequence of Suites II-VI – creates an atmosphere of sunny and less earnest repose after the minor-key tonalities of the Second and Third Suites. The prelude (marked vitement in several early sources – rather more an indication of mood than tempo) is the third movement of the English Suites with a thematic connection to Dieupart’s set, here the overture to Suite III in B Minor. The »solo« episodes of Bach’s prelude employ figuration similar to that found in the Brandenburg Concerto No. 5 in D Major, BWV 1050, whose original version, BWV 1050a, might date from this time. The allemande displays its common-time running demisemiquavers (32nd notes) against a semi quaver (16th note) triplet- based melodic figure – a fashionable device that recurs in the allemande from the Fourth Partita (BWV 829/ii). After a French-style courante (the norm for the English Suites) comes the unadorned sarabande, whose repeats are supplied with improvised embellishment. The paired minuets, performed alternativement (the second in the relative minor, D), are followed by a brilliant giga da caccia – F Major being, of course, the key of the hunting horn. The octave leaps in both treble and bass recall the Aria di postiglione from the Capriccio sopra la lontananza del suo fratello dilettissimo (BWV 992). Suite No. 4 in F Major, BWV 809 (Robert Levin, piano) 1. Prélude 0:00 2. Allemande 4:25 3. Courante 7:15 4. Sarabande 8:46 5. Menuett I 12:26 6. Menuett II 13:35 7. Menuett I repetatur 14:47 8. Gigue 15:58 Suite No. 4 in F Major, BWV 809 (Alan Curtis, harpsichord) 1. Prélude 19:09 2. Allemande 24:44 3. Courante 28:40 4. Sarabande 30:39 5. Menuett I 33:36 6. Menuett II 34:59 7. Menuett I repetatur 36:25 8. Gigue 37:10
Johann Sebastian Bach Hubbard Blanchet Taskin Hass Vivaldi Peters Kellner Cpe Bach Kittel Rust 1685 1720 1727 1734 1750 1990
Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations as well as for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time. Please support my channel: (http•••) Uploaded with special permission by performer Peter Watchorn (http•••) Pastorale in F major, BWV 590 (1720 or later?) 1. Alla Siciliana (0:00) 2. Allemande (2:20) 3. Aria (5:52) 4. Alla Gigue (9:11) PETER WATCHORN, pedal harpsichord (Hubbard & Broekman after Ruckers/Blanchet/Taskin, 1990/after J.A. Hass, 1734) Details by Peter Watchorn: This beautiful work consists of four movements, only the first of which requires obbligato pedals. Given the nature of the plucked string, and the resultant decay of the sound, I have opted to arrange the second movement, a kind of pastoral lullaby, to include the pedal also, as the long bass strings help to sustain the “drone” effect that the “pastoral” title implies. The origins of this work are mysterious, as are the circumstances surrounding the form in which it has been transmitted to us. It appears to be half-way between a sonata and a suite and contains characteristics of both. After the opening movement, which concludes in A minor, the “lullaby” proceeds with the general rhythmic atmosphere of an allemande, minus the initial upbeat that defines the dance. The expressive third movement resembles the slow movement of an Italian concerto (akin to Bach’s arrangements of works by Marcello or Vivaldi, perhaps providing a clue as to the date of BWV 590), while the finale is a genuine dance movement, a gigue of the type that Bach composed for the English Suites (as well as the third Brandenburg Concerto), in which the theme is inverted in the second half. Though it is often played on the organ due to the pedal part in the opening movement, the work is perhaps more idiomatic to the harpsichord, the pedal harpsichord providing the best of both worlds. Notes on IMSLP: First movement incomplete Possibly first published in the Peters Organ works series? Peter Williams (The Organ Music of J. S. Bach, from p.196) gives for sources, as the autograph does not survive. "complete in P 287 (J P Kellner, after 1727?); also, via CPE Bach (P290, P277?, Am.B59?), and [a] lost MS used in Peters I; first movement only [survives] in copies via Kittel(?)" (note: the Darmstadt digitized collection, of works by JS and CPE Bach, is possibly one of the above- P290, P277 or Am.B59?). (Not the only work in regards to which Williams mentions the possibility that Griepenkerl may have used a source in preparing his edition that is now lost. This is also possible in regards several of Rust's editions for the BGA but with Rust as editor other issues arise.)
Edith Picht Axenfeld Bach Parry Henry Purcell Charles Dieupart Schweitzer Reeves Fairchild Dam 1951
Edith Picht-Axenfeld (harpsichord) The English Suites No. 1 in A Major (BWV 806) and No. 2 in a minor (BWV 807) J.S. Bach Released 1951 on the Mercury Classics label MG10091, mono recording BACH'S SIX English Suites constitute his largest keyboard works in suite form. "They certainly represent his highest pitch of mastery," writes Parry. "The immense scope of all the preludes ... and the wide range of resource which they display, the weight, variety, and unvarying high level of material of the allemandes and courantes, the supreme dignity, pathos, and warmth of color and expression of the sarabandes, the sparkling vivacity of the bourrees and the gavottes, and the superb texture of the gigues combine to make this series of suites stand entirely alone as representing the very highest examples of the type in existence. The two last French suites have a special charm and lightness, and admirable consistency of style; but the whole series does not give the impression of uniform high quality, certainty of resource, and nobility of expression which is given by the so-called 'English Suites.' " Where they acquired the name of "English Suites" is not known. Parry conjectures that Bach may have been familiar with the suites of Henry Purcell, which were fine examples of the form. He may also have been conscious of the fact that the English were the first to develop the suite. But the English Suites were never published during Bach's lifetime, and the title was, in all probability, derived from the words, "fait pour les Anglais," written above the Prelude to the Suite No.1 in A Major in the mamiscript copy in the possession of Bach's youngest son, Johann Christian. This inscription led to the belief that the suites were written for an English nobleman, but there is no evidence to support this claim. It so happens, however, that the aforementioned Prelude is based on a gigue in a suite by Charles Dieupart, a contemporary of Bach and a prominent teacher and composer in England. It is most likely, therefore, that the words, "fait pour les Anglais," applied only to this one movement and not to the suites in general. The origin of the title of the French Suites, it might be noted, is equally obscure, the only reason advanced being that they are of a compact and dainty character akin to examples of French art. The English Suites were probably composed, together with most of Bach's other instrumental works, in Cothen, though they may have been completed during his Leipzig period. At any rate, they came after the slighter French Suites, and perhaps some of them even saw the light of day after the six Partitas. Schweitzer declares that in the English Suites, Bach "raises the suite· form to the plane of the highest art, while at the same time he preserves its primitive character as a collection of dance-pieces." It is true that he ad· heres rather closely to the basic structure of the suite, but there are a few exceptions which are worth noting. The Prelude in the Suite No.1 in A Major was founded on a gigue by Dieupart, and is considerably shorter than any of the five other opening movements. In place of the customary single Courante, there are two in this suite, and .the second is augmented by two doubles-the double, as its name implies, being a simple form of variation on the original dance, with embel· lishments usually in double time. Another form of variation is found in the Sarabande in the Suite No.2 in A Minor. Here the Sarabande proper is followed by a more elaborate variation, marked Les Agrements de la meme Sarabande. Agrements are simple musical ornaments. It is the custom to substitute the corresponding section of agrements for a repeat in each section of the Sarabande, thus lend· ing more variety to the music. The Gigue in this suite is of the Italian wiriet'y .. being less contrapuntal in treatment. In addition, after the customary reo peats of each section, the entire Gigue is played through from beginning to end without repetition. NOTES BY PAUL AFFELDER This MERCURY LONG PLAYING recording was made possible through the use of the REEVES·FAIRCHILD MARGIN CONTROL process-a technique whereby it has become possible for Mercury to produce for the record-buying public a disc of truly superior quality, especially with respect to brilliance, clarity, dynamic range and reliable stylus tracking. This record can be played on any 331/3 r.p.m. turntable equipped with micro· groove pick-up, as long as pick.lIp playing stylus is not WORN or DAM· AGED. It is recommended that sapphire or metal styli be checked for reo placement at least every SIX MONTHS. #EdithPichtAxenfeld
Johann Sebastian Bach Helmuth Rilling Johann Christoph Bach Christoph Bach Möller 1703 1707 1713
“Music should never be merely comfortable, never fossilised, never soothing. It should startle people and reach deep down inside them, forcing them to reflect.” Helmuth Rilling The Toccatas for Keyboard, BWV 910–916, are seven pieces for clavier written by Johann Sebastian Bach. Although the pieces were not originally organized into a collection by Bach himself (as were most of his other keyboard works, such as the Well Tempered Clavier and the English Suites etc.), the pieces share many similarities, and are frequently grouped and performed together under a collective title. The toccatas represent Bach's earliest keyboard compositions known under a collective title. The earliest sources of the BWV 910, 911 and 916 toccatas appear in the Andreas-Bach Book, an important collection of keyboard and organ manuscripts of various composers compiled by Bach's oldest brother, Johann Christoph Bach between 1707 and 1713. An early version of the BWV 912 (known as the BWV 912a) also exists in another collection compiled by Johann Christoph Bach known as the "Möller manuscript", from around 1703 to 1707. This indicates that most of these works originated no later than Bach's early Weimar years, though the early northern-German style indicates possible Arnstadt origin.
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