But like the other suites preserved by Bach for keyboard, the English suites are for the most part a synthesis of elements of German, Italian and French style. To some extent, they are more French than the so-called “French” suites. All six start with a great kick-off, following the example of the French suites aloud. The kick-off is followed by the classic series of stylized dances: German, current, sarabande and jig, with a free choice of gavotte, stuffed, passpied or menuet between these last two stage dances. Some listeners may feel that English Suites are under-characterized, but she never needs to shout to tell her point of view. Their libretto notes are as clear and engaging as their playing, and on the two hybrid CDs/SACDs I listened to, the recorded sound corresponds to the musical qualities of the show; crystal clear and pleasant resonant. All this, nothing of the place, no extremes … And no, it`s not boring, it`s beautiful. Angela Hewitt`s bach is also on time: only one volume arrives in 2004, ten years after the series began.

I wait in line: It was a fascinating journey these bach suites are about as English… Angela Hewitt, following in the footsteps of Canadian pianist Glenn Gould, as a revered performer of Bach`s keyboard music, when she looks absolutely like nothing. The English suites seem to have the name because Bach had foreseen them as “a rank Englishman” as early biographers. The first sequel is positively French, while the others are rather Italian… If you`ve ever trembled in Gould`s Creek in front of the extremes of expression, interpretation, tempi and sounds, Hewitt should be a deep pleasure. ⇒ 7 more: 2. German – 3. Current – 4. Sarabande – 5. The amenities of the same Sarabande – 6.

Bubble I Alternative – 7. Drunk II – 8. Jig This is not to say that there is no ejector, energetic game – there are many things, but while the tempi fleets are allowed, there is no rush, the hewitt gives time to make each voice speak and deliver its ornament irreproachably. Her early training in classical ballet also seems to have paid off: she never forgets the origins of Bach`s movements in dance numbers, and they walk easily and elegantly, without swirls or vulgar positions. The two famous Gavottes of the Third Suite are a perfect example, posed and clearly vocal, with the brio detached from the first gavotte, in total contrast to the legato of the fingers of the second, so that there is no need to change the rhythm. This work is under Creative Commons license. If you use this note on your site, please log on to this page. “English” Suites, BWV 806-811The six “English” suites were probably between 1710 and 1720, and certainly in front of the “French” suites and partitas.