A suite in music consists of several movements based on dances that were common, mainly in the courts and the nobility of the late 16. Like most of his colleagues, Cuiller is happy to use the ornamented version for the repeats, as he does not dare to add his own ornamentation to Bach.The two-part Gigue at the end is also very Italian in character. In Nos. Courante, English Suite no. 6 in D minor, BWV 811: IV. Courante II, English Suite no. Cuiller calls it a real hit, written in the light and accessible style of an Italian concerto. It remains rather unclear as to why they are called ‘English’. 4 in F major, BWV 809: I. Prelude, English Suite no. The French harpsichordist Bertrand Cuiller has learned to play this ‘English suite’ especially for All of Bach. It is one of the most impressive buildings in the old centre of Amsterdam. 2 in A minor, BWV 807 English Suite for keyboard No. Read about our approach to external linking. Gigue, English Suite no. 3 in G minor, BWV 808: VI. But just like Bach’s other surviving suites for keyboard, the English suites are predominantly a synthesis of German, Italian and French style elements. 1 in A major, BWV 806: VII. Although he had sight-read some of parts of it at home, he had never played the whole work before, let alone in concert. Gigue. 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. 1 in A major, BWV 806: III. 5 in E minor, BWV 810: IV. Tracklistings come from MusicBrainz. 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. Try These: All six begin with an extensive prelude, following the example of French lute suites. The Dutch Renaissance-style design was probably done by the Amsterdam city architect Hendrick de Keyser. The two famous Gavottes from the Third Suite are a perfect example, poised and clearly voiced, with the detached brilliance of the first Gavotte in complete contrast to the finger-legato of the second, so there's no need to change the tempo. Find out more about our use of this data. Instead you're drawn into her world, and Bach's, where you're never yelled at or forced to be impressed. In the English Suites, Bach adds only one pair of dances between the sarabande and the gigue. Like the other ‘English’ suites, this one also begins with an extensive prelude. J.S. 4 in F major, BWV 809: II. English Suites (6), for keyboard, BWV 806-811 English Suite for keyboard No. This page has been archived and is no longer updated. This work is licensed under a Creative Commons Licence. Some harpsichordists choose to differentiate the timbre of these passages by playing them on different keyboards, but Bertrand Cuiller thinks that is too easy. 1 in A major, BWV 806: II. However, its harmonic simplicity does not mean it can just be dashed off. Sarabande, English Suite no. All six begin with an extensive prelude, following the example of French lute suites. 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. 3 in G minor, BWV 808: IV. 6 in D minor, BWV 811: I. Prelude, English Suite no. Bach: The English Suites . Pierre Hantaï revives old memories.”. Allemande, English Suite no. ‘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. Gigue, English Suite no. 5 in E minor, BWV 810: I. Prelude, English Suite no. P. th. 1 in A major, BWV 806: V. Sarabande, 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.

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