Bach's English Suites, BWV 806-811, were not known by that name during his lifetime; the name comes from a notation by one of his sons on a manuscript copy of the works. It's not clear what was supposed to be English about them; they are, in fact, French suites or suites of the French court dances that spread across Europe in the late 17th century. They're a bit more French than Bach's own French Suites, BWV 812-817; each one has a prelude, a form characteristic of French lute music, whereas the French Suites consist of ...
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Bach's English Suites, BWV 806-811, were not known by that name during his lifetime; the name comes from a notation by one of his sons on a manuscript copy of the works. It's not clear what was supposed to be English about them; they are, in fact, French suites or suites of the French court dances that spread across Europe in the late 17th century. They're a bit more French than Bach's own French Suites, BWV 812-817; each one has a prelude, a form characteristic of French lute music, whereas the French Suites consist of only dances. Some performers emphasize the dance rhythms while others adopt what might be called heroic Bach mode, with its emotive readings of the slow sarabandes. Harpsichordist Sophie Yates' readings avoid both these tendencies, cultivating clean, direct lines. This has the advantage of emphasizing the final gigues, which are mostly dense and brilliant contrapuntal edifices; listen to the very last one from the sixth suite for a good taste of Yates' precise touch. She avoids a big,...
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