David Ezra Okonsar | J.S. Bach: The Complete English Suiten 4,5,6, Vol. 2

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J.S. Bach: The Complete English Suiten 4,5,6, Vol. 2

by David Ezra Okonsar

The Complete English Suites (BWV 806-811) by Johann Sebastian Bach Volume 2, Suites 4 to 6 (BWV 809-810-811)
Genre: Classical: Bach
Release Date: 

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  Song Share Time Download
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1. English Suite No. 4 in F Major, BWV 809: I. Prelude
5:06 $0.99
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2. English Suite No. 4 in F Major, BWV 809: II. Allemande
3:58 $0.99
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3. English Suite No. 4 in F Major, BWV 809: III. Courante
1:53 $0.99
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4. English Suite No. 4 in F Major, BWV 809: IV. Sarabande
4:19 $0.99
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5. English Suite No. 4 in F Major, BWV 809: V. Menuet I-II
4:18 $0.99
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6. English Suite No. 4 in F Major, BWV 809: VI. Gigue
3:49 $0.99
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7. English Suite No. 5 in E Minor, BWV 810: I. Prelude
5:13 $0.99
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8. English Suite No. 5 in E Minor, BWV 810: II. Allemande
2:12 $0.99
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9. English Suite No. 5 in E Minor, BWV 810: III. Courante
2:35 $0.99
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10. English Suite No. 5 in E Minor, BWV 810: IV. Sarabande
4:30 $0.99
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11. English Suite No. 5 in E Minor, BWV 810: V. Passepied I-II
3:55 $0.99
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12. English Suite No. 5 in E Minor, BWV 810: VI. Gigue
2:59 $0.99
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13. English Suite No. 6 in D Minor, BWV 811: I. Prelude
8:26 $0.99
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14. English Suite No. 6 in D Minor, BWV 811: II. Allemande
4:07 $0.99
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15. English Suite No. 6 in D Minor, BWV 811: III. Courante
2:45 $0.99
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16. English Suite No. 6 in D Minor, BWV 811: IV. Sarabande-Double
8:18 $0.99
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17. English Suite No. 6 in D Minor, BWV 811: V. Gavotte I-II
4:54 $0.99
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18. English Suite No. 6 in D Minor, BWV 811: VI. Gigue
3:38 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
English Suite N.IV in F Major, BWV 809

Rarely, J. S. Bach wrote a tempo instruction in his keyboard works. Here he did: "vitement" (in French: rapidly). Again a large and elaborated Prelude begins this suite and again, in the styles of the Italian Concerto and the fifth Brandenburg Concerto which are to come later.

A simple but energetic main theme is exposed with a distance of one bar and one octave by the right and left hands. Its main features, the ascending scale and the dotted rhythms, will become the essential elements of the movement.

The expressive Allemande is also very choreographic. It presents a large variety of rhythms. The gentle swinging effect of the triplets accentuates the dancing feeling of the piece.

As with all his English Suites, here too, Bach uses the French style Courante, typical with its rhythmical complexity and counterpoint. Each part starts in imitation, in octave in the first section of the piece and at the fifth in the second.

The Sarabande is harmonic in its concept, simultaneously solemn and simple. A simple melodic figure which functions as a theme appears every four bar, above sustained and modulating chords.

Two Menuets are between the Sarabande and the final Gigue. They are to be played as A-B-A.

The fast Gigue is a virtuoso piece. Its main theme, as an ascending arpeggio, jumps from voice to voice and is always present throughout the piece. The second part made with the inverted arpeggio theme, joins the original ascending one in an exuberant ending.

English Suite N.V in E Minor, BWV 810

The Prelude of the fifth Suite is a monument in its elaboration and sheer duration. Evoking an organ-style écriture, it looks like a grand fugue. Two and three voice divertimento parts are full of creativity and the beautiful sections elaborated on pedal tone are to be noted.

The imitation style Allemande with its moderate tempo and alluring development part in the second section is an intense piece.

Even though the rhythmical complexity of this, again in French style, Courante seems less than the other ones in the series, it shines nevertheless with its harmonic elaboration.

The seemingly naive theme of the Sarabande is so deeply and complexly set that it turns the piece into the expressive gravity center of the Suite.

Couperin-like French Passepied's: N.1 "en Rondeau" then N.2 and again N.1 "da capo", make the bridge from the Sarabande to the final Gigue. They are swift and light as well as brilliant movements.

The three-voice Gigue ends the Suite in a brilliant and virtuoso way.

English Suite N.VI in D Minor, BWV 811

The last English Suite begins with a large Prelude again. This time Bach makes the connexion between the French style overture like prelude which has a more improvised aspect and German type ones that are usually more structured.

It starts with an improvisatory feel of thirty-six bars "a la française" with full of fantasy and harmonic audacity. A cadenza bar indicated "adagio" connects this with the "allegro" indicated main part of the piece. This section is based on a fugue-like theme elaborated with great freedom using inversions and imitations. This is the lengthiest Prelude of all English Suites.

The Allemande is rhythmically animated even though in the traditional moderate tempo. It is a melodically very rich piece.

The Courante, in with two voices, is less complex than the other ones in the series but very charming.

The naivete of the Courante makes a delicious transition for the amazing Sarabande. Unusually notated in 3/2 the piece employs large note values and makes its first presentation as the harmonic background upon which the elaborations and ornamentations will take place. This is done with the "Double" (the main piece's variations). All apparent or hidden elements in the first exposition: passing notes; embellishments; appoggiaturas; held (delay) notes; anticipations and pedal tones are fully expanded in the "Double".

This Suite proceeds with Gavottes 1. 2. and back to 1. ("da capo") to the Final Gigue: a superb piece, extremely virtuose in three voices.

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