Bach, J S: English Suite No. 2 in A minor, BWV807

This well-known set of Suite is rarely gone about by most harpsichordist because of it’s distinctive virtuosity. Its popular title refers to only one manuscript – the one of Johann Christian Bach, who noted “fait pour les Anglois” on it. After all it’s maybe a homage or musical reply on the 1713 publication of Francois Couperin’s Premier Livre de Pieces de Clavecin.

Pascal Dubreuil, after his acclaimed recordings of the first and second parts of the Clavierubung (RAM0804 & 1001) offers us with his interpretation of these Suites an impressive reading of higheszt artistry.

Whatever the elusive truth may be regarding the ‘Englishness' of these 'Six Suittes avec leurs Preludes', there is no denying the imagination of the keyboard writing. Each Suite is headed by a Prelude of substantial proportions, followed by wonderfully varied dance movements, all perfectly suited to showcase the joyful brilliance of Richard Egarr's harpsichord skill.

"as a player I find personally the most pleasure in the earlier keyboard collections. The Toccatas, Well-Tempered Clavier’s Book 1, Brandenburg 5 and the so-called ‘English’ Suites seem to delight in purely physical keyboard pleasure and imagination that is often absent from the later works...This is a true cycle of pieces – one of Bach’s first and certainly one of his best. The care with which Bach has planned their path, and the skill in creating a musical journey to a most fearful place is astonishing. The way to redemption and salvation after this journey is perhaps shown by the key sequence of the Suites: A – a – g – F – e – d. These six notes clearly describe the Chorale tune “Jesu, meine Freude”. I recorded the Suites in order. I certainly felt that it helped me make the musical path clearer. My trusty Katzman harpsichord was a glorious partner, its quill plectra wonderfully flexible and responsive in giving life and colour to this most imaginative music." Richard Egarr

CD+DVD

DVD-ROM: Abode Acrobat Reader 9.0

Booklet 32 pages in English, French and German

This special multi-media project in a limited edition illustrates the encounter between an artist and an exceptional venue. This museum-quality publication, featuring Paradizo’s elegant packaging and presentation, includes recordings and documents witnessing one of the most important projects of the entire harpsichord revival and Early Music movement. Wanda Landowska’s performances and ideals at her Temple de la Musique Ancienne in Saint-Leu-la-Forêt, near Paris. This project commemorates Wanda Landowska’s vital impact on music making between the years 1927 and 1940. Wanda Landowska (1879 - USA 1959) recorded major Bach harpsichord works in 1935/36 in the legendary acoustics of her newly-built concert hall in Saint-Leu-la-Forêt, designed by Landowska and noted French architect Jean-Charles Moreux. These recordings are considered to be among the most remarkable Bach interpretations of the 20th -century. Remastered in 2010 with state-of-the-art transfers, they are accompanied by a DVD-ROM, containing over 150 images: photos, architect’s plans and letters on the Hall & Gardens from 1927-1940, with a commentary on each by Skip Sempe. It also includes unpublished documents from the archives of the architect Moreux. The DVD-ROM employs the latest version of Adobe Acrobat Reader.

Skip Sempe completes this project with an essay on the conception, design, architecture and history of the Temple de la Musique Ancienne and evoques the incredible musical emulation generated by this place and the major artist who was Wanda Landowska.

Paradizo is especially pleased to release this special project, which will help to increase awareness concerning plans for the restoration of the Temple de la Musique Ancienne and the revival of its activities. Hailed as "beautiful in conception and execution" since the first releases in 2006, Paradizo has scored the highest points throughout the major international music press - Gramophone, Diapason, Monde de la Musique, New York Times. Paradizo forged an immediate reputation which has ensured continued success through rave reviews, prestigious prizes and attractive sales figures. The Paradizo label was created by Skip Sempé after 15 years of recording for three major labels, many of which were distinguished with international awards. Paradizo features the new recordings of Skip Sempé as solo harpsichordist, chamber musician and director of the ensembles which he founded: Capriccio Stravagante, the Capriccio Stravagante Orchestra, the Capriccio Stravagante Renaissance Orchestra and the newly created Capriccio Stravagante – Les 24 Violons. Each title in the Paradizo catalogue is an indispensable reference for authoritative, bold music making, celebrating Skip Sempe and Capriccio Stravagante's renewed vision of creative interpretation of Renaissance and Baroque music.

Paradizo: Exuberant music making. Essential listening.

“He left an ocean of music” Martha Argerich

First release ever of a swinging virtuosic Bach album by cult pianist Friedrich Gulda. These are live and studio recordings from 1955 to 1969, in both mono and stereo. Two big works (English Suites nos. 2 and 3) form the frame of magically energetic and moving recital. Gulda briefly introduces some of the works himself. Also included are private recordings (from Uppsala and Trieste), made by Gulda himself while on tour, now in the Gulda archive

With Gulda’s own jazz take on Bach - his wonderfully exuberant Prelude and Fugue - as bonus! Remastering supervised by Gulda's son Paul, who also wrote the liner notes.

With the English Suites (the 'English' is not Bach's and there is nothing particularly English about them) Angela Hewitt all but completes her survey of Bach's keyboard works (there will be one further CD mopping up various odds and ends). These six suites, along with the French Suites and the six Partitas, present Bach's mature thoughts on the standard baroque suite of dances and as such are the greatest examples of the form. Unlike the smaller scale French Suites the English all begin with a large-scale prelude, often rather concerto-like and very virtuosic; these are works for a very accomplished professional player rather than the amateur that much keyboard music of the 18th century would have been aimed at. Angela Hewitt rises to all the challenges in her usual superb style and needless to say these performances will meet with the acclaim of her previous Bach recordings.

Ketil Haugsand's recordings for Simax of music by, amongst others, of works by J. S. Bach (PSC1086) and Forqueray (PSC1317) have consolidated his position as one of the leading harpsichord players of recent years. On this 2CD set he performs Bach’s 6 English Suites on a double manual instrument made by Martin Skowroneck in Bremen in 1985.

The English Suites, BWV 806-811, are a set of six suites written by Johann Sebastian Bach for harpsichord and generally thought to be the earliest of his 19 suites for keyboard, the others being the six French Suites, BWV 812-817, the 6 Partitas, BWV 825-830 and the Overture in the French style, BWV 831. Originally, their date of composition was thought to have been between 1718 and 1720, but more recent research suggests that the composition was likely earlier, around 1715, while the composer was living in Weimar. As introductory préludes, Bach incorporated a set of five concerto movements which he composed in the wake of his revelatory discovery in 1713 of the concertos of Vivaldi, Marcello and other Italian composers. To these he added a sequence of French dances, often combining elements of the two contrasting national styles within a single movement. Ketil Haugsand is a Norwegian harpsichordist and conductor. In 1975 he was awarded the Prix d'Excellence at the Amsterdam conservatory, where he studied under Gustav Leonhardt.