Thanks, Mandryka. I didn't know Jorg Demus had recorded the English suites. I used to have an old Columbia LP of him and Paul Badura-Skoda doing two of the two-harpsichord concertos, the slow movement of the C major concerto being especially memorable.
BaL 28.9.24 - JS Bach: English suites (BVW 806–811) [piano]
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The only problem with the 1984 Leonhardt set is that he omits the repeats...that may bother some more than others.
I'd forgotten that Kenneth Gilbert recorded them for Harmonia Mundi, but they have long been out of the catalogue. He's usually my go-to for Bach on the harpsichord.
Christophe Rousset has also recorded them, but I've not had the chance to hear his set.
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Originally posted by MickyD View PostCan we expect a second programme with harpsichord versions? I bet we can't. Anyone else up for contributing to such a thread?
(I'd considered a parallel alternative thread here but opted for the Summer sub-forum instead!)
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Originally posted by richardfinegold View PostI prefer the coloristic and dynamic opportunities that a Piano offers vs a Harpsichord. I don’t care what instrument JSB originally composed them for ; I live in 2024, not 1724. I haveLeonhardt on my shelves for when I’m in the mood for the skeletons copulating on a tin roof
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Originally posted by CallMePaul View PostI have tried to like Bach on the piano (an instrument he was ambiguous about) but feel it much better suited to the harpsichord………
May I repeat the oft-quoted statement (who said it I don't know) that Bach would have written differently if writing for the piano?
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Originally posted by AuntDaisy View Post
I quickly put Wanda Landowska's 1936 Suite no 2 on to help me recover! Gould
Thanks vinteuil, that's a very useful Pinnock list.
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Originally posted by Eine Alpensinfonie View Post
Whilst agreeing that primary consideration should be given to the instrument that Bach composed for, the question of whether Bach would’ve written differently, had he written it for the piano, is unlikely to be the case. He wrote in the same way, whether it was for keyboards, orchestras or voices. Surely a different kind of keyboard would have had similar treatment.
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Originally posted by Eine Alpensinfonie View Post
He wrote in the same way, whether it was for keyboards, orchestras or voices.
The question is not whether the music can be transposed. The question is more whether some significant things in the music are likely to be lost in the transposition.
By the way, I'll just comment here that recently I've been really enjoying Jörg Demus's performance of the English suites. Noone could argue that he intended a piano, and I'd say it's very arguable that you lose something by the lack brilliance. But it doesn't matter to me because Demus's is so poetic, such a natural musician in Bach. Some significant things are probably lost by the choice of instrument, but some things are gained by Demus's artistry.Last edited by Mandryka; 10-09-24, 08:38.
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Originally posted by Eine Alpensinfonie View Post
Whilst agreeing that primary consideration should be given to the instrument that Bach composed for, the question of whether Bach would’ve written differently, had he written it for the piano, is unlikely to be the case. He wrote in the same way, whether it was for keyboards, orchestras or voices. Surely a different kind of keyboard would have had similar treatment.
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Originally posted by Pulcinella View Post
Added and acknowledged.
Thanks.
(interesting concept album, a 3 CD set contrasting the English Suites with six lesser known suites by Black composers):
Pianist Rochelle Sennet says that "Bach to Black represents my strong interest in performing repertoire by Black composers in combination with works of J.S. Bach. The suites included on this recording represent beauty, excellence, contrast, celebration of dance style, and dialogue." She has paired the English Suites of Bach with works by Black composers based on similarities in key, mode, rhythmic energy, and occasional disruption of tonal expectations. Dr. Rochelle Sennet has established herself as a well-known performer, teacher, and scholar. A graduate of the San Francisco Conservatory, the University of Michigan, and Texas Christian University, she received her DMA from the University of Illinois. She has been a prize winner in numerous competitions including the Kingsville International Piano competition, and the US Open Music Piano Concerto competition, among other. She is on the faculty at the University of Illinois at Urbana-Champaign. This is her fourth recording for Albany Records.
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Originally posted by Retune View Post
Rochelle Sennet
(interesting concept album, a 3 CD set contrasting the English Suites with six lesser known suites by Black composers):
...
I see that there are other volumes, covering the French Suites and the Partitas.
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Coincidentally, France Musique’s Tribune des Critiques de Disques recently ‘blind-listened’ to piano versions of No 2 BWV807… Murray Perahia came out on top.
Full results on the relevant thread just started: https://www.for3.org/forums/forum/cl...no?view=thread"...the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
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