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J.S. Bach by Elias Gottlob Haussmann (1695-1774)

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J.S. Bach by Elias Gottlob Haussmann (1695-1774) J.S. Bach French Suites BWV 812-817 Julian Perkins clavichord RES10163 Disc One Disc Two (1685-1750) Johann Sebastian Bach Johann Jakob Froberger (1616–1667) Georg Philipp Telemann (1681–1767) Partita No. 2 in D minor, FbWV 602 Suite in A major, TWV 32:14 French Suites BWV 812-817 From Libro Secondo (1649), dedicated to 1. Allemande [2:32] Emperor Ferdinand III von Habsburg 2. Courante [2:27] 1. Allemanda [3:47] 3. Sarabanda, TWV 41: A1 † [2:15] 2. Courant [1:25] 4. Gigue [3:00] 3. Sarabanda [3:25] 4. Gigue [1:15] Johann Sebastian Bach Julian Perkins Suite No. 4 in E-flat major, BWV 815 Johann Sebastian Bach (1685-1750) 5. Prélude, BWV 815a [1:43] clavichord Suite No. 1 in D minor, BWV 812 6. Allemande [2:51] 5. Allemande [4:19] 7. Courante [2:02] 6. Courante [2:31] 8. Sarabande [3:24] 7. Sarabande [2:54] 9. Gavotte & Menuet [2:39] Tracks 1–9 (disc one) and 12–26 (disc two) 8. Menuet I & II [2:48] 10. Air [1:55] Diatonically fretted clavichord by Peter Bavington (London, 2008) 9. Gigue [3:48] 11. Gigue [2:37] after an instrument made in Nürnberg c. 1785 by Johann Jacob Bodechtel (1768–1831) Suite No. 2 in C minor, BWV 813 Suite No. 5 in G major, BWV 816 Tracks 10–21 (disc one) and 1–11 (disc two) 10. Allemande [2:58] 12. Allemande [3:39] Unfretted clavichord made by Peter Bavington (London, 2005) 11. Courante [2:22] 13. Courante [1:49] after a late-eighteenth-century German instrument probably by Johann Heinrich Silbermann (1727–1799) 12. Sarabande [3:16] 14. Sarabande [5:05] 13. Air [1:37] 15. Gavotte [1:17] 14. Menuet I & II [2:52] 16. Bourrée [1:29] 15. Gigue [2:36] 17. Loure [2:26] 18. Gigue [3:37] Suite No. 3 in B minor, BWV 814 16. Allemande [3:50] Suite No. 6 in E major, BWV 817 17. Courante [2:34] 19. Prélude, BWV 854/1 [1:39] 18. Sarabande [2:59] 20. Allemande [3:37] 19. Anglaise [1:32] About Julian Perkins: 21. Courante [2:06] 20. Menuet & Trio [2:42] 22. Sarabande [3:48] 21. Gigue [2:30] 23. Gavotte [1:19] ‘Perkins plays with just the right dash of theatricality’ 24. Polonaise & Menuet [3:16] Sinfini Music Total playing time [58:11] 25. Bourrée [1:44] 26. Gigue [2:54] ‘Skilled and lovingly nuanced performances by Julian Perkins’ † From Six Sonates à Violon seul, accompagné par Clavichord International le Clavessin (Frankfurt, 1715), arr. Julian Perkins Total playing time [67:26] J.S. Bach: French Suites, BWV 812-817 collections which Bach assembled around this time and which served a deliberately Origins and purpose didactic purpose. In 1720, he had begun a similar Clavier-büchlein for his eldest son The French Suites were composed at a Wilhelm Friedemann (1710-1784) which period of momentous change for Johann contained a variety of pieces ranging in Sebastian Bach (1685-1750). By anyone’s style from ornamented chorale settings, to standards, a bereavement followed by preludes, fantasias and fugal-style movements, remarriage, changing job and moving a as well as lighter dance movements by family to a new city are challenging and contemporary composers. (The A major stressful events. But for Bach they came suite by Georg Philipp Telemann (1681-1767) unexpectedly within the space of two recorded here and previously attributed to years. Maria Barbara Bach (1684-1720) Bach was copied for Wilhelm Friedemann.) had died suddenly in July 1720; his new Many of these pieces became the 2- and wife, Anna Magdalena Wülcke (1701-1760), 3-part Inventions and Sinfonias, the fair was a singer who had come on Bach’s copy of which was compiled in 1723. instigation to the court Capelle at Cöthen. Other preludes were incorporated into She was twenty, he thirty-six when they the first book of the Well-Tempered Clavier, married on 3 December, 1721. At some again formally collated in a calligraphic point during the following year Bach manuscript in 1722. Taken together, a picture started to write a collection of keyboard emerges of Bach preparing final versions of music expressly for her. This, the first of what would become his teaching material for ells two Clavier-Büchlein compiled for his the next three decades. The purposes are wife, opens with a series of suites we clearly laid out: to provide ‘those desirous know now as the first five ‘French’ Suites. of learning’ not only models of composition y: Rudi W but a systematic course which would develop aph Although the intention is not made them as performers. In particular, Bach ogr absolutely clear, the inference has always highlights the need to learn how to play in tlob Haussmann (1695-1774) Phot been that this was a bridal gift and that a ‘cantabile’ manner. the music reflects Anna Magdalena’s prowess as a keyboard player. Viewed in a When he took up his new post in Leipzig in wider context, though, we can see the May 1723, Bach had ample opportunity to French Suites as one of a series of use this new teaching material. In addition .S. Bach by Elias Got J to overseeing the musical education of the made up the standard Baroque suite. boys of St Thomas’s School, he gave keyboard lessons to university students on an ad hoc Fortunately, we know exactly which suites basis. One such student was Heinrich Gerber studied. Like those of a number of Nicolaus Gerber (1702-1775) who studied other Bach pupils, his copy of the French with Bach for two years around 1725. Later Suites has survived. It makes for a fascinating in life, Gerber recollected the time spent comparison with Bach’s autograph versions studying under Bach and his reminiscences in the 1722 Anna Magdalena Clavier-büchlein, were recorded by his son. His account and reveals something of the subsequent provides a tantalising insight into Bach’s history of the pieces. For one thing, unique teaching methods: Gerber’s copy contains many altered details of voice-leading and even a completely At the first lesson he set his Inventions different second half for the ‘Courante’ of before him. When he had studied these the C minor suite. But perhaps more through to Bach’s satisfaction, there significantly, the ornamentation that followed a series of suites, then the Gerber provides is much more detailed. Well-Tempered Clavier [...] The conclusion Additionally, it seems that the suites were of the instruction was thorough-bass, not established definitively as a set for for which Bach chose the Albinoni some time. Gerber includes in his collection violin solos. two (BWV 818 and 819) which are not Here, then, is Bach’s blueprint for a normally included in the French Suites, keyboard player’s training. Students were while another student Johann Caspar prescribed a course of study and as part Vogler omitted the third suite and ells of the instruction, Bach expected his transposed the order of the remainder, pupils to make their own copies of his but like Gerber transmits later readings. It is only with a beautifully prepared copy music. What is perhaps unsurprising is y: Rudi W by Johann Christoph Altnickol made after the emphasis on the contrapuntal forms aph 1744 that we find all six suites in the contained in the Inventions and the ogr Well-Tempered Clavier. But equally order that we recognise, but – paradoxically Phot fascinating is the importance attached – it preserves earlier readings. From the Fragment of ‘Courante’ from French Suite in D minor, BWV 812 to the ‘series of suites’. Clearly, Bach myriad of discrepancies between the main sources it appears that unlike his Berlin, Staatsbibliothek zu Berlin – Preußischer Kulturbesitz valued highly the ability to play the D-B Mus. ms. Bach P 224 [1. Klavierbüchlein der A. M. Bach, 1722] various dance-style movements that other collections of the time, Bach never compiled a final, definitive version of the By far the majority of surviving clavichords suites. There is, then, a certain latitude in of this period are of the ‘fretted’ type. the way that the performer may approach Almost exclusively these instruments have the music: any number of readings can be a four-octave compass from C to c2 – in other adopted, and while we cannot be entirely words, the two octaves either side of middle sure whether some of the changes – such C. Their advantage over other types of as the addition of preludes to Suites 4 and keyboard instruments was that they were 6 – were sanctioned by the composer, they portable, relatively cheap and easy to nevertheless come from those closely maintain: ideal for domestic music making. associated with him. It is hardly a coincidence, then, that the keyboard compass required by Bach’s Instrumentation ‘teaching’ pieces of the early 1720s is exactly the same as that of the majority Bach’s original heading for each of the of the surviving clavichords. Whereas the French Suites was ‘pour le Clavessin’. ‘public’ keyboard music – Parts 1, 2 and While it is certainly true that he would 4 of the Clavier-Übung series – required have performed them on the harpsichord, an extended ‘harpsichord’ compass to a by far the more common instrument in low G, the ‘private’ music disseminated Germany in the eighteenth century through manuscript copies only needed was the clavichord. Indeed, it is no a range of four octaves. If any corroboration exaggeration to say that the clavichord were needed for the ubiquitous use of the was the instrument of choice for personal clavichord, one need look no further than the practice and domestic entertainment.
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