Hyperion Records

English Suite No 2 in A minor, BWV807
composer

Recordings
'Bach: Angela Hewitt plays Bach' (CDS44421/35)
Bach: Angela Hewitt plays Bach
MP3 £45.00FLAC £45.00ALAC £45.00Buy by post £50.00 CDS44421/35  15CDs Boxed set (at a special price)  
'Bach: The English Suites' (CDA67451/2)
Bach: The English Suites
'Bach: The English Suites' (SACDA67451/2)
Bach: The English Suites
This album is not yet available for download SACDA67451/2  2CDs Super-Audio CD — Deleted  
Details
Movement 1: Prelude
Track 8 on CDA67451/2 CD1 [4'09] 2CDs
Track 8 on CDS44421/35 CD2 [4'09] 15CDs Boxed set (at a special price)
Track 8 on SACDA67451/2 CD1 [4'09] 2CDs Super-Audio CD — Deleted
Movement 2: Allemande
Track 9 on CDA67451/2 CD1 [4'04] 2CDs
Track 9 on CDS44421/35 CD2 [4'04] 15CDs Boxed set (at a special price)
Track 9 on SACDA67451/2 CD1 [4'04] 2CDs Super-Audio CD — Deleted
Movement 3: Courante
Track 10 on CDA67451/2 CD1 [2'15] 2CDs
Track 10 on CDS44421/35 CD2 [2'15] 15CDs Boxed set (at a special price)
Track 10 on SACDA67451/2 CD1 [2'15] 2CDs Super-Audio CD — Deleted
Movement 4: Sarabande et les agréments de la même Sarabande
Track 11 on CDA67451/2 CD1 [3'30] 2CDs
Track 11 on CDS44421/35 CD2 [3'30] 15CDs Boxed set (at a special price)
Track 11 on SACDA67451/2 CD1 [3'30] 2CDs Super-Audio CD — Deleted
Movement 5: Bourrée I and II
Track 12 on CDA67451/2 CD1 [4'04] 2CDs
Track 12 on CDS44421/35 CD2 [4'04] 15CDs Boxed set (at a special price)
Track 12 on SACDA67451/2 CD1 [4'04] 2CDs Super-Audio CD — Deleted
Movement 6: Gigue
Track 13 on CDA67451/2 CD1 [3'11] 2CDs
Track 13 on CDS44421/35 CD2 [3'11] 15CDs Boxed set (at a special price)
Track 13 on SACDA67451/2 CD1 [3'11] 2CDs Super-Audio CD — Deleted

English Suite No 2 in A minor, BWV807
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With the English Suite No 2 in A minor, BWV807 we enter another world. The angular, no-nonsense subject that opens the Prelude gives birth to a movement with concerto-like proportions, even though it begins like a two-part invention. The middle section, with its repeated-note motive in the lower register, gives us a chance to catch our breath, at least momentarily. The whole of the opening section is then repeated—something which will occur in all the remaining Preludes. The energy level is high, and I am reminded of a passage in Forkel’s biography that describes Bach’s own playing:

In the execution of his own pieces he generally took the time very brisk, but contrived, besides this briskness, to introduce so much variety in his performance that under his hand every piece was, as it were, like a discourse. When he wished to express strong emotions, he did not do it, as many do, by striking the keys with great force, but by melodical and harmonical figures, that is, by the internal resources of the art. In this he certainly felt very justly. How can it be the expression of violent passion when a person so beats on his instrument that, with all the hammering and rattling, you cannot hear any note distinctly, much less distinguish one from another?

After a lyrical Allemande in which the imitative entries are inverted after the first double bar, comes a Courante that is seamless and again unhurried. The dotted rhythms we find in the first suite give way to groups of four slurred quavers in both hands. The Sarabande is noble and eloquent, but not too slow. It is the first one in the set where Bach writes out ‘les agréments’—an ornamented version of the melody. It is not clear whether these should be played on the repeat of the individual sections, or following the complete dance as a true double. In this particular case I have opted for the former, as it seems an appropriate length for the material presented. The first Bourrée, for me, should not begin too loudly, otherwise the spell is broken too suddenly. On the repeat, the dynamic level can be increased. The second Bourrée is a musette in the major key, imitating the drone of a bagpipe. It is the only truly carefree moment in the whole suite. The final Gigue is a tour de force in tarentella style, with trills pushing it upward and forward. Not content with just repeating both sections, Bach adds an extra da capo, and we hear it all for a third time with an ever-increasing sense of drive and brilliance.

from notes by Angela Hewitt © 2003

Track-specific metadata
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Details for CDA67451/2 disc 1 track 9
Allemande
Artists
ISRC
GB-AJY-03-45109
Duration
4'04
Recording date
3 April 2003
Recording venue
Henry Wood Hall, London, United Kingdom
Recording producer
Ludger Böckenhoff
Recording engineer
Ludger Böckenhoff
Hyperion usage
  1. Bach: The English Suites (CDA67451/2)
    Disc 1 Track 9
    Release date: September 2003
    2CDs
  2. Bach: Angela Hewitt plays Bach (CDS44421/35)
    Disc 2 Track 9
    Release date: September 2010
    15CDs Boxed set (at a special price)
  3. Bach: The English Suites (SACDA67451/2)
    Disc 1 Track 9
    Release date: September 2003
    Deletion date: January 2009
    2CDs Super-Audio CD — Deleted
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