Hyperion Records

The English Suite No 4 in F major, BWV809 immediately establishes a positive, bright, assertive colour in the opening Prelude which is also very orchestral in character. The episode which begins in bar 20 is very similar to material presented by the harpsichord soloist in the opening movement of his Brandenburg Concerto No 5. Likewise, the theme that first appears in bar 28 is a direct quote from the B flat minor Prelude of the second book of the Well-Tempered Clavier (written much later), although in a totally different mood. The indication vitement was added to some copies, most likely to prevent the player from taking too slow a tempo rather than adopting a very quick one. The length of the final chord (only a crotchet) should be observed.

The sunny flavour of this suite continues in the Allemande with its groups of triplets that lighten the mood. Here the similarity is to the same dance in the Partita No 5 in G major. What a nice contrast it is to the other Allemandes of the set! There are, nevertheless, tinges of darkness towards the end of each section which add a bit of spice. After another French Courante which continues in the same happy mood, comes a Sarabande of pure delight. Compared to the ones we have already encountered, it looks bare on the page, and there are no variants left by Bach. It is up to the performer, therefore, to do his own, as it can’t possibly be left that way. The chromatic bass that moves upwards four bars from the end is especially beautiful. This Sarabande provides the suite with a moment of complete repose. The only pair of minuets in the English Suites now follows, and both are very melodic and full of the grace and good manners associated with this dance. The second is in D minor, contrasting nicely with the first. To end the work, Bach writes a Giga di caccia imitating hunting horns in the highest of spirits, bringing it all to a joyful conclusion.

from notes by Angela Hewitt © 2003