Johann Sebastian Bach (1685 - 1750) English Suites Vol. 1 BWV 806-808 Suite No.1 in A Major, BWV 806 Suite No.2 in A Minor, BWV 807 Suite No.3 in G Minor,...
Johann Sebastian Bach (1685 - 1750)
English Suites Vol. 1 BWV 806-808
Suite No.1 in A Major, BWV 806
Suite No.2 in A Minor, BWV 807
Suite No.3 in G Minor, BWV 808
Johann Sebastian Bach was born in Eisenach in 1685, one of a
large family of musicians. After the death of his parents he moved, at the age of ten, to
Ohrdruf, with his thirteen-year-old brother Johann Jacob, to live with the eldest of their
brothers, Johann Christoph, an organist. Bach's own initial career was as an organist,
after earlier appointments in Arnstadt and Mühlhausen, from 1708 until 1717 in the
service of Duke Wilhelm Ernst, elder of the two brothers ruling the duchy of Weimar. From
1717 until 1723 he was Court Kapellmeister to Prince Leopold of Anhalt-Cothen, with
different musical responsibilities, largely secular. Thereafter he served as Thomas-Kantor
in Leipzig, with responsibility for music in the principal city churches, continuing there
until his death in 1750. This final period of his life involved him in activity with the
Collegium musicum of the University, for which he arranged earlier instrumental concertos
for solo harpsichord or harpsichords, and in the assembly and publication of a number of
his compositions, in particular a series of four volumes of keyboard music, the
Clavierübung.
Bach's French Suites were written in 1722 for his second wife,
Anna Magdalena. The more complicated and impressive English Suites, which have nothing
particularly English about them, may have been written during the composer's time at
Weimar, perhaps in 1715, although general considerations of the type of composition make
Cothen a more probable place and period of composition. Bach's sons later claimed that
the suites were written for an Englishman of some standing, but there is no other evidence
of the existence of this mysterious patron, except the note by Johann Christian Bach on
his copy of the suites, fait pour les Anglois.
Suite No.1 in A major, BWV 806,
starts with an introductory Prelude. This is followed by an Allemande, the traditional
opening of the French dance suite, followed, in due form, by a Courante, to which a second
Courante and two variations of it or Doubles are added. An imposing Sarabande is followed
by a pair of Bourrees, the second, framed by a repetition of the first, in the
contrasting mode of A minor. The suite ends with a Gigue in which the lower part enters in
immediate imitation of the first, the procedure reversed and inverted in the second
section of the dance. Suite No.2 in A minor
opens with a long and impressive Prelude, followed by a coupled Allemande and French
Courante. The slow Sarabande has its own variation and the second Bourree is framed by a
repetition of the first. The final Gigue, not here with imitative entries, makes the usual
spirited conclusion. The G minor Suite again
opens with a large scale Prelude, followed by an Allemande and Courante. The stately
Sarabande has a variation, while the first Gavotte in repetition frames a second Gavotte
or Musette, the second title taken from the French bagpipe, with its single drone, here
continuing throughout. The concluding Gigue opens with a lively subject in the upper part,
imitated in the second part, with the expected reversal of entry order and inversion in
the second section of the dance.
Wolfgang Rübsam
A native of Germany, Wolfgang Rübsam received his musical
training in Europe from Erich Ackermann, Helmut Walcha and Marie-Claire Alain and in the
United States from Robert T. Anderson. Living today in the Chicago area, he has held a
professorship at Northwestern University since 1974, and since 1981 has served as
University Organist at the University of Chicago. International recognition was
established in 1973 when he won the Grand Prix de Chartres, Interpretation, and has grown
through his recording career, with over eighty recordings, many of which have received
awards. Wolfgang Rübsam performs frequently in major international festivals and concert
halls, including the Los Angeles Bach Festival; Wiener Festwochen, Vienna; Lahti
International Organ Festival, Finland; Royal Festival Hall, London; Alice Tully Hall, New
York, and conducts master classes both in interpretation of early and romantic organ
repertoire, and in interpreting the keyboard music of Johann Sebastian Bach on the modern
piano.