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Bach: The Complete English Suites 1-6

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  • Bach: The Complete English Suites 1-6
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Détails sur le produit

  • Compositeur: Johann Sebastian Bach
  • CD (25 novembre 2013)
  • Nombre de disques: 2
  • Label: Sony Classical
  • ASIN : B00186LLY4
  • Moyenne des commentaires client : 5.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 43.561 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Prelude - Perahia, Murray
  2. Allemande
  3. Courante I
  4. Courante II avec deux doubles
  5. Sarabande
  6. Bourree I
  7. Bourree II
  8. Gigue
  9. I. prelude - Perahia, Murray
  10. II. allemande
  11. III. courante
  12. IV. sarabande
  13. V. bourree
  14. VI. bourree II
  15. VII. gigue
  16. Prelude - Perahia, Murray
  17. Allemande
  18. Courante
  19. Sarabande
  20. Gavotte I
  21. Gavotte II (ou la musette)
  22. Gigue

Disque : 2

  1. I. prelude - Perahia, Murray
  2. II. allemande
  3. III. courante
  4. IV. sarabande
  5. V. menuett I
  6. VI. menuett II
  7. VII. gigue
  8. I. prelude - Perahia, Murray
  9. II. allemande
  10. III. courante
  11. IV. sarabande
  12. V. passepied I (en rondeau)
  13. VI. passepied II
  14. VII. gigue
  15. Prelude; allegro - Perahia, Murray
  16. Allemande
  17. Courante
  18. Sarabande - iva. double
  19. Gavotte I
  20. Gavotte II
  21. Gigue

Descriptions du produit

2CD Murray Perahia

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3 internautes sur 6 ont trouvé ce commentaire utile  Par Maryse Seurat Colas le 13 décembre 2013
Format: CD Achat vérifié
J'adore ces suites anglaises de Bach, magnifiquement interprétées ici. On ne se lasse pas de les écouter ! A recommander ou offrir à ses amis...
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Amazon.com: 4 commentaires
14 internautes sur 14 ont trouvé ce commentaire utile 
Beautiful, clear committed playing 26 avril 2010
Par Alan A. Elsner - Publié sur Amazon.com
Format: CD Achat vérifié
Murray Perahia brings his crystal clear tone and perfect technique to bear on the six English Suites. This is Bach playing of the highest order. Unlike Gould, it is not quirky and weird -- it goes straight to the heart of the music. Technically, these pieces are not demanding for a player as brilliant as Perahia. He concentrates of the dance qualities of the different movements. The preludes, the most extended parts of these compositions, are played brilliantly. I've listened to these discs again and again and never tire of them.
11 internautes sur 12 ont trouvé ce commentaire utile 
Deeply moving playing 2 octobre 2010
Par Andrew R. Barnard - Publié sur Amazon.com
Format: CD
Bach's music is possibly the supreme test of the skill of a pianist. His music must be played with strong understanding of the technical details that surround his music. Yet at the same time, it must not become mechanical or forced. In order for Bach's music to be given a satisfying performance, it must sound very natural and musical. Too many times Bach performers lack one of these essential ingredients. But I am very pleased to say that Perahia does not. He has clearly studied the complex contrapuntal harmonies that are the backbone of the English Suites (and all of Bach's music for that matter). But instead of giving a cold, forced performance, Perahia has seen the potential for music making.

Perahia, who is almost without peers today, has done a staggering job with the English Suites. He has succeeded in giving performances that wonderfully capture the beauty and intimacy of these pieces. In the faster movements, we hear a sure sense of steadiness, but Perahia still takes time for lyric beauty. The slow movements are quite lovely. But it goes far beyond merely being pretty. There is a depth of emotion that words fail me to describe. The inner quality to this music is almost never found elsewhere.

You should by all means buy this album. It will provide hours of listening pleasure. But it will also do much more than that - it will have you thinking deeply about life and its purpose.
3 internautes sur 3 ont trouvé ce commentaire utile 
Beautiful . brilliant, and intelligent performances. Considered without ever being deliberate. 19 mai 2015
Par Craig Matteson - Publié sur Amazon.com
Format: CD
If you don’t know the Bach “English Suites” you need to treat yourself and get to know them as soon as you can. They are a delight in an almost infinite variety ways and keep paying dividends to careful listeners and performers for your whole life. Really.

Why are the “English Suites”? Because the early Bach biographer, Forkel, gave them that appellation. There really is no convincing evidence for the name and, at this point, there will never be one. But we all use the name, so you might as well. These are the earliest of Bach’s keyboard suites and the first published. Each group, the English, French, and the Partitas, each has six suites. Each collection maintains a similar scope and style in the suites included. The English are brilliant, fun, and fairly big. The French are slighter. And the Partitas are the most complex and demanding. But each includes the usual standard Baroque form of including the Allemande, Courante (or Corrente), Sarabande, and Gigue, while varying certain dances. Some will have Bourees, others Gavottes, some Menuets, and Passepieds. The point isn’t the dances included or left out, but that they are based on popular Baroque dance forms. These began with the Lute Suite collections decades before. By the time of Bach, Handel, and Teleman these dance forms were still characteristic, but definitely art music for listening and playing, and nor really meant for dancing. I suppose you could, but why? The English Suites each begin with a formal Prelude. Many students will perform the prelude as a recital work as a stand-alone piece. It works.

There are many recordings of these works, as well. Sometimes as part of an album or from a recital. But there are also many collections that have all six suites complete. You can get them on harpsichord or on the modern piano. I imagine someone will have one or more of them on a reproduction of an early fortepiano, but I don’t know it. Whether you demand it be on a harpsichord or organ or can accept a modern piano is a matter of personal preference and / or musical theology. I like both. But being a pianist who likes playing these works, I have to admit a personal bias to the modern piano and the tradition I grew up playing. It is true that I went to the University of Michigan Music School in the late 1970s and early 1980s during the heyday of the “Original Performance Practice” wars. And I learned a lot from them and think they made marvelously valuable points. But I personally don’t get the same satisfaction from playing a harpsichord, clavichord, or organ that I get from the piano. But that’s just me. And, hey, we know Bach reused his music for a variety of instrumentations and that Baroque music was played with whatever instruments the folks had on hand. So, the piano WORKS. If Bach had had our piano who would have used it, for different music to be sure, but he would have exploited it fully.

I enjoy hearing many great artists interpret these works. Each brings his or her own point of view to the works and I find them valuable and insightful. But, as much as I admire Gould, I find his playing overly austere and I don’t find his piano playing particularly beautiful. Andras Schiff is a marvelous artist with wonderful scholarly insights into everything he plays. But I find his starts and stops at times to sound like unnecessary hiccups. What I really admire about Perahia, and always have, is that he brings such a light, easy, and beautiful touch to the music. He is so intelligent and has considered these works so deeply that I enjoy how he connects everything up. Not just as the voices unfold locally, but at a distance in the architecture of the works. I think so many artists get so caught up in the presenting of the notes and ornaments, that they lose the way the ideas are transformed and meant to be heard is connected to what was transformed earlier in the work. Mr. Perahia never forgets. And I appreciate that so much. And I love his beautiful touch and tone in bringing out each element of the work. Everything is considered without ever sounding deliberate. Something we should all aspire to, I think.

Can I also offer a suggestion in your study of these works? Most of us are not instinctively in touch with what makes and Allemande or a Courate. Why not listen to all the Preludes one after the other. Then all the Allemandes. Then all the Courantes. Then all the Sarabandes. Then all the Gigues. Then move on to the menuets, bourees, gavottes, passepieds, and so forth. I think it will help you understand each dance a bit more deeply. Then go back to listening to them in the context of the suite. You might hear things more deeply and differently than before!

Just a thought.

Reviewed by Craig Matteson, Saline, MI
2 internautes sur 2 ont trouvé ce commentaire utile 
Clarity and Quality 15 janvier 2015
Par Audrey Swartz - Publié sur Amazon.com
Format: CD Achat vérifié
This recording of the English Suites is notable for its meticulous performance . Although each individual note stands out clearly, the music flows smoothly along and carries the listener with it. I think Herr Bach would have been a satisfied member of the audience.
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