English Suites Nos. 4 - 6 BWV 809 - 811

Abstract

Johann Sebastian Bach English Suites Nos. 4 – 6

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 considerations of the type of composition make Cöthen 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 b Johann Christian Bach on his copy of the suites, fait pour les Anglois.

The extended Prélude of Suite No. 4 in F major, marked vitement, opens in contrapuntal style. The allemande introduces contrasting rhythms in its figuration and is followed by the expected French courante and a slow Sarabande. The first Minuet is repeated after the second, and the suite ends with a Gigue in which the lower part enters in Imation of the first, the order reversed in the inverted opening of the second section of the dance. Suite No. 5 in E minor again opens with an impressive Prélude, starting in contrapuntal style. Allemande and Courante are followed by the traditional Sarabande before the pair of Passepieds, the second framed by a repetition of the first, the dance similar to a more rapid version of the Minuet. The Gigue has the contrapuntal imitation and inversion that occurs elsewhere in the suites of Bach.

Suite No. 6 in D minor opens with an elaborated and extended Prélude. Allemande and Courante precede the customary Sarabande, which is followed by its variation or Double. The first Gavotte is repeated after the second, which has some of the expected features of the Musette, whit its imitation of the bagpipe drone. A Gigue of greater complexity than is always the case brings the suite to an end.