Edith Picht-Axenfeld (harpsichord) The English Suites No. 1 in A Major (BWV 806) and No. 2 in a minor (BWV 807) J.S. Bach
Released 1951 on the Mercury Classics label MG10091, mono recording

BACH’S SIX English Suites constitute his largest keyboard works in suite
form. “They certainly represent his highest pitch of mastery,” writes
Parry. “The immense scope of all the preludes … and the wide range of
resource which they display, the weight, variety, and unvarying high level of
material of the allemandes and courantes, the supreme dignity, pathos, and
warmth of color and expression of the sarabandes, the sparkling vivacity of
the bourrees and the gavottes, and the superb texture of the gigues combine
to make this series of suites stand entirely alone as representing the very
highest examples of the type in existence. The two last French suites have a
special charm and lightness, and admirable consistency of style; but the
whole series does not give the impression of uniform high quality, certainty
of resource, and nobility of expression which is given by the so-called
‘English Suites.’ ”
Where they acquired the name of “English Suites” is not known. Parry
conjectures that Bach may have been familiar with the suites of Henry Purcell,
which were fine examples of the form. He may also have been conscious
of the fact that the English were the first to develop the suite. But the English
Suites were never published during Bach’s lifetime, and the title was, in all
probability, derived from the words, “fait pour les Anglais,” written above
the Prelude to the Suite No.1 in A Major in the mamiscript copy in the possession
of Bach’s youngest son, Johann Christian. This inscription led to the
belief that the suites were written for an English nobleman, but there is no
evidence to support this claim. It so happens, however, that the aforementioned
Prelude is based on a gigue in a suite by Charles Dieupart, a contemporary
of Bach and a prominent teacher and composer in England. It is most
likely, therefore, that the words, “fait pour les Anglais,” applied only to this
one movement and not to the suites in general. The origin of the title of the
French Suites, it might be noted, is equally obscure, the only reason advanced
being that they are of a compact and dainty character akin to examples
of French art.
The English Suites were probably composed, together with most of
Bach’s other instrumental works, in Cothen, though they may have been completed
during his Leipzig period. At any rate, they came after the slighter
French Suites, and perhaps some of them even saw the light of day after the
six Partitas.
Schweitzer declares that in the English Suites, Bach “raises the suite·
form to the plane of the highest art, while at the same time he preserves its
primitive character as a collection of dance-pieces.” It is true that he ad·
heres rather closely to the basic structure of the suite, but there are a few
exceptions which are worth noting.
The Prelude in the Suite No.1 in A Major was founded on a gigue by
Dieupart, and is considerably shorter than any of the five other opening
movements. In place of the customary single Courante, there are two in this
suite, and .the second is augmented by two doubles-the double, as its name
implies, being a simple form of variation on the original dance, with embel·
lishments usually in double time.
Another form of variation is found in the Sarabande in the Suite No.2
in A Minor. Here the Sarabande proper is followed by a more elaborate
variation, marked Les Agrements de la meme Sarabande. Agrements are
simple musical ornaments. It is the custom to substitute the corresponding
section of agrements for a repeat in each section of the Sarabande, thus lend·
ing more variety to the music. The Gigue in this suite is of the Italian wiriet’y ..
being less contrapuntal in treatment. In addition, after the customary reo
peats of each section, the entire Gigue is played through from beginning to
end without repetition.
NOTES BY PAUL AFFELDER

This MERCURY LONG PLAYING recording was made possible
through the use of the REEVES·FAIRCHILD MARGIN CONTROL
process-a technique whereby it has become possible for Mercury to produce
for the record-buying public a disc of truly superior quality, especially with
respect to brilliance, clarity, dynamic range and reliable stylus tracking.
This record can be played on any 331/3 r.p.m. turntable equipped with micro·
groove pick-up, as long as pick.lIp playing stylus is not WORN or DAM·
AGED. It is recommended that sapphire or metal styli be checked for reo
placement at least every SIX MONTHS.

#EdithPichtAxenfeld