Bach: French Suites

 

Of late, I've been listening to Bach's six French Suites.  On an almost daily basis.  In fact, I'm listening to them as I write this blog post.  I first began listening to them in the early 1990s, and I feel as if I'm still discovering their hidden secrets.

The suites (BWV 812 - 817) were composed between 1722 and 1725.  Originally composed for harpsichord, most modern performances and recordings are on piano.  The recordings to which I've been listening are by Edward Aldwell and Murray Perahia.  I like both versions, and hear different details and elements in each.  

The more I listen to the French suites, the more I hear in them.  Listening to them one day this week, I focused on only the bass lines.  Bach's bass lines function more like bass melodies, or bass counterpoint.  I don't think many composers can create a bass line or lines like Bach.  They're so strong that they completely stand on their own.

In the opening of the first movement of the first suite, shown in the score excerpt, there's a fourth-line D 16th pickup note occurring prior to the first bar, which also opens with a fourth-line D 16th note.  The impact of that pickup note, to my way of hearing and thinking, entirely changes the meaning of that opening figure.  Had this movement began without that pickup note, the opening figure would have an entirely different meaning and impact.  The French suites are full of these kind of seemingly tiny; yet heavily impactful, details and elements.

I also have the scores, and have been sight-reading and shedding them on guitar.  Bach on guitar is always challenging.  To put it mildly.  But, it's great, as it alters some of my thinking about all compositional elements, and forces me to create new fingerings to execute this technically difficult music.  Here's where pianists have it easier than guitarists: their fingerings are already worked out, and are even printed in the score.  

Back to listening and learning.  Thank you, Mr. Bach.

-kk