℗ 2021 Chandos Records Ltd
Released | October 1, 2021 |
Duration | 2h 28m 44s |
Record Label | Chandos |
Catalogue No. | CHAN0826W |
Genre | Classical |
Bach: Complete English Suites
Sophie Yates
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
Suite I, BWV 806
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1.1
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I. Prelude
Johann Sebastian Bach; Sophie Yates |
2:51 | |||
1.2
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II. Allemande
Johann Sebastian Bach; Sophie Yates |
6:28 | |||
1.3
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III. Courante I
Johann Sebastian Bach; Sophie Yates |
1:58 | |||
1.4
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IV. Courante II avec deux Doubles
Johann Sebastian Bach; Sophie Yates |
3:42 | |||
1.5
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V. Sarabande
Johann Sebastian Bach; Sophie Yates |
4:27 | |||
1.6
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VI. Bourrée I
Johann Sebastian Bach; Sophie Yates |
5:08 | |||
1.7
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VII. Gigue
Johann Sebastian Bach; Sophie Yates |
3:12 | |||
Suite II, BWV 807
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1.8
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I. Prelude
Johann Sebastian Bach; Sophie Yates |
5:07 | |||
1.9
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II. Allemande
Johann Sebastian Bach; Sophie Yates |
4:51 | |||
1.10
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III. Courante
Johann Sebastian Bach; Sophie Yates |
2:04 | |||
1.11
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IV. Sarabande
Johann Sebastian Bach; Sophie Yates |
4:01 | |||
Suite II, BWV 807Suite II
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1.12
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Suite II, BWV 807: V. Bourrée I alternativement
Johann Sebastian Bach; Sophie Yates |
5:19 | |||
Suite II, BWV 807
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1.13
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VI. Gigue
Johann Sebastian Bach; Sophie Yates |
3:48 | |||
Suite III, BWV 808
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1.14
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I. Prelude
Johann Sebastian Bach; Sophie Yates |
3:24 | |||
1.15
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II. Allemande
Johann Sebastian Bach; Sophie Yates |
4:37 | |||
1.16
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III. Courante
Johann Sebastian Bach; Sophie Yates |
2:40 | |||
1.17
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IV. Sarabande
Johann Sebastian Bach; Sophie Yates |
3:45 | |||
1.18
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V. Gavotte alternativement
Johann Sebastian Bach; Sophie Yates |
3:38 | |||
1.19
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VI. Gigue
Johann Sebastian Bach; Sophie Yates |
3:05 | |||
Suite IV, BWV 809
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2.1
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I. Prelude. Vitement
Johann Sebastian Bach; Sophie Yates |
5:05 | |||
2.2
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II. Allemande
Johann Sebastian Bach; Sophie Yates |
4:19 | |||
2.3
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III. Courante
Johann Sebastian Bach; Sophie Yates |
1:51 | |||
2.4
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IV. Sarabande
Johann Sebastian Bach; Sophie Yates |
4:03 | |||
2.5
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V. Menuet I
Johann Sebastian Bach; Sophie Yates |
3:51 | |||
2.6
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VI. Gigue
Johann Sebastian Bach; Sophie Yates |
3:46 | |||
Suite V, BWV 810
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2.7
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I. Prelude
Johann Sebastian Bach; Sophie Yates |
5:05 | |||
2.8
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II. Allemande
Johann Sebastian Bach; Sophie Yates |
4:47 | |||
2.9
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III. Courante
Johann Sebastian Bach; Sophie Yates |
2:24 | |||
2.10
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IV. Sarabande
Johann Sebastian Bach; Sophie Yates |
3:56 | |||
2.11
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V. Passepied I en Rondeau
Johann Sebastian Bach; Sophie Yates |
3:54 | |||
2.12
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VI. Gigue
Johann Sebastian Bach; Sophie Yates |
3:16 | |||
Suite VI, BWV 811
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2.13
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I. Prelude
Johann Sebastian Bach; Sophie Yates |
9:04 | |||
2.14
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II. Allemande
Johann Sebastian Bach; Sophie Yates |
4:48 | |||
2.15
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III. Courante
Johann Sebastian Bach; Sophie Yates |
2:59 | |||
2.16
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IV. Sarabande
Johann Sebastian Bach; Sophie Yates |
3:45 | |||
2.17
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V. Gavotte I
Johann Sebastian Bach; Sophie Yates |
4:10 | |||
2.18
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VI. Gigue
Johann Sebastian Bach; Sophie Yates |
3:36 | |||
Digital Booklet
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There is no surviving autograph manuscript of Bach’s ‘English’ Suites, and for such a set of magnificent pieces, an important and well-loved part of the baroque keyboard ‘canon’, surprisingly little is known about its history. What we do know is that the suites are amongst Bach’s earlier works – probably written in the second decade of the eighteenth century – and that the appellation ‘English’ was not given to them until the 1750s. In order to understand these fascinating works on a deeper level, we have to appreciate the importance of dance in the cultural context of eighteenth-century Europe. As a social skill, the ability to dance correctly was considered so vital that every court had a Dancing Master, often French, who taught the different types of dances to aspiring courtiers. Because of this, dancing, and by extension the instrumental dance suite, was one of the factors contributing to French taste’s becoming a defining characteristic of the baroque style. As we know that the Dancing Master traditionally taught by playing tunes on the violin, it is quite possible that Bach’s own renditions of the dance forms were influenced by the playing of Jean-François Monjou – Dancing Master at the Cöthen court, where the young Johann Sebastian worked from 1717 until 1723. On that basis, acclaimed early keyboard specialist Sophie Yates has recorded these works on a double-manual Flemish harpsichord by Andrew Garlick, a copy of the petit ravalement instrument by Ioannes Ruckers, 1624, now at the Musée Unterlinden, Colmar, France.
96 kHz / 24-bit PCM – Chandos Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -10.11 -12.15 to -7.00 | -27.59 -31.23 to -24.09 | -24.44 -27.90 to -20.70 | 12 11 to 13 | |
1.1 | I. Prelude | -11.06 | -28.75 | -25.8 | 11 |
1.2 | II. Allemande | -11.96 | -29.31 | -26.5 | 12 |
1.3 | III. Courante I | -9.53 | -25.89 | -22.6 | 11 |
1.4 | IV. Courante II avec deux Doubles | -11.16 | -28.16 | -25.1 | 11 |
1.5 | V. Sarabande | -10.77 | -28.58 | -25.3 | 13 |
1.6 | VI. Bourrée I | -10.35 | -27.72 | -24.8 | 12 |
1.7 | VII. Gigue | -8.29 | -25.95 | -22.5 | 11 |
1.8 | I. Prelude | -9.01 | -26.32 | -23.2 | 12 |
1.9 | II. Allemande | -11.92 | -28.98 | -26.1 | 11 |
1.10 | III. Courante | -9.70 | -25.80 | -22.6 | 11 |
1.11 | IV. Sarabande | -9.72 | -28.95 | -25.7 | 13 |
1.12 | Suite II, BWV 807: V. Bourrée I alternativement | -10.42 | -28.43 | -25.5 | 11 |
1.13 | VI. Gigue | -8.57 | -25.08 | -21.7 | 12 |
1.14 | I. Prelude | -7.66 | -25.69 | -22.4 | 11 |
1.15 | II. Allemande | -11.35 | -28.87 | -26.0 | 12 |
1.16 | III. Courante | -10.00 | -26.59 | -23.4 | 11 |
1.17 | IV. Sarabande | -10.23 | -30.03 | -26.5 | 13 |
1.18 | V. Gavotte alternativement | -11.77 | -28.26 | -25.4 | 11 |
1.19 | VI. Gigue | -9.42 | -25.86 | -22.6 | 11 |
2.1 | I. Prelude. Vitement | -8.08 | -26.61 | -23.5 | 13 |
2.2 | II. Allemande | -11.77 | -29.52 | -26.5 | 12 |
2.3 | III. Courante | -9.54 | -26.54 | -23.3 | 12 |
2.4 | IV. Sarabande | -11.98 | -31.15 | -27.7 | 12 |
2.5 | V. Menuet I | -10.85 | -28.36 | -25.4 | 12 |
2.6 | VI. Gigue | -7.61 | -24.79 | -21.3 | 12 |
2.7 | I. Prelude | -8.71 | -25.19 | -22.1 | 11 |
2.8 | II. Allemande | -10.34 | -28.51 | -25.6 | 12 |
2.9 | III. Courante | -9.78 | -25.81 | -22.6 | 11 |
2.10 | IV. Sarabande | -12.15 | -30.90 | -27.8 | 12 |
2.11 | V. Passepied I en Rondeau | -11.87 | -28.89 | -25.7 | 11 |
2.12 | VI. Gigue | -9.31 | -25.69 | -22.4 | 11 |
2.13 | I. Prelude | -8.47 | -26.27 | -23.2 | 12 |
2.14 | II. Allemande | -11.31 | -29.41 | -26.3 | 12 |
2.15 | III. Courante | -11.84 | -28.43 | -25.3 | 11 |
2.16 | IV. Sarabande | -10.91 | -31.23 | -27.9 | 13 |
2.17 | V. Gavotte I | -9.78 | -26.27 | -23.4 | 11 |
2.18 | VI. Gigue | -7.00 | -24.09 | -20.7 | 11 |