Wolfgang Amadeus Mozart: Symphony No. 22 in C major, K. 162
Composed in 1773 when Mozart was just 17 years old, this compact three-movement symphony reflects the composer's prodigious growth and heralds the dawn of a new era. Classical balance and contrapuntal methods are skillfully fused, culminating in a crowning masterpiece of Mozart's early symphonic output.

I. Allegro assai 0:00
The clearly defined themes of the opening movement fully showcase Mozart's contrapuntal mastery. The intricately crafted development, while rooted in classical traditions, presages the arrival of a new age.

II. Andantino grazioso 3:06
Imbued with a pastoral atmosphere and amiable charm, the second movement features delightful themes deftly interwoven with counterpoint, revealing Mozart's warmth and humanity.

III. Molto allegro 6:11
The vibrant, exhilarating finale speaks to Mozart's blossoming creativity. The contrasting themes and tightly constructed development foreshadow the classical mastery he would later attain.

Conclusion
This symphony represents Mozart's breakthrough into a new musical era. Baroque techniques harmoniously blend with classical traditions, counterpoint is deployed with consummate skill, and Mozart's unique musical voice emerges in full bloom. Justly acclaimed for its historical significance and artistic excellence, it stands as a seminal early masterwork.

Wolfgang Amadeus Mozart: Symphony No. 17 in G Major, K.129
Composed in 1772 when Mozart was just 16 years old, this symphony showcases the exceptional talent of Mozart even in his early works. While heavily influenced by the Italian style, Mozart's individual brilliance is distinctly evident in this masterpiece.

Ⅰ. Allegro 0:00
This typical first movement begins with a lively rhythm and a witty first theme. The contrasting elegant second theme and the intricately developed transitional sections are also highlights. The form adheres to the conventional sonata form..

Ⅱ. Andante 3:11
The second movement is characterized by its clear emotions and graceful melody. The layering of the theme, rich in emotion, is distinctive, fully displaying Mozart's lyrical talent.

Ⅲ. Allegro 6:50
The final movement draws attention with the vibrant development of an attractive first theme. The delicate transformations of the theme and the humor-filled episodes are striking, showcasing the young Mozart's creativity. The entire work concludes with brilliance.

Conclusion
Symphony No. 17 is a masterpiece from Mozart's youth. While under the influence of the Italian style, the work is distinctly marked by Mozart's individuality through its light melodies and meticulous compositional skills. It's a significant precursor that hints at the later masterpieces, establishing the origins of Mozart's oeuvre.

00:00 Haydn - Sonata E minor
14:56 Mozart - Rondo A minor
25:18 Beethoven - Moonlight Sonata
43:46 Scriabin - Preludes & Nocturne for the Left Hand
51:31 Prokofiev - Sonata No. 8 in B♭ major, Op. 84
01:20:31 Gluck - Melody (encore)
01:24:58 Chopin - Fantasy-impromptu (encore)
Date concert: March 16, 2024.
Location: Tateuchi Hall, Community School of Music of Arts at the Finn Center, Mountain View, CA (San Francisco Bay Area).
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Franz Joseph Haydn (1732-1809) Complete Piano Sonatas by Ilse von Alpenheim.
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Click to activate the English subtitles for the presentation (00:00-02:00)
Piano Sonata No. 1 in G Major, Hob.XVI:8
00:00 No. 1 - I. Allegro
01:59 No. 1 - II. Minuet
02:59 No. 1 - III. Andante
04:23 No. 1 - IV. Allegro

Piano Sonata No. 2 in C Major, Hob.XVI:7
05:00 No. 2 - I. Allegro moderato
06:23 No. 2 - II. Minuet, Trio
08:48 No. 2 - III. Finale, Allegro

Piano Sonata No. 3 in F Major, Hob. XVI:9
10:11 No. 3 - I. Allegro
12:34 No. 3 - II. Minuet
15:43 No. 3 - III. Scherzo, Allegro

Piano Sonata No. 4 in G Major, Hob. XVI:G1
16:29 No. 4 - I. Allegro
18:58 No. 4 - II. Minuetto
21:57 No. 4 - III. Finale, Presto

Piano Sonata No. 5 in G Major, Hob. XVI:11
23:23 No. 5 - I. Presto
25:01 No. 5 - II. Andante
29:55 No. 5 - G III. Minuet

Piano Sonata No. 6 in C Major, Hob. XVI:10
32:13 No. 6 - I. Moderato
35:01 No. 6 - II. Minuet
37:52 No. 6 - III. Finale, Presto

Piano Sonata No. 7 in D Major, Hob. XVII:D1
40:43 No. 7 - I. Thema und Variationen
45:10 No. 7 - II. Menuet
46:10 No. 7 - III. Finale

Piano Sonata No. 8 in A Major, Hob. XVI:5
47:58 No. 8 - I. Allegro
52:19 No. 8 - II. Minuet
54:56 No. 8- III. Presto

Piano Sonata No. 9 in D Major, Hob. XVI:4 -
57:30 No. 9 - I. Movement
1:01:21 No. 9 - II. Minuet

** COMPLETE PLAYLIST AND PRESENTATION : FIRST PINNED COMMENT ***

Piano Sonata No. 40 in E-flat Major, Hob. XVI:25
5:41:32 No. 40 - I. Moderato
5:47:49 No. 40 - II. Tempo di Minuet

Piano Sonata No. 41 in A Major, Hob. XVI:26
5:50:04 No. 41 - I. Allegro moderato
5:56:03 No. 42 - II. Minuet al Rovescio
5:58:43 No. 42 - III. Finale, Presto

Piano Sonata No. 42 in G Major, Hob. XVI:27
5:59:25 No. 42 - I. Allegro con Brio
6:02:52 No. 42 - II. Minuet, Trio
6:07:36 No. 42 - III. Finale, Presto

Piano Sonata No. 43 in E-flat Major, Hob. XVI:28
6:10:47 No. 43 - I. Allegro moderato
6:17:11 No. 43 - II. Minuet, Trio, Minuet
6:20:19 No. 43 - III. Finale, Presto

Piano Sonata No. 44 in F Major, Hob. XVI:29
6:23:58 No. 44 - I. Moderato
6:28:26 No. 44 - II. Adagio
6:33:25 No. 44 - III. Tempo di Minuet

Piano Sonata No. 45 in A Major, Hob. XVI:30
6:37:18 No. 45 - I. Allegro & Adagio
6:43:40 No. 45 - II. Tempo di Minuet, Variations

Piano Sonata No. 46 in E Major, Hob. XVI:31
6:49:41 No. 46 - I. Moderato
6:55:00 No. 46 - II. Allegretto
6:58:51 No. 46 - III. Finale, Presto

Piano Sonata No. 47 in B minor, Hob. XVI:32
7:01:14 No. 47 - I. Allegro moderato
7:06:30 No. 47 - II. Minuet
7:09:48 No. 47 - III. Finale, Presto

Piano Sonata No. 48 in C Major, Hob. XVI:35
7:13:00

7.30 pm: CONCERT

BASEL CHAMBER ORCHESTRA
GIOVANNI ANTONINI, CONDUCTOR

Joseph Haydn (1732-1809):
SYMPHONY NO.76 IN E FLAT MAJOR HOB. I:76 (1782)
Allegro / Adagio ma non troppo / Menuet. Allegretto - Trio / Finale. Allegro ma non troppo

SYMPHONY NO.77 IN B FLAT MAJOR HOB. I:77 (1782)
Vivace / Andante sostenuto / Menuet. Allegro - Trio / Finale. Allegro (spiritoso)

Interval (25 min)

Johann Christian Bach (1735–1782):
SYMPHONY IN G MINOR OP. 6 NO. 6 (BEFORE 1769)
Allegro / Andante più tosto adagio / Allegro molto

Joseph Haydn (1732-1809):
SYMPHONY NO.78 IN C MINOR HOB. I:78 (1782)
Vivace / Adagio / Menuet. Allegretto - Trio / Finale. Presto

‘Last year I composed three beautiful, splendid symphonies, not too long, scored for two violins, viola, bass, two horns, two oboes, one flute and one bassoon, but all of them very easy and not containing too much concertante writing, for English gentlemen, which I wanted to deliver in person and perform there; but since a single circumstance has prevented this, I am prepared to give these three symphonies into [other] hands . . .’ (Haydn to the Paris publisher Boyer, Eszterháza, 15 July 1783)

‘ . . . io mi trovo di salute passabilmente: ma ho quasi sempre un humore Inglese, cioè melanconico e sarò forse mai di questo humore, che l'avevo mentre che sono stato con te.’ (I am in tolerable health, but am almost always in an ‘English humour’, that is to say, a melancholy one, and perhaps I will never again be in the [good] humour I experienced when I was with you.)
(Haydn to Luigia Polzelli, London, 14 January 1792)

Joseph Haydn very nearly set out on his first journey to England not in December 1790, but a number of years earlier. At any rate, a certain Willoughby Bertie, Fourth Earl of Abingdon, a passionate amateur composer who was one of the most important patrons on the London music scene, endeavoured to secure Haydn’s presence for the 1783 season of the Hanover Square Grand Concerts, a new series that he co-financed, intending it as the successor to the Bach-Abel concerts discontinued in 1782. Haydn was finally unable to accept the invitation, probably because his employer, Prince Nikolaus I Esterházy, had refused to grant him leave of absence . . . whereupon he had no choice but to sell to various publishers in London, Paris and Vienna the three symphonies he had written ‘for English gentlemen’, which he really had ‘wanted to deliver in person and perform there’. Those symphonies, now known as nos. 76, 77 and 78, are the master’s earliest orchestral works written primarily for a foreign audience.

Haydn2032
In the lead-up to the 300th anniversary of Joseph Haydn's birth in 2032, the Joseph Haydn Foundation in Basel is organising, producing and financing the performance and recording of all 107 of the composer's symphonies by Il Giardino Armonico and Basel Chamber Orchestra under the artistic direction of Giovanni Antonini, one of the most highly-respected specialists in baroque, early classical and cla

Autor: Johann Michael Haydn (1737-1806)
Obra: Serenade in D (1785) [MH 407 / P. 85]
Intèrprets: Budapest Philharmonic Orchestra; János Sándor (1933-2010)

Pintura: John Hamilton Mortimer (1740-1779) - A Bacchanalian Dance

The Norwegian Chamber Orchestra
Steven Isserlis, leder

I. Adagio-Allegro 0:03
II. Adagio-Andante-Adagio 6:06
III. Menuet e Trio 12:58
IV. Finale: Allegro 17:06

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Mozart Divertimento in D major, K.136
Mozart String Quartet No. 3 in G major, K.156
Haydn String Quartet in C major, Op. 20, No. 2
Mozart 2nd movement, Andante, from Divertimento in F major, K.138

Matthew Truscott (violin 1)
Julia Kuhn (violin 2)
Max Mandel (viola)
Sarah McMahon (cello)

Simon Weir – Director
Tristan Hackney – Cameras
Morgan Roberts – Sound
Ian Page – Artistic Director

Filmed on 15 March 2023 ad St Giles Cripplegate

Special thanks for Continuo Foundation for supporting this project

In the wind concertos, for bassoon, horn (four completed works), flute, flute and harp, oboe and, above all, clarinet, Mozart shows a deep understanding of each instrument’s character and technique.

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Most of Mozart’s Wind Concertos can best be described as occasional pieces, composed on commissions from professional and amateur players, often with the express purpose of providing income for their composer and satisfying a particular trait, taste or talent of the recipient. In this respect they are very different from the Piano and Violin Concertos. The major exception is the late Clarinet Concerto (K622) written for Mozart’s fellow freemason and friend, Anton Stadler. Stadler was to have a great influence on Mozart’s writing for the clarinet, including the notable solos for the instrument in the final Italian opera La Clemenza di Tito. This Concerto, together with the companion Clarinet Quintet (K581) stands as one of Mozart’s undisputed masterpieces. That being said, the earlier Concertos all have something individual to say for themselves and occasionally reach considerable peaks of inspiration. Hardly the most obvious of instruments for a solo Concerto, Mozart’s first Wind Concerto is nevertheless written for the Bassoon. The grumbling, growling giant can, however, be an affectionate and witty instrument and that is how Mozart obviously sees it. It is significant too, that despite his less than conventional choice of solo player, the Concerto has something about it that shows the piece is throughout conceived only for the Bassoon with its own very definite characteristics. This is Mozart’s only Concerto for the instrument and it was composed in Salzburg in 1774 for the composer’s friend and amateur player of the bassoon and the piano, Thaddaeus von Duernitz. Mozart did later write a bassoon sonata for his friend as well as several piano pieces including three of his Concertos. The work is in the three conventional movements for a Concerto of the time (Fast – Slow – Fast) and generally light hearted and playful in the opening Allegro and final French styled Rondo, with lots of leaps and jumps and runs for the soloist and sweet singing tones evident in the central Andante.

Tracklist:
Clarinet Concerto in A Major, K. 622 (Oskar Michallik (clarinet), Staatskapelle Dresden & Siegfried Kurz):
0:00:00 I. Allegro
0:13:03 II. Adagio
0:20:24 III. Rondo. Allegro

Concerto in C Major for Flute and Harp, K. 299 (Marc Grauwels (flute), Giselle Herbert (harp), Les Violons du Roy & Bernard Labadie):
0:30:20 I. Allegro
0:39:56 II. Andantino
0:48:06 III. Rondeau. Allegro

Johannes Walter (flute), Staatskapelle Dresden & Herbert Blomstedt:
Flute

Composer: Franz Joseph Haydn
Artists: Austro-Hungarian Haydn Orchestra & Adam Fischer

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Symphony No. 77 in B-Flat Major, Hob. I:77:
00:00:00 I. Vivace
00:05:56 II. Andante sostenuto
00:10:58 III. Menuetto & Trio. Allegro
00:13:30 IV. Finale. Allegro spiritoso

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Album available // Haydn: Pianoforte Concertos & Divertimentos by Ilse von Alpenheim
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Franz Joseph Haydn (1732-1809) Pianoforte Concertos & Divertimentos
Pianoforte Concertino in C Major, Hob.XIV:11
00:00 I. Allegro moderato02:38 II. Adagio
Pianoforte Concertino in C Major, Hob.XIV:12
07:43 I. Allegro
11:44 II. Adagio
17:08 III. Finale: Allegro
Divertimento for Pianoforte in C Major, Hob.XIV:3
19:41 I. Allegro moderato
22:34 II. Menuetto
24:43 III. Finale: Allegro molto
Pianoforte Concertino in G Major, Hob.XIV:13
25:26 I. Allegro
28:47 II. Adagio
34:05 III. Finale: Presto
Pianoforte Concertino in F Major, Hob.XVIII:F2
35:59 I. Allegro moderato
39:11 II. Adagio
43:18 III. Allegro assai
Divertimento for Pianoforte in E-flat Major, Hob.XIV:1
45:13 I. Allegro moderato
49:11 II. Menuetto
51:58 III. Presto
Pianoforte Concertino in C Major, Hob.XVIII:10
54:48 I. Allegro moderato
1:00:30 II. Adagio
1:03:46 III. Allegro
Divertimento for Pianoforte in C Major, Hob. XIV:C2
1:06:26 I. Allegro moderato
Divertimento for Pianoforte in C Major, Hob. XIV:7
1:09:24 I. Allegro moderato
1:13:19 II. Menuetto
1:15:41 III. Finale: Presto
Divertimento for Pianoforte in C Major, Hob. XIV:8
1:17:10 I. Allegro moderato
1:21:24 II. Menuetto
1:24:03 III. Finale: Scherzo
Divertimento for Pianoforte in F Major, Hob. XIV:9:
1:25:30 I. Allegro moderato

Pianoforte: Ilse von Alpenheim
Württemberg Chamber Orchestra
Conductor: Jörg Faerber
Recorded in 1976
New mastering in 2023 by AB for CMRR
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Discover these charming musical pieces played on the fortepiano, the forerunner of the modern piano, by Ilse von Alpenheim, the great Haydn specialist.

The middle of the 18th century was a period of upheaval, leaving behind the late Baroque musical practice that had still marked the creation of the great Johann Sebastian Bach (died 1750). The new stylistic orientation was accomplished with the generation of Bach's sons, all of whom wrote piano concertos, and with Joseph Haydn, who from the be

Antonio Vivaldi (1678-1741)

① Concerto in A major, RV 780 [related to RV 546]
(concerto for harpsichord, strings & basso continuo)

① I. Allegro - 00:00
① II. Andante - 03:42
① III. Allegro - 05:51

Nicola Reniero (harpsichord)

L'Arte dell'Arco
Federico Guglielmo (conductor)

② Concerto in d minor, RV 541
(concero for violin, organ, strings & basso continuo)

② I. Allegro - 09:00
② II. Grave - 12:25
② III. Allegro - 14:57

Luca Mares (violin)
Silvio Celeghin (organ)

Accademia di San Rocco
Francesco Fanna (conductor)

③ Concerto in F major, RV 542
(concero for violin, organ, strings & basso continuo)

③ I. [Allegro] - 17:08
③ II. [Alla franchese] - 20:52
③ III. Allegro - 22:54

Manfred Kraemer (baroque violin)
Marcelo Bussi (organ)

Musica ad Rhenum
Jed Wentz (conductor)

④ Concerto in C major, RV 554
(concerto for oboe, 2 violins [or violin & organ], strings & basso continuo)

④ I. [Allegro] - 30:13
④ II. [Largo] - 34:51
④ III. Allegro - 37:37

Concerto Grosso Berlin

⑤ Concerto in C major, RV 554a
[same as RV 554 with cello instead of oboe]
(concerto for violin, violoncello, organ [or violin], strings & basso continuo)

⑤ I. [Allegro] - 41:22
⑤ II. [Andante] - 45:44
⑤ III. Allegro - 48:30

Manfred Kraemer (baroque violin)
Balász Maté (baroque cello)
Marcelo Bussi (organ)

Musica ad Rhenum
Jed Wentz (conductor)

⑥ Concerto in F major, RV 767 [related to RV 765]
(concerto for violin [or flute], organ, strings & basso continuo)

⑥ I. [Alla breve] - 53:20
⑥ II. Larghetto - 56:26
⑥ III. Allegro - 59:49

Jed Wentz (baroque flute)
Marcelo Bussi (organ)

Musica ad Rhenum
Jed Wentz (conductor)

⑦ Concerto in c minor, RV 766 [related to RV 510]
(concerto for violin, organ, strings & basso continuo)

⑦ I. Allegro - 1:01:55
⑦ II. Largo - 1:04:45
⑦ III. Allegro - 1:06:00

Manfred Kraemer (baroque violin)
Marcelo Bussi (organ)

Musica ad Rhenum
Jed Wentz (conductor)

⑧ Trio Sonata in C major, RV 779
(sonata for violin, oboe [or flute] obbligato organ, [optional chalumeau])

⑧ I. Andante - 1:08:23
⑧ II. Allegro - 1:13:12
⑧ III. Largo e cantabile - 1:17:10
⑧ IV. Allegro - 1:18:57

Manfred Kraemer (baroque violin)
Jed Wentz (baroque flute)
Marcelo Bussi (organ)

⑨ Concerto in A major, RV 335a 《Il Rosignuolo》
[2nd movement different from RV 335]
(concerto for violin, [organ], strings & basso continuo)

⑨ I. Allegro - 1:22:59
⑨ II. Largo - 1:27:33
⑨ III. Allegro - 1:29:15

Manfred Kraemer (baroque violin)
Marcelo Bussi (organ)

Musica ad Rhenum
Jed Wentz (conductor)

⑩ Concerto in C major, RV 774 [incomplete]
(concero for violin, organ, strings & basso continuo)

- reconstructed by F.M. Sardelli -

⑩ I. Allegro - 1:33:01
⑩ II. Adagio - 1:37:18
⑩ III. Allegro - 1:39:37

Federico Guglielmo (baroque violin)
Roberto Loreggian (organ)

Modo Antiquo
Federico Maria Sardelli (conductor)

⑪ Concerto in F major, RV 775 [incomplete]
(concero for violin, organ, strings & basso continuo)

- reconstru

Some of the most beautiful classical piano masterpieces from Claude Debussy: Reverie, La fille aux cheveaux de lin (The girl with the flaxen hair), En bateau, Arabesque 1 and 2, Clair de lune.

Joseph Haydn (1732-1809): Symphony No. 2 in C major, Hob. I:2 (1757/59?)
Kammerorchester Basel | Giovanni Antonini, Conductor

I Allegro 00:11
II Andante 03:40
III Finale. Presto 06:46

Recorded at Theodorskirche Basel, May 19, 2019

Support Haydn2032 on / haydn2032
A big "Thank You" to our Patreon Florian Suter who generously supported this video!

In the lead-up to the 300th anniversary of Joseph Haydn's birth in 2032, the Joseph Haydn Foundation in Basel is organising, producing and financing the performance and recording of all 107 of the composer's symphonies by Il Giardino Armonico and Basel Chamber Orchestra under the artistic direction of Giovanni Antonini, one of the most highly-respected specialists in baroque, early classical and classical music, with its project Haydn2032.

Learn more about the project Haydn2032 and check out our upcoming concerts:
https://www.haydn2032.com/en/
Concerts in Basel are live streamed on YouTube.

This symphony is part of Haydn2032 Vol. 11 "Au goût parisien":
https://outhere-music.com/en/albums/h...

Antonio Vivaldi (1678-1741) 12 Concertos for violin or oboe, strings & basso continuo, Op.7
Click to activate the English subtitles for the presentation (00:00-04:15)
00:00 No.11 for violin in D Major, RV 208a I. Allegro
05:04 No.11 for violin in D Major, RV 208a II. Grave
07:08 No.11 for violin in D Major, RV 208a III. Allegro

11:18 No.10 for violin in F Major, RV 294a I. Allegro
14:42 No.10 for violin in F Major, RV 294a II. Adagio
16:51 No.10 for violin in F Major, RV 294a III. Allegro

20:15 No.12 for violin in D Major, RV 214 I. Allegro
23:06 No.12 for violin in D Major, RV 214 II. Grave assai
25:54 No.12 for violin in D Major, RV 214 III. Allegro

28:26 No.9 for violin in B flat Major, RV 373 I. Allegro
31:50 No.9 for violin in B flat Major, RV 373 II. Grave spiccato
35:43 No.9 for violin in B flat Major, RV 373 III. Alla breve (Allegro)

39:29 No.8 for violin in G Major, RV 299 I. Allegro assai
41:29 No.8 for violin in G Major, RV 299 II. Largo cantabile
43:31 No.8 for violin in G Major, RV 299 III. Allegro

45:40 No.7 for oboe in B flat Major, RV 464 I. Allegro
48:29 No.7 for oboe in B flat Major, RV 464 II. Largo
50:35 No.7 for oboe in B flat Major, RV 464 III. Allegro

52:33 No.6 for violin in B flat Major, RV 374 I. Allegro
55:30 No.6 for violin in B flat Major, RV 374 II. Largo
57:53 No.6 for violin in B flat Major, RV 374 III. Allegro

1:00:27 No.5 for violin in F Major, RV 285a I. Allegro
1:03:55 No.5 for violin in F Major, RV 285a II. Grave - Adagio - (Grave)
1:07:25 No.5 for violin in F Major, RV 285a III. Allegro

1:10:26 No.4 for violin in A minor, RV 354 I. Allegro
1:13:30 No.4 for violin in A minor, RV 354 II. Adagio
1:17:03 No.4 for violin in A minor, RV 354 III. Allegro

1:20:34 No.3 for violin in G minor, RV 326 I. Allegro
1:23:32 No.3 for violin in G minor, RV 326 II. Grave
1:26:21 No.3 for violin in G minor, RV 326 III. Presto

1:27:57 No.2 for violin in C Major, RV 188 I. Allegro
1:31:10 No.2 for violin in C Major, RV 188 II. Largo
1:33:19 No.2 for violin in C Major, RV 188 III. Allegro

1:35:36 No.1 for oboe in B flat Major, RV 465 I. Allegro
1:37:42 No.1 for oboe in B flat Major, RV 465 II. Adagio
1:40:26 No.1 for oboe in B flat Major, RV 465 III. Allegro

Violin : Piero Toso (Nos.2,5,6,8-10,12)
Violin : Juan Carlos Rybin (Nos. 3,4,11)
Oboe : Pierre Pierlot (Nos.1,7)
I Solisti Veneti
Conductor : Claudio Scimone
Recorded in 1975
🔊Find CMRR's recordings on Spotify : https://spoti.fi/3016eVr
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“China’s premier interpreter of Bach”, is what International Piano Magazine called Yuan Sheng. A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck, Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer).

The title is misleading: the English Suites are more ‘French’ in character than the French Suites, which are more characteristic of the Italian style. ‘By design the composer is here less learned than in his other suites,’ remarked one early biographer, ‘and has mostly used a pleasing, more predominant melody.’ Just so, and the same is true of the pair of suites BWV 818 and 819 which fall outside the collection but belong with it in terms of style. To all of them Yuan Sheng brings considered tempi and precise articulation in the mould of Tureck. To Bach at his most uncomplicated, Sheng brings the virtues of simplicity and clarity.

Again Yuan Sheng draws the listener into his highly intelligent musical discourse, vibrant and moving, speaking through the medium of a modern Steinway piano.

Composer: Johann Sebastian Bach
Artist: Yuan Sheng (piano)

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Tracklist:

French Suite No. 1 in D Minor, BWV 812:
0:00:00 I. Allemande
0:04:05 II. Courante
0:06:17 III. Sarabande
0:09:43 IV. Menuet I & II
0:13:04 V. Gigue

French Suite No. 2 in C Minor, BWV 813:
0:15:55 I. Allemande
0:18:52 II. Courante
0:21:05 III. Sarabande
0:24:29 IV. Air
0:26:03 V. Menuet I & II
0:29:24 VI. Gigue

French Suite No. 3 in B Minor, BWV 814:
0:31:48 I. Allemande
0:35:10 II. Courante
0:37:31 III. Sarabande
0:40:52 IV. Angloise
0:42:42 V. Menuet and Trio
0:46:17 VI. Gigue

French Suite No. 4 in E-Flat Major, BWV 815:
0:48:12 I. Allemande
0:51:29 II. Courante
0:53:19 III. Sarabande
0:56:21 IV. Gavotte
0:57:54 V. Menuet
0:58:47 VI. Air
1:00:27 VII. Gigue

French Suite No. 5 in G Major, BWV 816:
1:02:45 I. Allemande
1:05:52 II. Courante
1:07:33 III. Sarabande
1:12:40 IV. Gavotte
1:13:57 V. Bourée
1:15:22 VI. Loure
1:17:06 VII. Gigue

French Suite No. 6 in E Major, BWV 817:
1:20:39 I. Allemande
1:23:49 II. Courante
1:25:34 III. Sarabande
1:29:21 IV. Gavotte
1:30:34 V. Polonaise
1:32:02 VI. Menuet
1:33:18 VII. Bouré

The symphony is set in 4 movements:
1. Allegro con brio (0:00)
2. Menuetto: Allegretto (9:19)
3. Adagio (14:42)
4. Finale: Presto (22:49)

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