6 English Suites, BWV 806-811

Historical context

The collection known as the “English Suites” derives its name from a fascinating origin. While trustworthy tradition, as noted by Forkel, suggests these suites were written for an Englishman of high standing, and a manuscript by Johann Christian Bach indeed notes “fait pour les Anglais” on the A major suite, the true explanation for the name seems to be that the Prelude of the first Suite is based upon a Gigue by Charles Dieupart, a popular teacher and composer in England. The words “fait pour les Anglois” were then wrongly interpreted as applying to the whole set of six. The composition of these Suites may certainly be assigned to the Cothen period, with a copy existing dated 1724-27, made by one of the composer’s pupils. The book further notes that five of the English Suites must have been written by 1727 at the latest, and probably all six before 1726, in the first years at Leipzig or the last at Cothen.

These are six large Suites, consisting of Preludes, Allemandes, Courantes, Sarabandes, and other movements. They adhere to the fundamental form of Allemande, Courante, Sarabande, and Gigue, with two intermezzi before the Gigue, and are characterized by preludes, which are absent in the French suites. The book describes them as distinguished from the French ones by their strong, grave, and masculine character, with richer music demanding forms of greater extension. Some movements, in particular the Gigues of the fifth and sixth Suites, are described as “perfect masterpieces of harmony and melody,” featuring sarabandes of great breadth and beauty, and gigues of wild boldness.

Drawn from Forkel, Johann Nikolaus, 1749-1818; Terry, Charles Sanford, 1864-1936, Johann Sebastian Bach; his life, art, and work, tr. from the German of Johann Nikolaus Forkel, with notes and appendices (1920); Spitta, Philipp, 1841-1894, Johann Sebastian Bach : his work and influence on the music of Germany, 1685-1750 (1899) — public domain, archive.org.