An old piano book I had has a big mistake in it. It indicated the tempo of the aria at half the speed by marking the tempo as 4/4 rather than 2/2. I'm honestly found of the expressiveness I can get with the slower tempo.
Since the Suites Pour Le Clavecin (Bach's original title) were never published, but rather passed around through handwritten copies, it is very likely that the Minuet II (which doesn't appear in most of the known copies) was interpolated by one of the copyists. They probably felt that the first Minuet would be well paired with a second, which was a common practice at the time. (But for some reason the pianist did not repeat the first Minuet, which was the usual practice when there was a second Minuet or a Trio.) The editors of the complete Bach edition undoubtedly believed the second Minuet was spurious, and so did not include it in their edition of the French Suites. But at the time the suites were composed it was common practice for the various copyists to add or subtract movements, or change some of the notes to suit their taste. Bach would undoubtedly not have been concerned about that, since he himself made discreet changes to some of the manuscripts by other composers that he himself copied. In the Baroque period the text was not as sacrosanct as it has become these days. Anyway, the Minuet II is a charming piece and there is no harm in performing it.
Thank you very much for so beautiful performance! I was looking exactly for just such a tempo… Richer or Yudina are also great, but a bit faster than my brain expect) Gould is perfect!
In the barroc period the minor tonalits does'nt was conpletly formuled. Ir was common that the sixth dont have a flat. G minor with only one Flat, C minor with only two flats etc I hope the text be compreensive
I can't stop playing the Allemande however my version differs from this significantly in the accompaniment's final phrases. Like ... Mine has less notes
The one played isn't the one we can see in score... It's very interesting the introduction of semiquavers instead of quavers, in the repetition of the second part
@@PaPa-kr5yt Yes, upon closer inspection, I see the A's are flatted; but I'm wondering, why is the key signature not standard major-minor, as is generally the case with music of Bach and his contemporaries?
@@saleenapiano Key signature notation was not always as standardised as it is now, and it wasnt unusual for Baroque composers to use fewer flats for minor keys. Most modern editions "correct" these instances, but this edition has chose not to, for whatever reason.
