吳佳凝鋼琴老師

吳老師鋼琴獨奏
J. S. Bach English Suite III in G minor, BWV 808
I. Prelude
II. Allemande
III. Courante
IV. Sarabande
V. Gavotte I - Gavotte II
VI. Gigue

巴赫（1685-1750）：第三號英國組曲，G小調，作品八零八

英國組曲是十七世紀鍵盤名作，根據最新考證，應該譜寫於巴赫服務威瑪宮廷時期（1708－1717）。各曲都充滿協奏曲的華麗精神，具有典型的德國風格， 因為巴赫將樂譜獻給某英國貴族，所以被稱之為《英國組曲》。《英國組曲》共有六組，在規模、表現力以及情感上都比巴赫的同類鍵盤作品《法國組曲》要龐大。 這些組曲有的短小但意境廣博，有的具有浪漫的氣息，有的清新內斂，有的莊嚴肅穆。用現代鋼琴來演奏這部巴羅克的複調作品更有一番迷人的風韻。第三號是首較 為陰暗以及傷感的作品。

前奏曲，與第二號前奏曲一樣的協奏曲樣式，是合奏部份與主奏部份交替出現的大規模樂曲。但，緊張趕極高，故全無冗長的感覺。阿勒曼德舞曲，柔滑，對位型， 較短。庫朗舞曲，反而深沉不快活，缺服庫朗舞曲之風格。薩拉邦德舞曲和變奏，頻用持續音，極沉重，有深遠之印象。在和聲上，採用了不協和和絃延遲解決的技 法。嘉禾舞曲I和II，彼此具有類似的動機，但嘉禾II是G大調，表情明朗。然而嘉禾II的術語是如此的Govotte ou la Musette。這裡的Musette是風笛之一種。可以奏出持續音，在持續音上演奏旋律，因此風笛所演奏的舞曲便被稱為風笛舞曲（Musette）了。 在此曲，如其名稱所指是使用了持續音。基格舞曲，使用遁展法技法。後半是轉位型主題的遁展法。

These six suites for keyboard are thought to be the earliest set that Bach composed. Originally, their date of composition was thought to have been between 1718 and 1720, but more recent research suggests that the composition was likely earlier, around 1715, while the composer was living in Weimar.

Bach's English Suites display less affinity with Baroque English keyboard style than the French Suites do to French Baroque keyboard style; the name "English" is thought to date back to a claim made by the 19th-century Bach biographer Johann Nikolaus Forkel that these works might have been composed for an English nobleman. No evidence has emerged to substantiate this claim. It has also been suggested that the name is a tribute to Charles Dieupart, whose fame was greatest in England, and on whose Six Suittes de clavessin Bach's English Suites were in part based.

Surface characteristics of the English Suites strongly resemble those of Bach's French Suites and Partitas, particularly in the sequential dance-movement structural organization and treatment of ornamentation. These suites also resemble the Baroque French keyboard suite typified by the generation of composers including Jean-Henri d'Anglebert, and the dance-suite tradition of French lutenists that preceded it.

In the English Suites especially, Bach's affinity with French lute music is demonstrated by his inclusion of a prelude for each suite, departing from an earlier tradition of German derivations of French suite (those of Johann Jakob Froberger and Georg Boehm are examples), which saw a relatively strict progression of the dance movements (Allemande, Courante, Sarabande and Gigue) and which did not typically feature a Prelude. Unlike the unmeasured preludes of French lute or keyboard style, however, Bach's preludes in the English Suites are composed in strict meter.