Johann Sebastian Bach: The Complete Works for Keyboard, Vol. 9: Köthen 1717-1723 - The Happy Years
Benjamin AlardCD1
- Chromatic Fantasia & Fugue in D Minor, BWV 903, I. Fantasia
- Chromatic Fantasia & Fugue in D Minor, BWV 903, II. Fugue
- English Suite No. 6 in D Minor, BWV 811, I. Prelude
- English Suite No. 6 in D Minor, BWV 811, II. Allemande
- English Suite No. 6 in D Minor, BWV 811, III. Courante
- English Suite No. 6 in D Minor, BWV 811, IV. Sarabande, Double
- English Suite No. 6 in D Minor, BWV 811, V. Gavottes I & II
- English Suite No. 6 in D Minor, BWV 811, VI. Gigue
- Concerto in C Major, BWV 984, I. (no tempo indication)
- Concerto in C Major, BWV 984, II. Adagio e affettuoso
- Concerto in C Major, BWV 984, III. Allegro assai
- Amore traditore, BWV 203, I. Aria "Amore traditore"
- Amore traditore, BWV 203, II. Recitative "Voglio provar"
- Amore traditore, BWV 203, III. Aria "Chi in amore ha nemica la sorte"
CD2
- Brandenburg Concerto No. 5 in D Major, BWV 1050, I. Allegro
- Brandenburg Concerto No. 5 in D Major, BWV 1050, II. Affettuoso
- Brandenburg Concerto No. 5 in D Major, BWV 1050, III. Allegro
- English Suite No. 3 in G Minor, BWV 808, I. Prelude
- English Suite No. 3 in G Minor, BWV 808, II. Allemande
- English Suite No. 3 in G Minor, BWV 808, III. Courante
- English Suite No. 3 in G Minor, BWV 808, IV. Sarabande
- English Suite No. 3 in G Minor, BWV 808, V. Gavotte I (alternativamente), Gavotte II (ou la Musette)
- English Suite No. 3 in G Minor, BWV 808, VI. Gigue
- English Suite No. 5 in E Minor, BWV 810, I. Prelude
- English Suite No. 5 in E Minor, BWV 810, II. Allemande
- English Suite No. 5 in E Minor, BWV 810, III. Courante
- English Suite No. 5 in E Minor, BWV 810, IV. Sarabande
- English Suite No. 5 in E Minor, BWV 810, V. Passepied I (en Rondeau), Passepied II
- English Suite No. 5 in E Minor, BWV 810, VI. Gigue
‘The happy years’: an expression that is particularly apt for J. S. Bach’s period in Cöthen. Freed from the obligations that held him back in Weimar and not yet caught up in the Leipzig treadmill, Prince Leopold’s protégé produced masterpieces of such flamboyance that Benjamin Alard could not resist the pleasure of inviting some of his dear musician friends to join him around the splendid three-manual harpsichord by Hass.