Although the name French Suite has functioned successfully for more than 250 years, it is somewhat misleading, as there are more references in these works to the style of Italian than French music. The title was devised without Bach’s knowledge or participation, but it certainly caught on; so after such a long time, it is difficult to argue with the force of habit. The closing fugal Gigue from Bach’s Suite in G major, lively and light, emanates delicacy, albeit of a completely different nature to the lightness of the Arietta and variations in Beethoven’s Sonata in C minor. From that search for unusual colours, the path leads to the refined impressionism of Albéniz’s cycle Iberia.

Simply... Philharmonic! Project 4:

At least several of the works in this cycle’s concerts may be regarded as prime examples of their composers’ talents. In Chopin’s Variations, Op. 2, Robert Schumann easily discerned a spark of genius. After leading a performance of Brahms’s Quartet in G minor, Op. 25, Joseph Hellmesberger was left in no doubt: ‘This is the heir to Beethoven!’ Moreover, Clara Schumann was extremely anxious about the fortunes of this work, as it was very close to her heart. Liszt bows down, in his own inimitable way, before the mastery of Schubert, Busoni acknowledges the greatness of Bach. There is also the strand of more personal feelings, a play of subtle sensuousness – in Schumann (Romances), Chopin (Barcarolle) and even in Beethoven’s last Piano Sonata in C minor.

Marcin Majchrowski