Bach - English Suite No. 3 in G minor, BWV 808 (Robert Levin, Alan Curtis)

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The third suite, like the second, is one of the more familiar to modern listeners. It opens with the set’s most obviously Vivaldian prelude, whose bold thematic statement incorporates built-in crescendos by increasing the number of parts in each of the tutti sections. Despite its unmistakable Italianate flavour, the prelude has a thematic relationship with another of the Dieupart suites – the overture to Suite IV in E Minor.
There follow the allemande and French-style courante – the latter distinguished by the usual cadential hemiolas in each section. The sarabande includes a fully written-out set of agréments, affecting not just the upper voice, but the bass, with several modifications to the inner voices as well. (These are performed at the repeats.)
The two galanteries – this time gavottes, perhaps the most overtly French dances of the entire set – once again form an imposing ABA structure. The second is composed over a typical French musette or drone bass. The imitative gigue begins its two halves with a threevoice fugal exposition that presently settles into twovoice texture. Like the allemande and all gigues of the set except that of Suite II, the second half inverts the opening subject (i.e., turns it upside down), and brings BWV 808 to a serious, though thoroughly Italianate close.

Suite No. 3 in G minor, BWV 808 (Robert Levin, piano)
1. Prélude 0:00
2. Allemande 3:05
3. Courante 6:05
4. Sarabande 8:16
5. Gavotte alternativement 11:44
6. Gavotte II ou la Musette 13:14
7. Gavotte I repetatur 13:59
8. Gigue 15:32

Suite No. 3 in G minor, BWV 808 (Alan Curtis, harpsichord)
1. Prélude 18:17
2. Allemande 21:54
3. Courante 25:19
4. Sarabande 27:38
5. Gavotte alternativement 30:30
6. Gavotte II ou la Musette 32:10
7. Gavotte I repetatur 33:01
8. Gigue 33:53

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