English Suite No. 4 in F major, BWV 409 - This suite is the sunniest and
most upbeat of the six.  The opening prelude, in 4/4 time, bears a thematic
connection to Dieupart's Overture to his 3rd Suite in B minor.

Does this make Dieupart as worthy as Vivaldi? No need to answer that one.
The F major prelude is invigorating and happy music.  Performing it just
right is not easy; there has to be some strong weight, but the piece is
also playful.  Blending these two features is the key to success.  For me,
the heart of the prelude is a series of linked episodes which are spun
off from a main theme; in a great reading, each episode is memorable and
follows naturally throughout the prelude.

Schiff gives us his version of "Bach Lite".  It's the only version I know
which is essentially best as background music.  I never get any feeling
that his interpretation has a foundation from which the episodes flow, and
his episodes arrive and depart with little impact.  Levin takes the "Power
Bach" approach; although better than Schiff's concept, Levin obliterates
the playfulness in the music.  At Levin's level is Watchorn with a reading
much slower than the other versions, but Levin is not Rosalyn Tureck and
he's too light in texture and depth.  Perahia does well; he's heavier than
Schiff and lighter than Levin.  However, his episodes come and go without
much impact.

Leonhardt takes us to the good stuff.  He's playful, has plenty of weight,
and the episodes start to make connections while being strongly projected.
Gould just does everything better than Leonhardt.  His blending of
playfulness and power is outstanding; each episode flows naturally from
another and the basic theme.  His beginning is particularly effective as
he builds the music up to a magical early climax.  That climax can hardly
be noticed in the other versions.

The one word that sums up my current feeling about the Allemande is
*wow*!  I hadn't remembered how good the music is, and I was bowled over
by its effect on me.  The sequence is the common AABB.  The first theme is
uplifting and joyful, but the second theme is pure magic.  In addition to
having this wonderful piece to listen to, each of the six artists does a
great job.  Perahia is slow, inward, and mysterious.  Watchorn is very slow
and uplifting.  Levin is exuberant, quick, and presents a seamless flow of
music.  Each one is a joy to listen to.  And these are my least enjoyable
versions!

Leonhardt, Gould, and Schiff are in a different league.  Leonhardt is
quite slow and strongly incisive.  Every note and phrase is highlighted
and examined.  Although Leonhardt skips both repeats, I still marvel
at his interpretation.  Gould's is a commanding performance with a
ceremonial/heroic swagger that only he can put across with supreme
conviction; Gould only skips the second theme.  Schiff's is the most
gorgeous reading with phrases lovingly conveyed in a freely poetic manner;
he also has a great seamless quality.  Schiff observes both repeats.
Sticking with repeats, I don't think it would be unreasonable to be a
bit peeved with Gould and Leonhardt.  However, some performances just
overshadow the repeat issue; these two are among them.

The Courante is energetic and happy.  Gould has those qualities, but he's
rather choppy and his staccato is not sufficiently prominent.  Schiff and
Watchorn are very light and breezy, too much so for my tastes.  Perahia,
Levin, and Leonhardt give the best readings.  Perahia would likely be
preferred by most listeners; his pacing, accenting, and mix of happiness
with some weight represent the best of a mainstream performance.  Levin is
a little darker and more forceful than Perahia; the music easily handles
this approach.  Leonhardt is the slowest and again skips both repeats, but
he gets to the core of the music and his happiness is very deep.

It would be difficult to come up with as beautiful and life affirming
a piece of music as the Sarabande.  I think of the Sarabande as a series
of ornamented variations on the initial theme, and each one is a joy
to listen to.  Schiff (very light), Levin (affirmative), and Leonhardt
(aristocratic) give very good readings.  But the other three versions are
special.  Gould mixes drama and sensitivity in superb fashion; he also
highlights the voices and supplies a wealth of ornamentation.  Perahia's
performance is the most lovely with exquisite ornamentation.  Watchorn
is so satisfied with life that the performance sparkles at every moment.
Also, each of the three versions delivers strongly to me that sense of a
series of variations; that's how I like it.

Next are the Menuetts I and II.  Rather infrequently, I come across a
performance which seems to me perfect for a particular dance.  That's how
I feel about Leonhardt's reading.  From the first chords, I am swept into
the images of large ballrooms and exquisitely dressed royalty going through
their paces.  Gould's interpretation isn't quite in that scenario, but the
swagger and part-playing he displays so well places him with Leonhardt.

Perahia does well with perhaps the best Menuett I, but II is softly
focused.  Schiff reverses things by delivering a strong and incisive
Menuett II; his I is too light.  Neither Watchorn nor Levin have much
impact on me.  They seem surface-bound and miles away from the world of
dance and royalty.

Suite No. 4 concludes with an infectious Gigue which is sure to lift
one's spirits.  That's the feeling I get from Perahia's and Watchorn's
performances; both artists sound like they must have had a great time
playing the piece.  The other versions are very good but lacking that last
ounce of optimism.

Gould and Leonhardt really distinguish themselves in Suite No. 4.  Their
creativity and ability to penetrate the score is superb.  Perahia gives
another very good performance; my opinion of this set keeps rising.  The
other three versions are good, although Levin has some problems with the
good cheer of the Suite.  He tends to be rather heavy and unsmiling, not
good traits for the moods of this music.

For the 5th English Suite, the six sets will be joined by Horszowski on a
Nonesuch recording also having two Chopin nocturnes and Beethoven's Piano
Sonata Opus 10, No. 2.

Don Satz
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