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JS Bach: Keyboard Suites

Fabrizio Chiovetta (piano)

Geneva-born Fabrizio Chiovetta presents three contrasted suites in this Bach recital. He’s particularly compelling in the least frequently performed of these, the B minor French Overture, which...

JS Bach: Keyboard Suites

Fabrizio Chiovetta (piano)

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Geneva-born Fabrizio Chiovetta presents three contrasted suites in this Bach recital. He’s particularly compelling in the least frequently performed of these, the B minor French Overture, which...

About

This programme, carefully chosen from amongst the hundreds of works by the composer, starts first with the French Overture in B minor: a monumental, complex work, rarely performed in concert. It was during a recital by Grigory Sokolov that Chiovetta fell in love with this pièce. He next chose one of the fundamental pieces that marks the culmination of the suite genre: the sublime Partita No.1 in B flat major. He concludes with the English Suite No.4, with the wish of restoring some of the honour it deserves.

Contents and tracklist

I. Ouverture
Track length12:32
II. Courante
Track length2:10
III. Gavotte I & II
Track length3:20
IV. Passepied I & II
Track length2:17
V. Sarabande
Track length3:28
VI. Bourrée I & II
Track length2:47
VII. Gigue
Track length2:05
VIII. Echo
Track length2:59
I. Praeludium
Track length2:04
II. Allemande
Track length3:08
III. Courante
Track length2:48
IV. Sarabande
Track length5:32
V. Menuet I & II
Track length2:35
VI. Gigue
Track length2:11
I. Prélude
Track length4:50
II. Allemande
Track length4:05
III. Courante
Track length1:39
IV. Sarabande
Track length3:30
V. Menuet I & II
Track length3:19
VI. Gigue
Track length3:06

Awards and reviews

October 2016

Geneva-born Fabrizio Chiovetta presents three contrasted suites in this Bach recital. He’s particularly compelling in the least frequently performed of these, the B minor French Overture, which sets off with a grandeur that conveys Bach’s arching lines and imposing dotted rhythms, then finds a pleasing physicality in the faster-moving fugal writing; in the Sarabande he responds to Bach’s questioning lines with a gentle intimacy.

28th July 2016

His style in Bach is fleet and dry, with absolutely no cobwebs of pedal, his way with embellishments, whether Bach’s or his own, is deliciously light-fingered, and he uses his left hand in a way that is exceptionally light.
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