Largo' and `Rejouissance') and a gigue
.(65) These four suites cannot be dated precisely, but appear on stylistic grounds to have been composed by the early 1720s.
There is an opening group of allemandes, (12) sporadic groupings of several gigues, sarabandes or courantes, and five measured preludes occur together at the end.
If the numbers in the manuscript do indeed reflect a lost source, then it was certainly more clearly organized, having the following basic order: allemandes, duos, gigue-like pieces, pavanes, more gigues, courantes, sarabandes, arrangements of instrumental music, preludes, vaudevilles (see table 2).
However, the autograph does not contain the courante and gigue in C major preserved in the Borel Manuscript (see fig.
It is called an allemande in both Bauyn and Parville, but Marc-Roger Normand Couperin calls it a gigue. (20) Another source (possibly autograph) omits any title.
In his introductory remarks, Hudson frequently alludes to the preface of the original print, citing, for instance, Schultheiss's statement that the effect of the music will be enhanced if one plays "the allemandes and sarabandes rather slowly, the courantes and gigues, however, somewhat faster and more exuberantly" (a remark that is telling for the music of Kuhnau, Georg Bohm, and other German composers who wrote sarabandes in a similar style).
The Clavier-Lust consists of ten suites, all with four dances: allemande, courante, sarabande, and gigue (the allemande of the tenth suite, in C minor, is labeled "Lamenta").
This harmonic twist is then repeated in the Courante and Sarabande before being dropped--just as one was growing accustomed to it--in favor of E minor in the Gigue. Or in the Gigue of the B-minor Suite, the corta rhythmic pattern (an eighth note followed by two sixteenths) presented casually in the A section grows in importance in the B section until it eventually dominates the music, much in the manner of a rhythmic idee fixe that can't be shaken.
The presentation of the two (actually four) versions of the second half of the Gigue of the A-minor Partita is especially misleading, the version of the Washington exemplar (NBA's "G 25") preceding that of the unaltered print; readings from one of the other altered exemplars ("G 26") are given as footnotes.
Particularly unfortunate is the arbitrary direction to interpret the Gigue of the Sixth Partita, notated under an archaic duple time signature, in 24/8, following the supposed model of the Gigue from Johann Jacob Froberger's Suite VII, which exists in an alternate triple-time version.
Of the six suites, John Metz plays those in D minor and F major from 1687, and the extensive D minor/major suite from 1707, which is expanded by the inclusion of three original doubles (on the allemande, the courante and the first gigue