Program Note

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English Suites No. 2 in A minor, BWV 807 J. S. Bach (1685-1750) Prelude
Allemande
Courante
Sarabande
Bourrée I, Bourrée II
Gigue

Polonaise No. 1, S. 223/1 Mephisto Waltz No. 1, S. 514 Franz Liszt (1811-1886)

Romeo and Juliet: Ten Pieces for Piano, Op. 75 Sergei Prokofiev (1891-1953) 1. Folk Dance
2. Scene: The Street Awakens
3. Minuet: Arrival of the Guests
4. Young Juliet
5. Masks
6. Montagues and Capulet
7. Father Laurence
8. Mercutio
9. Dance of the Girls with Lilies
10. Romeo and Juliet before Parting

Conrad Grebel University College Chapel
140 Westmount Road North, Waterloo

Program Note

S. Bach's music career became more serious when he was appointed Kapellmeister at the royal court in Kothen and later in Leipzig, Germany, where he was contracted to compose music for services every week. However, Bach was better known as a keyboard player than a composer during his life time. When he was not writing music for services at the court, he wrote secular music for instruments. Among his comparably large oeuvre, Bach wrote several suites for keyboard (namely for organ and harpsichord during that period of time.) The most well known are sets of six suites complied in the collections of French Suite, English Suite, and Partitas. The name “English” bares no stylistic reference or indication to the music. It became known as English Suite due to the subtitle “Fait pour les Anglois” (written for the English) found on a manuscript copy made by Bach’s son. During the early 18th century, the dance suites are more or less standardized as a sequence of four dance movements of different nationality, Allemande, Courante, Galop Sarabande, and Gigue, with optional dances such as Bourrée, Gavotte, or Minuet inserted between Sarabande and Gigue. The English Suite makes its distinction from the French by the inclusion of an opening prelude that was more commonly seen in an orchestra...
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