Dieupart & Bach – A Suite Connection Marsyas Baroque

• Charles François Dieupart (1667 - 1740): Suite No. 3 in B minor:
• 1Dieupart: Suite No. 3 in B minor: Ouverture04:11
• 2Dieupart: Suite No. 3 in B minor: Allemande02:36
• 3Dieupart: Suite No. 3 in B minor: Courante01:19
• 4Dieupart: Suite No. 3 in B minor: Sarabande02:33
• 5Dieupart: Suite No. 3 in B minor: Gavotte00:41
• 6Dieupart: Suite No. 3 in B minor: Menuet serieux01:13
• 7Dieupart: Suite No. 3 in B minor: Gigue01:54
• Suite No. 5 in F major:
• 8Dieupart: Suite No. 5 in F major: Ouverture03:16
• 9Dieupart: Suite No. 5 in F major: Allemande02:25
• 10Dieupart: Suite No. 5 in F major: Courante01:17
• 11Dieupart: Suite No. 5 in F major: Sarabande02:23
• 12Dieupart: Suite No. 5 in F major: Gavotte00:50
• 13Dieupart: Suite No. 5 in F major: Menuet en rondeau01:19
• 14Dieupart: Suite No. 5 in F major: Gigue01:04
• Johann Sebastian Bach (1685 - 1750): Ouverture after BWV 831 (arr. by Marsyas Baroque and Leonard Schick):
• 15Bach: Ouverture after BWV 831 (arr. by Marsyas Baroque and Leonard Schick)06:13
• English Suite No. 2 in C minor after BWV 807:
• 16Bach: English Suite No. 2 in C minor after BWV 807: Allemande (arr. by Marsyas Baroque and Leonard Schick)03:40
• 17Bach: English Suite No. 2 in C minor after BWV 807: Courante (arr. by Marsyas Baroque and Leonard Schick)01:57
• 18Bach: English Suite No. 2 in C minor after BWV 807: Sarabande (arr. by Marsyas Baroque and Leonard Schick)02:56
• 19Bach: English Suite No. 2 in C minor after BWV 807 & 831: Bourree I & II (arr. by Marsyas Baroque and Leonard Schick)04:16
• 20Bach: English Suite No. 2 in C minor after BWV 807: Gigue (arr. by Marsyas Baroque and Leonard Schick)03:36
• English Suite No. 4 in G major after BWV 809:
• 21Bach: English Suite No. 4 in G major after BWV 809: Prelude (arr. by Marsyas Baroque and Leonard Schick)04:28
• 22Bach: English Suite No. 4 in G major after BWV 809: Allemande (arr. by Marsyas Baroque and Leonard Schick)03:41
• 23Bach: English Suite No. 4 in G major after BWV 809: Courante (arr. by Marsyas Baroque and Leonard Schick)01:34
• 24Bach: English Suite No. 4 in G major after BWV 809: Sarabande (arr. by Marsyas Baroque and Leonard Schick)02:33
• 25Bach: English Suite No. 4 in G major after BWV 809: Menuet I & II (arr. by Marsyas Baroque and Leonard Schick)03:12
• 26Bach: English Suite No. 4 in G major after BWV 809: Gigue (arr. by Marsyas Baroque and Leonard Schick)02:54
• Total Runtime01:08:01

Info for Dieupart & Bach – A Suite Connection

A suite connection between J. S. Bach (1685-1750) and Charles François Dieupart (1667-1740) is claimed by the young, award-winning baroque ensemble Marsyas Baroque with their debut album. The juxtaposition of two English Suites by Bach and two Suittes de Clavessin by Dieupart, who is virtually unknown today, shows not only that the French composer is still underestimated, but also that Bach was inspired by the work of his colleague.

He further developed his own musical ideas by analysing Dieupart's collection of suites and probably even wrote his English Suites for him. The album reveals the stylistic similarities between the two works by presenting Dieupart's suites not as pure harpsichord pieces, but - as the first edition of 1701 suggests as an alternative to solo performance on the harpsichord and as was fashionable in the Baroque period, but is extremely rarely practised today - mises en concert. The other instruments accompany the outer voices of the harpsichord, which does not function as a continuo instrument but plays quasi-soloistically. This makes the sound palette of the suites broader and their dynamics richer than on the harpsichord alone.

In return, Bach's suites are performed anew in an arrangement inspired by Dieupart's mises en concert version - an "experiment-with-advantage", as Marsyas Baroque and baroque expert Leonard Schick comment on their work, as the form of the suites sometimes emerges more clearly than in the original and the performance becomes more varied and colourful.

Marsyas Baroque:
Paula Pinn, recorders
María Carrasco Gil, baroque violin
Konstanze Waidosch, baroque cello, viola da gamba
Sara Johnson Huidobro, harpsichord

Marsyas Baroque
The legend of the flute-playing satyr Marsyas is about passion, courage, talent, cruel revenge and a musical duel ...

Paula Pinn (recorders), María Carrasco Gil (baroque violin), Konstanze Waidosch (baroque cello, viola da gamba) and Sara Johnson Huidobro (harpsichord) also came together on the occasion of a com- petition: Without ever having played music together before, they decided without further ado in 2019 to participate as Marsyas Baroque in the German Music Competition (Deutscher Musikwettbewerb) of that year. They were successful and received a scholarship from the German Music Council (Deutscher Musikrat), combined with admission to the BAKJK (Bundesauswahl Konzerte Junger Künstler), and the special prize of the Ensemble Academy Freiburg. A short time later, the ensemble also won 1st prize at the renowned Biagio Marini Competition in Neuburg an der Donau.

Marsyas Baroque mainly plays virtuoso works of the 17th and 18th centuries on original sound instruments in their own arrangements, depending on the programme also with musical guests. The quartet performs throughout Germany and internationally, including concerts at numerous festivals such as the Thuringian Bach Weeks, the Schleswig Holstein Music Festival, the Bach Festival Leipzig, the Trigonale Festival and the Winter Festival in Schwetzingen.

Booklet for Dieupart & Bach – A Suite Connection